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”– and ’Electra the wretched’ is the name my countrymen call me. Ah, what miserable suffering I endure, how loathsome is my life!”

Electra follows, as one might deduce, Electra, the daughter of Clytaimnestra, who killed her husband (and Electra's father) Agamemnon years ago. Now, Electra has been given in marriage to a lowly farmer to degrade her and make sure her children will not threaten Clytaimnestra's new husband's reign. One day, though, Electra's exiled brother, Orestes, arrives, and the two begin plotting their mother and stepfather's murders in order to avenge their dead father.

I've read many versions of the myth surrounding Clytaimnestra, Orestes and Electra, but I'm still always excited to read new takes on the story and see the different ways it has been interpreted and written. For example, I had never read a version of this story where Electra had been married off to a Farmer (who, by the way, was very lovely and I liked him a lot), and in this version Electra also played a much more active role in her mother's death. These little differences between versions keep me from getting tired of reading the same myth over and over again: it's never really the same myth, after all.

I liked how in this play Electra takes the center stage. She is an interesting woman and one of my favorite female characters of greek mythology, and I loved reading about her thoughts on her messed up family history, the loss of her father, her murderous mother and her beloved brother whom she has not seen in years. She is angry and capable of great violence, but she also has a soft, loving side, which comes out especially beautifully in her relationship with her brother, Orestes. Orestes is another favorite of mine, and I liked him once again. His complex emotions for his mother and for what he has to do is always fascinating and quite heartbreaking. Clytaimnestra is a formidable, fascinating woman, and though this was not my favorite version of her (she is still at her best in Aeschylus's play Agamemnon), she was still interestingly written.

One of my favourite aspects of this play was the sequence between Electra and Clytaimnestra. No other version I've read has included such a long and deep conversation between the pair. In that scene you get to see how unlike each other they are and how drastically different their views on what has happened to their family in the past few years are. It was also fascinating to read that scene and realise that though I love Electra and felt for her throughout this play, in that moment I felt for Clytaimnestra as well, despite Electra's fury at her. This is not to say that Clytaimnestra didn't do some messed up shit, but let's face it, Agamemnon kinda had it coming after what he did to Iphigenia. I loved that moment between mother and daughter a whole lot.

I'd happily recommend this play! Euripides has not failed me yet: this play was, as all the others I've read by him have been, an interesting and enjoyable, and occasionally rather intense, story about messy complex people and moral dilemmas.

ohh this is even better than the Sophocles one

Nije bilo drugog pa sam štiklirao ovo izdanje kao ono koje sam čitao. Prosto, nisam želeo da ubacujem izdanje izdavačke kuće AKIA M.PRINC jer je grozomorno u skoro svakom smislu. Od toga da piše kako je Sofokle autor, premda je autor ove konkretne "Elektre" Euripid, do toga da je interpunkcija je zi va. Sve u svemu, izbegavajte ga u širokom luku, molim vas.

.. كنت أتصور أن اختيار اسمها كمصطلح لحالة نفسية غير طبيعية مسبب ، و أن علاقاتها بوالدها تجسد هذه الحالة التى سميت باسمها و لكنى لم اجد شيئا من هذا ، فالشخصية من البداية إلى النهاية تدور فى فلك الرغبة فى الانتقام و تبعاته
.. علاقاتها بوالدها غير ذات معالم خاصة ، فقد قتل على يد والدتها و هى بعد طفلة ، غاب عن البيت عشر سنوات فى حربه ضد طروادة ، له تاريخ حافل بالخيانة الزوجية و العلاقات النسائية ، اين حضوره فى حياتها و سنواتها القليلة التى عاشتها قبل موته ؟ لم يذكر شئ كهذا.
.. علاقاتها بوالدتها لم يذكر عنها شئ قبل قتلها لزوجها و كأنها بدأت به أو كأن قتله محى ما قبله من ذاكرة الكترا
.. علاقتها بأخيها جيدة ، اجتمعا على الرغبة فى الانتقام من الام و عشيقها و برغم هذا لم تحظى علاقة اوريستيس بمسمى ما أو توصيف غير طبيعى رغم تشابه الظروف ، فإن قلت إن السبب يرجع إلى تحريض الكترا المستمر على الانتقام ،وجدت أنها كانت الأكثر وعيا للحدث بحكم كونها الأكبر و لعل هذا كان السبب ، أما الحديث عن طبيعة علاقاتية غير معتادة فيستدعى الحديث عن هذه العلاقة و تفاصيلها .
.. بدا لى انتقامها نابعا من الواجب متأثرا بالعقل الجمعى أو التقاليد أكثر منه عاطفة خاصة نحو ابيها ، ربما يدعم هذا تعقيب الكورس / الكورال على تبريرات الام لقتلها زوجها هذا فكر عام و لا شئ شخصى هنا ، هكذا بدت .
.. لم احب أجواء التراجيديا الإغريقية ، و لا اعتقد انها ستكون من مفضلاتى و لو زدت منها .
.. الترجمة جيدة ، أخطاء إملائية قليلة
.. المركز القومى للترجمة أحد الأشياء الجميلة القليلة فى هذا البلد البائس

اولین دشت 2022

Euripides' take on the vengeance of Orestes
9 March 2012


tI clearly remember reading this play for university and one of the things that the lecturer spoke about was how we have, from all three of the surviving tragedians, a extant plays that deals with the same subject, being the murder of Aegisthus and Clytaemnestra by the two of her children, Orestes and Electra. I believe that we actually looked at all three at university, if only to compare the similarities, and differences, in how the three tragedians dealt with the same subject. In fact, it is very fortuitous that we actually have these plays because it gives us a deeper insight into how the same even was viewed by differing contemporary authors.

tThe sympathy that Euripides shows towards women that was noticeable in Medea and Hecabe seems to be somewhat absent from this play. In fact there are indications in this play of the role that women generally played in Greece with no real criticism of their status. In a way one can empathise with Electra in that she is being persecuted by her mother's lover in that he fears retribution for his part in the death of Agamemnon, her father, but also we admire the peasant whom Electra has been married to in that he has chosen not to sleep with her in that he sees this as a marriage of convenience rather than of love. In a way, he recognises Electra's high status, her being a member of the nobility, while he, a peasant, has no right to such a noble wife.

tThe major theme of this play is the conflict between the virtue of vengeance, and the crime of matricide. All three of the plays weigh heavily on the crime of matricide and it is clear that such a murder would have been repugnant to the ancient Greeks. However, this is balanced out with the fact that it was Orestes' duty to seek vengeance against his father's murderers. It is a case of justice needing to be done, and it is the duty of the son to see that this happens. While it is seen that it is right to kill Aegisthus there is a conflict when it comes to Clyteamnestra. Orestes is hesitant as he is aware of the crime, however Electra is blinded by hatred and vengeance, not only for the murder of her father, but also for the life that she now lives. She is not the one doing the deed, it is Orestes, therefore she does not care.



tWe notice that at the end, the Discouri appear (that being Castor and Polydeuces, the heavenly twins, who are sons of Zeus and the brothers of Helen and Clytaemnestra) and condemn Orestes for his crimes. However, as is true with much Greek drama, his future is foretold to him, and it is decreed that initially he will be pursued by the furies (demonic creatures that torment the wicked) to Athens were he will seek shelter in the Temple of Athena and then be brought to trial on the Rock of Ares. It is also decreed that his trial will set a precedent in which if all votes are equal in a murder trial, then the accused will be acquitted.

tIt is interesting how this time as I read the play I could almost picture some of the places that were mentioned. The action is set not in Argos but on a farm just outside the city. The ancient city really does not exist any more, but if you travel to modern Argos you can still see the remains of the Roman city, including the theatre, the bath house, and the agora. I could also picture the rock of Ares in Athens, which functioned as the high court in ancient times. I can also picture the Athenians being familiar with what Euripides is saying, and many of them would probably cast their eyes around to the rock, and be reminded of the principles of justice upon which Solon based his constitution.



tHowever we can also see different ideas about virtue in this play. To an ancient Greek, vengeance for the murder of one's father is not seen as a crime, and it is not necessarily the responsibility of the authorities (as it is these days). Rather, all prosecutions were private (unless it was treason, and even then that would be dealt with by a vote by all citizens). Another interesting thing about justice in Athens is that if somebody brings a charge against another person, and the person is found to be innocent, then the person bringing the charges is himself fined heavily. Not necessarily for a crime, but rather to discourage vexatious litigation (not that it actually stopped it).

tOne final thing I noticed was that right at the end the Discouri make a statement about leaving to watch over an expedition to Sicily. This comment actually gives us a very good idea of when the play was written and first performed, namely shortly before the launching of the Sicilian Expedition. Now, I am unsure if in those days the plays would have been performed more than once, but it appears that there is some hint in regards to this fateful expedition. While this play was being performed and produced though, the Peloponesian War was in full swing.

tWe also see Euripides' take on the Trojan War in this play, though his ideas regarding Helen are explored more deeply in the play of the same title. This is a belief, not necessarily created by Euripides but I will refer to it as Euripidean, that Helen never went to Troy, but was taken to Egypt instead. As such, the Greeks were chasing a phantom, and it did not become noticeable until after the war had been won. I am really unsure why they would take this idea as it was not necessarily needed for the Greeks to sympathise with the Trojans. In any case they were barbarians, but then maybe Euripides was commenting not only on the futility of war, but also how much destruction can come about from misunderstandings and jumping to conclusions.

Electra de Eurípides es una telenovela de Cris Morena escrita por Dani Umpi cuya multinacional de medios y entretenimientos Walt Disney adquirió los derechos para una futura versión cinematográfica protagonizada por Emma Watson en el papel de la muchacha que da nombre a la obra.

You may find a fascinating case study in artistic approach when you compare the Libation Bearers of Aeschylus and the Electra plays of Sophocles and Euripides. The three great Greek tragedians all wrote a play about the same story: Orestes’s and Electra’s revenge on their mother Clytemnestra for the murder of their father Agamemnon. The format and general outline is the same in all three plays; yet the effect is unique to the playwright.
tt
Aeschylus’s play is resonant with mythical symbolism. This is exemplified in the recognition scene between Electra and Orestes: Electra recognizes Orestes from a lock of hair he leaves on Agamemnon’s tomb. It seems unlikely to us that a person would be able to recognize a long-lost relative from a single lock of hair; but leaving hair on a tomb was a ritualistic act, only performed by people close to the deceased—such as a son. Aeschylus’s worldview is also fundamentally irrational. Orestes is duty-bound to punish his mother; yet doing so invokes the punishment of the Furies, who pursue him for his evil deed. Somehow, the killing of Clytemnestra is simultaneously good and evil, honorable and shameful, in the eyes of the gods.
tt
Euripides’s version can be seen as the rational and realistic version of Aeschylus’s play. Euripides invites this reading himself, when he parodies the recognition scene between Electra and Orestes: the suggestion that Electra could recognize her brother from a single strand of hair makes her laugh with contempt. Additionally, in Euripides, as in Aeschylus, the killing of Clytemnestra is morally ambiguous; but this ambiguity results not from the will of the gods, but from the emotional complexity of the characters.
tt
Sophocles’s version differs from both Aeschylus's and Euripides's in matter and form. For one, the particulars of the plot are all different. But the most striking difference is Sophocles’s treatment of morality. In his play, the killing of Clytemnestra is triumphant, glorious. It evokes neither pity from the characters nor the wrath of the gods. It seems that Sophocles had a more clear-cut conception of right and wrong; this, in fact, is what makes his portrayal of Antigone so compelling—she is noble and right, and her enemies are ignoble and wrong.

I really have no conclusion to draw from this discussion, other than the obvious: there isn’t just one way to produce great art.

din seria "de ce n-am citit asta la timp"

Like most of other readers, I also prefer Sophocles Electra, though the story is prety interesting to read in different perspectives ...
الکترا که پس از مرگ پدر و ازدواج دوباره ی مادر و تبعید برادر، تنها و مورد بی مهری مادر است، با کشاورزی ساده و مهربان ازدواج کرده است. مادرش کلی تمنسترا سرسپرده ی شوهر تازه اش ائه جیستوس، پادشاه آرگوس است. اورسته برادر الکترا که نزد پادشاه فوسیس بزرگ شده، با دوستش پیلادس، فرزند شاه، به آرگوس بازگشته است. اورسته بی آن که به پیلادس بگوید، به قصد انتقام مرگ پدر به آرگوس آمده. آنها نزد الکترا و شوهرش می روند. الکترا مشتاق همکاری با برادر است اما پس از کشته شدن کلی تمنسترا و ائه جیستوس، فشار حس گناه بر شانه هایش، نسبت به شرکت در جنایت احساس گناه می کند و از رفتن همراه برادر سر باز می زند....

اوری پید (480 تا 406 پیش از میلاد) در میان سه تراژدی نویس مشهور یونان، جوان ترین آنهاست. او حدود نود و پنج تراژدی و کمدی نوشته که تنها هژده تای آنها باقی مانده است. مده آی او که تصور می کنم توسط ابوالحسن ونده ور به فارسی برگردانده شده، شاید تنها تراژدی اوری پید باشد که به زبان فارسی ترجمه شده. ویژگی کار اوری پید استفاده از شخصیت های معمولی ست. استفاده از شکل جعبه ای صحنه ی تیاتر (بر خلاف صحنه ی دایره وار یونانی در وسط تماشاگران) را به اوری پید نسبت می دهند، جعبه ی سه دیواره ای که تا دوران معاصر، توسط شکسپیر، راسین، ایبسن، استریندبرگ و تا دوران معاصر بکار گرفته می شد. ویژگی دیگر آثار اوری پید، علاقه و همدردی او نسبت به شخصیت هاست، به ویژه زنان، به گونه ای که در همان زمان هم برای تماشاگران مرد، حیرت انگیز می نمود، مورد توجه اوری پید بوده اند. به همین دلیل "مده آ" یکی از تراژدی های او، از مشهورترین و در عین حال زیباترین شاهکارهای تراژدی دنیاست.

The Greeks really had a tendency of repeating themselves, didn't they? Often times , many plays by these ancient dramatists basically tell the same story, it's all just a matter of whose writing the reader/watcher prefers more. In the case of Electra, there are essentially two tellings of the exact same story, one by Euripides and one by Sophocles. I have already reviewed the Sophocles version, so I suppose I will do a review of this one as well.

I feel that there isn't really a need to go into that detailed of a plto summary- Electra, who is living with her cheating, murderous mother, is miserable because she is in mourning for her father. She meets up with Orestes and Pylades, who then kill the mother and her lover.

If one is familiar with Greek drama, then they will most certainly know that this story is told many, many times. The story of Orestes and Electra obviously must have been a very popular one, because all of these plays were performed publicly; many people must have wanted to see this story arc. I would even go to say that this particular story is just as popular and frequent in these plays as the Oedipus story arc is.

Now, can I say that I eventually get tired of hearing the same story over and over again? Frankly, yes. However, that does not diminish the quality of Electra- Euripides still reads pretty well. It's jsut that by this point, I have read about Orestes and Electra many times and am certainly all too familiar with the story. It's strarting to seem a little cliche to me!