ELECTRA: I Made Notes!

I haven’t made proper, proper notes on a book since the hell of Of Mice and Men. In all honesty, I thought that I would have a relaxed summer holiday without picking up a pen. But no, stupid brain thinks that making three pages of notes on a play that I’M NOT EVEN STUDYING is a great idea at 10pm.

Electra perhaps wasn’t the most enjoyable out of the collection I’ve read so far (‘enjoyable’ relating to the number of bodies dropping), rather, it was one of the more intriguing, as the character development of Electra herself is more intense. It had the same recipe of sacrifice/familial murder/revenge as Hecabe and Medea, but one of the reasons why I didn’t find it as gripping was because a lot of it is already told in Aeschylus’ Oresteian Trilogy. That fact wasn’t too detrimental (it’s not like I was going to scream ‘Come on Orestes, kill the bastard!’ anyway), and I think I prefer Euripides’ style. There’s less faffing around with the chorus and the gods – I can never figure out who’s having sex with/had children with/planning to brutally murder who.

As expected, there are several deaths, the intervention of the gods, and tumultuous mother-children relationships. Electra has been married off to a peasant after her mother (Clytemnestra) and toyboy  friend with benefits  lover murder her father, while her brother Orestes is supposedly languishing elsewhere. Orestes returns to his homeland, and as is the recurring theme in this set of plays, brother and sister attempt to avenge their father’s death.

This is a decent play. My favourite aspect was probably the Clytemnestra-Orestes-Electra relationship and the deaths (to be honest, there’s not much else apart from death in Greek tragedy), but I wasn’t head-over-heels in love.

Still better than Coronation Street, though.

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