Clytemnestra

“Clytemnestra swims toward a patch of sunlight glistening on the water, and her sister follows. The two remain floating in the river, their faces like sunflowers, always following the light.”

This passage employs vivid imagery to paint a picture of a tranquil and luminous setting, and despite the dark overtones of the broader tale, the description of sunlight glistening on the water evokes a sense of purity, hope, and clarity. Furthermore, the simile comparing the sisters’ faces to sunflowers, emphasizes their physical orientation toward the light and suggests their natural inclination to seek out all that is bright and good. Just as sunflowers stand together in a field, turning collectively toward the sun, the sisters share a moment of unity and harmony, basking in the light together.

“Clytemnestra rests her head against the wall, rage twisting inside her. Sometimes her anger feels so real that she wishes she could cut it out with a knife.”

This passage portrays the toxic emotion of rage as a parasitic being that contorts Clytemnestra’s inner emotional landscape. The author’s phrasing imbues the protagonist’s anger with a dynamic and invasive quality and goes on to intensify it. In the second sentence, the emotion becomes a tangible thing and invokes her desperate desire to physically extract it from herself.

“His wit warms her like a sun-hot stone. This is how her life has always been: pleasure and misery, games and races, her brother always next to her ready to unravel the mysteries of the world and laugh at them.”

This quote employs a simile to compare the warmth derived from intellectual stimulation and companionship to the physical warmth of a stone heated by the sun. The image conveys the comfort and pleasure that Clytemnestra finds in this person’s company even as it suggests a sense of natural, elemental connection. The second sentence employs juxtaposition to contrast different aspects of Clytemnestra’s life experiences, and the use of opposites highlights the extremes of her existence, suggesting a life marked by intense highs and lows.

“What about a queen? What makes a girl a queen? Surely she is a woman who can protect herself and her people, who gives justice to those who deserve it and punishes those who betray her.”

This passage employs rhetorical questioning to invite contemplation of the defining qualities of an effective ruler, setting the stage for a deeper exploration of female authority. Following the questions, the description of a queen employs parallel structure, evident in the phrases “who can protect herself and her people,” “who gives justice to those who deserve it,” and “punishes those who betray her.” Each clause begins with “who” and outlines a specific trait of a queen, creating a rhythm and emphasizing the multifaceted nature of a queen’s responsibilities and attributes.

“The memory has a strange taste in her mouth. She and Helen were each the other’s world back then. But nothing can ever stay the same. You can’t step twice into the same river.”

In this passage, memory itself is given a gustatory quality. This comparison suggests the unpleasant metaphorical “aftertaste” of certain memories that refuse to fade and continue to impact the present. The concluding statement also alludes to the famous philosophical notion attributed to Heraclitus, an ancient Greek philosopher. The image of the river suggests that everything is in constant flux and change is the only constant in the world. Just as a river’s water is always flowing and changing, so too do relationships and circumstances evolve over time.

“It is worse than being kicked, worse than being stabbed. Physical pain can be healed, Clytemnestra has learned that, but what about this? No one has taught her about this. She stands quickly, walks out, and closes the door behind her. She feels faint, emptiness sucking her from the inside.”

The rhetorical question, “but what about this?” highlights Clytemnestra’s confusion and helplessness regarding her emotional state. The narrative then shifts to a stream of consciousness that reflects Clytemnestra’s immediate reactions. The quick transition from her internal realization to her physical experiences depicts her urgent need to escape from the overwhelming situation, and as her grief is personified as “emptiness sucking her from the inside,” the passage illustrates the intensity of her inner emotional void.

“In Sparta, she has grown up knowing that equality is a product of nature and that some men and women are homoioi, the same, while others are not. It has been hard for her to watch Spartans kill helots for offenses no greater than walking past them, but she endured it, thinking it was the only possible way of life. But Agamemnon and Menelaus speak of killing men without regard to their status and origin. No life matters to them, apart from their own.”

The use of juxtaposition highlights the disparity between Spartan beliefs and the attitudes of Agamemnon and Menelaus. The historical allusion to the Spartans’ belief in natural equality among some (homoioi) and the disregard for others (helots) is set against the indiscriminate violence of Agamemnon and Menelaus, who show no concern for any life but their own. This juxtaposition exposes the moral bankruptcy in the characters of Agamemnon and Menelaus, emphasizing their complete lack of empathy or respect for human life.

“Clytemnestra feels the wetness, the softness. She looks at the minuscule hands, each as perfect as a petal, at the head that fits into her palm. She stares at her son, and feeling her presence, he opens his eyes, light and blue as the morning sky.”

The description of the newborn’s hands as “perfect as a petal” employs a simile that evokes a sense of fragility and beauty. With a delicate head small enough to fit into Clytemnestra’s palm, the infant’s vulnerability foreshadows the tragedy to come even as it enhances the emotional impact of the scene. Finally, the description of the baby’s eyes as “light and blue as the morning sky” uses a simile to suggest the child’s innocence and purity and suggest a new beginning, although this image of hope and renewal ultimately forms a harsh contrast with Clytemnestra’s complex and often turbulent journey.

“Helen keeps talking to her about the wind that can’t bend the strongest trees, about the heroes who are never forgotten, about bird songs carrying the word of the dead. She keeps talking to Clytemnestra to remind her to stay in the world of the living.”

Helen’s references to “the wind that can’t bend the strongest trees” and “heroes who are never forgotten” symbolize the enduring nature of legacy. The wind not bending strong trees represents the idea of enduring through adversity, suggesting that despite all challenges, one can remain steadfast. The mention of heroes speaks to the concept of lasting impact and memory, implying that actions and deeds can create an enduring legacy. The quote therefore emphasizes the importance of finding ways to bridge the gap between life and death, thereby gaining a continuity that transcends the physical world.

“In the evening, when darkness seems to envelop the valley like a dark ocean wave, Tyndareus sends for her. Rain is falling thickly, the wind thrashing and screeching. Soon the Eurotas will overflow and the riverbanks will be muddy for weeks.”

The description of darkness enveloping the valley “like a dark ocean wave” is a simile that compares the encroaching night to an overwhelming and unstoppable force, suggesting a sense of impending doom or foreshadowing a significant change. The overflowing river symbolizes an impending overflow of emotions or events, suggesting that just as the river breaks its banks, so too might the current situation break its boundaries, leading to prolonged consequences.

“Other words come too, words she has heard all her life, peeling her skin away one layer at the time. No man or woman is allowed to live as he or she pleases, not even in Sparta. Nothing ever belongs to them entirely.”

The visceral description of words “peeling” skin away conveys the gradual yet persistent erosion of the protagonist’s sense of self and autonomy beneath the societal pressures and expectations that beset her. The statement “No man or woman is allowed to live as he or she pleases, not even in Sparta” underscores the human desire for autonomy, which often clashes with larger cultural constraints. This passage thus resonates with the human struggle maintain personal identity amidst larger responsibilities.

“We will see each other soon. Our lives are being torn apart now, but we will find a way back to each other, just as water always finds its way around rocks.”

This quote employs a sense of optimism to convey the resilience and enduring nature of human relationships. The simile “just as water always finds its way around rocks” likens the resilience and adaptability of human connections to the natural flow of water navigating obstacles. This image serves to illustrate the enduring strength of interpersonal bonds can overcome a myriad of challenges.

“He will not break her. She will break him.”

The statement employs antithesis. Here, contrasting concepts of breaking and being broken are placed in opposition to emphasize the reversal of expected roles and power dynamics. The repetition of the word “break” stresses the intensity and inevitability of the conflict and also underscores the protagonist’s determination and strength.

“So Leda’s daughters, two lethal brides, will twice and thrice wed. One will launch Greece in a thousand ships, her beauty the ruin of her land, and the men sent to rescue her will come back ashes and bones. The other, the queen hell-bent on revenge, will rise in the house of Mycenae, loyal to those who revere her, savage to those who oppose her.”

The reference to one daughter “launch[ing] Greece in a thousand ships” is a clear allusion to the myth of Helen of Troy, whose relationship with Paris sparked the Trojan War. This allusion conveys the far-reaching consequences of her perceived beauty, for the men sent to rescue her suffer the consequences of her decision to follow her heart. Clytemnestra is “the queen hell-bent on revenge,” and this passage foreshadows her path of vengeance, setting her up as a figure of formidable power who will be capable of loyalty and ruthless retribution.

“Nightmares are already forming behind the lids, black figures dancing in the flames. They have been following her for years. She imagines fighting them, putting her hand right into the flames until her skin becomes scorched and the figures disappear. But no one can fight fire. It is the element of the Furies, goddesses of vengeance, ancient creatures of torment.”

The opening line employs personification to imbue the concept of nightmares with an actively malevolent element. The imagery of “black figures dancing in the flames” suggests a haunting, almost surreal quality to Clytemnestra’s fears and memories, creating a sense of unrest and continuous struggle. The metaphor of fighting the nightmares by “putting her hand right into the flames until her skin becomes scorched” illustrates her desperate attempts to confront and overcome her inner demons. The reference to the Furies alludes to Greek mythology, specifically the deities associated with punishment and retribution. This allusion aligns Clytemnestra’s internal struggle with the themes of vengeance and justice prevalent in Greek tragedies. Even more significantly, the Furies symbolize the inescapable consequences of one’s actions and the inevitable retribution that follows wrongdoing.

“The word love feels like a bucket of ice water poured over her face.”

The use of a simile is to compare the feeling of the word “love” to the sensation of a bucket of ice water conveys the unwelcome nature of the emotion of love for Clytemnestra. The simile evokes a sense of sudden and overwhelming awakening and implies that the emotion of love is distressing or unsettling for her, for it is something over which she has little control, and maintaining control is a central motivation to her character.

“Clytemnestra takes Castor’s hand and looks back at the clear dark sky. Selene is the goddess of the moon and is said to have the power to stop bad dreams. Spartans call her ‘benevolent.’ But her brother is right when he scoffs at the mention of gods. They are alone.”

The reference to Selene, the Greek goddess of the moon, introduces a symbolic dimension to the text, for in ancient Greek cultures, celestial entities are often invoked for their mythical attributes. The characterization of Selene as “benevolent” creates a dichotomy between the divine and mortal realms, reflecting the divide between the characters’ hopes or beliefs in divine intervention and the harsh realities of their lives. However, the skepticism expressed by Castor underlines the novel’s exploration of human agency versus divine influence, suggesting that the characters are more reliant on their own actions and decisions than on the whims of the gods.

“The moon shines feebly above her, dripping light like a bucket of milk filled to the brim. The air is thick and sweet with the smell of ripe figs, but there is something rotten about it too, as if the place is tainted.”

The description of the moon utilizes a simile to liken the moonlight to spilled milk. This comparison visualizes the abundance of the moonlight and imbues the scene with a sense of overflowing, almost excessive natural beauty. The juxtaposition of contrasting sensory experiences deepens the scene’s impact. The air, described as “thick and sweet with the smell of ripe figs,” introduces an element of lush, fertile abundance, evoking a sense of richness and sensory delight. However, this image is immediately contrasted with the notion of something “rotten,” as if the place is tainted. This juxtaposition creates a sense of unease, suggesting that the surface beauty is only a veneer to mask a deeper corruption.

“‘Promise me you won’t be as vengeful as I have been,’ her mother has said. And she sat there and promised, knowing it was a lie, that her words were cracked, like dried mud.”

The simile of her words being “cracked, like dried mud” illustrates the fragility and insincerity of her promise and suggests that her promise is similarly devoid of substance. This imagery conveys the protagonist’s ironic awareness of the hollowness of her words, emphasizing the internal struggle between her true intentions and the promise she makes to her mother.

“It is always difficult to decide if one life is worth more than another. It is also pointless. The dead are dead.”

The bleak statement that “The dead are dead” imbues the larger passage with an element of fatalism and futility. Within the quote, the tone juxtaposes the complex moral quandary of a life’s worth with the simple, unchangeable finality of death. This contrast highlights the futility of such moral deliberations, and the phrase “The dead are dead” employs repetition for emphasis, reinforcing the inescapable and irreversible nature of death.

“Men are often blinded by power, the priestess in Sparta had once told Clytemnestra. But not her son. He is still a man, so some things he will never understand—he will never have to—but Clytemnestra has taught him the most important thing of all: that power alone doesn’t buy you a kingdom.”

The initial phrase is an aphorism that offers a general observation concerning the nature of male authority. The use of the word “blinded” metaphorically suggests that power can obscure moral judgment. The passage then shifts focus to Clytemnestra’s son, emphasizing his exceptionality. This contrast creates a dichotomy between the general tendency of men to be corrupted by power and her son’s differing nature. The concluding part of the quote also highlights the didactic aspect of Clytemnestra’s relationship with her son.

“She imagines Paris, handsome as a god, eager to please his father after bringing ruin on his people’s heads, riding on the Trojan plain looking for the best of the Greeks. A boy who was raised as a shepherd killing the greatest soldier of his generation.”

The passage begins with imagery and a simile. By comparing Paris to a god, the text elevates his character and sets the stage for his legendary role in the Trojan War. His eagerness to please contrasts ironically with the catastrophic consequences of his actions. Finally, the passage also contrasts Paris’s humble beginnings as a shepherd with his later role as a warrior, highlighting the transformation of his character.

“When my daughter was murdered, I spent days obsessing over how she’d be remembered. Gentle, lovely, an innocent virgin sacrificed…That is how bards sing of her. She was nothing like that. She was fierce, defiant. She wanted everything from this world. She was like the sun, and my husband took her from me. And for what? He didn’t kill her for vengeance, ambition, or greed. He killed her for a puff of wind.”

The bards’ fanciful portrayal of Iphigenia reflects the traditional gender roles of ancient Greece, depicting the murdered girl as a helpless victim, whereas Clytemnestra’s view of her daughter portrays her as a young and vibrant warrior. An example of antithesis, this passage highlights the discrepancy between public perception and personal truth, revealing a deeper, more complex reality of Iphigenia’s character. The final line, “He killed her for a puff of wind,” employs irony to underscore the senselessness of the daughter’s death and convey her mother’s deep and abiding fury. The triviality of the reason for her sacrifice, juxtaposed with the enormity of the loss, amplifies the absurdity and cruelty of Agamemnon’s decision to sacrifice his daughter.