![]() But we also see how the rest of Greece isn’t any better, and in fact, most of it is worse. In her new take on the character, however, Costanza tears it all down with such incisive fury that reading it is a cathartic release, especially for anyone who’s ever studied Classics and wondered how people could have accepted these narratives as they were.Ĭasati starts with the cognitive dissonance of Clytemnestra’s childhood, the things about her culture she’s never been able to stand and the things she justifies to herself in order to believe in the myth of Sparta, and how she becomes less willing and able to do that as she ages. ![]() But still, relatively few people question her role as villain, because doing so means questioning the entire Ancient Greek social order, and in doing that questioning all the narratives Western society likes to tell itself about the way things are today. It’s such an unreasonable position that even later ancient Greek writers had to find ways to further villainize her-painted as an unloving mother, motivated by sex and pride-to ensure the audience would go along with the play and see her death as a desirable outcome. ![]()
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