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Or a trendy little time suck? They want to be able to plan so they can live the life they envision.


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She started in , shortly before her family moved from a small town in Louisiana to Memphis, Tenn. As Klobucar adjusted to life in a new city, her Happy Planner, and the online community of women who swear by it, helped her get her bearings. I turned to the planner community to fill a lot of those gaps in my personal life. To Klobucar, planning is a creative, communal activity that adds structure to the areas of life that need it. At the other end of the spectrum is an even stranger compulsion: People who take their to-do lists too seriously.

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Like obsessively over-exercising. Or using a daily planner to chart out your every minute. Nisha Jackson, author of Brilliant Burnout. That can be sugar, chocolate, workaholism, plannerhalism. Planner Addicts, for their part, tend to be pretty open about the fact that some people in their community need to close their planners and take a spa day.

But all the women I spoke to believe that, for them personally, this is an activity that combats the stressors of the daily grind. On her planner, she scheduled me in for the late afternoon, right before the daily walk she takes with her husband and their two dogs. Like all Planner Addicts, she definitely, definitely does.

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At one point, the organizers showed a video compilation of Planner Addict success stories. Each strophe and each antistrophe is divided between the chorus and. Although they are singing what amounts to a duet, with Electra answering the chorus' advice and exhortations, yet the chorus' lines respond metrically only to other lines of the chorus, and Electra's only to Electra's.


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There is no overlap; singing the parados to- gether, they are as separated metrically as they are divergent in their attitudes. As Charles Segal comments, "Her voice is ail that Electra has, her only weapon against her father's killers and the usurpers of his throne. So the song of the nightingale is not just a means of expressing grief; it serves as a model of a grieving life, a life devoted to lamentation" In the next strophe, the chorus reminds Electra that the loss of the father has not hap- pened to her alone - that Chrysothemis and Iphianassa are alive, and that even Orestes is still alive and will corne back some day.

I shall return later to the pattern of etymologizing plays on Electra's name. The chorus does not, however, seem to mean that they will follow Electra right now, but rather continue to urge her to moderate the be- haviour they see as excessive. Instead of persuading Electra, the chorus is converted to her point of view, and this conversion happens in perceptible stages. Electra, who would like to.

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The chorus even says in the same strophe that Electra laments Agamemnon - not "her father", but by name, "Agamemnon" - killed by "her mother" lines The chorus refers only once in the parodos to Agamemnon as Electra's father, and that in the hardly comforting context that Electra will not raise her father from Hades by laments or prayers Une In the community of women, Electra is defined as a woman in relation to other women -princi- pally, of course in relation to the woman who is most important both to Electra and to the polis , most psychologically invested both for her daughter and the tradition , and most vehemently rejected by Electra as a source of identity, her mother.

Nevertheless, Electra resists defining her- self that way ; in her monody before the parodos, the audience's introduction to the protagonist , she speaks three times of her father and once of her paternal home, as opposed to only once of her mother, and that one mention is to describe how her mother and her mother's paramour, Aegisthus, split her father's skull with an axe lines In contrast to the proud and emphatic mention of the father, the mother is reduced to a function rather than a individual.

That the father was in the fifth century the more important genetic tie is an illusion, since in fifth-century Athens a half-brother and sister sharing a common father, but with differ-. Electra's insistence on being her f ather's daughter has had its rhetorical effect on the chorus, and though they are no longer de- scribing the daughters principally in terms of the mother, Clytemnestra is still part, though the lesser part, of Electra's identity.

Although the chorus has been somewhat reconciled to Electra's view of herself , as her f ather's daughter with a duty to lament him ceaslessly , they do not accept whatever she does uncritically, as we see at line , the end of Electra's speech in the agon with Clytemnestra. Sophocles' sensible choruses, however, do not approve of such quixotic behavior, hence their similar strong rebukes in such parallel situations.

Electra's chorus is certainly willing to disagree with and critieize her; sub- sequently they take Chrysothemis' side when Electra tries unavailingly to persuade Chrysothemis to join with her, since Orestes is thought to be dead, in murdering Aegisthus and, by implication, Clytemnestra. It is difficult, when the chorus is praising the example of birds who care for their parents' nurture, not to re-.

Filial piety in this family is a two-edged sword - to honor one parent is consi- dered injury to the other, and conversely, to injure one parent is, in Electra's view, honor to the other. At first glance, it is curious that the chorus' change of heart happens at this particular moment, since nothing in the dialogue which could explain such a change has occurred since their praise of Chrysothemis' caution; but before I leap into the Tycho Wilamowitz camp of not looking for any con- sistency in Sophoclean characters or choruses?

After ail, when in the parodos she compares herself to Niobe and Procne, the chorus' response is to attempt to dissuade her from excessive mourning. In the strophe birds are images of tender care for parents, and critics virtually without exception take this image as one praising Electra. It may be significant that in the first strophe Agamemnon is referred to as the son of Atreus, who is principally. Natural relations between parents and children are not a simple sub- ject in the family of the Pelopidae which is also the family, as line of the Agamemnon reminds us, of the Tantalidae, a family more rich in infanticide and anthropophagy than perhaps any other in Greek myth 18, and the intertextual echoes, not only of the Agamemnon with its wealth of bird similes and the importance of Atreus, but of perhaps Sophocles' own lost plays on the dysfunctional family of Pelops, are rich and complex.

A community of women ? [The Protagonist and the Chorus in Sophocles' Electra] - Persée

A similar tension exists in the importance of the nightingale simile Though Electra also compares herself with Niobe, it is Procne who is the main mythological exemplar for Electra, and it is the nightingale which the chorus finally chooses as a figure for their acceptance of Electra's praxis. Sophocles of course also wrote a Tereus, a play so influential that Aristophanes' Birds engages it directly as a source for the avian metamorphosis of Tereus.

In figures drawn from nature - it is natural, like birds, to care for one's parents; it is natural for Electra, like the nightingale, to mourn endlessly - there is a double reading; like the oracles of Apollo, nature is not simple We recall that Ae- lian tells us that in Xanthus' poem Electra is really a nickname for Laodike, the Iliadic daughter of Agamemnon missing from the play Chrysothemis and Iphianassa from Iliad, IX, already having been ac- counted for at line ; she is called Electra, Aelian says, because she is so long unmarried.

The most elaborate and interesting play on Electra's name is by the chorus in the antistrophe of the first stasimon. Electra is also defined in relation to the paramount function of women in fifth-century society. In Electra's particular case,. The ironies pile up thick and fast: telling some- one named Electra not to give birth, and doing it as a trustworthy mother - no doubt Clytemnestra is not trustworthy with respect to Electra, but also the chorus must feel a frisson at moving, even symbolically, into Clytemnestra's place.

The chorus is the good mother, in contrast to the im- plied bad mother; but this bad mother is a murderess and an adulteress, a dangerous woman whose position to take, even figuratively. And y et it is a mother that the chorus attempts to exert some influence over Electra.

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This is, of course, the tension implicit in patriarchy, that the subordination of the importance of the relationship with the mother causes this very re- lationship to persist in reasserting itself , both because of its repression, and because of its essential, primary nature; as has been so often pointed out, maternity is an empirical fact, paternity an act of faith In the world of men, you are a man's son: in the community of women in this play, I suggest, you are a woman's daughter until proved otherwise.

My final point concerns a peculiar statement by the chorus in the third stasimon, at the end of its first strophe, lines It seems an oxymoron that within a choral song the chorus calls for a supernatural message unsuited to its very nature as a chorus. Electra has persuaded the chorus that her praxis of lament and memory , seen by them as excessive at first, is right and natural. At the moment in the text where her physical hopes of vengeance and restoration to her former status are frustrated - at the moment when it seems that she has lost everything, she succeeds in converting the chorus to her point of view and the resuit is that they, in Choephori-like zeal for her vindication, call for a voice to utter what they ought not, yet what their sympathy with Electra demands.

Electra's very excellence, as subscribed to by the chorus, is by means of, and in terms of, her inheritance from her father. Electra's success in persuading the chorus subverts their function. Rather than the chorus being the norm against which Electra will be measured and against which twentieth-century critics will find her neurotic and wanting the chorus accepts the values and the demands of Electra.

The many must yield to the one, the community to the demands of the individual.


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