Abstract

Greek tragedy is full of rituals perverted by intra-familial conflict. To mention some examples from the house of Atreus: the funeral bath and the funeral covering, normally administered to a man's corpse by his wife as an expression of ιλία, have in Aeschylus' Oresteia become instruments in the killing of Agamemnon; the pouring of libations at the tomb, normally a θελκτήριον for the dead, becomes in the Choephoroi an occasion for his arousal; Euripides has Klytaimnestra ‘sacrificed’ while performing the sacrifice for her newly born grandchild. On the important question of why it is that tragedians pervert ritual I hope to shed some light in future publications. The purpose of this paper is to examine the radical form taken by the perversion of mourning in Sophokles' Elektra. In the first decade of this century the comparative anthropologists Hertz and van Gennep discovered as a widespread feature of the period of mourning its character as participation in the transitional state of the recently dead, to be ended by the incorporation of the dead person into his or her proper destination and the reincorporation of the mourners into the flow of everyday social life. The mourning relatives in a sense share the condition of the dead