(12) Electra's characterization of her own marriage as persistently "deathlike" (thanasimon) draws attention to her prolonged occupation of a parthenic middle territory from which she has not fully advanced into the stable Greek category of feminine maturity.
Since the production of children (and particularly citizen children in Athens) served as the primary defining consequence of Greek marital relations, Electra's parthenic stasis places her in an undefinable and isolated space between the ritually significant categories of adolescence and adulthood.
By invoking both rumors of Electra's marriage and hypothetical reactions to it, the play's prologue positions Electra's parthenic stasis as a radical departure from the ritually sanctioned enactment of the Greek marital paradigm.
Electro*s first choral passage further highlights Electra's parthenic stasis and her ongoing rejection of ritually established marital relations, as well as foreclosing her participation in ritual care for Hera--an Olympian embodiment of domestic stability and fecundity.
Electra's parthenic stasis and the persistent lamentation through which she expresses the intractability of her circumstances accompany a continuing state of inertia vis-a-vis her care for and maintenance of Agamemnon's tomb.
Electra assumes that her parthenic stasis will remain in place, and that she will continue to suffer isolation from the choruses in which Argive women collectively engage in religious worship of and care for the gods.