In The Silence of the Girls, it first appears that myths and legends are written by the victors—winners of wars, men in misogynistic societies, and owners in slave societies—while oppressed and defeated people die with their stories forgotten. Yet the novel eventually suggests that, though oppressed and defeated people don’t get to control the dominant narratives of their lives, their counternarratives nevertheless persist. This idea is clearest in the novel’s description of songs. Briseis—a young Trojan queen enslaved by the Greek army attacking Trojan cities—has grown up hearing songs of heroic male victory in battle. As an adolescent, she realizes that these songs don’t “belong” to her because she is female, representing her oppressed position in a misogynistic society. After her home city falls to the Greeks and she is enslaved, she hears songs in the Greek camp praising Greek warriors and sexually mocking Helen, the beautiful Greek queen whose abduction by a Trojan prince named Paris was the pretext for the war on Troy. These songs foreshadow that the dominant narrative of the Trojan war will take a Greek, male, misogynistic perspective. Yet late in the novel, Briseis hears a fellow enslaved Trojan, Tecmessa, singing a Trojan lullaby to the baby she has born her Greek owner Ajax—and upon hearing this song, Briseis realizes that for generations Greek children are going to grow up haunted by Trojan slave women’s songs. This realization implies that myths written by the victors always contain the shadowy presence of defeated and oppressed people’s counter-myths—counter-myths that The Silence of the Girls (a retelling of events in The Iliad from the perspective of an originally silenced female character) clearly intends to embody.
Mythology and Oppressed Perspectives ThemeTracker
Mythology and Oppressed Perspectives Quotes in The Silence of the Girls
“Cheers, lads,” he said. “She’ll do.”
This is what free people never understand. A slave isn’t a person who’s being treated as a thing. A slave is a thing, as much in her own estimation as in anybody else’s.
Perhaps, at that age, I thought all the stirring tales of courage and adventure were opening a door into my own future, though a few years later—ten, eleven years old, perhaps—the world began to close in around me and I realized the songs belonged to my brothers, not to me.
Everybody in the arena was moved by the old man’s tears—and by the size of the ransom he’d brought with him. Sentiment and greed—the Greeks love a sentimental story almost as much as they love gold.
I was Helen now.
What I came away with was a sense of Helen seizing control of her own story. She was so isolated in that city, so powerless—even at my age, I could see that—and those tapestries were a way of saying: I’m here. Me. A person, not just an object to be looked at and fought over.
I heard Odysseus talking as I approached, laughing at the idea that Agamemnon hadn’t laid a finger on me. “It’s not his finger I’m worried about,” he sniggered. Then he caught sight of me and snapped, “Where’s your veil?”
The defeated go down in history and disappear, and their stories die with them.
Some of the younger women had since had children by their Greek owners, and I’m sure they loved those children too—as women do—but when I spoke to them, it was the Trojan children they remembered, the boys who’d died fighting to save Troy.
I do what no man before me has ever done, I kiss the hands of the man who killed my son.
These words echoed round me, as I stood in the storage hut, surrounded on all sides from the wealth Achilles had plundered from burning cities. I thought: And I do what countless women before me have been forced to do. I spread my legs for the man who killed my husband and brothers.
We’re going to survive—our songs, our stories. They’ll never be able to forget us. Decades after the last man who fought at Troy is dead, their sons will remember the songs their Trojan mothers sang to them.
We need a new song.