Agamemnon

By Aeschylus

A watchman on top of the house, reporting that he has been lying restless there like a dog for a year, for so rules the expectant manly-willed heart of a woman (that woman being Clytemnestra awaiting the return of her husband, who has arranged that mountaintop beacons give the signal when Troy has fallen). He laments the fortunes of the house, but promises to keep silent: 'A huge ox has stepped onto my tongue.' However, when Agamemnon returns, he brings with him Cassandra, the enslaved daughter of the Trojan king, Priam, and a priestess of Apollo, as his concubine, further angering Clytemnestra.

• Language: English
• Publisher: Sovereign
• Release date: Oct 19, 2016
• ISBN: 9781911535683

Book preview

AGAMEMNON

AGAMEMNON

DRAMATIS PERSONAE

A WATCHMAN

CHORUS OF ARGIVE ELDERS

CLYTEMNESTRA, wife of AGAMEMNON

A HERALD

AGAMEMNON, King of Argos

CASSANDRA, daughter of Priam, and slave of AGAMEMNON

AEGISTHUS, son of Thyestes, cousin of AGAMEMNON

Servants, Attendants, Soldiers

SCENE

Before the palace of AGAMEMNON in Argos. In front of the palace there are statues of the gods, and altars prepared for sacrifice. It is night. On the roof of the palace can be discerned a WATCHMAN.

A Watchman:

I pray the gods to quit me of my toils,

To close the watch I keep, this livelong year;

For as a watch-dog lying, not at rest,

Propped on one arm, upon the palace-roof

Of Atreus’ race, too long, too well I know

The starry conclave of the midnight sky,

Too well, the splendours of the firmament,

The lords of light, whose kingly aspect shows—

What time they set or climb the sky in turn—

The year’s divisions, bringing frost or fire.

And now, as ever, am I set to mark

When shall stream up the glow of signal-flame,

The bale-fire bright, and tell its Trojan tale—

Troy town is ta’en: such issue holds in hope

She in whose woman’s breast beats heart of man.

Thus upon mine unrestful couch I lie,

Bathed with the dews of night, unvisited

By dreams—ah me!—for in the place of sleep

Stands Fear as my familiar, and repels

The soft repose that would mine eyelids seal.

And if at whiles, for the lost balm of sleep,

I medicine my soul with melody

Of trill or song—anon to tears I turn,

Wailing the woe that broods upon this home,

Not now by honour guided as of old.

But now at last fair fall the welcome hour

That sets me free, whene’er the thick night glow

With beacon-fire of hope deferred no more.

All hail!

A beacon-light is seen reddening the distant sky.

Fire of the night, that brings my spirit day,

Shedding on Argos light, and dance, and song,

Greetings to fortune, hail!

Let my loud summons ring within the ears

Of Agamemnon’s queen, that she anon

Start from her couch and with a shrill voice cry

A joyous welcome to the beacon-blaze,

For Ilion’s fall; such fiery message gleams

From yon high flame; and I, before the rest,

Will foot the lightsome measure of our joy;

For I can say, "My master’s dice fell fair—

Behold! the triple sice, the lucky flame!"

Now be my lot to clasp, in loyal love,

The hand of him restored, who rules our home:

Home—but I say no more: upon my tongue

Treads hard the ox o’ the adage.

Had it voice,

The home itself might soothliest tell its tale;

I, of set will, speak words the wise may learn,

To others, nought remember nor discern.

Exit. The chorus of old men of Mycenae enter, each leaning on a staff. During their song Clytemnestra appears in the background, kindling the altars.

Chorus:

Ten livelong years have rolled away,

Since the twin lords of sceptred sway,

By Zeus endowed with pride of place,

The doughty chiefs of Atreus’ race,

Went forth of yore,

To plead with Priam, face to face,

Before the judgment-seat of War!

A thousand ships from Argive land

Put forth to bear the martial band,

That with a spirit stern and strong

Went out to right the kingdom’s wrong—

Pealed, as they went, the battle-song,

Wild as the vultures’ cry;

When o’er the eyrie, soaring high,

In wild bereavèd agony,

Around, around, in airy rings,

They wheel with oarage of their wings,

But not the eyas-brood behold,

That called them to the nest of old;

But let Apollo from the sky,

Or Pan, or Zeus, but hear the cry,

The exile cry, the wail forlorn,

Of birds from whom their home is torn—

On those who wrought the rapine fell,

Heaven sends the vengeful fiends of hell.

Even so doth Zeus, the jealous lord

And guardian of the hearth and board,

Speed Atreus’ sons, in vengeful ire,

‘Gainst Paris—sends them forth on fire,

Her to buy back, in war and blood,

Whom one did wed but many woo’d!

And many, many, by his will,

The last embrace of foes shall feel,

And many a knee in dust be bowed,

And splintered spears on shields ring loud,

Of Trojan and of Greek, before

That iron bridal-feast be o’er!

But as he willed ‘tis ordered all,

And woes, by heaven ordained, must fall—

Unsoothed by tears or spilth of wine

Poured forth too late, the wrath divine

Glares vengeance

Reviews for Agamemnon

[bookomaniac-1 · Rating: 2 out of 5 stars]

Bewerking van Johan Boonen, zeer bevattelijk. Het stuk heeft een zwakke dramatische uitwerking, weinig diepgang

[david.alfred.sarkies · Rating: 3 out of 5 stars]

This is the first part of the only Greek trilogy that we have. The play is set after the Trojan War in the city of Argos, of which Agamemnon is the ruler. Agamemnon's wife learns of the defeat of the Trojans and the imminent return of her husband through the use of a series of beacons. However while she is eagerly awaiting her husband's return, it is a different scenario from Odysseus' wife Penelope, who remained faithful to her husband for the twenty years he was away. Instead, while Agamemnon was away, she took a lover, Aegisthus, and is plotting her revenge for the murder of her daughter at Aulis.There is a lot of background to this play, but that is not uncommon for Greek drama in that they are set within a complex historical context that has a lot of past events that all tie in together and also provide the precursor to a lot of other events. This is probably why the trilogy was so popular in that it enabled the playwright to look to the events that arose within the play (and also that Greek plays tend to be quite short).Agamemnon is a man with a lot of enemies, but then that is to be expected in relation to a man that had set himself up as overlord of Greece. However, his father had tricked Aegisthus' father, Thyestes, into eating his children, but Aegisthus managed to escape, and by allowing Clytemnestra (Agamemnon's wife) to take him as her lover puts him in the best position to extract his revenge. However, Clytemnestra did not need much encouraging to murder Agamemnon, as prior to the war, he sacrificed his daughter, Iphagenia, so that the war would be successful (actually it was so that the winds would change to enable the fleet to sail to Troy). This is going to upset most mothers, though to add insult to injury, he brought Cassandra back as his prize, so he effectively arrives in Argos to face an angry wife with a woman that he picked up to take her place when she was not around. However, it is clear that Clytemnestra's actions were not looked upon all that well. While revenge is acceptable to the Greeks, it does not seem to be the case where it is the woman seeking revenge.As with a lot of Aeschylus' plays, it seems to be very little on the action, and a lot on the storytelling. While Clytaemnestra does appear at the beginning of the play, it is not until a quarter of the way through that she first speaks. In fact, most of the major characters only appear for a short time. The only major character that is on the stage for an extended period of time is Cassandra, and she is trying to warn the Chorus of what is to come, but due to her curse nobody believes her. It seems that a majority of the play actually revolves around Cassandra and her prophecies, and also the curse that has been placed upon her to be able to predict the future, but is never listened to. In fact, she is treated like the barbarian that she is.Clytaemnestra and Penelope are two contrasting women in Greek mythology. Penelope is seen as the epitome of female honour however Clytaemnestra is portrayed as the complete opposite. Penelope waits patiently for her husband to return, and uses every trick that she can think of to outwit the suitors who are eating her out of house and home. Throughout all that time she rebukes the advances of all of the man that come, and also resists the social pressure that she is under to remarry. Clytaemenstra is the opposite as she is a very proud and hot headed individual who is seeking revenge against her husband. She takes a lover, and then lays a trap for her husband for when she returns.The play concludes with the idea that Argos has now become a tyranny. This is odd because it never was anything other than a tyranny. Agamemnon is actually not a very nice guy. The best portrayal of him would have been in the movie Troy, where he is portrayed as a vicious imperialist who is looking for any excuse to expand his power. We don't see that here, but rather see a man who has returned from ten years of war to find his house not only in shambles but also turned against him. In a way, this play is another example of returning from war and the difficulties of returning to one's previous life. I suspect that there are a lot of soldiers out there that could sympathise with the plight of Agamemnon, though these days, with much better communication systems, the breakdown of the family unit due to war is evident much sooner, but happens all too often.

[maxernst11 · Rating: 2 out of 5 stars]

Bewerking van Johan Boonen, zeer bevattelijk. Het stuk heeft een zwakke dramatische uitwerking, weinig diepgang

[justindtapp · Rating: 4 out of 5 stars]

The Agamemnon of Aeschylus was a play written by Aeschylus in 458 B.C. as part of a series (the Oresteia) that won him first prize in the archonship of Philocles. This version was translated into English rhyming verse by Gilbert Murray who also adds helpful footnotes.

Given that the original is in Greek, and this version has not only been translated into English but then made to rhyme in English, makes one wonder how true to the original spirit it remains. For example:
"Paris to Argos came;
Love of woman led him;
So God's altar he brought to shame,
Robbing the hand that fed him."

Author Philip Caputo offered the Oresteia as his one reading recommendation last year, which is why I wanted to read it. .

Agamemnon triumphantly returns home from the Trojan War. He is greeted by Clytemnestra who feigns the loving wife longing for her husband. She then lures Agamemnon and then Cassandra, his captured slave, into the house and murders them. The elders and comrades of Agamemnon move to take revenge against Clytemnestra and her lover, Aegisthus. But Clytemnestra halts the dispute and everyone awaits the return of Agamemnon's son, Orestes, from Troy to exact the revenge.

Early in the play, I found language that sounds biblical enough to make me wonder either about the Greek translation or think about the Gospel authors' exposure to classic Greek literature.

"But the wise Shepherd knoweth his sheep,
And his eyes pierce deep
the faith like water that fawns and feigns."

My favorite part was when Agamemnon is replying to Clytemnestra, who is trying to tempt him to show hubris by treading on tapestries of crimson and gold. He responds by contrasting the honor he seeks with the respect shown only to gods:

"'Tis God that hath
Such worship; and for mortal man to press
Rude feet upon this broidered loveliness...
I vow there be danger in it. Let my road
Be honoured, surely; but as man, not god"

and:
"God giveth, for I reckon no man blest
Ere to the utmost goal his race be run.
So be it; and if, as this day I have done,
I shall do always, then I fear no ill."

But alas, poor Agamemnon:
"For woman's sake he endured and battled well,
And by a woman's hand he fell."

[jsburbidge · Rating: 5 out of 5 stars]

This is the more affordable of the two significant 20th Century editions of the Agamemnon, the other one being Fraenkel's magisterial three-volume edition (unfortunately priced only for the library or the specialist). Denniston and Page provide an edition with good apparatus, and engage intelligently with previous critics, providing a usable and helpful presentation of the text.

[aoibhealfae · Rating: 1 out of 5 stars]

Agamemnon is one of the Oresteian trilogy that followed the story of Agamemnon's homecoming from the Trojan Wars and the subsequent tragedy that lead from his unfaithful wife, Clytemnestra. This play of Agamemnon concentrates on Clytemnestra, the comparison with Odysseus's wife, Penelope and the details of Agamemnon that lead to his foretold demise.

Since I only read the first part of the series, I do say this book is my least favorite Greek mythology due to the obvious regression of Clytemnestra to a character worth hating. I'm certain the play would be better in Greek than in English and even much better being seen than read.

Despite my obvious failure in understanding poetry, I am not averse to poetic form of literature but reading this does bores me. There are things that are meant to be said out loud, drama like this deserved to be seen instead of reading it. Since I'm not in a place where I could appreciate Greek literature, hence I am at the disadvantage until I found the perfect translation or prefarably audible translation to accompany with the reading of the famed Orestian trilogy.

[JJ Todilinus · Rating: 1 out of 5 stars]

What sort of an edition has no line numbers, it seems totally nuts!