...ENG4U-C Lesson 1 I N D E PE N D E NT LE A R N I N G C E N T R E CE N T RE D’É T U D E S I N D É P E N DA N T E S Summary of Agamemnon Summary of Agamemnon THE AGAMEMNON OF AESCHYLUS First part of “The Serpent Son” Prologue: The Watchman on the roof of the Palace of Agamemnon at Mycenae presents the facts. He has been watching a year for the fire signal that will announce Troy’s capture, and all is not well within the house. He sees the beacon at last and will tell Clytemnestra, Agamemnon’s wife. He rejoices at the news for it means his master will be coming home. Parodos or Entry of the Choros, who are Elders of Argos, counsellors to the Queen Regent. They chant about the expedition against Troy. The sons of Atreus (Agamemnon and Menelaus) are seen as birds whose nest has been robbed by the stealing of Helen. Par is who stole her thereby offended against Zeus, the God of the host and guest. With legal images the old men say that Paris will be punished. They themselves were too old to go to war ten years ago; like the old man in the Sphynx’s riddle they lean on staffs. Clytemnestra enters with slaves to make sacrifice at the altars; the choros ask her why sacrifices are being made but she ignores them and does not answer. The choros continue with the first Ode, a song about Aulis and what happened there, The omen of the pregnant hare attacked by the eagles: Calchas the prophet interpreted it to mean that Troy would fall but that the goddess...
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...the roof of the Palace of Agamemnon at Mycenae presents the facts. He has been watching a year for the fire signal that will announce Troy’s capture, and all is not well within the house. He sees the beacon at last and will tell Clytemnestra, Agamemnon’s wife. He rejoices at the news for it means his master will be coming home. Parodos or Entry of the Choros, who are Elders of Argos, counsellors to the Queen Regent. They chant about the expedition against Troy. The sons of Atreus (Agamemnon and Menelaus) are seen as birds whose nest has been robbed by the stealing of Helen. Par is who stole her thereby offended against Zeus, the God of the host and guest. With legal images the old men say that Paris will be punished. They themselves were too old to go to war ten years ago; like the old man in the Sphynx’s riddle they lean on staffs. Clytemnestra enters with slaves to make sacrifice at the altars; the choros ask her why sacrifices are being made but she ignores them and does not answer. The choros continue with the first Ode, a song about Aulis and what happened there, The omen of the pregnant hare attacked by the eagles: Calchas the prophet interpreted it to mean that Troy would fall but that the goddess Artemis will try to prevent the destruction of Troy. The sons of Atreus, he said, must not annoy the gods. There will be ominous sacrifice; the refrain to this Ode is “Sing sorrow, sorrow, but may the good prevail!” (Almost a summary of the Oresteia). Hymn...
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...History 1002 Clytemnestra’s Speech In Aeschylus's Greek tragedy Oresteia, shortly before the murder of Agamemnon, his wife, Clytemnestra, makes a stirring speech upon his return. The speech is a deceitful foreshadowing of the events to come, rich in double entendres and images of loss and death. Clytemnestra is able to fool not only Agamemnon, but the Chorus over the course of her dubious speech using many techniques of deceit. Clytemnestra's treachery throughout her speech is evident through the use of images, metaphors, and equivocal and ambiguous phrases she uses to skillfully fool the Chorus in Aeschylus's Oresteia. Clytemnestra cleverly uses the equivocal properties inherent in language for her dastardly purpose. She employs several shrewd images that are misinterpreted by Agamemnon and the Chorus to be a proud and relieved homecoming for her husband’s return. At the beginning of her speech, Clytemnestra said that the "rumors she hears spreads like disease," invoking an image of rot and decay (Aeschylus, 863). Throughout the next few lines, she reports rumors that Agamemnon had "more holes in him than a net" and a "triple cloak of earth", while implying that he was a "second Geryon", or a monstrosity of a man (Aeschylus, 866-872). Clytemnestra says that the rumors that circulated around the city were so unbearable that she “had to be released against her will, from the noose of suicide, more than once” (Aeschylus, 874-875). Clytemnestra also boldly points out that Iphigenia...
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...as I was reading The Iliad is how Chryses offered so many gifts as ransom in order to get his daughter back, but no matter what he offered or how much he begged, Agamemnon refused. He kept telling Chryses that he would not give her back. On page 78, Agamemnon states, “The girl- I won’t give up the girl.” One line that I thought was very powerful was when Agamemnon says to Chryses, “Now go, don’t tempt my wrath- and you may depart alive.” After hearing this, Chryses felt threatened and he obeyed what Agamemnon said. On page 79, Apollo sends a plague upon the Greek army and on this page it states, “he cut them down in droves- and the corpse-fires burned on, night and day, no end in sight.” I thought this was also a very powerful line and it was a line that stood out to me. One thing that stood out to me as I was reading The Iliad is how Chryses offered so many gifts as ransom in order to get his daughter back, but no matter what he offered or how much he begged, Agamemnon refused. He kept telling Chryses that he would not give her back. On page 78, Agamemnon states, “The girl- I won’t give up the girl.” One line that I thought was very powerful was when Agamemnon says to Chryses, “Now go, don’t tempt my wrath- and you may depart alive.” After hearing this, Chryses felt threatened and he obeyed what Agamemnon said. On page 79, Apollo sends a plague upon the Greek army and on this page it states, “he cut them down in droves- and the corpse-fires burned on, night and day...
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...The play Agamemnon by Aeschylus is a play written 2500 years ago in Greece, known for being one of the most tragic Greek plays of its time. It bases its background on Greek mythology with their gods. The play itself is named after one of the main characters, Agamemnon, king of Argos. There are two other main characters, Clytemnestra, queen of Argos and Cassandra, priestess of Troy and Agamemnon’s mistress. Agamemnon, king of Argos cares for his gods. He sacrificed what he could for them to be on his side. Ordered his own daughter’s death for the purpose of having a god by their side as they went to the ten year war against the Trojan’s. After the war, he was greeted with the finest purple carpet for him to walk on once he left his chariot, which he only walked on after a brief discussion with Clytemnestra and Cassandra. The purple carpet was believed to be a luxury for the gods and he was afraid to disrespect them. “And stepping thus upon the sea’s rich dye, I pray, Let none among the gods look down With jealous eye on me” (lines 1096-1098). He devoted all of his time and work to his gods and people. Cassandra, Trojan’s priestess is Agamemnon’s war prize, he brought her back with him after defeating Troy. Apollo (former lover) gave her the gift of prophecy but cursed her by making all around her disbelieve her predictions after she refused to bear him a child. Her last predictions were about Agamemnon and her own death, killed by Clytemnestra. “Lo, how the woman-thing...
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...Keyaundria Tate Professor Jennifer Brewington ENG 203 (H018) Response Paper #2 11 March 2016 Electra by Sophocles is a play about a broken family. Clytemnestra who was the former wife of Agamemnon made the choice to murder Agamemnon when he came back from the Trojan War. Clytemnestra and Agamemnon had three living children name Orestes, Electra, and Chysothemis. After the murder of their father, Electra sent their brother away so that he can grow up in a safe place and come back and help avenge their dad. Electra stayed in town and spent almost her entire life dwelling on the past. Electra wanted justice for her father and would do almost anything to get it. Justice is an important theme in this story but trying but trying to get justice in the wrong way can often lead to revenge. Electra allowed her father’s death to take a toll on her life which stopped it completely. Most of her days were spent praying and grieving about Orestes returning home to Mycenae. Orestes and Chysothemis did not dwell much on the past but Electra took it to another level. Electra was trying to get justice for her father and then that turned into planning revenge. In the story Electra states “I know that my behavior is unseemly, and becomes me ill. But then the enmity on your part, and your treatment, compel me in my own despite to do thus; for base deeds are taught by base.”(Sophocles 328) This quote shows that Electra does not have any boundaries when it comes to mourning the death of her...
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...In this passage from the Iliad Chryses is pleading with Agamemnon to release his daughter. He blesses the Greeks by saying ‘may the gods on Olympus grant you wipe out Troy’s city, and then return home safe” (20). This lines shows that Chryses believes that through his prayer to the gods that it will give the Greeks the advantage against Troy. The people of this time believed that the gods held their fates in their hands and the way to ensure a good outcome was through prayer and offerings. They felt that through theirs prayers and offerings that they could appease the gods enough to get them to do what they needed. There was some reverence for the gods and also a great deal of fear. They understood that the gods could do good things for you as well as cause you hardship. After Agamemnon’s refusal to release Chryeis and his threat of harm, Chryses goes to the god Apollo first with compliments, “god with the silver bow, protector of Chryse… mighty lord of Tenedos” (39) and then with an ultimatum showing his devotion and faithful service, “if I have ever pleased you … or burned bones for you.. grant my prayer” (42). Apollo hears this prayer and was enraged and came down from Olympus and first destroyed the mules and dogs and then shot at the troops. One of the first lines of piece says “angry with Agamemnon , he (Apollo) cast plague down onto the troops” (11). This passage shows that they believed that the prayer of Chryses caused Apollo to cast a plague upon the Greek troops...
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...ANALYSIS OF AESCHYLUS’ AGAMEMNON Agamemnon concedes as a very disturbing in play, since he is a vicious man so killed the previous king of Argos for the throne and marry the daughter, which is Clytemnestra. The other reasons are the sacrifices of Iphigenia to Artemis, and I just can’t conceive of killing his blood relative and in some point he didn’t even think a mercy to his daughter. Then another one is admiring the half sister of Clytemnestra, which is Helen. The last one is that having an affair to his concubine, Cassandra. I cannot imagine that returning to Argos with his mistress and live it there but in other hand he has a wife. Therefore I consider him as a very disturbing in play. I think the highlight of the play is the sacrifice of Iphigenia to Artemis for the fair winds and safe trip. This is the emphasis of the play because the beginning of Clytemnestra’s anger to Agamemnon. I can’t even conceptualize what Agamemnon done to his daughter. He didn’t have the conscience killing an innocent daughter or kid. Being in relationship isn’t easy. There are moments when the relationship may be perfect, but suddenly it may turn sour. This thing occurs especially in marriage. I think the primary reasons are the misunderstanding can cause tension between partners. The other one is the lack of mutual trust when a partner does not trust the other partner, then he or she becomes too suspicious. And the last...
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...The Dominance of Fate Fate was of great concern to the Greeks, and its workings resonate through many of their myths and texts. We see countless characters who go to great lengths in attempts to alter fate, even if they know such an aim to be futile. The inability of any mortal or immortal to change prescribed outcomes stems from the three Fates: sisters Clotho, who spins the thread of life; Lachesis, who assigns each person’s destiny; and Atropos, who carries the scissors to snip the thread of life at its end. These three divinities pervade all the stories of Greek myth, whether they be stories of gods, goddesses, demigods, heroes, or mortals and regardless of the exploits recounted. Nothing can be done to alter or prolong the destiny of one’s life, regardless of the number of preparations or precautions taken. This inflexibility applies just as much to Zeus as to the lowliest mortal, as we see in Zeus’s hounding of Prometheus to divulge the name of the woman who will bear the offspring that one day will kill him. Though this lesson is somewhat consoling—the way of the world cannot be bent to match the whims of those in authority—it is also very disturbing. The prospect of free will seems rather remote, and even acts of great valor and bravery seem completely useless. The myths provide an interesting counterpoint to this uselessness, however. In virtually all the stories in which a character does everything in his power to block a negative fate, and yet falls prey to it,...
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...not only that the moral government of the world has been set at last upon a sure basis, but also that this government is alreadt in operation and sanctifying human institutions. This is what Owen means when he says: The story is not the poet's subject; his artistic purpose goes beyond the dramatic development of the legend; that is why his play does not end with the story.5 In each play we have pointed out that Aeschylus was not primarily concerned with the legend, and here, it seems, is sufficient evidence to support our contention. What Owen maintains is the subject of the Oresteia is as follows: The subject of the Oresteia is the creation of a new moral order; Aeschylus depicts the vast chain of events which the death of Agamemnon started in heaven and earth, how it and its results shook the 4 5 Norwood, PP• 114-116. Owen, The Oresteia, P• 442. universe to its foundations and altered the spiritual history of the world; he presents the legend as a turning-point in the destinies of mankind.6 63 If this interpretation is true, which is most probable, than it .is futile for us to look for any similarity between this play ~~d Aristotle's formula. Here is tragedy, yet fund~~entally different from that implied in the definition of Aristotle. Aeschylus was not trying to write a tragedy of pity and fear. As Owen says: •••Aeschylus was not led to his shaping of the Orestes story by the simple desire to bring out the fearful and...
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...CLYTEMENESTRA Clytemnestra is one of the main voices of Agamemnon. She faces multiple difficulties – first, her husband sacrifices her daughter for a reason she doesn’t see fit, and then lives with it for the next decade while she shares a bed with him. Then while she is already fuming and unforgiving about the loss of their child, he brings home another woman as a war trophy from Troy. You only see the story from her perspective after the loss of her daughter, which can understandably turn anyone into a bitter tyrant. Anyone who has ever felt close to a child, or had a child of their own, would completely understand the want for vengeance against the person or persons who caused any harm against them. It’s not to say that what she did was right, but understandable. She is shown as a malicious, vengeful individual who is depicted as the antagonist because of the murder of Agamemnon and Cassandra, but she was probably much more of a kind person before the sacrifice of Iphigenia. This is brought forth near the end of the play when she speaks to the Choros about why she did what she did. It almost makes one feel morally torn between whether or not they approve of her actions or not. CASSANDRA With the introduction of Cassandra, she’s objectified in the sense where she’s seen as nothing more than a war prize. Everyone except for Agamemnon seems to be aware that it’s a bad idea to have basically kidnapped her from Troy. She’s probably the voice that I connected to the most out...
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...The Iliad, Menelaus brings together the Achaean armies to attack and conquer the mighty city of Troy for one reason: Love. His beloved wife, Helen, had been taken away by Paris of Troy to be his wife. In an effort to save his wife, he traveled across dangerous land and oceans to Troy where the Greeks fought in a war for 10 years. If not for love, a 10 year war because of a single man’s desire would seem absolutely absurd. However, we all can sympathize with Menelaus because we would do the same for somebody we loved with all of our hearts. This truth-value has been a part of every culture and even shows up another time in The Iliad. Achilles, the great Achaean warrior, refuses to fight because of a petty disagreement with fellow Greek Agamemnon. The Greeks get pushed back to the coast without the help of Achilles in battle. Achilles wants to help, but his pride holds...
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...talk about three points about Agamemnon and Achilles including their feelings toward each other, why they had those feelings, and if Achilles and Agamemnon’s feelings ever changed. In the end this essay will also talk about if their feelings ever affected anyone or anything. But like I said the first thing we have to talk about is Achilles and Agamemnon’s feelings toward each other. I can’t wait! Let’s go! Achilles and Agamemnon hated each other. They had hatred towards each other, they didn’t care if one of them left, like in the book the Iliad Agamemnon said to Achilles “Fly off home then, if that’s your heart’s desire. I will not beg you to stay on my account. I have others around to honor me, especially all-wise Zeus himself.” But they shouldn’t hate each other because they are on the same side;...
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...most powerful force in the ILIAD because it shapes the events and decisions that occur throughout the epic. Fate shapes events and decisions by overpowering the will of gods and great warriors, as well as overwhelming characters to the point where they concede to their own fate. Fate`s power is also preserved by the very characters it acts upon. Throughout the Epic, the gods seem to be unable to change fate. For example, the gods are unable to save Hector and Achilles, despite loving them both, as fate has to run it`s course. The Homeric simile described below is a microcosm to these examples. In Book 11 of Homer’s epic, the Acheans are able to drive Trojan forces into a retreat caused by a strong charge put on by Agamemnon. During the Trojan retreat, Agamemnon knocks Isus and Antiphus off their fleeting chariot, killing them, and stripping them of their armor. This Homeric simile then follows. “Imagine how easily a lion crushes a pair of fawns in his powerful jaws. He has come to where they lie huddled together on the forest floor, and has ripped out their hearts. And though their mother is near she can do nothing to save them. Trembling herself, she bolts through the thick woods, and sweat glazes her skin as she flees the great cat.”...
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...Many myths and legends were focused on the role and importance of family in the human realm as well as the divine realm. Throughout each myth, family had played an important role in each story. There was a sense of connection amongst each character as well as a bond. It was something that linked one person to another whether it was from bloodline or interaction. Though, the vision of a family is not as strong as it seems in the Greek and roman stories. There are many strengths and weaknesses about having a family. The strengths of having a family are the unification of everyone and the continuation of the bloodline. There is a sense of loyalty and commitment to those who have common ancestry. Family members work hand and hand to accomplish a mission. There’s a high sense of family spirit filled with pride and trust in one another, where families work together to maintain their reputations and status in society. There’s a sense of duty and obligation to other family members in need. For families can serve as a support pillar for members to lean on. Some weaknesses about having a family are internal rivalry on issues and leniency to members due to blood ties. Decision-making is affected due to emotional ties to families and traditions that can’t be challenged. Sometimes, families are made due to arranged marriages and political reasoning where there isn’t any love or faithfulness. Therefore, it caused adultery and corruption leading to an unhappy family. Even with all the strength...
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