Agamemnon by Aeschylus all Summary, Characters And Themes (Classics in Translation)

Mofizur Rahman

Agamemnon by Aeschylus all Summary, Characters And Themes (Classics in Translation)

Agamemnon by Aeschylus all Summary, Characters And Themes (Classics in Translation)

  • Honours 4th Year.
  • Subject: Classics in Translation.
  • Topics: "Agamemnon" by Aeschylus.
  • Summary, Characters And Themes.


āĻŦিঃāĻĻ্āϰঃ--(V.V.I āĻĻে⧟া āϚāϰিāϤ্āϰāĻ—ুāϞো āĻāĻ•āϟু āĻ­াāϞāĻ­াāĻŦে āĻĒ⧜āĻŦেāύ)

Introducing the characters:

Agamemnon:- The King of Argos, the husband of Clytemnestra, and the commander of the Greek armies during the siege of Troy. A great warrior, he sacrificed his daughter Iphigenia in order to obtain a favorable wind to carry the Greek fleet to Troy.

Clytemnestra:- The play's protagonist, Clytemnestra is Agamemnon's wife and has ruled Argos in his absence. She plans his murder with ruthless determination, and feels no guilt after his death.

Iphigenia: Does not appear onstage during the play. The daughter of Clytemnestra and Agamemnon. Agamemnon sacrifices her during the Trojan War to win the favor of the goddess Artemis.

Chorus: The elder citizens of Argos. They serve as advisors to Queen Clytemnestra during Agamemnon's absence, and provide commentary on the action of the play. Their speeches provide the background for the action, for they foreshadow the King's death when they describe the events of the Trojan War and discuss the dangers of human pride.

Aegisthus:-Agamemnon's cousin, and Clytemnestra's lover. Agamemnon's father boiled two of his rival's children (Aegisthus' brothers) and served them to him for dinner. Since that time,
Aegisthus has been in exile awaiting a chance to seek revenge for the terrible crime.

Cassandra:- A Trojan priestess, captured by Agamemnon and carried to Argos as his slave and mistress. She was Apollo's lover. Apollo gave her the gift of prophecy, but when she refused to bear him a child, he punished her by making all around her disbelieve her predictions.

The Watchman:- The man assigned to watch for the signal of Troy's fall from the roof of the palace. He is joyful at his king's return, but also is gripped with a sense of foreboding.

The Herald:- He brings the Chorus news of Agamemnon's safe homecoming.

Artemis:- Does not appear onstage during the play. The goddess, of hunting, animals, virginity, and childbirth. During the Trojan War, she to blocks the path of Agamemnon's fleet until he makes a sacrifice to her.

Menelaus:- Does not appear onstage during the play. Agamemnon's brother and King of Sparta. When Paris runs away to Troy with his wife Helen, he and Agamemnon raise a fleet to conquer Troy.

Themes:

  • Motif of Revenge vs Deception.
  • Gender of Rules.
  • Dominance of Fate.
  • Poetic Justice.

āĻŦাংāϞা āϏাāĻŽাāϰী:-

'āφāĻ—াāĻŽেāĻŽāύāύ' āύাāϟāĻ•āϟিāϰ āĻļুāϰুāϤে āφāϰ্āĻ—āϏেāϰ (Argos) āĻĒ্āϰাāϏাāĻĻেāϰ āĻ›াāĻĻে āĻāĻ• āĻĒ্āϰāĻšāϰীāĻ•ে āĻĒাāĻšাāϰাāϰāϤ āĻ…āĻŦāϏ্āĻĨাāϝ় āĻĻেāĻ–া āϝাāϝ়। āĻ•āĻ–āύ āϟ্āϰāϝ় āύāĻ—āϰী āĻ—্āϰীāĻ•āĻĻেāϰ āĻšাāϤে āĻĒāϰাāϏ্āϤ āĻšāĻŦে āϤাঁāϰ āϏāĻ™্āĻ•েāϤ
āĻĒাāĻ“āϝ়াāϰ āϜāύ্āϝে āϏে āĻ…āϧীāϰāĻ­াāĻŦে āĻ…āĻĒেāĻ•্āώা āĻ•āϰāϤেāĻ›িāϞো āĻĒ্āϰাāϝ় āĻĻāĻļ āĻŦāĻ›āϰ āϝাāĻŦāϤ। āĻ…āĻŦāĻļেāώে āĻŦāĻšু āĻĻূāϰে āĻāĻ•āϟি āφāϞোāĻ• āϏāĻ™্āĻ•েāϤ āĻāϰ āĻāϞāĻ•াāύি āĻĻেāĻ–া āĻ—েāϞো। āϏেāϟি āĻĻেāĻ–ে āϏে āφāύāύ্āĻĻে āϞাāĻĢিāϝ়ে āωāĻ āϞ āφāϰ āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰাāϰ āĻ•াāĻ›ে āĻāχ āĻ–āĻŦāϰ āĻĻেāϝ়াāϰ āϜāύ্āϝে āĻĻৌāĻĄ়ে āφāϏāϞো।

āφāϰāĻ—োāϏেāϰ āĻŦৃāĻĻ্āϧāϰা āĻāχ āύাāϟāĻ•ে āĻ•োāϰাāϏ āĻāϰ āĻ­ূāĻŽিāĻ•া āĻĒাāϞāύ āĻ•āϰে। āĻĒ্āϰāĻšāϰী āϝāĻ–āύ āĻĻৌāĻĄ়ে āϝাāϚ্āĻ›িāϞ āϏে āϏāĻŽāϝ় āĻ•োāϰাāϏ āĻāϰ āĻŦৃāĻĻ্āϧ āϞোāĻ•েāϰা āφāϰāĻ—োāϏেāϰ āĻĒ্āϰাāϏাāĻĻে āĻāĻ•āϤ্āϰিāϤ āĻšāϝ়েāĻ›িāϞ āφāϰ āϏেāχ āϏāĻ•āϞ āĻĒুāϰোāύো āϘāϟāύা āĻ…āϰ্āĻĨাā§Ž āϰাāϜা āĻŽেāύেāϞাāωāϏেāϰ āϏ্āϤ্āϰী āĻšেāϞেāύāĻ•ে āĻ•িāĻ­াāĻŦে āĻĒ্āϝাāϰিāϏ āϚুāϰি āĻ•āϰে āύিāϝ়ে āϝাāϝ় āĻāĻŦং āĻ•িāĻ­াāĻŦে āĻ—্āϰীāĻ•āϰা āĻĻāĻļ āĻŦāĻ›āϰ āϤাāĻĻেāϰ āϏাāĻĨে āϝুāĻĻ্āϧ āĻ•āϰেāĻ›ে āχāϤ্āϝাāĻĻি āύিāϝ়ে āφāϞোāϚāύা āĻ•āϰāĻ›িāϞো। āĻ•োāϰাāϏāϰা āϏে āϏāĻŽāϝ় āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύেāϰ āϏেāχ āύ্āϝাāĻ•্āĻ•াāϰāϜāύāĻ• āϘāϟāύাāĻ“ āϏ্āĻŽāϰāύ āĻ•āϰেāύ āĻ…āϰ্āĻĨাā§Ž āφāĻ—াāĻŽেāĻŽāύāύ āϝাāϤ্āϰাāĻĒāĻĨে āϝাāϤে āϏাāĻ—āϰে āĻ…āύুāĻ•ূāϞ āĻŦাāϝ়ু āϞাāĻ­ āĻ•āϰে āϏে āϜāύ্āϝে āϤাāĻĻেāϰ āĻĻেāĻŦāϤা āφāϰ্āϟেāĻŽিāϏ āĻāϰ āϜāύ্āϝে āϤাঁāϰ āĻ•āύ্āϝা āχāĻĢিāϜিāύিāϝ়াāĻ•ে āĻ‰ā§ŽāϏāϰ্āĻ— āĻ•āϰে।

āĻ āϏāĻŽāϝ় āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āϧāύ্āϝāĻŦাāĻĻāϏূāϚāĻ• āĻ‰ā§ŽāϏāϰ্āĻ— āĻ•āϰে। āĻ•োāϰাāϏ āϤাঁāϰ āĻ•াāĻ›ে āϜাāύāϤে āϚাāϝ় āϤাঁāϰ āĻ‰ā§ŽāϏāϰ্āĻ—েāϰ āĻ•াāϰāύ। āϤāĻ–āύ āϏে āϜাāύাāϝ় āĻāĻ• āφāϞোāĻ• āϏāĻ™্āĻ•েāϤেāϰ āĻāϞāĻ•াāύীāϰ āĻŽাāϧ্āϝāĻŽে āϏে āϜাāύāϤে āĻĒেāϰেāĻ›ে āĻ—āϤ āϰাāϤে āϟ্āϰāϝ় āύāĻ—āϰীāϰ āĻĒāϤāύ āϘāϟেāĻ›ে। āĻŦৃāĻĻ্āϧāϰা āĻļুāύে āĻ–ুāĻļি āĻšāϝ় āĻ•িāύ্āϤু āϤাঁāϰ āĻ•āĻĨা āĻĒāϰিāĻĒূāϰ্āύāĻ­াāĻŦে āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰāϤে āĻĒাāϰে āύা। āϏংāĻŦাāĻĻ āĻŦাāĻšāĻ• āϏেāĻ–াāύে āĻāϏে āĻĒৌāĻ›াāϝ় āĻāĻŦং āĻāχ āĻ–āĻŦāϰেāϰ āϏāϤ্āϝāϤা āĻĒ্āϰāĻ•াāĻļ āĻ•āϰে। āϤাāĻĻেāϰāĻ•ে āφāϰো āĻŦāϞে āϏেāĻ–াāύে āϤাāĻĻেāϰāĻ•ে āĻ…āύেāĻ• āĻ•āώ্āϟ āĻ•āϰāϤে āĻšāϝ়েāĻ›ে āĻ•িāύ্āϤু āϤাāϰা āĻŦিāϜāϝ়ী āĻšāϝ়েāĻ›ে।

āĻ•োāϰাāϏāϰা āĻāϰāĻĒāϰ āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰাāĻ•ে āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύেāϰ āĻŦāĻšāϰেāϰ āĻĻিāĻ•ে āϝেāϤে āĻŦāϞāϞেāύ āĻāĻŦং āϤাāĻ•ে āĻ–āĻŦāϰ āĻĻিāϤে āĻŦāϞāϞেāύ, āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύ āϝেāύো āϤাāĻĄ়াāϤাāĻĄ়ি āĻĢিāϰে āφāϏে। āϏে āϚāϞে āϝাāĻ“āϝ়াāϰ āφāĻ—ে āĻŦৃāĻĻ্āϧāϰা āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύেāϰ āĻ­াāχ āĻŽেāύেāϞাāωāϏেāϰ āĻ–āĻŦāϰ āϜাāύāϤে āϚাāϝ়। āϏে āϤাāĻĻেāϰ āĻŦāϞে āϰাāϜা āĻŽেāύেāϞাāωāϏেāϰ āĻŦāĻšāϰ āĻĻেāĻ–া āϝাāϝ় āύি āĻ•াāϰāύ āĻĒāĻĨিāĻŽāϧ্āϝে āĻāĻ•āϟা āĻ­āϝ়āĻ™্āĻ•āϰ āϏāĻŽূāĻĻ্āϰ āĻāĻĄ় āĻ“āĻ ে āϏে āϏāĻŽāϝ় āĻ…āύেāĻ•েāϰāχ āϜাāĻšাāϜ āĻĻিāĻ• āĻŦিāĻĻিāĻ• āĻ›ুāϟে āϝাāϝ়। āĻāĻĄ়েāϰ āĻĒāϰে āĻŽেāύেāϞাāωāϏ āϏāĻš āĻ…āύেāĻ•āĻ•েāχ āĻ–ুāϜে āĻĒাāĻ“āϝ়া āϝাāϚ্āĻ›ে āύা। āĻāϰāĻĒāϰ āĻ•োāϰাāϏāϰা āĻšেāϞেāύেāϰ āϏৌāύ্āĻĻāϰ্āϝেāϰ āĻ­āϝ়āĻ™্āĻ•āϰāϤ্āĻŦ āύিāϝ়ে āĻ—াāύ āĻ—াāϝ় āϝে āϤাāϰ(āĻšেāϞেāύেāϰ) āϰূāĻĒ āĻšāϚ্āĻ›ে āϧ্āĻŦংāϏেāϰ āĻĒ্āϰāϤীāĻ•āĻŽাāϤ্āϰ।

āĻ…āĻŦāĻļেāώে āφāĻ—াāĻŽেāĻŽāύāύ āĻĢিāϰে āφāϏে। āϰাāϜা āĻĒ্āϰাāϝ়াāĻŽেāϰ (Priam) āĻ•āύ্āϝা āĻ•্āϝাāϏাāύ্āĻĄ্āϰাāĻ•ে āύিāϝ়েāχ āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύ āĻĢিāϰে āφāϏে āĻāĻŦং āϰāĻĨ āĻĨেāĻ•ে āĻ…āĻŦāϤāϰāĻŖ āĻ•āϰে। āĻ•্āϝাāϏাāύ্āĻĄ্āϰাāĻ•ে āϏে āĻĻাāϏী āĻšিāϏেāĻŦে āĻ—্āϰāĻšāύ āĻ•āϰেāĻ›ে। āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āϤাāĻĻেāϰāĻ•ে āĻ…āĻ­্āϝāϰ্āĻĨāύা āϜাāύাāϝ় āĻ“ āϰাāϜাāĻ•ে āĻŦāϞে āϤাঁāϰ āĻ­াāϞোāĻŦাāϏা āφāĻ—েāϰ āĻŽāϤāχ āĻ…āϟুāϟ āφāĻ›ে। āϰাāϜাāϰ āĻĒ্āϰাāϏাāĻĻে āĻĒ্āϰāĻŦেāĻļেāϰ āϜāύ্āϝে āĻāĻ•āϟি āϞাāϞ āĻ•াāϰ্āĻĒেāϟ āĻŦিāĻ›িāϝ়ে āĻĻেāϝ়। āϰাāϜা āϤাঁāϰ āĻĒ্āϰāϤি āĻ–ুāĻŦ āĻ াāύ্āĻĄা āφāϚāϰāĻŖ āĻ•āϰে āφāϰ āĻŦāϞে āĻāχ āĻ•াāϰ্āĻĒেāϟ āĻĻিāϝ়ে āĻšাāϟা āϤাঁāϰ āϜāύ্āϝে āĻāĻ• āĻĒ্āϰāĻ•াāϰেāϰ āĻ…āĻšংāĻ•াāϰ।

āφāϏāϞে āϞাāϞ āĻ•াāϰ্āĻĒেāϟেāϰ āωāĻĒāϰ āĻĻিāϝ়ে āĻļুāϧু āĻĻেāĻŦ-āĻĻেāĻŦীāĻĻেāϰ āĻŽāϤো āϏāĻŽ্āĻŽাāύিāϤāĻ—āĻŖāχ āĻšাঁāϟāϤে āĻĒাāϰে। āĻāĻ–াāύে āφāĻ—াāĻŽেāĻŽāύāĻ•ে āĻšাঁāϟāϤে āĻĻেāĻ–া āϝাāϚ্āĻ›ে āĻŽাāύে āϏে āύিāϜেāĻ•ে āĻĻেāĻŦ-āĻĻেāĻŦীāĻĻেāϰ āĻŽāϤো āϏāĻŽ্āĻŽাāύিāϤ āĻŽāύে āĻ•āϰে āϝেāϟা āϤাāϰ āĻ…āĻšংāĻŦোāϧ। āφāϰ āĻāϟা āϤাāϰ āĻĒāϤāύেāϰ āĻ•াāϰāĻŖ। āϏে āϰাāϜাāĻ•ে āĻāϟা āĻĻিāϝ়ে āĻšেāϟে āĻĒ্āϰাāϏাāĻĻে āĻĒ্āϰāĻŦেāĻļেāϰ āϜāύ্āϝে āĻ•্āϰāĻŽাāĻ—āϤ āϜোāϰাāϜুāϰি āĻ•āϰāϤে āĻĨাāĻ•ে। āϝাāχ āĻšোāĻ• āĻ…āĻŦāĻļেāώে āϰাāϜা āφāĻ—াāĻŽেāĻŽāύāύ āĻĒ্āϰাāϏাāĻĻে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰে।āĻ āϏāĻŽāϝ় āĻ•োāϰাāϏেāϰ āĻŦৃāĻĻ্āϧāϰা āĻāĻ• āĻĒ্āϰāĻ•াāϰ āĻ…āĻŽāĻ™্āĻ—āϞেāϰ āĻĒূāϰ্āĻŦ āϞāĻ•্āώāĻŖ āĻ…āύুāϧাāĻŦāύ āĻ•āϰāϞেāύ।

āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āĻŦেāϰিāϝ়ে āφāϏে āϝাāϤে āĻ•্āϝাāϏাāύ্āĻĄ্āϰা āĻ­িāϤāϰে āϝেāϤে āĻĒাāϰে। āϟ্āϰāϝ়েāϰ āĻāχ āϰাāϜāĻ•āύ্āϝা āĻ āϏāĻŽāϝ় āĻāĻ•েāĻŦাāϰে āϚুāĻĒ āĻŽেāϰে āϝাāϝ় āφāϰ āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āϤাāĻ•ে āĻāχ āϰāĻ•āĻŽ āύৈāϰাāϏ্āϝāϜāύāĻ• āĻ…āĻŦāϏ্āĻĨাāϝ় āĻĢেāϞে āϝাāϝ়। āĻ āϏāĻŽāϝ় āĻ•্āϝাāϏাāύ্āĻĄ্āϰা āĻ•āĻĨা āĻŦāϞāϤে āĻļুāϰু āĻ•āϰে āφāϰ āϏে āĻ•িāĻ›ু āĻ…āϏংāϞāĻ—্āύ āĻ­āĻŦিāώ্āĻ¯ā§ŽāĻŦাāύী āĻ•āϰে। āϏে āφāĻ—াāĻŽেāĻŽāύāύেāϰ āĻŦাāĻĄ়িāϰ āωāĻĒāϰ āĻ…āĻ­িāĻļাāĻĒ āϰāϝ়েāĻ›ে āĻŦāϞে āĻŽāύ্āϤāĻŦ্āϝ āĻ•āϰে। āĻ•্āϝাāϏাāύ্āĻĄ্āϰা āĻ•োāϰাāϏāĻĻেāϰ āĻŦāϞে, āϤাāĻĻেāϰ āϰাāϜা āĻ–ুāĻŦ āĻļিāϘ্āϰāχ āĻŽাāϰা āϝাāĻŦে āĻāĻŦং āĻāϰāĻĒāϰ āϏেāĻ“ āĻŽাāϰা āϝাāĻŦে। āĻāϰāĻĒāϰ āφāϰো āĻ­āĻŦিāώ্āĻ¯ā§ŽāĻŦাāύী āĻ•āϰে āϏাāĻŽāύে āĻāĻ•āϜāύ āĻĒ্āϰāϤিāĻļোāϧ āĻ—্āϰāĻšāύāĻ•াāϰী āφāϏāĻŦে। āϤাঁāϰ āĻ•āĻĨা āĻ•েāω āĻŦিāĻļ্āĻŦাāϏ āĻ•āϰে āύা। āϏে āĻ āϏāĻŽāϝ় āĻ­াāĻ—্āϝেāϰ āĻ•াāĻ›ে āύিāϜেāĻ•ে āϏāĻĒে āĻĻেāϝ় āĻāĻŦং āϘāϰে āĻĒ্āϰāĻŦেāĻļ āĻ•āϰে।

āĻāĻ• āϏāĻŽāϝ় āĻ•োāϰাāϏāĻĻেāϰ āĻ­āϝ় āĻŦেāĻĄ়ে āϝাāϝ়। āĻĒāϰেāϰ āĻĻৃāĻļ্āϝে āφāĻ—াāĻŽেāĻŽāύāύেāϰ āĻŦ্āϝাāĻĨাāϝ় āϚিā§ŽāĻ•াāϰ āĻļোāύা āϝাāϝ়। āĻ•োāϰাāϏেāϰ āĻĻāϞ āĻ āϏāĻŽāϝ় āĻ•ি āĻ•āϰāĻŦে āϤা āύিāϝ়ে āĻāĻ• āĻĒ্āϰāĻ•াāϰ āĻĻ্āĻŦāύ্āĻĻে āĻĒāĻĄ়ে āϝাāϝ়। āϰাāύী āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āĻĻāϰāϜা āĻ–োāϞে। āϤাāĻ•ে āϤাঁāϰ āϏ্āĻŦাāĻŽীāϰ āĻŽৃāϤāĻĻেāĻš āĻ“ āĻ•্āϝাāϏাāύ্āĻĄ্āϰাāĻ•ে āĻŽাāĻে āĻĻাঁāĻĄ়িāϝ়ে āĻĨাāĻ•āϤে āĻĻেāĻ–া āϝাāϝ়। āĻ•্āϞাāχāϟেāĻŽāύেāϏ্āϟ্āϰা āϤাāĻĻেāϰ āĻŦāϞে āϏে āϤাঁāϰ āĻ•āύ্āϝা āχāĻĢিāϜিāύিāϝ়াāĻ•ে āĻšāϤ্āϝাāϰ āĻĒ্āϰāϤিāĻļোāϧ āύিāϝ়েāĻ›ে। āĻāϰāĻĒāϰ āϏে āϤাঁāϰ āĻĒ্āϰেāĻŽিāĻ• āφāĻ—াāĻŽেāĻŽāύāύেāϰ āϚাāϚাāϤো āĻ­াāχ āĻāϜিāϏāĻĨাāϏ āĻāϰ āϏাāĻĨে āϝোāĻ— āĻĻেāϝ়। āϤাāϰা āĻĻুāϜāύে āϰাāϜ্āϝāĻ­াāϰ āĻ—্āϰāĻšāύ āĻ•āϰে। āφāϰ āĻ“āĻĻিāĻ•ে āĻ•োāϰাāϏেāϰ āĻŦৃāĻĻ্āϧāϰা āĻŦāϞাāĻŦāϞি āĻ•āϰে āϝে āφāĻŦাāϰ āĻ•োāύোāĻĻিāύ āφāĻ—াāĻŽেāĻŽāύāύেāϰ āĻ›েāϞে āĻ…āϰেāϏ্āϟিāϏ āϤাঁāϰ āĻĒিāϤাāϰ āĻšāϤ্āϝাāϰ āĻĒ্āϰāϤিāĻļোāϧ āύিāϤে āφāϏāĻŦে। āĻāĻ–াāύেāχ āύাāϟāĻ•āϟি āĻļেāώ āĻšāϝ়।


English Summary:

The play is set sometime in the 12th or 13th centuries BCE, and begins in Argos, Greece. A Watchman, stationed on top of the palace, waits for a signal fire indicating that the ten-year Trojan War (between the Greeks and the Trojans) has come to an end. He sees the fire light and rushes out to tell queen Clytemnestra the good news.

In the next scene, the Chorus, a collection of old men, gathers in front of the palace of Clytemnestra, Agamemnon's wife, who has been taking care of things while Agamemnon is gone. They want to know what all the fuss is about. Then they sing a song about the causes of the Trojan War and how, on his way there, Agamemnon sacrificed his and Clytemnestra's daughter Iphigenia to convince the goddess Artemis to send him good winds.

The Queen appears, and the Chorus asks her why she has ordered sacrifices of thanksgiving. She tells them that a system of beacons has brought word that Troy fell the previous night. The Chorus give thanks to the gods, but wonder if her news is true; a Herald appears and confirms the tidings, describing the army's sufferings at Troy and giving thanks for a safe homecoming. Clytemnestra sends him back to Agamemnon, to tell her husband to come swiftly, but before he departs, the Chorus asks him for news of Menelaus. The Herald replies that a terrible storm seized the Greek fleet on the way home, leaving Menelaus and many others missing.

The Chorus sings of the terrible destructive power of Helen's beauty. Agamemnon enters, riding in his chariot with Cassandra, a Trojan Princess whom he has taken as his slave and concubine. Clytemnestra welcomes him, professing her love, and orders a carpet of purple robes spread in front of him as he enters the palace. Agamemnon acts coldly toward her, and says that to walk on the carpet would be an act of hubris, or dangerous pride; she badgers him into walking on the robes, however, and he enters the palace.

The Chorus suggests an impending sense of dread for what's to come. Clytemnestra tries to force Cassandra to go into the palace, but Cassandra remains silent, and Clytemnestra gives up and leaves her in the chariot. Cassandra, possessed by the god Apollo, begins to cry out, and her thoughts eventually form a prophecy in which she predicts Agamemnon's murder in detail, as well as her own death. After these bold predictions, she seems resigned to her fate, and enters the house.

The Chorus' fears grow, and they hear Agamemnon cry out in pain from inside. As they debate what to do, the doors open, and Clytemnestra appears, standing over the corpses of her husband and Cassandra. She declares that she has killed him to avenge Iphigenia, and then is joined by her lover Aegisthus, Agamemnon's cousin, whose brothers were cooked and served to Aegisthus' father by Agamemnon's father. They take over the government, and the Chorus foreshadows that Clytemnestra's son Orestes will return from exile to avenge his father.

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