Abstract
This paper compares and contrasts the stories of two heroes returning from war, as expressed in Homer's Odyssey. The paper describes the differences in family life in the two stories. The paper explains that Agamemnon left for battle, sacrificing his daughter. As a result, Agamemnon's homecoming is a tragedy. His wife has been unfaithful and wants to avenge her daughter. By contrast, the paper explains, Odysseus goes through many trials and tribulations before he is able to return home. The author explains, though, that once he arrives at home, he finds a faithful wife with whom he is able to rebuild a good family life.

From the Paper
"Aeschylus and Homer portray two different versions of a post-war homecoming by the central protagonists of the texts "Agamemnon" and "The Odyssey." Agamemnon and Odysseus are both Greek generals who fought successfully in the Trojan War. Both men are kings. While the dramatist Aeschylus portrays an ungrateful homecoming on the part of the central protagonist's wife, and dramatizes a dark prophesy of death that is ultimately fulfilled, as well as stresses the inevitability of fate at the hands of vengeful women, Homer shows a far different possibility for a wartime homecoming. Homer shows how unexpected happy endings can occur, despite the persistent influence of the gods in human affairs. Homer depicts a loyal wife and son waiting for the main protagonist, upon Odysseus' return from the Trojan War. These different family portraits suggest that in Aeschylus' point of view, war destroys family alliances and a true post-war homecoming that recaptures the past is impossible, given the moral as well as territorial destruction of war. But Homer suggests, even though years may be lost, there is still a family bond that can be sustained, despite years of separation."

Tags:Aeschylus, Agamemnon, Homer, Odyssey

Abstract
In this article, the writer examines how the chorus operates in 'Oedipus The King' by Sophocles and 'Agamemnon' by Aeschylus. The writer provides a discussion of the linkage between vulgar reality and cosmic morality.

From the Paper
"In both Agamemnon and Oedipus the King the chorus consists of old men of the city. In Oedipus the King the men are elders of Thebes while in Agamemnon they are not necessarily the high-born citizens of Argos but those who have been left behind while the Achaeans prosecuted war in Troy. However in both plays the chorus function in three ways as a sounding board for the main characters' behavior as an information resource that positions the action in the scheme of master narratives of ..."

Tags:Oedipus, Agamemnon, Sophocles, Aeschylus, Chorus, Agamemnon, cosmos, narrative function

Abstract
This paper compares the character Agamemnon in Homer's "Iliad" with the character Agamemnon in Aeschylus' play of that name, and examines in what ways the Agamemnon of Homer is consistent with the Agamemnon of Aeschylus, and in what ways are they not consistent.

Abstract
In this article, the writer discusses that one of the predominant themes in the play 'Agamemnon' is that of obeying the will of the gods. The writer notes that the gods are fickle and often hypocritical, but they also have the power to exact revenge upon humans that break their laws. With the character of Zeus, one sees how this revenge becomes an integral aspect of the play. The writer discusses that the gods are an essential aspect of the play because it is shown that, in the end, their hands govern all actions and all outcomes. Man may have free will but that generally turns out to be to his detriment as 'Agamemnon' demonstrates. The writer concludes that 'Agamemnon' demonstrates how the will of the gods is unavoidable even in the face of victory.

From the Paper
"Perhaps the most powerful example of this kind of suffering occurs with Agamemnon. While he is the king and does defeat Troy, his success is overshadowed by the sins of his father and his own sins. Agamemnon is doomed for a life of pain and suffering even before he is born. The retribution of the gods is linked to the house of Atreus before Agamemnon's birth and because sin must be atoned, Agamemnon inherits this. This is not to say that he committed his own sins along the way. He commits horrific sins and they only compound his curse. He must not only live with his father's guilt, he creates his own with the sacrifice of Iphigenia. He is also responsible for the destruction of some of Troy's most revered places. Agamemnon stands no chance due to his inherited sin and his willful sin. Of them, arrogance is one that incites the gods more than any other. When he walks upon the red tapestries, claiming that he is ..."

Tags:character, will, Zeus, justice

Abstract
This paper offers a concise analysis of free will as manifested in the works of Sophocles' "Oedipus the King" and Aeschylus' "Agamemnon." The paper's author notes that while fate predetermines a person's life, there are key instances when he is presented with a choice; the person can take either course of action and the results that follow are consequences of his own actions, although they may strangely mimic the results preordained by destiny. The paper mentions clear instances of free will, explaining that Oedipus' choices bring about his tragic downfall, and Agamemnon chooses to sacrifice his daughter's life. Still, the paper concludes that free will is much more evident in Oedipus, as Agamemnon inherited the sin of his father and was doubly cursed.

From the Paper
"In Aeschylus' Agamemnon, we again see the hand of free will just as much as the hand of fate. We can say that fate is the end while free will is the means to that end. It may sound harsh but often man is responsible for what happens to him, because man can make choices and he chooses to go one way. This way may end in good or bad, depending on the nature of his actions. In this play too, we notice that when Agamemnon is given the choice to either present his daughter as sacrifice or allow hundreds of men to die, Agamemnon chooses to let his daughter go. This was clearly free will; he did this because of his own personal beliefs and value system."

Tags:Greek, tragedy, play

Abstract
The paper is written in the form of a legal argument by the prosecuting counsel. The writer argues that, when her trial began, there was no question that Clytemnestra was guilty of the murder of her husband Agamemnon and the slave Cassandra. The paper discusses how not only was she seen holding the murder weapon by the Chorus, but the prophet Cassandra indicated that Clytemnestra was killing Agamemnon and would be the instrument of Cassandra's death. In addition, Clytemnestra freely admitted that she committed both murders. The paper shows how Clytemnestra deserves the highest penalty possible: the death penalty.

From the Paper
"On the surface, Clytemnestra's argument that she murdered Agamemnon for the good of Argos has some appeal; it is unquestioned that he led Argos in war against Troy. However, a deeper investigation of the argument reveals its weaknesses. The first weakness is that the Argonauts supported the war. They believed that Paris had abused Menelaus' hospitality by seducing Helen. In addition, they believed that Paris abused their state hospitality by doing so. The argument's second weakness is that, even if the Argonauts had not supported the war, Clytemnestra's actions did nothing to reduce either the duration or the severity of the war."

Tags:Aegisthus, war, justice, Trojan, revenge, killing

Abstract
In this paper the author looks at the role of women in "Agamemnon" and "Antigone" from the Oedipus trilogy. He compares the characters of the main women in the both books, Clytaemestra and Antigone, looking at the way they deal with certain circumstances. For example, how Clytaemestra is devious and plans to murder her husband, Agamemnon, out of fury over his sacrifice of their daughter, Iphigenia. Whereas Antigone defies an edict by insisting on the burial of her brother, Polynices because she is acting out of a sense of duty to fulfill a promise made to him before his death. The author concludes that Clytaemestra and Antigone can be seen as personification of woman's most extreme emotions and conflicts. The values that in Antigone are good and true become distorted into hatred and violence in Clytaemestra.

From the Paper
"The strength of Clytemaestra's personality is evident in her first speech, which follows immediately after the scene in which the sacrifice of Iphigenia takes place. She is majestic in her wrath and dominates the entire work from this scene on. She personifies the theme of the conflict between ethics and principles and human emotions. She easily convinces the elders of her story of the fall of Troy. She impresses them with her intellect by which she arranged a complex system of beacons to relay the news. She is audacious and proud, even hinting subtly of her plans, almost inviting the wrath of the gods."

Tags:flattery, irony, complexity, confidence, wisdom, jealousy, revenge

Abstract
This paper discusses how the choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. It explains that close familial bonds are interrelated with the tragedy in Agamemnon, as is observed in the relationship between Helen and her sister, Clytemnestra. It claims that the entire play follows the paradoxical theme of deep hate in a context of love.

From the Paper
"The choral odes in Greek tragedy served a very specific purpose in the promotion and explication of the theme. Close familial bonds are interrelated with the tragedy in Agamemnon as is observed in the relationship between Helen and her sister Clytemnestra. Helen instigated the Trojan War as well as Iphigenia's death, and the entire play follows the paradoxical theme of deep hate in a context of love. The choral ode to be examined (ll. 585-651) is not pure chorus but almost amounts to a conversation between the chorus, Clytemnestra, and the herald. "Early drama was choral, and the life of Attic tragedy ..."

Tags:chorus, blame, gender

Abstract
This paper shows the differing leadership skills of Agamemnon and Henry V, and ultimately arrives at the conclusion that the latter is a better leader.

From the Paper
"Commitment, honor, bravery, and a high moral code are all important qualities in determining a good leader. A leader is one who leads by example and upholds the principles that have been established by the law. A strong leader is able to take the advice of others while adhering to their own personal beliefs. Upon close examination of Henry V and Agamemnon, it is clearly seen that Henry possesses the stronger leadership characteristics of the two. Both men are descendants of war-like cultures where the strongest performers on the battlefield are the most revered; however, there is a clear distinction between good and poor leadership. Although both experience great success in warfare, it is the compassion and political savvy of Henry which distinguishes him as a good leader, and the vain and egotistical tendencies of Agamemnon which make him a poor leader."

Tags:success, warfare

Abstract
This paper examines how the character of Cassandra in the ancient drama "Agamemnon", first in the Oresteia trilogy written by the Greek playwright Aeschylus, initially may seem relevant only as a secondary character who appears in a minor scene. It attempts to show how Cassandra provides very necessary, crucial elements to the plot and dramatic action which help to portray Aeschylus' messages concerning justice and vengeance. It also looks at how one of the most important aspects of Cassandra's character is her unique style of prophetic vision, which allows her to foresee the past, present and future, yet denies her the luxury of actually being believed in her predictions.

From the Paper
"One basic reason why Cassandra apparently does not actively assist the play in advancing its dramatic action is that she does not actually act at all. Her character only speaks and passively conveys information to the chorus and audience about what will happen, instead of aggressively making things happen. Despite this fact, the information with which she provides us is crucial to our comprehensive understanding of the entire Oresteia trilogy and its background. In particular, Cassandra aids us by developing the theme of justice as well as by informing the audience of essential background knowledge."

Tags:prophetic, vision, justice, vengeance