Agamemnon Quotes

“Rest in Peace?’ Why that phrase? That’s the most ridiculous phrase I’ve ever heard! You die, and they say ‘Rest in Peace!’ …Why would one need to ‘rest’ when they’re dead?! I spent thousands of years of world history resting. While Agamemnon was leading his ships to Troy, I was resting. While Ovid was seducing women at the chariot races, I was resting. While Jeanne d’Arc was hallucinating, I was resting. I wait until airplanes are scuttling across the sky to burst out onto the scene, and I’m only going to be here for a short while, so when I die, I certainly won’t need to rest again! Not while more adventures of the same kind are going on.”
― Roman Payne, Rooftop Soliloquy

“They came back
To widows,
To fatherless children,
To screams, to sobbing.
The men came back
As little clay jars
Full of sharp cinders.”
― Aeschylus, The Oresteia: Agamemnon, The Libation Bearers, The Eumenides

“AGAMEMNON: Oh immovable law of heaven! Oh my anguish, my relentless fate!

CLYTEMNESTRA: Yours? Mine. Hers. No relenting for any of us.”
― Euripides, Iphigenia in Aulis

“فالموت ليس بؤساً عندما تموت مع من ترغب”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“من يندم من أجل خطيئته يكاد يكون بريئاً منها .”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“الآلهة يجب أن تقدس أكثر بواسطة البائسين.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“The truth
has to be melted out of our stubborn lives
By suffering.
Nothing speaks the truth,
Nothing tells us how things really are,
Nothing forces us to know
What we do not what to know
Except pain.
And this is how the gods declare their love.
Truth comes with pain.”
― Aeschylus

“Voluptuous promises,
Crystalline logic,
Caressing assurances
Lead him, the slave
Of his own destruction.”
― Aeschylus

“المربية:أعمى ومندفع من يبحث عن الاحتمال قائداً له.
كلوتمنسترا: من يكون حظه سيئاً للغاية لماذا يخشى الاحتمال؟”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“لا أحد يحاول من أول لحظة أقصى مراحل الطريق.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“عندما يكره الزوج فإنه يتهم زوجته دون أن يبحث عن جريمة.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“إن من يهرب من معرفة كوارثه يزيد من خوفه؛ فالكوارث المجهولة تعذب أكثر.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“الهموم تصبح أكثر حدة عندما تصيب الفرد، فمن الأفضل أن ينعي المرء أحبابه وسط آخرين.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“أجاممنون:
أيمكن أن يخاف المنتصر؟
كاساندرا:
يخاف مما لا يخشاه.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“وسط الكوارث يجب على المرء أن يطرق أسرع الطرق.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“الإخلاص لا يمر أبداً من بوابة الملوك.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“My father, father!' - she might pray to the winds;
no innocence moves her judges mad for war.
Her father called his henchmen on,
on with a prayer,
'Host her over the alter
like a yearling, give it all your strength!
She's fainting - lift her,
sweep her robes around her,
but slip this strap in her gentle curving lips...
here, gag her hard, a sound will curse the house'-
and the bridle chokes her voice... her saffron robes
pouring over the sand
her glance like arrows showering
wounding every murderer through with pity
clear as a picture, live,
she strains to call their names...
I remember often the days with father's guests
when over the feast her voice unbroken,
purees the home her loving father
bearing third libations, sang to Saving Zeus -
transfixed with joy, Atreus' offspring
throbbing out their love.”
― Aeschylus

“Beware the wooden horse, Agamemnon King, Conqueror, for it will roar to the skies on wings of thunder and herald the death of nations.”
― David Gemmell, Fall of Kings

“I saw him trying to struggle and call out. But because of the robe, he could not move and his voice could not be heard. I caught his hair and pulled his head back. I showed him the knife, pointing it first towards his eyes until he flinched, before I stabbed him in the neck just beneath the ear, moving aside to avoid the jet of spurting blood, and then, pushing the blade further into his neck, I began to drag it slowly across his throat, slicing deep into him as blood flowed in easy, gurgling waves down his chest and into the water of the bath. And then he fell. It was done.”
― Colm Tóibín, House of Names

“This consideration takes us very close to what it is that makes Greek tragedy “tragic.” A play about an unambiguously heroic young woman, someone’s mother or sister or daughter, squaring off against an unambiguously villainous general or king, a man greedy for military renown or for power, would not be morally interesting. What gives Antigone and Agamemnon and other plays their special and unforgettable force is that they present the irresistible spectacle of two worldviews, each with its own force, harrowingly locked in irreducible conflict. And yet while the characters in these plays are unable to countenance, let alone accept, their opponents’ viewpoints, the audience is being invited to do just that—to weigh and compare the principles the characters adhere to, to reflect on the necessity of seeing the whole and on the difficulties of keeping the parts in equilibrium. Or, at least, to appreciate the costs of sacrificing some values for others, when the occasion demands.”
― Daniel Mendelsohn

“كل خطيئة تقع في قصر ملكي تصبح معروفة للجميع.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“النجاح يدفع النفس إلى نجاحات أخرى”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“إن أعظم شر بالنسبة للزوجة هو أن تسيطر عشيقة جهاراً على منزل الزوج.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“إن المطرودين بواسطة الملوك ليس لهم مخرج.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“الثقة التي تجلب بالرشوة تنهار أمام الرشوة.”
― عبد المعطي شعراوي, ميديا -فيدرا-أجاممنون

“You betray him by warning me.'
It is true. Achilles has given Agamemnon a sword to fall upon, and I have stayed his hand. The words are thick and bitter. 'I do.'
'Why?' he asks.
'Because he is wrong,' I say. My throat feels raw and broken, as though I have drunk sand and salt.”
― Madeline Miller, The Song of Achilles

“I watch the bolt of his triumph sliding home. He is a connoisseur of pain. There is nothing that could cause Achilles greater anguish: being betrayed to his worst enemy, by the man he holds closest to his heart.”
― Madeline Miller, The Song of Achilles

“Her safety for my honour. Are you happy with your trade?'
'There is no honour in betraying your friends.”
― Madeline Miller, The Song of Achilles

“There was precious little nobility in the features of the High King's fleshy face. Like his body, his face was broad and heavy, with a wide stub of a nose, a thick brow, and deep-set eyes that seemed to look out at the world with suspicion and resentment. His hair and beard were just beginning to turn grey, but they were well combed and glistening with fresh oil perfumed... heavily... He was broad of shoulder and body, built like a squat turret, round and thick from neck to hips. He wore a sleeveless coat of gilded chain mail over his tunic... Over the mail was a harness of gleaming leather, with silver buckles and ornaments. A jewelled sword hung at his side. His sandals had gold tassels on their thongs.”
― Ben Bova

“Honour to Agamemnon is a thing / That he can pick, pick up, put back, pick up again, / A somesuch you might find beneath your bed.”
― Christopher Logue, War Music: An Account of Homer's Iliad