Agamemnon’s Death (We Saw it Coming All Along)

Agamemnon, the first play in Aeschylus’s trilogy, Oresteia, recalls the tragic story of Agamemnon, the king of Argos and commander of the Greek armies. The play centers around Agamemnon’s homecoming and Queen Clytemnestra’s revenge over the murder of their daughter. On his journey to Troy to recover his sister-in-law, Helen, Agamemnon angers Artemis and is required to sacrifice his daughter to appease Artemis and save the Greeks (Ag., 223-225). Because of her daughter’s death, Queen Clytemnestra inflicts her revenge by brutally killing Agamemnon, her husband and daughter’s murderer, when he returns home (Ag., 1368-1370).  Although they are subtle and escalate slowly, both physical hints and prophecies from characters such as the Chorus, Clytemnestra, and Cassandra prepare readers for the climax by foreshadowing the tragic death of Agamemnon.

Soon after Agamemnon begins, characters introduce the idea that something is amidst in Argos. Almost immediately, Clytemnestra’s watchman recalls his “old comrade, terror” that has replaced the “good dreams that used to guard [his] sleep” (Ag., 16). Along with this statement, he calls Queen Clytemnestra’s lack of femininity into question when he observes “she maneuvers like a man” (Ag., 13). Later, the leader of the Chorus, which is a group of elderly Greek men who offer the Queen advice, compares her to a man as well (Ag., 355). It makes sense that Clytemnestra steps up and takes on the role of the king in Agamemnon’s absence. Because of her position of authority, though, she has to ignore her emotions. Perhaps, the comments about her manliness are a hint of the vengeance and cold heart that aid her in the killing of her husband. In addition to comments about Clytemnestra resembling a man, the Chorus creates a sense of unease and suspense throughout the play by voicing their concerns over the “terror beating down on [their] heart” (Ag., 978). They foreshadow later events by recognizing that something tragic is in the works and “the end is coming” (Ag., 1000). Even though Agamemnon is safely home, the Chorus remains unsettled. They sense the Furies, monsters who seek justice for those who murder family members, stirring up violence which is a sure sign that evil lurks ahead (Ag., 994). As soon as Agamemnon arrives in his chariot, the Chorus praises him for a well-fought war and then gives him instructions to search the kingdom and discover “who stayed at home and kept their faith / and who betrayed the city” (Ag., 793-794). Through characters’ warnings and rising apprehension, readers are led to the conclusion that Agamemnon’s troubles are just beginning.

Though characters and readers alike may fail to notice, physical evidence of Queen Clytemnestra’s plan and Agamemnon’s murder are also present in Agamemnon. For example, when Agamemnon returns to Argos, Queen Clytemnestra persuades him to walk on the crimson tapestry. Though he is hesitant to disrespect the gods by walking on the tapestry, she persuades him to anyway because he and his victory deserve to be honored (Ag., 955-957). Simply the color of the tapestry signifies the bloodshed of Agamemnon’s daughter as well as the bloodshed that has yet to come. Not only is the tapestry and color choice a way for Clytemnestra to secure the gods’ wrath, but it also mocks Agamemnon by reminding him of the past and suggesting future events. After Agamemnon’s grand entrance, Clytemnestra delivers a speech where she pleads that Zeus, the “master of fulfillment, now fulfill our prayers” (Ag., 975). While her plea may seem innocent to both Agamemnon and the crowd she addresses, it carries a double meaning. Her audience thinks she is asking the gods for prosperity, but she is actually enlisting the gods’ help with her plan to exact revenge. Her speech is yet another physical sign that hints at Agamemnon’s fate.

Not only does the queen give speeches with an underlying meaning, but a priestess shares prophecies that foreshadow Agamemnon’s demise as well. Cassandra, Apollo’s priestess from Troy who Agamemnon brought back as his slave, describes a monstrous plot to the Chorus that is “growing, massing, deep in the house,” to which the Leader of the Chorus replies he has known the signs all along but cannot read them (Ag., 1102-1103; Ag., 1106). At first, Cassandra is somewhat vague about the horrors that are to come. “I tell you, someone plots revenge,” she voices as Apollo’s gift of prophecy seizes her (Ag., 1231). When the Chorus seeks additional information, though, Cassandra divulges specific details, even revealing it is “the woman,” Clytemnestra, who “kills the man,” Agamemnon (Ag., 1241). As their conversation continues, Cassandra explicitly states that they will see Agamemnon dead but honor and someone to avenge them will come (Ag., 1259; Ag., 1300-1301). Unfortunately, her prophecies are later fulfilled, and Agamemnon’s fate is realized when he dies at the hands of his wife, Clytemnestra.

            Although Agamemnon’s death may not be obvious until it actually occurs, physical hints, prophecies, and characters’ unease have been present from the beginning. Though characters and readers may not fully grasp the meaning of these signs, they instantly acquire the sense of impending doom and understand that dire circumstances are near. It is not until the story of Agamemnon has almost ended that the puzzle pieces fall into place and understanding crashes down upon readers and characters.