Best 15 quotes in «agamemnon quotes» category

Many heroes lived before Agamemnon; but all are unknown and unwept, extinguished in everlasting night, because they have no spirited chronicler.

Many brave men lived before Agamemnon; but, all unwept and unknown, are lost in the distant night, since they are without a divine poet (to chronicle their deeds).

The greatest horrors in the history of mankind are not due to the ambition of the Napoleons or the vengeance of the Agamemnons, but to the doctrinaire philosophers. The theories of the sentimentalist Rousseau inspired the integrity of the passionless Robespierre. The cold-blooded calculations of Karl Marx led to the judicial and business-like operations of the Cheka.

The nightingales are singing near The Convent of the Sacred Heart, And sang within the bloody wood When Agamemnon cried aloud, And let their liquid siftings fall To stain the stiff dishonored shroud.

AGAMEMNON: Oh immovable law of heaven! Oh my anguish, my relentless fate! CLYTEMNESTRA: Yours? Mine. Hers. No relenting for any of us.

Writings survive the years; it is by writings that you know Agamemnon, and those who fought for or against him. [Lat., Scripta ferunt annos; scriptis Agamemnona nosti, Et quisquis contra vel simul arma tulit.]

Beware the wooden horse, Agamemnon King, Conqueror, for it will roar to the skies on wings of thunder and herald the death of nations.

The story of Ulysses and Agamemnon and Menelaus, of Jesus, of the Good Knight of Chaucer, lives in every one of us.

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.

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.

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.

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.

They came back To widows, To fatherless children, To screams, to sobbing. The men came back As little clay jars Full of sharp cinders.

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.

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.