A poem by Aeschylus (c. 525 – c. 456 Before Christ )
CASSANDRA
Phoebus Apollo!
CHORUS
Hark!
The lips at last unlocking.
CASSANDRA
Phoebus! Phoebus!
CHORUS
Well, what of Phoebus, maiden? though a name
‘Tis but disparagement to call upon
In misery.
CASSANDRA
Apollo! Apollo! Again!
Oh, the burning arrow through the brain!
Phoebus Apollo! Apollo!
CHORUS
Seemingly
Possessed indeed–whether by–
CASSANDRA
Phoebus! Phoebus!
Through trampled ashes, blood, and fiery rain,
Over water seething, and behind the breathing
War-horse in the darkness–till you rose again,
Took the helm–took the rein–
CHORUS
As one that half asleep at dawn recalls
A night of Horror!
CASSANDRA
Hither, whither, Phoebus? And with whom,
Leading me, lighting me–
CHORUS
I can answer that–
CASSANDRA
Down to what slaughter-house!
Foh! the smell of carnage through the door
Scares me from it–drags me toward it–
Phoebus Apollo! Apollo!
CHORUS
One of the dismal prophet-pack, it seems,
That hunt the trail of blood. But here at fault–
This is no den of slaughter, but the house
Of Agamemnon.
CASSANDRA
Down upon the towers,
Phantoms of two mangled children hover–and a famished man,
At an empty table glaring, seizes and devours!
CHORUS
Thyestes and his children! Strange enough
For any maiden from abroad to know,
Or, knowing–
CASSANDRA
And look! in the chamber below
The terrible Woman, listening, watching,
Under a mask, preparing the blow
In the fold of her robe–
CHORUS
Nay, but again at fault:
For in the tragic story of this House–
Unless, indeed the fatal Helen–No
woman–
CASSANDRA
No Woman–Tisiphone! Daughter
Of Tartarus–love-grinning Woman above,
Dragon-tailed under–honey-tongued, Harpy-clawed,
Into the glittering meshes of slaughter
She wheedles, entices him into the poisonous
Fold of the serpent–
CHORUS
Peace, mad woman, peace!
Whose stony lips once open vomit out
Such uncouth horrors.
CASSANDRA
I tell you the lioness
Slaughters the Lion asleep; and lifting
Her blood-dripping fangs buried deep in his mane,
Glaring about her insatiable, bellowing,
Bounds hither–Phoebus Apollo, Apollo, Apollo!
Whither have you led me, under night alive with fire,
Through the trampled ashes of the city of my sire,
From my slaughtered kinsmen, fallen throne, insulted shrine,
Slave-like to be butchered, the daughter of a royal line!
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External links
Bat’s Poetry Page – more poetry by Fledermaus
Talking Writing Monster’s Page –
Batty Writing – the bat’s idle chatter, thoughts, ideas and observations, all original, all fresh
Poems in English
- Love Sonnet LIV poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood XXXI poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood XXVII poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood XXIX poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood XXIV poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood XL poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood X poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood VIII poem – Zora Bernice May Cross poems
- Sonnet Of Motherhood VI poem – Zora Bernice May Cross poems
- Memory poem – Zora Bernice May Cross poems
- Love Sonnet XXXV poem – Zora Bernice May Cross poems
- Love Sonnet XXVIII poem – Zora Bernice May Cross poems
- Love Sonnet XXVI poem – Zora Bernice May Cross poems
- Love Sonnet XXIX poem – Zora Bernice May Cross poems
- Love Sonnet XXI poem – Zora Bernice May Cross poems
- Love Sonnet XVII poem – Zora Bernice May Cross poems
- Love Sonnet XV poem – Zora Bernice May Cross poems
- Love Sonnet XLIX poem – Zora Bernice May Cross poems
- Love Sonnet XLIV poem – Zora Bernice May Cross poems
- Love Sonnet XLII poem – Zora Bernice May Cross poems
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Parallel Translations of Poetry
The Poetry Repository – an online library of poems, poetry, verse and poetic works
Aeschylus (525 Before Christ to 456 B.C.) was an ancient Greek author of Greek tragedy, and is often described as the father of tragedy. Academics’ knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them.