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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- Epigram on Miss Davies by Robert Burns
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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
- Robert Burns: My Peggy’s Charms:
- Robert Burns: Braving Angry Winter’s Storms:
- Robert Burns: The Banks Of The Devon:
- Robert Burns: Epitaph For Mr. W. Cruikshank:
- Robert Burns: A Rose-Bud By My Early Walk:
- Robert Burns: Blythe Was She:
- Robert Burns: On Scaring Some Water-Fowl In Loch-Turit : A wild scene among the Hills of Oughtertyre.
- Robert Burns: The Bonie Lass Of Albany:
- Robert Burns: Theniel Menzies’ Bonie Mary:
- Robert Burns: Lady Onlie, Honest Lucky:
- Robert Burns: Castle Gordon:
- Robert Burns: Strathallan’s Lament:
- Robert Burns: Epigram On Parting With A Kind Host In The Highlands:
- Robert Burns: Lines On The Fall Of Fyers Near Loch-Ness.: Written with a Pencil on the Spot.
- Robert Burns: The Humble Petition Of Bruar Water: To the noble Duke of Athole.
- Robert Burns: The Birks Of Aberfeldy:
- Robert Burns: Verses Written With A Pencil Over the Chimney-piece in the Parlour of the Inn at Kenmore, Taymouth.:
- Robert Burns: The Libeller’s Self-Reproof:
- Robert Burns: The Poet’s Reply To The Threat Of A Censorious Critic: My imprudent lines were answered, very petulantly, by somebody, I believe, a Rev. Mr. Hamilton. In a MS., where I met the answer, I wrote below:-
- Robert Burns: Written By Somebody On The Window Of an Inn at Stirling, on seeing the Royal Palace in ruin.: Of an Inn at Stirling, on seeing the Royal Palace in ruin.
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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.