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
- Robert Burns: To A Louse: On Seeing One On A Lady’s Bonnet, At Church
- Robert Burns: To Mr. M’Adam, Of Craigen-Gillan: In answer to an obliging Letter he sent in the commencement of my poetic career.
- Robert Burns: To John Kennedy, Dumfries House:
- Robert Burns: The Inventory: In answer to a mandate by the Surveyor of the Taxes
- Robert Burns: Address To The Unco Guid, Or The Rigidly Righteous:
- Robert Burns: Here’s His Health In Water :
- Robert Burns: The Rantin’ Dog, The Daddie O’t:
- Robert Burns: The Vision:
- Robert Burns: Epistle To James Smith:
- Robert Burns: The Ordination : For sense they little owe to frugal Heav’n- To please the mob, they hide the little giv’n.
- Robert Burns: The Author’s Earnest Cry And Prayer: To the Right Honourable and Honourable Scotch Representatives in the House of Commons.
- Robert Burns: The Twa Dogs: A Tale
- Robert Burns: The Auld Farmer’s New-Year-Morning Salutation To His Auld Mare, Maggie: On giving her the accustomed ripp of corn to hansel in the New Year.
- Robert Burns: Scotch Drink :
- Robert Burns: Address To The Deil:
- Robert Burns: The Cotter’s Saturday Night: Inscribed to R. Aiken, Esq., of Ayr.
- Robert Burns: Merry Hae I Been Teethin A Heckle:
- Robert Burns: For A’ That:
- Robert Burns: The Jolly Beggars: A Cantata:
- Robert Burns: Adam Armour’s Prayer:
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Parallel Translations of Poetry
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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.