‘Agamemnon’ doesn’t place much emphasis on the warlord king himself, but on his victims. Following the events in the House of Atreus occurring with Agamemnon’s return home from victory at Troy, it establishes a huge double standard between the treatment of Agamemnon and Clytemnestra for actions of equal magnitude but ultimately the eponymous hero plays little role in ‘Agamemnon’. The most emphasis is placed on the chorus and the fate of Cassandra, deemed to be Troy’s last ember and a fascinating character. In Aeschylus’ rendition she is dehumanised yet also so at the forefront and able to regain her agency from her captors and her curse in death. The play surprisingly didn’t actually cover many events, in typical Greek Tragedy all action occurred off stage but it is clear that ‘Agamemnon’ is more focused on setting up for the return of Orestes and his desire for revenge, as oppose to the initial revenge of Clytemnestra.