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Τίτλος Μαθήματος: Αγγλική Γλώσσα ΙV
Ενότητα: Αγαμέμνων (Agamemnon)
Διδάσκουσα: Δρ. Θ.Τσελίγκα-Γκαζιάνη
Τμήμα: Φιλολογίας
English language IV – Dept.of Philology
‘Agamemnon’
Adapted from: http://www.cummingsstudyguides.net/Guides4/Agamemnon.html
Pre-reading questions
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What do you know about ‘Agamemnon’?
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What was the role of ‘sin’ and ‘curse’ in Ancient Greece?
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What was the position of women in Ancient Greece?
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How did Gods in Ancient Greece intervene in the life of common people?
Exercise 1
Read the first two sections and fill in the gaps with one of the words given:
account, assailant, evolved, foiled, performed, plot, possession, rulership, seduced, transliterations.
Exercise 2
After you read the section on ‘Mythology Background’ draw a diagram representing the relations between the
characters.
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Introduction: Agamemnon as Part of The Oresteia Trilogy
Agamemnon is a tragedy that was first 1) ___________________ in Athens, Greece, in 458 BC,
along with two other plays: The Libation Bearers (also called Choephori, Choëphoroe, and
Choephoroi in English 2) ____________________ from Greek) and The Eumenides. These three
plays make up a set known as The Oresteia, considered Aeschylus's finest work and one of the
greatest works in world literature.
The plays share a common theme: how the justice system of ancient Greece 3)
____________________ from a crude, "eye for an eye" system to a civilized system with courts and
trials. In ancient Greece, three plays with a related theme and 4) ___________________ were called
a trilogy.
Mythology Background
Aeschylus based the plot of Agamemnon and the other plays in The Oresteia (also spelled Orestea)
on a mythological story well known to Greeks of his time. Following is an abbreviated 5)
__________________ of the story up to the time when Aeschylus picks up the story:
Agamemnon was the son of a man named Atreus. When Agamemnon and his younger brother,
Thyestes, were adults, Atreus became King of Mycenae, a city in southern Greece on a peninsula
today known as the Peloponnese. Atreus then drove his brother out of the city when the latter
challenged him for the throne. One account of this tale says Thyestes had first 6)
____________________ Atreus’s wife, Aërope, to gain 7) ___________________ of a lamb with a
golden fleece that conferred on its owner the 8) ________________ of Mycenae. When Thyestes left
the city, he took with him Atreus’s child, Pleisthenes, and reared the boy.
One day, Thyestes sent Pleisthenes on a mission to kill Atreus. But the murder plot was 9)
_________________ and Pleisthenes was killed. Atreus did not immediately realize that the man who
tried to kill him was his own son. However, after he discovered to his horror the identity of the 10)
___________________, Atreus hatched a plot to get even with his brother: He invited Thyestes to a
banquet, pretending he was ready to reconcile with his brother. The main course turned out to be the
cooked remains of the sons of Thyestes. Thyestes ate heartily of the fare. After he learned of his
brother's treachery, he laid a heavy curse on Atreus and his descendants to get even for this
unspeakable abomination.
So it was that the son of Atreus, Agamemnon, inherited the sin and guilt of his father, just as
Christians of later times inherited the sin and guilt of Adam and Eve.
Thyestes then fathered another son, Aegisthus. When he grew up, he and Thyestes killed Atreus.
Thyestes then seized the throne of Atreus and became King of Mycenae.
Meanwhile, Agamemnon went on to become King of Argos, a city in the Peloponnese, and later
became general of all the Greek armies when Greece declared war on Troy. However, a cloud of
doom—the curse pronounced by Thyestes—hovered over Agamemnon everywhere. It eventually
manifested itself at Aulis, a Greek port city where Agamemnon's fleet had gathered to debark for
Troy. There, the Olympian goddess Artemis—offended because Agamemnon had killed an animal
sacred to her—stayed the winds, making it impossible for Agamemnon and his armies to sail to
Greece. The only way to gain favorable winds, she said, was to sacrifice his young daughter,
Iphigenia. Agamemnon did so and even gagged his daughter so that, with her last breath, she could
not curse him for this deed. Her death enraged Agamemnon's wife, Queen Clytemnestra. After
Artemis quickened the winds and Agamemnon sailed off to Troy, Clytemnestra never forgot what
Agamemnon did. While he was fighting the Trojans, she took a lover—Aegisthus, the son of
Thyestes. Together, Clytemnestra and Aegisthus plotted Agamemnon's murder while he was fighting
at Troy. When the Greeks at long last defeated the Trojans and Clytemnestra received word that
Agamemnon would soon return home as a conquering hero, Clytemnestra set in motion the murder
plan. It is at this point that Aeschylus picks up the story.
Plot Summary
A night watchman on the roof of King Agamemnon’s palace in Argos sees a mountain-top fire
reddening the horizon. It is a signal that the Trojan War has ended in a Greek victory and that
Agamemnon will soon return home.
After the watchman hurries into the palace to report the sighting to Queen Clytemnestra, a chorus of
old men walks to the front of the palace and points out that ten years have passed since Agamemnon
left Argos to lead the Greeks in the war. The elders remember a seer’s prophecy that the king would
sacrifice his and Clytemnestra’s daughter, Iphigenia, to the goddess Artemis in order to gain
favorable winds for his fleet on its journey to Troy. For this act, it was foretold, there would be
retribution. When the time came for his ships to debark. Artemis withheld the winds because
Agamemnon had killed a stag sacred to her. To loose the winds, the goddess decreed, he had to pay
for his offense by sacrificing Iphigenia. Agamemnon did so. This horrible act was made even worse
when he gagged Iphigenia to prevent her from pronouncing a curse on him. So enraged was
Clytemnestra that her anger never subsided during the ten years that Agamemnon was at war. The
chorus of elders suspects that the queen is plotting against her husband:
At home there tarries like a lurking snake, [snake: Clytemnestra]
Biding its time, a wrath unreconciled,
A wily watcher, passionate to slake,
In blood, resentment for a murdered child.
In addition to recalling the seer's prophecy, the chorus also recalls the prophecy that the Greeks
would win the war but commit evil in doing so. However, the old men point out that it was a young
Trojan, Paris, who provoked the war. While visiting Greece, he violated divine and human laws by
running off with the beautiful Helen, wife of Agamemnon’s brother, King Menelaus of Sparta. Such an
act was not only an offense against Menelaus as the husband of Helen but also against Menelaus as
the host of Paris. The Spartan king deserved respect on both accounts.
......
While the old men recount these events of a decade ago, Clytemnestra leaves the palace [through a
door at the center of the stage] and lights fires on a sacrificial altar. She had decreed that similar
sacrificial fires be kindled throughout Argos. When the chorus asks why, she informs them that she
has received notice of a Greek victory in the Trojan War. The message arrived via a series of signal
fires kindled by sentinels posted by her on mountain tops between Troy and Greece. Even as she
speaks, she says, the Greeks are in Troy celebrating victory. She lit her own sacrificial fire, she says,
to pray that the Greeks are gracious in victory and respect the gods Troy holds dear.
Yet let them reverence well the city's gods,
The lords of Troy, tho' fallen, and her shrines;
So shall the spoilers not in turn be spoiled.
Yea, let no craving for forbidden gain
After asking the chorus likewise to pray for a righteous treatment of the Trojan gods, she returns to
the palace. The chorus then offers of a prayer which thanks Zeus for the victory and reminds the
audience that he punishes all who commit an ungodly offense like that of Paris when he caused the
war.
.......
Days later, a herald arrives at the palace to confirm that the war has ended and that Agamemnon is in
Greece and soon will return to Argos. The herald also reports that other returning warriors are
unaccounted for, having apparently been blown off course or lost at sea. There is an implication here
that the gods may have punished them for desecrating Troy's shrines. When Clytemnestra comes
forth, she pretends that she is joyful at the prospect of reuniting with her husband:
What day beams fairer on a woman's eyes
Than this, whereon she flings the portal wide,
To hail her lord, heaven-shielded, home from war?
.......Clytemnestra speaks here with verbal irony, of course, for she plans to kill Agamemnon to
avenge the death of Iphigenia.
.......
When Agamemnon finally appears, he is riding in a chariot at the head of a procession that includes a
chariot carrying a captive princess, the prophetess Cassandra, who is Agamemnon's concubine. That
Agamemnon would bring home a mistress to live in the same house with his wife further enrages the
queen. After the chorus greets him, Agamemnon salutes his native land and the gods who helped
Greece win its victory and who watched over him when he sailed home.
.......
Clytemnestra comes out of the palace and says she endured great agonies when rumors spoke of
Greek woes at Troy, one of which even reported the death of Agamemnon. (If she did experience
agony, it was probably born of disappointment that she would be denied the opportunity of killing
Agamemnon herself.) She wept. When sleeping—on the rare occasions when she could sleep—she
jumped awake at the slightest sound, she says. After she has her say, she welcomes her husband
and orders handmaidens accompanying her to lay down a path of finest purple cloth for him to walk
on from his chariot to the palace. Agamemnon thanks his wife for her greeting but declines her
invitation to walk on the makeshift carpet. To do so would be to exhibit great pride offensive to the
gods:
A mortal man to set his foot
On these rich dyes? I hold such pride in fear,
And bid thee honour me as man, not god.
.......But Clytemnestra tells him he well deserves to enter the palace like a god. As an all-conquering
hero, he has earned the right to enjoy a stately, majestic homecoming. Agamemnon gives in. After
attendants remove his sandals, he proceeds into the palace on the purple walkway. Clytemnestra
follows.
.......
The chorus, still suspicious of Clytemnestra’s motives, senses that death has entered the palace with
Agamemnon, for “these wild throbbings of my heart and breast— / Yea, of some doom they tell.”
.......
Clytemnestra returns and orders Cassandra to enter the palace. When Cassandra does not respond,
Clytemnestra leaves it to the chorus to persuade the girl to accept the invitation, then goes back
inside. After the old men importune Cassandra to obey the command, she prophesies that she and
Agamemnon both will die if she sets foot inside the palace. Nevertheless, she agrees to go inside,
stoically accepting the fate she knows awaits her. Before entering the palace, she makes another
prediction: The day will come when deadly vengeance is exacted against those about to murder her
and Agamemnon.
.......
Shortly after Cassandra enters the palace, the chorus hears Agamemnon crying out that he has been
struck down. Moments later, he cries out again after suffering another blow. The members of the
chorus fear that their own lives are in danger. While they try to decide what to do, Clytemnestra
opens the palace door, revealing the corpses of Agamemnon and Cassandra.
.......
Without qualm, she admits killing her husband, saying she struck him three times in all and that the
blood spurting forth was as sweet as “the rain of heaven to cornland.” When the chorus asks what
drove her to kill her husband, Clytemnestra, as expected, cites Agamemnon’s sacrifice of Iphigenia
as the primary reason. But she says she did the deed for another reason as well: Agamemnon had
been unfaithful to her and even had the audacity to bring Cassandra, his paramour, back to Greece
with him. Now both of them have received their just deserts.
.......
The chorus accuses her of having ensnared Agamemnon in a “spider-web of treachery” and predicts
an avenger will one day visit its wrath upon her. Clytemnestra answers that she was merely the agent
of vengeance, an executioner who carried out a just sentence on a man condemned by his own
actions.
.......
Clytemnestra’s second motive for killing Agamemnon, infidelity, rings of hypocrisy, for she herself was
guilty of infidelity when Agamemnon was at Troy. She took a lover, Aegisthus, who conspired with her
to murder Agamemnon. Aegisthus had long thirsted for Agamemnon’s blood as a result of the deadly
feud between his and Agamemnon’s family.
.......
Aegisthus now takes his place at the side of Clytemnestra, declaring that he too exults in the death of
Agamemnon. Defiantly, he admits “plotting and planning all that malice bade.” The chorus condemns
him:
Thou womanish man, waiting till war did cease,
Home-watcher and defiler of the couch,
And arch-deviser of the chieftain’s doom!
Clytemnestra ends the play by telling Aegisthus:
Heed not thou too highly of them—let the cur-pack growl and yell:
I and thou will rule the palace and will order all things well..
----------------------------------------------------------------------------------------------------------Exercise 1
Use the highlighted words from p.3 to fill in the following sentences.
1. I had to ____________________ my ambitions in order to help my family in such difficult times.
2. He sent ____________________ before him to announce the victory of Athens against Sparta.
3. Ancient Greeks believed firmly in ________________ intervention in human affairs.
4. Athens was the ____________ city of the 2004 Olympic Games.
5. The victim was tied to a sacrificial ________________.
6. No one could _________________ such rapid developments in Greece’s economy.
7. My grandfather often _________________ his adventures from war.
8. Fate ______________ that I would never return.
9. Victims are demanding _________________ for the terrorist attacks.
10. Finally the wind _______________ the next day and the ships embarked on their journey.
Exercise 2
Write a short summary of the plot
Pre-reading exercise
Based on your studies so far, try to name some of the basic themes explored in Oresteia. How important were
these for Ancient Greeks, and why?
Exercise 1
Skim through the text and try to guess the missing words.
Antagonists: The Curse, the "Eye for an Eye" Ethic
The overall t_________ of the Oresteia—the evolution of the Greek justice system—suggests that the
f_________ operating against Agamemnon and Clytemnestra are the antagonists. These forces
include the curse of inherited guilt that dogs Agamemnon and the overpowering desire for
v_____________ that drives Clytemnestra and the gods offended by human actions.
Main Themes of the Trilogy
Retribution and Revenge
The gods of ancient Greece required h______________ to pay for its sins. Sons and daughters of
sinners could inherit the sins of their parents, just as the d__________________ of Adam and Eve
were destined to inherit original sin in Christian theology. But of course each Greek also had free
w______, enabling him or her to choose good or evil. Agamemnon inherited the sin of his father,
Atreus, in the form of a curse pronounced on Agamemnon by his brother, Thyestes. In the Aeschylus
play, Agamemnon thus seems doubly cursed. On the one hand, he b___________ the guilt of his
father; on the other, he bears his own guilt for sacrificing his daughter, Iphigenia, and for participating
in the destruction of Troy’s holy places.
One could argue that the c________________ forcing him to decide whether to sacrifice his daughter
arose as a result of the curse pronounced on the House of Atreus by Thyestes. Whatever the case,
Agamemnon lives under the weight of inherited sin and sin that he wills. Of course, killing his
daughter and defiling Troy’s altars are not his only sins; he also commits a_____________ and
indulges his own pride by walking on the purple carpet. After Clytemnestra murders him, she
d_____________ her action by saying she represented the gods carrying out a divine sentence. But it
is obvious that she is also a human avenger getting even for the murder of her daughter and for
Agamemnon’s infidelity. Ironically, Clytemnestra has also been u______________—with the son of
the man who was wronged by Atreus. At the end of the play, the chorus declares that another
avenger will appear to exact revenge a__________ Clytemnestra.
Evolution of Personal Vengeance Into a Civilized Court System
In very early Greek history, as well as in the myths and legends recounted by early Greek writers, it
was up to individuals to mete out justice for w________ committed against them. Courts and
t________ as we know them today did not exist. In Agamemnon, Clytemnestra takes justice into her
own hands; she believes she has a right to kill Agamemnon in retaliation for his killing of their
daughter, Iphigenia. In her own mind, Clytemnestra has tried and convicted her husband. When she
kills him, she becomes an executioner. In short, she p______________ the entire justice system. In
The Libation Bearers, Orestes—with the support of his sister, Electra—assumes the role of judge,
jury, and executioner, c____________ and killing his mother to avenge the death of his father. In The
Eumenides, the Furies attempt to avenge the death of Clytemnestra. However, two powerful gods,
Apollo and Athena, i____________. Athena establishes a court to try Orestes for his alleged crime.
Apollo testifies for Orestes and the Furies against him. In the end, Orestes is exonerated, and the
court system replaces the old "eye for an eye" system.
Gender Rivalry
In Agamemnon, Argos is a male-dominated society that reduces women to subservient roles.
However, Clytemnestra is a strong woman who rules the kingdom while Agamemnon is away. When
he returns from the war to resume his rule, Clytemnestra is expected to yield to him. It may well be,
though, that Clytemnestra is wedded to the throne, as it were, and has decided to kill Agamemnon
not only as an act of vengeance but also as an act of ambition. This motif receives further attention in
The Libation Bearers. In this play, Clytemnestra is described as a tyrant who oppresses the citizens
of Argos and enslaves her own daughter. It almost appears as if testosterone, not estrogen, drives
her. When Orestes plots her death, he cites reclamation of the throne from a woman as one of one of
his goals. After killing Clytemnestra, Orestes is pursued by female deities, the Furies, and saved by a
male deity, Apollo. Of course, a female deity has the last word: In The Eumenides, the goddess
Athena votes to acquit Orestes, the pacifies the enraged Furies. Her action not only establishes a
new order of justice but also reconciles the warring sexes.
Importance of Heeding the Will of the Gods
In Agamemnon, the title character faces doom in part because he sometimes failed to respect the
gods and their laws. First, he killed an animal sacred to Artemis (an act alluded to but not described in
detail in the Aeschylus play). For this offense, she prevented Agamemnon and his armies from
gaining favorable winds for their voyage to Troy. The only way for him to reverse her action, she
decreed, was to sacrifice his daughter. Second, he exhibited excessive pride on several occasions as
commander of the Greek forces. Third, he allowed his soldiers to desecrate the holy places of Troy.
After his return to Argos, he allowed his pride to get the better of him again, this time by walking in
triumph on the purple carpet. Pride was considered a grave sin in ancient Greece because it placed
too much emphasis on individual will, thereby downplaying the will of the state and endangering the
community as a whole. In The Libation Bearers, Orestes hesitates when the time comes to kill
Clytemnestra. His friend, Pylades, convinces him of the necessity of the act by reminding him that
Apollo ordered the killing. In The Eumenides, everyone—including the Furies—accepts the will of
Athena.
Fickleness of the Gods
The gods of Greek mythology could be fickle and hypocritical, just like humans. Not infrequently, they
violated laws which they commanded humans to obey. For example, they frequently committed
infidelity. They also lied, promoted violence, and displayed inordinate pride. In Agamemnon, the
goddess Artemis exhibited hypocrisy when she withheld favorable winds from Agamemnon for killing
one of her sacred animals. To understand her hypocrisy in this case, one must understand what her
roles were. First, she was a protector of wild animals while also serving as the patron deity of hunters.
She herself was a huntress. Yet she penalized Agamemnon for doing what she often did: kill an
animal. Second, as a virgin goddess, she was the patron of chastity. Yet she told Agamemnon that
she would not cancel her penalty unless he sacrificed his daughter Iphigenia, a virgin. Artemis thus
exhibited hostility toward two humans she was supposed to favor: a hunter and a virgin. In
Agamemnon, Aeschylus does not explicitly address the issue of divine hypocrisy, but he does allude
to it—intentionally or unintentionally—in choral songs.
Infidelity: A Motif in Agamemnon and The Libation Bearers
Both Agamemnon and Clytemnestra commit adultery—he with Cassandra, whom he brings home
from Troy as a captive, and she with Aegisthus, the son of the bitter enemy of Agamemnon’s father.
Although Agamemnon's infidelity is not the main reason that Clytemnestra killed Agamemnon, it helps
her to drive her weapon into his skull. Before Orestes kills Clytemnestra in The Libation Bearers, he
cites his mother's his mother's infidelity with Aegisthus as one of his motives, although it is not the
main motive.
.
Climax
The climax of the play is the murder of Agamemnon and Cassandra.
Symbols
Darkness and Light
Aeschylus uses images of darkness and light to symbolize the emergence of Greece from the
primitive age of personal revenge and vigilante justice, during which powerful monarchs ruled city
states, to the civilized age of law courts, during which the people ruled through democracy. In the
Oresteia, the transition from one age to the other begins in the first play, Agamemnon, when the
watchman observes a mountain-top signal fire lighting the night sky to alert Argos that the Trojan War
has ended. Dawn follows shortly thereafter. From then on, images of darkness and light vie with each
other, symbolizing the cultural and social struggle taking place.
There is a kind of birth going on, and there are labor pains. The newborn child finally sees the light of
day, for good, in the third play of the trilogy.
The Purple Carpet and Cassandra's Saffron Robe
The color of the carpet on which Agamemnon walks into the palace is significant. The Greek word
Aeschylus used to described this color has been rendered in English as purple by some translators
and red by other translators. Both translations are correct insofar as some purples appear reddish
and some reds appear purplish. In fact, purple is sometimes used as a synonym for crimson, a shade
of deep red. Since ancient times, purple has signified imperial, godlike power, as indicated by the
purple robes kings and emperors have worn. It has also been associated with strong emotion and
blood. (The association of purple—a mixture of blue and red—with blood seems scientifically sound,
for deoxygenated blood takes on a bluish or purplish hue—as in cyanosis—and oxygenated blood
becomes bright red). The purple carpet therefore appears to symbolize (1) the pride, or hubris, that
afflicts Agamemnon as conqueror of Troy and King of Argos; (2) the wrath of Clytemnestra; and (3)
the bloody death that awaits Agamemnon. The saffron-colored robe worn by Cassandra also appears
to symbolize the coming bloodbath—for her as well as Agamemnon. A saffron is a flower with large
purple leaves.
Animal and Insect Images
In Agamemnon, eagles, hares, spiders, and other creatures exhibit the behavior patterns of humans,
figuratively speaking, and thus become symbols for those humans. For example, spiders and snakes
are associated with Clytemnestra because she has spun a web of treachery (like a spider) and has
poised herself (like a coiling snake) to strike at Agamemnon. Eagles that prey on a pregnant hare are
associated with Agamemnon and his brother, Menelaus, because they are fierce warriors destined to
destroy Troy (the hare) and its future (the hare's offspring). In the third play of the trilogy, The
Eumenides, the spider-web metaphor appears again when the god Apollo describes how
Clytemnestra trapped Agamemnon:
She spread from head to foot a covering net,
And in the endless mesh of cunning robes
Enwound and trapped her lord, and smote him down.
-------------------------------------------------------------------------------------------------------------Exercise 1
Having read the section on ‘Symbols’, try to:
a) identify the topic sentence of each paragraph and note its supporting points
b) map out the coherence of its paragraph by underlining conjunctions, linking words, transitional
expressions, etc.
Pre-reading exercise
What do ‘figures of speech’ mean? Try to give examples, by referring to original texts.
Figures of Speech
The plays of Aeschylus are rich in a wide range of figures of speech that infuse his writing with dignity
and majesty. Here are examples from Agamemnon and The Libation Bearers.
Metaphor, Personification, Paradox, Hyperbole, Synecdoche
As saith the adage, from the womb of Night................[womb of Night: metaphor, personification]
Spring forth, with promise fair, the young child Light.....[womb of Night / child Light: paradox
Ay—fairer even than all hope my news—....................[fairer even than all hope: hyperbole
By Grecian hands is Priam's city ta'en!.......................[by Grecian hands: synecdoche
—Speaker and play: Clytemnestra in Agamemnon, referring to the Greek victory over the Trojans
Apostrophe, Personification, Metaphor
O mighty Hermes, warder of the shades,..................[O mighty Hermes: apostrophe]
Herald of upper and of under world,
Proclaim and usher down my prayer's appeal
Unto the gods below, that they with eyes
Watchful behold these halls. My sire's of old—
And unto Earth, the mother of all things,...................[Earth, the mother: personification, metaphor]
And loster-nurse, and womb that takes their seed.
—Speaker and play: Electra in The Libation Bearers while praying at the tomb of Agamemnon.
Ανοικτά Ακαδημαϊκά Μαθήματα
Πανεπιστήμιο Ιωαννίνων
Τέλος Ενότητας
Χρηματοδότηση
• Το παρόν εκπαιδευτικό υλικό έχει αναπτυχθεί στα πλαίσια του εκπαιδευτικού έργου
του διδάσκοντα.
• Το έργο «Ανοικτά Ακαδημαϊκά Μαθήματα στο Πανεπιστήμιο Ιωαννίνων» έχει
χρηματοδοτήσει μόνο τη αναδιαμόρφωση του εκπαιδευτικού υλικού.
• Το έργο υλοποιείται στο πλαίσιο του Επιχειρησιακού Προγράμματος «Εκπαίδευση
και Δια Βίου Μάθηση» και συγχρηματοδοτείται από την Ευρωπαϊκή Ένωση
(Ευρωπαϊκό Κοινωνικό Ταμείο) και από εθνικούς πόρους.
Σημειώματα
Σημείωμα Αναφοράς
Copyright Πανεπιστήμιο Ιωαννίνων, Διδάσκουσα: Δρ. Θ.Τσελίγκα-Γκαζιάνη. «Αγγλική
Γλώσσα ΙV. Αγαμέμνων (Agamemnon)». Έκδοση: 1.0. Ιωάννινα 2014. Διαθέσιμο από τη
δικτυακή διεύθυνση: http://ecourse.uoi.gr/course/view.php?id=1189.
Σημείωμα Αδειοδότησης
• Το παρόν υλικό διατίθεται με τους όρους της άδειας χρήσης Creative Commons
Αναφορά Δημιουργού - Παρόμοια Διανομή, Διεθνής Έκδοση 4.0 [1] ή μεταγενέστερη.
[1] https://creativecommons.org/licenses/by-sa/4.0/.