Көне гректердегі күрес немесе бәйге құдайы Агон

Ancient Greek personification of struggle or competition

Agon (Greek ἀγών) is a Greek term for a conflict, struggle or contest. This could be a contest in athletics, in chariot or horse racing, or in music or literature at a public festival in ancient Greece. Agon is the word forming element in 'agony', explaining the concept of agon(y) in tragedy by its fundamental characters, the protagonist and antagonist.

In one sense, agon meant a contest or a competition in athletics, for example, the Olympic Games (Ὀλυμπιακοὶ Ἀγῶνες). Agon was also a mythological personification of the contests listed above. This god was represented in a statue at Olympia with halteres (dumbbells) (ἁλτῆρες) in his hands. This statue was a work of sculptor Dionysius, and dedicated by Micythus of Rhegium.

According to Pausanias, Agon was recognized in the Greek world as a deity, whose statue appeared at Olympia, presumably in connection with the Olympic Games, which operated as both religious festival in honor of Zeus and athletic competition. Agon is, perhaps, more of a spirit than a god in Greek mythology, but was understood to be related to both Zelos (rivalry) and Nike (victory). More generally, Agon referred to any competitive event that was held in connection with religious festivals, including athletics, music, or dramatic performances. Agon also appears as a concept in the New Testament and is defined in that context by Strong's Concordance as, agón: a gathering, contest, struggle; as an (athletic) contest; hence, a struggle (in the soul).

In Ancient Greek drama, particularly Old Comedy (fifth century B. C.), agon refers to a contest or debate between two characters the protagonist and the antagonist in the highly structured Classical tragedies and dramas. The agon could also develop between an actor and the choir or between two actors with half of the chorus supporting each. Through the argument of opposing principles, the agon in these performances resembled the dialectic dialogues of Plato. The meaning of the term has escaped the circumscriptions of its classical origins to signify, more generally, the conflict on which a literary work turns.