In this paper, I propose to analyse the ways in which Euripides, in his play Iphigenia in Aulis, challenges and subverts the established epic memory of the Trojan War. I will investigate how the play engages with the audience’s cultural memory and presents the epic heroes in a new light. Indeed, these heroes are not yet at the very centre of the war, as in the Iliad, and cannot be remembered for their war exploits, as they aspire to be in Homeric poetry. Nevertheless, they are already establishing their identity as heroes and the legacy they will leave on the collective memory. This paper will focus on the figure of Agamemnon, who is often overlooked in studies that have focused on Achilles or, above all, Iphigenia. Indeed, the play opens with a hero whom the audience is already acquainted with and who, against all odds, explores the possibility of the non-advent of epic material. What would happen if Agamemnon did not sacrifice his daughter and prevent the Greek army from taking Troy? Will Iphigenia's sacrifice prevent Agamemnon from fulfilling his aristeia? My investigation will provide an opportunity to examine two forms of memory, already present in the epic: memory as a collective celebration of the kleos in which future generations will take part, but also as mutual affection expressed in family intimacy. I will examine the ways in which the tragic performance expresses these two forms of memory and, at times, places them in tension. How does the rewriting of epic material in Iphigenia in Aulis challenge the relationship between epic and tragic heroes and the memory they leave in the collective memory?