Aeschylus

Aeschylus (UK: /ˈiːskɪləs/,[1] /ˈɛskɪləs/;[2] Greek: Αἰσχύλος Aiskhylos, pronounced [ai̯s.kʰý.los]; c. 525/524 – c. 456/455 BC) was an ancient Greek tragedian. He is often described as the father of tragedy.[3][4] Academics' knowledge of the genre begins with his work,[5] and understanding of earlier tragedies is largely based on inferences from his surviving plays.[6] According to Aristotle, he expanded the number of characters in the theater and allowed conflict among them; characters previously had interacted only with the chorus.[nb 1]

Only seven of his estimated seventy to ninety plays have survived, and there is a long-standing debate regarding his authorship of one of these plays, Prometheus Bound, which some believe his son Euphorion actually wrote. Fragments of some other plays have survived in quotations and more continue to be discovered on Egyptian papyrus, often giving further insights into his work.[7] He was probably the first dramatist to present plays as a trilogy; his Oresteia is the only ancient example of the form to have survived.[8] At least one of his plays was influenced by the Persians' second invasion of Greece (480–479 BC). This work, The Persians, is the only surviving classical Greek tragedy concerned with contemporary events (very few of that kind were ever written),[9] and a useful source of information about its period. The significance of war in Ancient Greek culture was so great that Aeschylus' epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright. Despite this, Aeschylus's work – particularly the Oresteia is generally acclaimed by modern critics and scholars.

Aeschylus
Herma of Aeschylus, Klas08
Roman marble herma of Aeschylus dating to c. 30 BC, based on an earlier bronze Greek herma, dating to around 340-320 BC
Native name
Αἰσχύλος
Bornc. 523 BC
Diedc. 456 BC (aged c. 67)
OccupationPlaywright and soldier
Children
Parent(s)Euphorion (father)
Relatives

Life

Aeschylus Bust
Bust of Aeschylus at North Carolina Museum of Art

Aeschylus was born in c. 525 BC in Eleusis, a small town about 27 kilometers northwest of Athens, which is nestled in the fertile valleys of western Attica,[10] though the date is most likely based on counting back forty years from his first victory in the Great Dionysia. His family was wealthy and well established; his father, Euphorion, was a member of the Eupatridae, the ancient nobility of Attica,[11] though this might be a fiction that the ancients invented to account for the grandeur of his plays.[12]

As a youth, he worked at a vineyard until, according to the 2nd-century AD geographer Pausanias, the god Dionysus visited him in his sleep and commanded him to turn his attention to the nascent art of tragedy.[11] As soon as he woke from the dream, the young Aeschylus began to write a tragedy, and his first performance took place in 499 BC, when he was only 26 years old.[10][11] He won his first victory at the City Dionysia in 484 BC.[11][13]

In 510 BC, when Aeschylus was 15 years old, Cleomenes I expelled the sons of Peisistratus from Athens, and Cleisthenes came to power. Cleisthenes' reforms included a system of registration that emphasized the importance of the deme over family tradition. In the last decade of the 6th century, Aeschylus and his family were living in the deme of Eleusis.[14]

The Persian Wars played a large role in the playwright's life and career. In 490 BC, Aeschylus and his brother Cynegeirus fought to defend Athens against the invading army of Darius I of Persia at the Battle of Marathon.[10] The Athenians emerged triumphant, a victory celebrated across the city-states of Greece.[10] Cynegeirus, however, died in the battle, receiving a mortal wound while trying to prevent a Persian ship retreating from the shore, for which his countrymen extolled him as a hero.[10][14]

In 480 BC, Aeschylus was called into military service again, this time against Xerxes I's invading forces at the Battle of Salamis together with his younger brother Ameinias, he also fought, later, at the Battle of Plataea in 479 BC.[15] Ion of Chios was a witness for Aeschylus's war record and his contribution in Salamis.[14] Salamis holds a prominent place in The Persians, his oldest surviving play, which was performed in 472 BC and won first prize at the Dionysia.[16]

Aeschylus was one of many Greeks who were initiated into the Eleusinian Mysteries, an ancient cult of Demeter based in his home town of Eleusis.[17] Initiates gained secret knowledge through these rites, likely concerning the afterlife. Firm details of specific rites are sparse, as members were sworn under the penalty of death not to reveal anything about the Mysteries to non-initiates. Nevertheless, according to Aristotle, Aeschylus was accused of revealing some of the cult's secrets on stage.[18]

Other sources claim that an angry mob tried to kill Aeschylus on the spot, but he fled the scene. Heracleides of Pontus asserts that the audience tried to stone Aeschylus. He then took refuge at the altar in the orchestra of the Theater of Dionysus. At his trial, he pleaded ignorance. He was acquitted, with the jury sympathetic to the military service of Aeschylus and his brothers during the Persian Wars. According to the 2nd-century AD author Aelian, Aeschylus's younger brother Ameinias helped to acquit Aeschylus by showing the jury the stump of the hand that he lost at Salamis, where he was voted bravest warrior. The truth is that the award for bravery at Salamis went not to Aeschylus' brother but to Ameinias of Pallene.[14]

Aeschylus travelled to Sicily once or twice in the 470s BC, having been invited by Hiero I of Syracuse, a major Greek city on the eastern side of the island; and during one of these trips he produced The Women of Aetna (in honor of the city founded by Hieron) and restaged his Persians.[10] By 473 BC, after the death of Phrynichus, one of his chief rivals, Aeschylus was the yearly favorite in the Dionysia, winning first prize in nearly every competition.[10] In 472 BC, Aeschylus staged the production that included the Persians, with Pericles serving as choregos.[14]

Death

Death of Aeschylus in Florentine Picture Chronicle
The death of Aeschylus illustrated in the 15th century Florentine Picture Chronicle by Maso Finiguerra[19]

In 458 BC, he returned to Sicily for the last time, visiting the city of Gela where he died in 456 or 455 BC. Valerius Maximus wrote that he was killed outside the city by a tortoise dropped by an eagle (possibly a lammergeier or Cinereous vulture, which do feed on tortoises by dropping them on hard objects[20]) which had mistaken his bald head for a rock suitable for shattering the shell of the reptile.[21] Pliny, in his Naturalis Historiæ, adds that Aeschylus had been staying outdoors to avoid a prophecy that he would be killed by a falling object.[21] But this story may be legendary and due to a misunderstanding of the iconography on Aeschylus's tomb.[22] Aeschylus's work was so respected by the Athenians that after his death, his were the only tragedies allowed to be restaged in subsequent competitions.[10] His sons Euphorion and Euæon and his nephew Philocles also became playwrights.[10]

The inscription on Aeschylus's gravestone makes no mention of his theatrical renown, commemorating only his military achievements:

Αἰσχύλον Εὐφορίωνος Ἀθηναῖον τόδε κεύθει
     μνῆμα καταφθίμενον πυροφόροιο Γέλας·
ἀλκὴν δ' εὐδόκιμον Μαραθώνιον ἄλσος ἂν εἴποι
     καὶ βαθυχαιτήεις Μῆδος ἐπιστάμενος
[23]

Beneath this stone lies Aeschylus, son of Euphorion, the Athenian,
     who perished in the wheat-bearing land of Gela;
of his noble prowess the grove of Marathon can speak,
     and the long-haired Persian knows it well.

According to Castoriadis, the inscription on his grave signifies the primary importance of "belonging to the City" (polis), of the solidarity that existed within the collective body of citizen-soldiers.

Personal life

Aeschylus married and had two sons, Euphorion and Euaeon, both of whom became tragic poets. Euphorion won first prize in 431 BC in competition against both Sophocles and Euripides.[24] His nephew, Philocles (his sister's son), was also a tragic poet, and won first prize in the competition against Sophocles' Oedipus Rex.[14][25] Aeschylus had at least two brothers, Cynegeirus and Ameinias.

Works

Athen Dionysos-Theater
Modern picture of the Theatre of Dionysus in Athens, where many of Aeschylus's plays were performed
Tragediae septem
Tragoediae septem (1552)

The roots of Greek drama are in religious festivals for the gods, chiefly Dionysus, the god of wine.[13] During Aeschylus's lifetime, dramatic competitions became part of the City Dionysia in the spring.[13] The festival opened with a procession, followed with a competition of boys singing dithyrambs and culminated in a pair of dramatic competitions.[26] The first competition Aeschylus would have participated in, consisted of three playwrights each presenting three tragic plays followed by a shorter comedic satyr play.[26] A second competition of five comedic playwrights followed, and the winners of both competitions were chosen by a panel of judges.[26]

Aeschylus entered many of these competitions in his lifetime, and various ancient sources attribute between seventy and ninety plays to him.[3][27] Only seven tragedies have survived intact: The Persians, Seven against Thebes, The Suppliants, the trilogy known as The Oresteia, consisting of the three tragedies Agamemnon, The Libation Bearers and The Eumenides, together with Prometheus Bound (whose authorship is disputed). With the exception of this last play – the success of which is uncertain – all of Aeschylus's extant tragedies are known to have won first prize at the City Dionysia.

The Alexandrian Life of Aeschylus claims that he won the first prize at the City Dionysia thirteen times. This compares favorably with Sophocles' reported eighteen victories (with a substantially larger catalogue, at an estimated 120 plays), and dwarfs the five victories of Euripides, who is thought to have written roughly 90 plays.

Trilogies

One hallmark of Aeschylean dramaturgy appears to have been his tendency to write connected trilogies, in which each play serves as a chapter in a continuous dramatic narrative.[28] The Oresteia is the only extant example of this type of connected trilogy, but there is evidence that Aeschylus often wrote such trilogies. The comic satyr plays that follow his trilogies also drew upon stories derived from myths.

For example, the Oresteia's satyr play Proteus treated the story of Menelaus' detour in Egypt on his way home from the Trojan War. Based on the evidence provided by a catalogue of Aeschylean play titles, scholia, and play fragments recorded by later authors, it is assumed that three other of his extant plays were components of connected trilogies: Seven against Thebes being the final play in an Oedipus trilogy, and The Suppliants and Prometheus Bound each being the first play in a Danaid trilogy and Prometheus trilogy, respectively (see below). Scholars have moreover suggested several completely lost trilogies derived from known play titles. A number of these trilogies treated myths surrounding the Trojan War. One, collectively called the Achilleis, comprised the titles Myrmidons, Nereids and Phrygians (alternately, The Ransoming of Hector).

Another trilogy apparently recounts the entry of the Trojan ally Memnon into the war, and his death at the hands of Achilles (Memnon and The Weighing of Souls being two components of the trilogy); The Award of the Arms, The Phrygian Women, and The Salaminian Women suggest a trilogy about the madness and subsequent suicide of the Greek hero Ajax; Aeschylus also seems to have written about Odysseus' return to Ithaca after the war (including his killing of his wife Penelope's suitors and its consequences) in a trilogy consisting of The Soul-raisers, Penelope and The Bone-gatherers. Other suggested trilogies touched on the myth of Jason and the Argonauts (Argô, Lemnian Women, Hypsipylê); the life of Perseus (The Net-draggers, Polydektês, Phorkides); the birth and exploits of Dionysus (Semele, Bacchae, Pentheus); and the aftermath of the war portrayed in Seven against Thebes (Eleusinians, Argives (or Argive Women), Sons of the Seven).[29]

Surviving plays

The Persians

Dariuslarge
The Ghost of Darius Appearing to Atossa, drawing by George Romney.

The earliest of his plays to survive is The Persians (Persai), performed in 472 BC and based on experiences in Aeschylus's own life, specifically the Battle of Salamis.[30] It is unique among surviving Greek tragedies in that it describes a recent historical event.[3] The Persians focuses on the popular Greek theme of hubris by blaming Persia's loss on the pride of its king.[30]

It opens with the arrival of a messenger in Susa, the Persian capital, bearing news of the catastrophic Persian defeat at Salamis to Atossa, the mother of the Persian King Xerxes. Atossa then travels to the tomb of Darius, her husband, where his ghost appears to explain the cause of the defeat. It is, he says, the result of Xerxes' hubris in building a bridge across the Hellespont, an action which angered the gods. Xerxes appears at the end of the play, not realizing the cause of his defeat, and the play closes to lamentations by Xerxes and the chorus.[31]

Seven against Thebes

Seven against Thebes (Hepta epi Thebas), which was performed in 467 BC, has the contrasting theme of the interference of the gods in human affairs.[30] It also marks the first known appearance in Aeschylus's work of a theme which would continue through his plays, that of the polis (the city) being a key development of human civilization.[32]

The play tells the story of Eteocles and Polynices, the sons of the shamed King of Thebes, Oedipus. The sons agree to alternate in the throne of the city, but after the first year Eteocles refuses to step down, and Polynices wages war to claim his crown. The brothers kill each other in single combat, and the original ending of the play consisted of lamentations for the dead brothers.[33]

A new ending was added to the play some fifty years later: Antigone and Ismene mourn their dead brothers, a messenger enters announcing an edict prohibiting the burial of Polynices; and finally, Antigone declares her intention to defy this edict.[33] The play was the third in a connected Oedipus trilogy; the first two plays were Laius and Oedipus. The concluding satyr play was The Sphinx.[34]

The Suppliants

Danaïdes tuant leurs maris BnF Français 874 fol. 170v
Miniature by Robinet Testard showing the Danaids murdering their husbands

Aeschylus continued his emphasis on the polis with The Suppliants in 463 BC (Hiketides), which pays tribute to the democratic undercurrents running through Athens in advance of the establishment of a democratic government in 461. In the play, the Danaids, the fifty daughters of Danaus, founder of Argos, flee a forced marriage to their cousins in Egypt. They turn to King Pelasgus of Argos for protection, but Pelasgus refuses until the people of Argos weigh in on the decision, a distinctly democratic move on the part of the king. The people decide that the Danaids deserve protection, and they are allowed within the walls of Argos despite Egyptian protests.[35]

The 1952 publication of Oxyrhynchus Papyrus 2256 fr. 3 confirmed a long-assumed (because of The Suppliants' cliffhanger ending) Danaid trilogy, whose constituent plays are generally agreed to be The Suppliants, The Egyptians and The Danaids. A plausible reconstruction of the trilogy's last two-thirds runs thus:[36] In The Egyptians, the Argive-Egyptian war threatened in the first play has transpired. During the course of the war, King Pelasgus has been killed, and Danaus rules Argos. He negotiates a peace settlement with Aegyptus, as a condition of which, his fifty daughters will marry the fifty sons of Aegyptus. Danaus secretly informs his daughters of an oracle predicting that one of his sons-in-law would kill him; he therefore orders the Danaids to murder their husbands on their wedding night. His daughters agree. The Danaids would open the day after the wedding.[37]

In short order, it is revealed that forty-nine of the Danaids killed their husbands as ordered; Hypermnestra, however, loved her husband Lynceus, and thus spared his life and helped him to escape. Angered by his daughter's disobedience, Danaus orders her imprisonment and, possibly, her execution. In the trilogy's climax and dénouement, Lynceus reveals himself to Danaus, and kills him (thus fulfilling the oracle). He and Hypermnestra will establish a ruling dynasty in Argos. The other forty-nine Danaids are absolved of their murderous crime, and married off to unspecified Argive men. The satyr play following this trilogy was titled Amymone, after one of the Danaids.[37]

The Oresteia

The only complete trilogy of Greek plays by any playwright still extant (save a few missing lines in several spots) is the Oresteia (458 BC), although the satyr play that originally followed it, Proteus, is lost except for some fragments.[30] The trilogy consists of Agamemnon, The Libation Bearers (Choephoroi), and The Eumenides.[32] Together, these plays tell the bloody story of the family of Agamemnon, King of Argos.

Agamemnon

Gérin Clytemnestre hésitant avant de frapper Agamemnon endormi Louvre 5185
The Murder of Agamemnon by Pierre-Narcisse Guérin (1817)

Aeschylus begins in Greece describing the return of King Agamemnon from his victory in the Trojan War, from the perspective of the towns people (the Chorus) and his wife, Clytemnestra. However, dark foreshadowings build to the death of the king at the hands of his wife, who was angry at his sacrifice of their daughter Iphigenia, who was killed so that the gods would restore the winds and allow the Greek fleet to sail to Troy. She was also unhappy at his keeping of the Trojan prophetess Cassandra as a concubine. Cassandra foretells of the murder of Agamemnon, and of herself, to the assembled townsfolk, who are horrified. She then enters the palace knowing that she cannot avoid her fate. The ending of the play includes a prediction of the return of Orestes, son of Agamemnon, who will seek to avenge his father.[32]

The Libation Bearers

The Libation Bearers continues the tale, opening with Orestes's arrival at Agamemnon's tomb. At the tomb, Electra meets Orestes, who has returned from exile in Phocis, and they plan revenge upon Clytemnestra and her lover Aegisthus. Clytemnestra's account of a nightmare in which she gives birth to a snake is recounted by the chorus; and this leads her to order Electra, her daughter, to pour libations on Agamemnon's tomb (with the assistance of libation bearers) in hope of making amends. Orestes enters the palace pretending to bear news of his own death, and when Clytemnestra calls in Aegisthus to share in the news, Orestes kills them both. Orestes is then beset by the Furies, who avenge the murders of kin in Greek mythology.[32]

The Eumenides

The final play of The Oresteia addresses the question of Orestes' guilt.[32] The Furies drive Orestes from Argos and into the wilderness. He makes his way to the temple of Apollo and begs him to drive the Furies away. Apollo had encouraged Orestes to kill Clytemnestra, and so bears some of the guilt for the murder. The Furies are a more ancient race of the gods, and Apollo sends Orestes to the temple of Athena, with Hermes as a guide.[35]

The Furies track him down, and the goddess Athena, patron of Athens, steps in and declares that a trial is necessary. Apollo argues Orestes' case and, after the judges, including Athena deliver a tie vote, Athena announces that Orestes is acquitted. She renames the Furies The Eumenides (The Good-spirited, or Kindly Ones), and extols the importance of reason in the development of laws, and, as in The Suppliants, the ideals of a democratic Athens are praised.[35]

Prometheus Bound

In addition to these six works, a seventh tragedy, Prometheus Bound, is attributed to Aeschylus by ancient authorities. Since the late 19th century, however, scholars have increasingly doubted this ascription, largely on stylistic grounds. Its production date is also in dispute, with theories ranging from the 480s BC to as late as the 410s.[10][38]

The play consists mostly of static dialogue, as throughout the play the Titan Prometheus is bound to a rock as punishment from the Olympian Zeus for providing fire to humans. The god Hephaestus, the Titan Oceanus, and the chorus of Oceanids all express sympathy for Prometheus' plight. Prometheus meets Io, a fellow victim of Zeus' cruelty; and prophesies her future travels, revealing that one of her descendants will free Prometheus. The play closes with Zeus sending Prometheus into the abyss because Prometheus refuses to divulge the secret of a potential marriage that could prove Zeus' downfall.[31]

The Prometheus Bound appears to have been the first play in a trilogy called the Prometheia. In the second play, Prometheus Unbound, Heracles frees Prometheus from his chains and kills the eagle that had been sent daily to eat Prometheus' perpetually regenerating liver. Perhaps foreshadowing his eventual reconciliation with Prometheus, we learn that Zeus has released the other Titans whom he imprisoned at the conclusion of the Titanomachy.[39]

In the trilogy's conclusion, Prometheus the Fire-Bringer, it appears that the Titan finally warns Zeus not to sleep with the sea nymph Thetis, for she is fated to give birth to a son greater than the father. Not wishing to be overthrown, Zeus marries Thetis off to the mortal Peleus; the product of that union is Achilles, Greek hero of the Trojan War. After reconciling with Prometheus, Zeus probably inaugurates a festival in his honor at Athens.[39]

Lost plays

Only the titles and assorted fragments of Aeschylus's other plays have come down to us. We have enough fragments of some plays (along with comments made by later authors and scholiasts) to produce rough synopses of their plots.

Myrmidons

This play was based on books 9 and 16 in Homer's Iliad. Achilles sits in silent indignation over his humiliation at Agamemnon's hands for most of the play. Envoys from the Greek army attempt to reconcile him to Agamemnon, but he yields only to his friend Patroclus, who then battles the Trojans in Achilles' armour. The bravery and death of Patroclus are reported in a messenger's speech, which is followed by mourning.[14]

Nereids

This play was based on books 18, 19, and 22 of the Iliad; it follows the Daughters of Nereus, the sea god, who lament Patroclus' death. In the play, a messenger tells how Achilles, perhaps reconciled to Agamemnon and the Greeks, slew Hector.[14]

Phrygians, or Hector's Ransom

In this play, Achilles sits in silent mourning over Patroclus, after a brief discussion with Hermes. Hermes then brings in King Priam of Troy, who wins over Achilles and ransoms his son's body in a spectacular coup de théâtre. A scale is brought on stage and Hector's body is placed in one scale and gold in the other. The dynamic dancing of the chorus of Trojans when they enter with Priam is reported by Aristophanes.[14]

Niobe

The children of Niobe, the heroine, have been slain by Apollo and Artemis because Niobe had gloated that she had more children than their mother, Leto. Niobe sits in silent mourning on stage during most of the play. In the Republic, Plato quotes the line "God plants a fault in mortals when he wills to destroy a house utterly."[14]

These are the remaining 71 plays ascribed to Aeschylus which are known to us:

  • Alcmene
  • Amymone
  • The Archer-Women
  • The Argivian Women
  • The Argo, also titled The Rowers
  • Atalanta
  • Athamas
  • Attendants of the Bridal Chamber
  • Award of the Arms
  • The Bacchae
  • The Bassarae
  • The Bone-Gatherers
  • The Cabeiroi
  • Callisto
  • The Carians, also titled Europa
  • Cercyon
  • Children of Hercules
  • Circe
  • The Cretan Women
  • Cycnus
  • The Danaids
  • Daughters of Helios
  • Daughters of Phorcys
  • The Descendants
  • The Edonians
  • The Egyptians
  • The Escorts
  • Glaucus of Pontus
  • Glaucus of Potniae
  • Hypsipyle
  • Iphigenia
  • Ixion
  • Laius
  • The Lemnian Women
  • The Lion
  • Lycurgus
  • Memnon
  • The Men of Eleusis
  • The Messengers
  • The Myrmidons
  • The Mysians
  • Nemea
  • The Net-Draggers
  • The Nurses of Dionysus
  • Orethyia
  • Palamedes
  • Penelope
  • Pentheus
  • Perrhaibides
  • Philoctetes
  • Phineus
  • The Phrygian Women
  • Polydectes
  • The Priestesses
  • Prometheus the Fire-Bearer
  • Prometheus the Fire-Kindler
  • Prometheus Unbound
  • Proteus
  • Semele, also titled The Water-Bearers
  • Sisyphus the Runaway
  • Sisyphus the Stone-Roller
  • The Spectators, also titled Athletes of the Isthmian Games
  • The Sphinx
  • The Spirit-Raisers
  • Telephus
  • The Thracian Women
  • Weighing of Souls
  • Women of Aetna (two versions)
  • Women of Salamis
  • Xantriae
  • The Youths

Influence

Influence on Greek drama and culture

Mosaic Orestes Iphigenia Musei Capitolini MC4948
Mosaic of Orestes, main character in Aeschylus's only surviving trilogy, The Oresteia

When Aeschylus first began writing, the theatre had only just begun to evolve, although earlier playwrights like Thespis had already expanded the cast to include an actor who was able to interact with the chorus.[27] Aeschylus added a second actor, allowing for greater dramatic variety, while the chorus played a less important role.[27] He is sometimes credited with introducing skenographia, or scene-decoration,[40] though Aristotle gives this distinction to Sophocles. Aeschylus is also said to have made the costumes more elaborate and dramatic, and having his actors wear platform boots (cothurni) to make them more visible to the audience. According to a later account of Aeschylus's life, as they walked on stage in the first performance of the Eumenides, the chorus of Furies were so frightening in appearance that they caused young children to faint, patriarchs to urinate, and pregnant women to go into labour.[41]

His plays were written in verse, no violence is performed on stage, and the plays have a remoteness from daily life in Athens, either by relating stories about the gods or by being set, like The Persians, in far-away locales.[42] Aeschylus's work has a strong moral and religious emphasis.[42] The Oresteia trilogy concentrated on man's position in the cosmos in relation to the gods, divine law, and divine punishment.[43]

Aeschylus's popularity is evident in the praise the comic playwright Aristophanes gives him in The Frogs, produced some half-century after Aeschylus's death. Appearing as a character in the play, Aeschylus claims at line 1022 that his Seven against Thebes "made everyone watching it to love being warlike"; with his Persians, Aeschylus claims at lines 1026–7 that he "taught the Athenians to desire always to defeat their enemies." Aeschylus goes on to say at lines 1039ff. that his plays inspired the Athenians to be brave and virtuous.

Influence outside Greek culture

Aeschylus's works were influential beyond his own time. Hugh Lloyd-Jones draws attention to Richard Wagner's reverence of Aeschylus. Michael Ewans argues in his Wagner and Aeschylus. The Ring and the Oresteia (London: Faber. 1982) that the influence was so great as to merit a direct character by character comparison between Wagner's Ring and Aeschylus's Oresteia. A critic of his book however, while not denying that Wagner read and respected Aeschylus, has described his arguments as unreasonable and forced.[44]

Sir J. T. Sheppard argues in the second half of his Aeschylus and Sophocles: Their Work and Influence that Aeschylus, along with Sophocles, have played a major part in the formation of dramatic literature from the Renaissance to the present, specifically in French and Elizabethan drama. He also claims that their influence went beyond just drama and applies to literature in general, citing Milton and the Romantics.[45]

Eugene O'Neill's Mourning Becomes Electra (1931), a trilogy of three plays set in America after the Civil War, is modeled after the Oresteia. Prior to writing his acclaimed trilogy, O'Neill had been developing a play about Aeschylus himself, and he noted that Aeschylus "so changed the system of the tragic stage that he has more claim than anyone else to be regarded as the founder (Father) of Tragedy."[46]

During his presidential campaign in 1968, Senator Robert F. Kennedy quoted the Edith Hamilton translation of Aeschylus on the night of the assassination of Martin Luther King Jr. Kennedy was notified of King's murder before a campaign stop in Indianapolis, Indiana and was warned not to attend the event due to fears of rioting from the mostly African-American crowd. Kennedy insisted on attending and delivered an impromptu speech that delivered news of King's death to the crowd.[47]

Acknowledging the audience's emotions, Kennedy referred to his own grief at the murder of his brother, President John F. Kennedy and, quoting a passage from the play Agamemnon (in translation), said: "My favorite poet was Aeschylus. And he once wrote: 'Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until in our own despair, against our will, comes wisdom through the awful grace of God.' What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness; but is love and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country, whether they be white or whether they be black ... Let us dedicate ourselves to what the Greeks wrote so many years ago: to tame the savageness of man and make gentle the life of this world." The quotation from Aeschylus was later inscribed on a memorial at the gravesite of Robert Kennedy following his own assassination.[47]

Editions

The first translation of the seven plays into English was by Robert Potter in 1779, using blank verse for the iambic trimeters and rhymed verse for the choruses, a convention adopted by most translators for the next century.

  • Anna Swanwick produced a verse translation in English of all seven surviving plays as The Dramas of Aeschylus in 1886 full text
  • Stefan Radt (ed.), Tragicorum Graecorum Fragmenta. Vol. III: Aeschylus (Göttingen, Vandenhoeck & Ruprecht, 2009) (Tragicorum Graecorum Fragmenta, 3).
  • Alan H. Sommerstein (ed.), Aeschylus, Volume II, Oresteia: Agamemnon. Libation-bearers. Eumenides. 146 (Cambridge, Massachusetts/London: Loeb Classical Library, 2009); Volume III, Fragments. 505 (Cambridge, Massachusetts/London: Loeb Classical Library, 2008).

See also

Notes

  1. ^ The remnant of a commemorative inscription, dated to the 3rd century BC, lists four, possibly eight, dramatic poets (probably including Choerilus, Phrynichus, and Pratinas) who had won tragic victories at the Dionysia before Aeschylus had. Thespis was traditionally regarded the inventor of tragedy. According to another tradition, tragedy was established in Athens in the late 530s BC, but that may simply reflect an absence of records. Major innovations in dramatic form, credited to Aeschylus by Aristotle and the anonymous source The Life of Aeschylus, may be exaggerations and should be viewed with caution (Martin Cropp (2006), "Lost Tragedies: A Survey" in A Companion to Greek Tragedy, pp. 272–74)

Citations

  1. ^ Jones, Daniel; Roach, Peter, James Hartman and Jane Setter, eds. Cambridge English Pronouncing Dictionary. 17th edition. Cambridge UP, 2006.
  2. ^ "Aeschylus". Webster's New World College Dictionary.
  3. ^ a b c Freeman 1999, p. 243
  4. ^ Schlegel, August Wilhelm von (December 2004). Lectures on Dramatic Art and Literature. p. 121.
  5. ^ R. Lattimore, Aeschylus I: Oresteia, 4
  6. ^ Martin Cropp, 'Lost Tragedies: A Survey'; A Companion to Greek Tragedy, p. 273
  7. ^ P. Levi, Greek Drama, 159
  8. ^ S. Saïd, Aeschylean Tragedy, 215
  9. ^ S. Saïd, Aeschylean Tragedy, 221
  10. ^ a b c d e f g h i j Sommerstein 1996, p. 33
  11. ^ a b c d Bates 1906, pp. 53–59
  12. ^ S. Saïd, Eschylean tragedy, 217
  13. ^ a b c Freeman 1999, p. 241
  14. ^ a b c d e f g h i j Kopff 1997 pp. 1–472
  15. ^ ANONYMOUS LIFE OF AESCHYLUS, § 4 "They say that he was noble and that he participated in the battle of Marathon together with his brother, Cynegirus, and in the naval battle at Salamis with the youngest of his brothers, Ameinias, and in the infantry battle at Plataea."
  16. ^ Sommerstein 1996, p. 34
  17. ^ Martin 2000, §10.1
  18. ^ Nicomachean Ethics 1111a8–10.
  19. ^ Ursula Hoff (1938). "Meditation in Solitude". Journal of the Warburg Institute. 1 (44): 292–294. doi:10.2307/749994. JSTOR 749994.
  20. ^ del Hoyo, J.; Elliott, A.; Sargatal, J., eds. (1994). Handbook of the Birds of the World. 2. Barcelona: Lynx Edicions. p. 107. ISBN 84-87334-15-6.
  21. ^ a b J. C. McKeown (2013), A Cabinet of Greek Curiosities: Strange Tales and Surprising Facts from the Cradle of Western Civilization, Oxford University Press, p. 136, ISBN 978-0-19-998210-3, The unusual nature of Aeschylus's death ...
  22. ^ Critchley 2009
  23. ^ Anthologiae Graecae Appendix, vol. 3, Epigramma sepulcrale. p. 17.
  24. ^ Osborn, K.; Burges, D. (1998). The complete idiot's guide to classical mythology. Penguin. ISBN 978-0-02-862385-6.
  25. ^ Smith 2005, p. 1
  26. ^ a b c Freeman 1999, p. 242
  27. ^ a b c Pomeroy 1999, p. 222
  28. ^ Sommerstein 1996
  29. ^ Sommerstein 2002, 34.
  30. ^ a b c d Freeman 1999, p. 244
  31. ^ a b Vellacott: 7–19
  32. ^ a b c d e Freeman 1999, pp. 244–46
  33. ^ a b Aeschylus. "Prometheus Bound, The Suppliants, Seven Against Thebes, The Persians." Philip Vellacott's Introduction, pp. 7–19. Penguin Classics.
  34. ^ Sommerstein 2002, 23.
  35. ^ a b c Freeman 1999, p. 246
  36. ^ See (e.g.) Sommerstein 1996, 141–51; Turner 2001, 36–39.
  37. ^ a b Sommerstein 2002, 89.
  38. ^ Griffith 1983, pp. 32–34
  39. ^ a b For a discussion of the trilogy's reconstruction, see (e.g.) Conacher 1980, 100–02.
  40. ^ According to Vitruvius. See Summers 2007, 23.
  41. ^ Life of Aeschylus.
  42. ^ a b Pomeroy 1999, p. 223
  43. ^ Pomeroy 1999, pp. 224–25
  44. ^ Furness, Raymond (January 1984). "The Modern Language Review". The Modern Language Review. 79 (1): 239–40. doi:10.2307/3730399. JSTOR 3730399.
  45. ^ Sheppard, J. T. (1927). "Aeschylus and Sophocles: their Work and Influence". The Journal of Hellenic Studies. 47 (2): 265. doi:10.2307/625177. JSTOR 625177.
  46. ^ Floyd, Virginia, ed. Eugene O'Neill at Work. New York: Frederick Ungar, 1981, p. 213. ISBN 0-8044-2205-2
  47. ^ a b Virginia – Arlington National Cemetery: Robert F. Kennedy Gravesite

References

  • Bates, Alfred (1906). "The Drama: Its History, Literature, and Influence on Civilization, Vol. 1". London: Historical Publishing Company.
  • Bierl, A. Die Orestie des Aischylos auf der modernen Bühne: Theoretische Konzeptionen und ihre szenische Realizierung (Stuttgart: Metzler, 1997)
  • Cairns, D., V. Liapis, Dionysalexandros: Essays on Aeschylus and His Fellow Tragedians in Honour of Alexander F. Garvie (Swansea: The Classical Press of Wales, 2006)
  • Critchley, Simon (2009). The Book of Dead Philosophers. London: Granta Publications. ISBN 978-1-84708079-0.
  • Cropp, Martin (2006). "Lost Tragedies: A Survey". In Gregory, Justine (ed.). A Companion to Greek Tragedy. Blackwell Publishing.
  • Deforge, B. Une vie avec Eschyle. Vérité des mythes (Paris, Les Belles Lettres, 2010)
  • Freeman, Charles (1999). The Greek Achievement: The Foundation of the Western World. New York City: Viking Press. ISBN 978-0-670-88515-2.
  • Goldhill, Simon (1992). Aeschylus, The Oresteia. Cambridge: Cambridge University Press. ISBN 978-0-521-40293-4.
  • Griffith, Mark (1983). Aeschylus' Prometheus Bound. Cambridge: Cambridge University Press. ISBN 978-0-521-27011-3.
  • Herington, C.J. (1986). Aeschylus. New Haven, CT: Yale University Press. ISBN 978-0-300-03562-9.
  • Herington, C.J. (1967). "Aeschylus in Sicily". The Journal of Hellenic Studies. 87: 74–85. doi:10.2307/627808. JSTOR 627808.
  • Kopff, E. Christian (1997). Ancient Greek Authors. Gale. ISBN 978-0-8103-9939-6.
  • Lattimore, Richmond (1953). Aeschylus I: Oresteia. University of Chicago Press.
  • Lefkowitz, Mary (1981). The Lives of the Greek Poets. University of North Carolina Press
  • Lesky, Albin (1979). Greek Tragedy. London: Benn.
  • Lesky, Albin (1966). A History of Greek Literature. New York: Crowell.
  • Levi, Peter (1986). "Greek Drama". The Oxford History of the Classical World. Oxford University Press.
  • Martin, Thomas (2000). "Ancient Greece: From Prehistoric to Hellenistic Times". Yale University Press.
  • Murray, Gilbert (1978). Aeschylus: The Creator of Tragedy. Oxford: Clarendon Press.
  • Podlecki, Anthony J. (1966). The Political Background of Aeschylean Tragedy. Ann Arbor: University of Michigan Press.
  • Pomeroy, Sarah B. (1999). Ancient Greece: A Political, Social, and Cultural History. New York City: Oxford University Press. ISBN 978-0-19-509743-6.
  • Rosenmeyer, Thomas G. (1982). The Art of Aeschylus. Berkeley: University of California Press. ISBN 978-0-520-04440-1.
  • Saïd, Suzanne (2006). "Aeschylean Tragedy". A Companion to Greek Tragedy. Blackwell Publishing.
  • Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. ISBN 978-0-313-33268-5.
  • Smyth, Herbert Weir (1922). Aeschylus. Cambridge, Massachusetts: Harvard University Press.
  • Sommerstein, Alan H. (2010). Aeschylean Tragedy (2nd ed.). London: Duckworth. ISBN 978-0-7156-3824-8.
  • — (2002). Greek Drama and Dramatists. London: Routledge Press. ISBN 0-415-26027-2
  • Spatz, Lois (1982). Aeschylus. Boston: Twayne Publishers Press. ISBN 978-0-8057-6522-9.
  • Summers, David (2007). Vision, Reflection, and Desire in Western Painting. University of North Carolina Press
  • Thomson, George (1973) Aeschylus and Athens: A Study in the Social Origin of Drama. London: Lawrence and Wishart (4th edition)
  • Turner, Chad (2001). "Perverted Supplication and Other Inversions in Aeschylus' Danaid Trilogy". Classical Journal. 97 (1): 27–50. JSTOR 3298432.
  • Vellacott, Philip, (1961). Prometheus Bound and Other Plays: Prometheus Bound, Seven Against Thebes, and The Persians. New York: Penguin Classics. ISBN 0-14-044112-3
  • Winnington-Ingram, R. P. (1985). "Aeschylus". The Cambridge History of Classical Literature: Greek Literature. Cambridge University Press.
  • Zeitlin, Froma (1982). Under the sign of the shield: semiotics and Aeschylus' Seven against Thebes. Lanham, Md.: Lexington Books, 2nd ed. 2009 (Greek studies: interdisciplinary approaches)
  • Zetlin, Froma (1996). "The dynamics of misogyny: myth and mythmaking in Aeschylus's Oresteia", in Froma Zeitlin, Playing the Other: Gender and Society in Classical Greek Literature. Chicago: University of Chicago Press. pp. 87–119.
  • Zeitlin, Froma (1996). "The politics of Eros in the Danaid trilogy of Aeschylus", in Froma Zeitlin, Playing the Other: Gender and Society in Classical Greek Literature. Chicago: University of Chicago Press. pp. 123–171.

External links

Bia (mythology)

In Greek mythology, Bia (; Ancient Greek: Βία means "power, force, might") was the personification of force, anger and raw energy.

Cassandra

Cassandra or Kassandra (Ancient Greek: Κασσάνδρα, pronounced [kassándra], also Κασάνδρα), also known as Alexandra, was a woman in Greek mythology cursed to utter prophecies that were true but that no one believed.

Cassandra was reputed to be a daughter of King Priam and of Queen Hecuba of Troy. The older and most common versions state that she was admired by the god Apollo, and he offered her the gift to see the future in order to win her heart. She promised to be his lover in return for his gift, but after receiving it, she went back on her word and refused him. Apollo, angered that she lied and deceived him, wanted to take back the powers he had already given. But since divine powers granted cannot be simply revoked, he placed a counter curse that though she would see the future accurately, nobody would ever believe her prophecies.

Some later versions have her falling asleep in a temple, where the snakes licked (or whispered in) her ears so that she could hear the future.Cassandra became a figure of epic tradition and of tragedy.

In modern usage her name is employed as a rhetorical device to indicate someone whose accurate prophecies are not believed by those around them.

Clytemnestra

Clytemnestra (; Greek: Κλυταιμνήστρα, Klytaimnḗstra, [klytai̯mnɛ̌ːstra]) was the wife of Agamemnon and queen of Mycenae (or sometimes Argos) in ancient Greek legend. In the Oresteia by Aeschylus, she murdered Agamemnon – said by Euripides to be her second husband – and the Trojan princess Cassandra, whom he had taken as a war prize following the sack of Troy; however, in Homer's Odyssey, her role in Agamemnon's death is unclear and her character is significantly more subdued.

Dyssebeia

In Greek mythology, Dyssebeia ([ˈ] Greek: Δυσσέβεια, pronounced [dyˈsːebeːa]) was the spirit and personification of impiety, as opposed to Eusebeia.

According to Aeschylus, Dyssebeia was the mother of Hybris.

Electra

In Greek mythology, Elektra (; Greek: Ἠλέκτρα, Ēlektra, "amber") was the daughter of King Agamemnon and Queen Clytemnestra, and thus princess of Argos. She and her brother Orestes plotted revenge against their mother Clytemnestra and stepfather Aegisthus for the murder of their father.

Electra is one of the most popular mythological characters in tragedies. She is the main character in two Greek tragedies, Electra by Sophocles and Electra by Euripides. She is also the central figure in plays by Aeschylus, Alfieri, Voltaire, Hofmannsthal, and Eugene O'Neill. Her characteristic can be stated as a vengeful soul in the libation bearers, because she plans out an attack with her brother to kill the evil Clytemnestra.

In psychology, the Electra complex is named after her.

Euripides

Euripides (; Greek: Εὐριπίδης Eurīpídēs, pronounced [eu̯.riː.pí.dɛːs]; c. 480 – c. 406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom a significant number of plays have survived. Some ancient scholars attributed 95 plays to him but, according to the Suda, it was 92 at most. Of these, 18 or 19 have survived more or less complete (there has been debate about his authorship of Rhesus, largely on stylistic grounds) and there are also fragments, some substantial, of most of the other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined—he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. Yet he also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of...that cage which is the theatre of Shakespeare's Othello, Racine's Phèdre, of Ibsen and Strindberg," in which "...imprisoned men and women destroy each other by the intensity of their loves and hates", and yet he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.Unique among writers of Ancient Athens, Euripides demonstrated sympathy towards the underrepresented members of society. His male contemporaries were frequently shocked by the 'heresies' he put into the mouths of characters, such as these words of his heroine Medea:

His contemporaries associated him with Socrates as a leader of a decadent intellectualism, both of them being frequently lampooned by comic poets such as Aristophanes. Whereas Socrates was eventually put on trial and executed as a corrupting influence, Euripides chose a voluntary exile in old age, dying in Macedonia. Recent scholarship casts doubt on ancient biographies of Euripides. For example, it is possible that he never visited Macedonia at all, or, if he did, he might have been drawn there by King Archelaus with incentives that were also offered to other artists.

Greek tragedy

Greek tragedy is a form of theatre from Ancient Greece and Asia Minor. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy. Greek tragedy is widely believed to be an extension of the ancient rites carried out in honor of Dionysus, and it heavily influenced the theatre of Ancient Rome and the Renaissance. Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles and Euripides.

Oedipus

Oedipus (UK: , US: ; Greek: Οἰδίπους Oidípous meaning 'swollen foot') was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.

The story of Oedipus is the subject of Sophocles' tragedy Oedipus Rex, which was followed by Oedipus at Colonus and then Antigone. Together, these plays make up Sophocles' three Theban plays. Oedipus represents two enduring themes of Greek myth and drama: the flawed nature of humanity and an individual's role in the course of destiny in a harsh universe.

In the best known version of the myth, Oedipus was born to King Laius and Queen Jocasta. Laius wished to thwart the prophecy, so he sent a shepherd-servant to leave Oedipus to die on a mountainside. However, the shepherd took pity on the baby and passed him to another shepherd who gave Oedipus to King Polybus and Queen Merope to raise as their own. Oedipus learned from the oracle at Delphi of the prophecy that he would end up killing his father and marrying his mother but, unaware of his true parentage, believed he was fated to murder Polybus and marry Merope, so left for Thebes. On his way he met an older man and killed him in a quarrel. Continuing on to Thebes, he found that the king of the city (Laius) had been recently killed, and that the city was at the mercy of the Sphinx. Oedipus answered the monster's riddle correctly, defeating it and winning the throne of the dead king – and the hand in marriage of the king's widow, who was also (unbeknownst to him) his mother Jocasta.

Years later, to end a plague on Thebes, Oedipus searched to find who had killed Laius, and discovered that he himself was responsible. Jocasta, upon realizing that she had married her own son, hanged herself. Oedipus then seized two pins from her dress and blinded himself with them.

The legend of Oedipus has been retold in many versions, and was used by Sigmund Freud to name and give mythic precedent to the Oedipus complex.

Oresteia

The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BC, concerning the murder of Agamemnon by Clytemnestra, the murder of Clytemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and pacification of the Erinyes. The trilogy—consisting of Agamemnon (Ἀγαμέμνων), The Libation Bearers (Χοηφóρoι), and The Eumenides (Εὐμενίδες)—also shows how the Greek gods interacted with the characters and influenced their decisions pertaining to events and disputes. The only extant example of an ancient Greek theatre trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. The principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation. Oresteia originally included a satyr play, Proteus (Πρωτεύς), following the tragic trilogy, but all except a single line of Proteus has been lost.

Philocles

Philocles (Greek: Φιλοκλῆς), was an Athenian tragic poet during the 5th century BC. Through his mother, Philopatho (Greek: Φιλοπαθώ), he had three famous uncles: Aeschylus, the famous poet, Cynaegirus, hero of the battle of Marathon, and Ameinias, hero of the battle of Salamis. The Suda claims that Philocles was the father of the tragic playwright Morsimus, who was in turn the father of the tragedian Astydamas

Phoebe (Titaness)

In ancient Greek religion, Phoebe (; Greek: Φοίβη Phoibe, associated with Phoebos or "shining") was one of the first generation of Titans, who were one set of sons and daughters of Uranus and Gaia.

Prometheus

In Greek mythology, Prometheus (; Greek: Προμηθεύς, pronounced [promɛːtʰéu̯s], possibly meaning "forethought") is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods by stealing fire and giving it to humanity, an act that enabled progress and civilisation. Prometheus is known for his intelligence and as a champion of mankind and also seen as the author of the human arts and sciences generally. He is sometimes presented as the father of Deucalion, the hero of the Greek flood story.

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back overnight to be eaten again the next day. (In ancient Greece, the liver was often thought to be the seat of human emotions.) Prometheus is freed at last by the hero Heracles (Hercules).

In another myth, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

Prometheus Bound

Prometheus Bound (Ancient Greek: Προμηθεὺς Δεσμώτης, Promētheús Desmṓtēs) is an Ancient Greek tragedy. In antiquity, it was attributed to Aeschylus, but now is considered by some scholars to be the work of another hand, and perhaps one as late as c. 430 BC. Despite these doubts about its authorship, the play's designation as Aeschylean has remained conventional. The tragedy is based on the myth of Prometheus, a Titan who defies the gods and gives fire to mankind, acts for which he is subjected to perpetual punishment.

Prometheus Bound was the first work in a trilogy that also included the plays Prometheus Lyomenos (Prometheus Unbound) and Prometheus Pyrphoros (Prometheus the Fire-Bearer), neither of which has survived. Since the final two dramas of the trilogy have been lost, it is difficult to determine the author's original intention for the work as a whole. This problem is intensified since the date of the trilogy is unknown. A reference (lines 363-372) to the eruption of Mount Aetna in 479 suggests that Prometheus Bound may date from later than this event. Aside from that, however, scholars cannot agree whether the play was written early or late in Aeschylus’ career or even whether it is a genuine work of Aeschylus.

Seven Against Thebes

Seven Against Thebes (Ancient Greek: Ἑπτὰ ἐπὶ Θήβας, Hepta epi Thēbas; Latin: Septem contra Thebas) is the third play in an Oedipus-themed trilogy produced by Aeschylus in 467 BC. The trilogy is sometimes referred to as the Oedipodea. It concerns the battle between an Argive army led by Polynices and the army of Thebes led by Eteocles and his supporters. The trilogy won the first prize at the City Dionysia. The trilogy's first two plays, Laius and Oedipus, as well as the satyr play Sphinx, are no longer extant.

Sophocles

Sophocles (; Greek: Σοφοκλῆς Sophoklēs, pronounced [so.pʰo.klɛ̂ːs]; c. 497/6 – winter 406/5 BC) is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than or contemporary with those of Aeschylus, and earlier than or contemporary with those of Euripides. Sophocles wrote over 120 plays during the course of his life, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes and Oedipus at Colonus. For almost 50 years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens that took place during the religious festivals of the Lenaea and the Dionysia. He competed in 30 competitions, won 24, and was never judged lower than second place. Aeschylus won 13 competitions, and was sometimes defeated by Sophocles, while Euripides won four competitions.The most famous tragedies of Sophocles feature Oedipus and also Antigone: they are generally known as the Theban plays, although each play was actually a part of a different tetralogy, the other members of which are now lost. Sophocles influenced the development of drama, most importantly by adding a third actor, thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights such as Aeschylus.

Soter (daimon)

In Greek mythology, Soter (Σωτήρ "Saviour, Deliverer") was the personification or daimon of safety, preservation and deliverance from harm.Suidas makes him the brother and husband of Praxidike and by her the father of Ktesios, Arete and Homonoia. (Note that both Soter and Ktesios were also cult titles of Zeus).

In the Orphic Hymns Praxidike was identified with Persephone, Soter with Zeus, and their daughters Praxidikai with the Erinyes.

Aeschylus references Soter as the husband of Peitharchia and father of Eupraxia.Soteria (Σωτηρία), personification of the abstract concept of safety and salvation, was also worshipped by the Greeks. She had a sanctuary in Patrae, which was believed to have been founded by Eurypylos of Thessaly.

The Frogs

The Frogs (Greek: Βάτραχοι Bátrachoi, "Frogs"; Latin: Ranae, often abbreviated Ran. or Ra.) is a comedy written by the Ancient Greek playwright Aristophanes. It was performed at the Lenaia, one of the Festivals of Dionysus in Athens, in 405 BC, and received first place.

The Persians

The Persians (Ancient Greek: Πέρσαι, Persai, Latinised as Persae) is an ancient Greek tragedy written during the Classical period of Ancient Greece by the Greek tragedian Aeschylus. It is the second and only surviving part of a now otherwise lost trilogy that won the first prize at the dramatic competitions in Athens' City Dionysia festival in 472 BCE, with Pericles serving as choregos.

The Suppliants (Aeschylus)

The Suppliants (Ancient Greek: Ἱκέτιδες, Hiketides; Latin: Supplices), also called The Suppliant Maidens, or The Suppliant Women, is a play by Aeschylus. It was probably first performed sometime after 470 BC as the first play in a tetralogy, sometimes referred to as the Danaid Tetralogy, which probably included the lost plays The Egyptians (also called Aigyptioi), and The Daughters of Danaus (also called The Danaïdes or The Danaids), and the satyr play Amymone. It was long thought to be the earliest surviving play by Aeschylus due to the relatively anachronistic function of the chorus as the protagonist of the drama. However, evidence discovered in the mid-20th century shows it one of Aeschylus' last plays, definitely after The Persians and possibly after Seven Against Thebes.

Plays by Aeschylus
Tetralogies
Extant plays
Fragmentary plays

This page is based on a Wikipedia article written by authors (here).
Text is available under the CC BY-SA 3.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.