Aeschylus: Persae by Aeschylus

By Aeschylus

Aeschylus' Persae, first produced in 472 BC, is the oldest surviving Greek tragedy. it's also the single extant Greek tragedy that bargains, now not with a mythological topic, yet with an occasion of contemporary heritage, the Greek defeat of the Persians at Salamis in 480 BC. not like Aeschylus' different surviving performs, it truly is it seems that no longer a part of a hooked up trilogy. during this re-creation A. F. Garvie encourages the reader to evaluate the Persae by itself phrases as a drama. it isn't a patriotic occasion, or a play with a political manifesto, yet a real tragedy, which, faraway from proposing an easy ethical of hybris punished via the gods, poses questions bearing on human pain to which there are not any effortless solutions. In his creation Garvie defends the play's constitution opposed to its critics, and considers its variety, the potential for thematic hyperlinks among it and the opposite performs offered by means of Aeschylus at the related get together, its staging, and the nation of the transmitted textual content. The statement develops in better aspect a number of the conclusions of the advent.

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Extra info for Aeschylus: Persae

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Xliv Introduction Aeschylus’ play, and perhaps of the two Phineus plays of Sophocles. Some have found in the theme of prophecy a link between this play and Persae, in which Darius predicts the defeat at Plataea. It has been suggested too that the oracles of 739–42 n. might have been revealed by Phineus to the Argonauts. More probably, however, they were given to Darius in his lifetime, and invented ad hoc by Aeschylus for that passage in Persae. 102 Altogether more promising is the story of Glaucus of Potniae, son of Sisyphus, who, while taking part in the funeral games of Pelias at Iolcus, was torn in pieces and devoured by his mares.

Hel. 385 is the only exception. Still, Aeschylus did not have to provide any dramatic motivation for the Chorus’s entry or to give any indication of where we are supposed to be. ). In this play nothing goes according to plan for the Persians. 117 This gains some support from what we are told of the opening of Phrynichus’ play (see above), and Taplin, in his 1972 article (and 114 So A. W. Pickard-Cambridge, The theatre of Dionysus in Athens (Oxford 1946) 35–6, Broadhead xliv–xlvi, di Benedetto–Medda 14, 80, Judet de La Combe, Rehm, Play of space 239.

For Perysinakis 248–9 his hybris consists in disobeying the oracles supposedly given to the Argonauts in the first play of the trilogy (see p. xliv below), that, once the Argo had established a free passage for ships sailing into the Black Sea, that passage must be left unencumbered. But, even if at 739–41 and 800–2 we are to find references to prophecies of Phineus, according to Darius they gave no orders to Xerxes, but merely predicted what would happen. Others recognize that if the hybris idea is to have any value at all it must somehow account for the whole conception and management of the operation.

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