Aeschylus' Persae, first produced in 472 BC, is the oldest surviving Greek tragedy. it's also the single extant Greek tragedy that offers, no longer with a mythological topic, yet with an occasion of modern historical past, the Greek defeat of the Persians at Salamis in 480 BC. in contrast to Aeschylus' different surviving performs, it really is it appears now not a part of a hooked up trilogy. during this new version A. F. Garvie encourages the reader to evaluate the Persae by itself phrases as a drama. it's not a patriotic get together, or a play with a political manifesto, yet a real tragedy, which, faraway from offering 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 advent Garvie defends the play's constitution opposed to its critics, and considers its sort, the potential of thematic hyperlinks among it and the opposite performs awarded by way of Aeschylus at the comparable get together, its staging, and the country of the transmitted textual content. The remark develops in better aspect a number of the conclusions of the creation.
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Additional resources for Aeschylus: Persae
This version of the story ﬁrst appears in the fourth century, but there is no reason to doubt that it formed the theme of 96 For discussion and bibliography see Mastronarde, Phoen. (Cambridge 1994) 13–14, 37–8, TrGF I DID C 16. 97 For useful discussions see Deichgräber, Flintoﬀ 67–80, Moreau, ‘Tétralogie’, Perysinakis, and Sommerstein, Loeb Aeschylus I 7–9 (Persae), III 32–9 (Glaucus Potnieus), and 256–9 (Phineus)? 98 Perysinakis is an exception. Moreau, ‘Tétralogie’ 129–30, ﬁnds a possible contamination between the two myths; see also B.
S. , E. , a play in which the hero will never in fact return. As Taplin says, ‘there are also elements of the plot pattern in the plays of return and revenge (notably A. Cho, S. El, E. El)’. See also Librán Moreno, Lonjas del banquete 238–42. 72 For the theory that the original text of the play was altered for a production in Sicily see p. liv below. 73 But it is not entirely satisfactory, in that the foreboding is not brought to an end with the arrival of the Messenger, but is further developed with the Ghost’s prediction of the battle of Plataea, and indeed continues beyond the end of the play (p.
This is the speciﬁc form taken by the more general movement from prosperity to ruin. g. ),85 and in the symbolism of the splendid oriental clothes, which are torn by the mourning women, and by Xerxes who will appear to us in his rags. Gödde 38–44 shows how Aeschylus presents this motif of the tearing of clothes throughout the play as a ritual gesture on diﬀerent levels, in metaphor (115), in Atossa’s dream, in the Messenger’s report, and visually in the stage-action of the ﬁnal kommos. In the Messenger’s description of the sea-battle (see p.