Aeschylus' Persae, first produced in 472 BC, is the oldest surviving Greek tragedy. it's also the one extant Greek tragedy that offers, 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's 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 isn't a patriotic get together, or a play with a political manifesto, yet a real tragedy, which, faraway from proposing an easy ethical of hybris punished by way of the gods, poses questions bearing on human affliction 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 of thematic hyperlinks among it and the opposite performs provided via Aeschylus at the comparable social gathering, its staging, and the nation of the transmitted textual content. The observation develops in higher element a number of the conclusions of the creation.
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Extra resources for Aeschylus: Persae
Those for whom Xerxes is ‘the tragic hero’ now include Lenz 153, 156–60; for the view that Persia, as represented by the Chorus, is the real ‘protagonist’ see for example Gagarin 43. That the play presents a double tragedy is recognized by Schenker 283–93. Atossa’s concern for her son, rather than for Persia, may be historically justiﬁed; Brosius 198 etc. shows that it was in fact the duty of the king’s mother and the king’s wife ‘to assure the wellbeing of their family’. ) xiii. S. Ireland, G&R 20 (1973) 165–8 repr.
In ancient writers the word τετραλογ α is rarely found, while τριλογ α is ﬁrst attested in the statement of Σ Ar. 87 The evidence, however, such as it is, indicates that in antiquity the terms were restricted to a group of three/four plays which were connected in their plot, with the link between satyr-play and the three tragedies being sometimes looser than that between the tragedies themselves. We do not know whether Aeschylus himself used the title Oresteia or the term trilogy, but there is little doubt that he did often compose connected trilogies of this kind.
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. 115 See Garvie on S. Aj. 329, Heath–OKell 367. 116 So Wecklein–Zomarides, Italie edn. on 140, Korzeniewski, ‘Studien’ I 555, M. Smethurst, CW 87 (1993) 17 (for whom, however, the council-chamber is not visible to the audience), Rosenbloom 48–9, 77, 113. 117 Taplin 454, and earlier HSPh 76 (1972) 66–9. But see, against him, Librán Moreno, ‘La skené’ 66–7.
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