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By Aeschylus

Aeschylus' Persae, first produced in 472 BC, is the oldest surviving Greek tragedy. it's also the one extant Greek tragedy that bargains, now not with a mythological topic, yet with an occasion of modern background, the Greek defeat of the Persians at Salamis in 480 BC. in contrast to Aeschylus' different surviving performs, it really is it seems that no longer 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 party, or a play with a political manifesto, yet a real tragedy, which, faraway from offering an easy ethical of hybris punished by way of the gods, poses questions relating human pain to which there aren't any effortless solutions. In his advent 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 awarded through Aeschylus at the similar social gathering, its staging, and the nation of the transmitted textual content. The observation develops in larger element many of the conclusions of the creation.

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59 So in A. Ag. Agamemnon’s walking on the crimson fabrics is a symbol of his hybris, but not in itself the reason for his fall. 60 ‘Darius condemns his son for actions he himself committed’ (Rosenbloom 102). Kantzios 7 recognizes that there is a contradiction between Darius’ words and his former deeds as monarch. He concludes from this that the credibility of Darius’ words is undermined by the audience’s knowledge that father and son were in fact very similar (13–14). Persae as a Tragedy xxxi Scythian expedition, or about the bridge that he built over the Bosporus (Quincey 184 feebly explains that between the bridge-building of Darius and that of Xerxes the former must have received oracles warning him against such behaviour).

80 Style xxxix which are ‘striking’ and those whose effect would be less, if at all, felt by Aeschylus’ audience. In some respects the same technique is found in all his plays, for example in his tendency to fuse the vehicle and tenor of the image, as for example at 87–92 n. ). But the difference between the Oresteia and the other plays should not be overstated. In the trilogy the recurring metaphors embrace all three plays, and so they may have done in the trilogies to which Septem and Supplices belonged.

8, IV p. 2 (Munich 1934) 436), an Argonaut trilogy (H. Lloyd-Jones, Sophocles: Fragments 275), a trilogy that included Ajax (Heath–OKell 378–80). 94 See Garvie, Supplices 183–5 on the hazards of reconstructing the lost plays of the Danaid trilogy. 95 See T. B. L. Webster, The tragedies of Euripides (London 1967) 165–81, R. Scodel, The Trojan trilogy of Euripides (Göttingen 1980), S. A. Barlow, Trojan Women (Warminster 1986) 27–30, for this ‘Trojan trilogy’. G. L. Koniaris, HSPh 77 (1973) 85–124, firmly rejects the idea that these plays form a ‘connected trilogy’ in any meaningful sense.

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