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 background, the Greek defeat of the Persians at Salamis in 480 BC. not like Aeschylus' different surviving performs, it really is it sounds as if now not a part of a attached 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 occasion, or a play with a political manifesto, yet a real tragedy, which, faraway from proposing an easy ethical of hybris punished through the gods, poses questions bearing on human affliction 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 opportunity of thematic hyperlinks among it and the opposite performs awarded by means of Aeschylus at the similar social gathering, its staging, and the country of the transmitted textual content. The statement develops in higher aspect a few of the conclusions of the advent.
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Additional resources for Aeschylus: Persae
Xi above). STAGING The staging of Persae has for many years played a prominent part in the controversy as to whether the skene, the building which formed the backdrop to all Greek plays from the Oresteia onwards, was already in existence at the time when Aeschylus produced his earlier plays. No character in Persae, Septem, or Supplices enters or exits by means of the central door which was an essential feature of the later skene. All that Septem and Supplices require is a raised area or mound on which were placed statues or images of gods, while Persae needs some kind of structure representing the tomb of Darius, from which he emerges in the course of the play.
Is like that of PV. Structure xxxv attention shifts to Xerxes, whose fall from his chariot is the subject of her dream. When the Messenger arrives at 249 it is the Chorus which ﬁrst responds to his sad news. Atossa remains silent, not because Aeschylus has still to learn how to handle the second actor (pp. 143–5), but because the disaster in the ﬁrst instance aﬀects Persia as a whole, and it is the Chorus’s job to deal with that theme. When Atossa does begin to question the Messenger, her ﬁrst concern, as the Messenger understands, is with the fate of her husband.
According to Dickie (89 on P. Py. 55–6), ‘there is a limit to human felicity beyond which a man might not attempt to go; to do so is an act of hybris’; and (106) ‘having mortal thoughts means knowing what our limitations as mortals are’. This may be all very well in principle, but not very helpful in practice; the knowledge of these limitations may be impossible to determine. How could Xerxes know that as a human being he was not allowed to build a bridge? As with the phthonos concept, this form of hybris, if that is what we are to call it, can be detected only in retrospect.
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