Aeschylus: Persae - download pdf or read online

By Aeschylus

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 modern background, the Greek defeat of the Persians at Salamis in 480 BC. in contrast to Aeschylus' different surviving performs, it's it sounds as if 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 offering an easy ethical of hybris punished through the gods, poses questions referring to human discomfort to which there aren't any effortless solutions. In his creation Garvie defends the play's constitution opposed to its critics, and considers its kind, the opportunity of thematic hyperlinks among it and the opposite performs awarded by means of Aeschylus at the related get together, its staging, and the kingdom of the transmitted textual content. The remark develops in better element many of the conclusions of the creation.

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The destruction of the Athenian temples is as clear an example of hybris as anyone could wish for (cf. Hdt. 3), but the second is more difficult, and it is this that ought to explain why the expedition itself was morally wrong. Darius does not actually say that the desire to have more than one’s present fortune is itself hybris. It may be dangerous because it is liable to lead to hybris. But his remarks are embedded in a context of criticism of excessive thoughts and desires, so that the distinction between the moral and the amoral explanations of human suffering has become blurred.

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. Gantz, ‘Prolegomena’ 293 n. 26, declines to call it a trilogy, but recognizes that the plays may have had a thematic connection. 97 There seems, however, to be no parallel for the sandwiching of a historical play between two tragedies which drew their subject-matter in the conventional way from myth, the two myths being unconnected with each other, and both of them unconnected with the theme of the satyr-play.

It knows that hybris is wrong, but the problem is to know in advance what hybris is. It might well decide to refrain from burning temples, but what about building bridges or crossing the sea? It is a gross over-simplification to say that Xerxes deserves to suffer (p. xxiii), or that the audience can be sure that, whether as individuals or as a city, it is itself immune from suffering. What the audience has learnt is that the problem of causality and responsibility is not a simple one. 63 It consists, 61 Rosenbloom 102 puts it well: ‘Darius’ history of the Persian empire is a story of continuous expansion.

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