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 modern historical past, 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 hooked up trilogy. during this re-creation 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 proposing an easy ethical of hybris punished by way of the gods, poses questions pertaining to human agony to which there aren't any effortless solutions. In his creation Garvie defends the play's constitution opposed to its critics, and considers its variety, the potential for thematic hyperlinks among it and the opposite performs awarded via Aeschylus at the related get together, its staging, and the country of the transmitted textual content. The remark develops in higher aspect a few of the conclusions of the creation.
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Extra info for Aeschylus: Persae
Smethurst 107 n. 50 (also CW 87 (1993) 13–20), Scullion, Three studies 69–70. 109 H. D. F. Kitto, Form and meaning in drama (London 1956) 31; see Taplin 458–9, Garvie, Choephori xlvi–xlvii. 110 Pöhlmann, ‘Proedrie’ 53 and ‘Chor’ 64, Bees 90. 107 Staging xlvii orchestra terrace-wall,111 this is perhaps an exaggeration. But certainly the existence of a skene would make this easier. 112 Bethe (followed by Conradt–Schiller 7–9) envisaged a simple building without a door, which served as a background to the action; similarly Pöhlmann, Proedrie, for whom the great innovation in the Oresteia was the doors, which for the ﬁrst time allowed the skene to be used as part of the action; see also Rehm, ‘Staging’ 281 n.
But see, against him, Librán Moreno, ‘La skené’ 66–7. I do not understand the idea of Dale (Collected papers 140–9, 262), a believer in a visible skene, that, when the Chorus sits on the steps outside the skene, it is meant to be inside it. Staging xlix Stagecraft 456), makes out a reasonable case for Aeschylus’ Myrmidones being set inside the klisia of Achilles at Troy. From the Oresteia onwards no surviving tragedy can be proved to have an indoor setting,118 and we should have to suppose that with the introduction of the skene that possibility became no longer available.
See also Anderson 166–74, Vassia 49–73. 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.
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