Aeschylus Aeschylus

Aeschylus II contains “The Oresteia,” translated by Richmond Lattimore, and fragments of “Proteus,” translated by Mark Griffith. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides’ Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocles’s satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

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Eschilo è stato un drammaturgo greco antico, unanimemente considerato l'iniziatore della tragedia greca nella sua forma più matura.La tragedia “Agamennone” fa parte della trilogia denominata “Orestea” ( Ὀρέστεια', in greco antico). Tale tragedia narra di come Agamennone, sovrano della polis di Argo, di ritorno dalla guerra di Troia, venga ucciso a colpi di scure dalla moglie Clitennestra, con l'aiuto del cugino-amante Egisto.

Solenni, pervase di uno spirito profetico quasi biblico, le tragedie “Agamennone”, “Coefore” ed “Eumenidi” compongono l'“Orestea”, l'unica trilogia del teatro greco che ci sia giunta completa. Narrano l'assassinio di Agamennone da parte della moglie Clitennestra, furiosa per il sacrificio della figlia Ifigenia; la vendetta del figlio Oreste, che uccide la madre e viene poi perseguitato dalle Erinni e infine la sua assoluzione da parte del tribunale dell'Areopago. Eschilo fa coesistere, in un unico indissolubile insieme, le passioni, il misterioso e ambiguo groviglio di sentimenti che dominano i casi della sventurata famiglia degli Atridi e una discussione, attualissima, sui principi etici, giuridici e religiosi della società. Un ciclo di straordinaria potenza espressiva, che mette in scena la consacrazione del diritto al posto della vendetta.

Esquilo es el primero y más antiguo de los tres grandes trágicos griegos cuyos nombres son bien conocidos: Esquilo, Sófocles y Eurípides. Esquilo nació cerca de Atenas hacia el año 526 a.C. y murió en el 456 a.C. Escribió y puso en escena unas ochenta tragedias, de las cuales se nos han conservado siete. Aunque se puede leer de forma independiente, Agamenón es la primera obra de la Orestea, la única trilogía de Esquilo que conocemos en su totalidad y que se completa con Las coéforas y Las euménides. El dramaturgo heleno nos demuestra en Agamenón lo complejo que es juzgar a una persona por sus hechos. El rey argólida que da nombre a la tragedia es considerado un héroe tras su regreso victorioso de Troya, pero también es un hombre adúltero y capaz de ofrecer en sacrificio a su hija Ifigenia como medio para obtener la gloria militar. Clitemnestra, esposa de Agamenón, planea vengar el acto impío que cometió su marido al no dudar en derramar la sangre de su hija. Sin embargo, Clitemnestra tampoco está libre de culpa, ya que tiene como amante a Egisto, un familiar de su marido, y el derramamiento de sangre por su propia mano deberá ser castigado en su justa medida. Esquilo analiza en Agamenón la idea de justicia y nos de muestra con maestría el sufrimiento que acarrea a los hombres acatar los inevitables designios divinos.

The play begins in Greece describing the return of King Agamemnon from his victory in the Trojan War, from the perspective of the towns people (the Chorus) and his wife, Clytemnestra. However, dark foreshadowings build to the death of the king at the hands of his wife, who was angry at his sacrifice of their daughter Iphigenia, who was killed so that the gods would restore the winds and allow the Greek fleet to sail to Troy. She was also unhappy at his keeping of the Trojan prophetess Cassandra as a concubine. Cassandra foretells of the murder of Agamemnon, and of herself, to the assembled townsfolk, who are horrified. She then enters the palace knowing that she cannot avoid her fate. The ending of the play includes a prediction of the return of Orestes, son of Agamemnon, who will seek to avenge his father. (Source: wiki) This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

A Bold, Iconoclastic New Look at One of the Great Works of Greek Tragedy  In this innovative rendition of The Oresteia, the poet, translator, and essayist Anne Carson combines three different visions—Aischylos’ Agamemnon, Sophokles’ Elektra, and Euripides’ Orestes—giving birth to a wholly new experience of the classic Greek triumvirate of vengeance. After the murder of her daughter Iphegenia by her husband Agamemnon, Klytaimestra exacts a mother’s revenge, murdering Agamemnon and his mistress, Kassandra. Displeased with Klytaimestra’s actions, Apollo calls on her son, Orestes, to avenge his father’s death with the help of his sister Elektra. In the end, Orestes, driven mad by the Furies for his bloody betrayal of family, and Elektra are condemned to death by the people of Argos, and must justify their actions—signaling a call to change in society, a shift from the capricious governing of the gods to the rule of manmade law. Carson’s accomplished rendering combines elements of contemporary vernacular with the traditional structures and rhetoric of Greek tragedy, opening up the plays to a modern audience. In addition to its accessibility, the wit and dazzling morbidity of her prose sheds new light on the saga for scholars. Anne Carson’s Oresteia is a watershed translation, a death-dance of vengeance and passion not to be missed.

Excellent Book

Matricidio. Nella catena dei delitti che trascinano nel sangue la famiglia degli Atridi, è questo il nodo cruciale, davanti al quale l'antica giustizia familiare è costretta ad arrestarsi. Agamennone sacrifica la figlia Ifigenia, Clitennestra uccide Agamennone; a Oreste, figlio di Agamennone, spetta il compito di vendicare il padre uccidendo Clitennestra. Ma Clitennestra è sua madre. La necessità della vendetta e l'empietà del delitto, i diritti del padre e la pietà per la madre, stringono il figlio di Agamennone e di Clitennestra in una morsa da cui né la coscienza, né gli dei potranno liberarlo. La speranza, con cui si chiude la tragedia, è in un assoluzione affidata alla giustizia umana, che segnerà l'avvento di una nuova era.

Dans L'Orestie, après le meurtre d'Agamemnon par sa femme Clytemnestre à son retour de Troie (Agamemnon), Eschyle met en scène la vengeance d'Oreste (Les Choéphores) puis le procès où s'affrontent, devant un tribunal fondé pour l'occasion, l'Aréopage athénien, les Érinyes, antiques déesses de la vengeance, et les « nouveaux dieux » que sont Apollon et Athéna (Les Euménides). Jamais, chez les Atrides, depuis le crime d'Atrée, qui avait massacré les enfants de son frère, le meurtre n'avait cessé de répondre au meurtre. À travers leur histoire, la trilogie d'Eschyle fait apparaître le passage progressif de la violence à l'ordre, et la naissance d'un droit civique qui se substitue à la vendetta familiale et à la justice archaïque fondée sur un talion rigoureux. À la fin de l'ouvrage, un texte de Paul Demont revient sur l'analyse des Euménides de l'historien Christian Meier, (L'Invention du politique), en rapport avec les théories de Carl Schmitt sur le processus de la décision judiciaire et politique. Traduction de Victor-Henri Debidour. Introduction d'Anne Lebeau. Dossier de Paul Demont.

Sommerstein presents a freshly constituted text, with introduction and commentary, of Eumenides, the climactic play of the only surviving complete Greek tragic trilogy, the Oresteia of Aeschylus. Of all Athenian tragic dramas, Eumenides is most consciously designed to be relevant to the situation of the Athenian state at the time of its performance (458 B.C.) and seems to have contained daring innovations both in technique and in ideas. The introduction and commentary to this edition seek to bring out how Aeschylus shaped to his purpose the legends he inherited, and ended the tragic story of Agamemnon's family in a celebration of Athenian civic unity and justice. The commentary also pays attention to the linguistic, metrical and textual problems to be encountered by the reader.

Three masterpieces of classical tragedy Containing Aeschylus's Agamemnon , Sophocles' Oedipus Rex , and Euripides' Medea , this important new selection brings the best works of the great tragedians together in one perfect introductory volume. This volume also includes extracts from Aristophanes' comedy The Frogs and a selection from Aristotle's Poetics . For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

De Esquilo solamente se conservan íntegras siete tragedias, tres de las cuales forman la única trilogía superviviente. En él predomina el Destino avasallador: el hombre desaparece ante lo inexorable y lo fatal. Lo que ha dado valor permanente a la obra de Esquilo es la comprensión humana, además de ser grandiosa, emotiva y con sentido de lo trascendente. La riqueza de pensamiento de este poeta se manifiesta en la abundancia de apotegmas y sentencias, que pasaron muchas veces a proverbios, a verdaderas síntesis que norman la vida. El pueblo griego, amante de la luz y de la vida, hizo de la tragedia: la expresión de la opinión, la censura o la alabanza pública; el comentario de los hechos, así como la memoria viviente, social y tradicional, de progreso y de amor al pasado, el relicario mismo de mitos vetustos y de tradiciones que iban muriendo. Por eso, el teatro helénico es fundamental para las raíces de nuestra cultura.

Elle est l'unique trilogie dramatique que l'Antiquité nous ait léguée. Elle est l'œuvre de l'aîné des trois grands tragiques athéniens. Elle témoigne de la souveraine maîtrise d'un poète qui fut aussi un metteur en scène sûr de ses moyens et de ses effets, composant et montant son spectacle à soixante ans passés, fort d'une expérience théâtrale sans égale.Ombre, sang et lumière : la scène est à Argos, dans le palais des Atrides... Agamemnon - Où la chute de Troie est annoncée après une attente de dix ans. Où l'on assiste au retour triomphal du roi Agamemnon dans sa cité d'Argos. Où la captive Cassandre, prophétesse que nul ne croit, annonce sa mort. Où Clytemnestre tue son époux et en expose les raisons. Les Choéphores - Où Électre prie sur la tombe de son père pour que se lève un vengeur. Où Oreste, son frère, revient dans son pays sur ordre d'Apollon. Où Clytemnestre est égorgée par son fils. Où les Érinyes, déesses de la vengeance, se déchaînent contre Oreste. Les Euménides - Où Oreste, purifié à Delphes, doit subir une longue errance. Où Athéna fonde un tribunal pour juger son acte. Où les Érinyes et Apollon opposent leurs conceptions du droit. Où les vieilles déesses, déboutées, deviennent les bienveillantes Euménides.

Redigirani prijevod Kolomana Raca Eshilove tragedije čija se radnja odvija među božanskim sudionicima, a predstavlja prvi dio njegove trilogije o Prometeju. Ovo izdanje prilagođeno je potrebama srednjoškolske lektire, te sadrži predgovor Zdeslava Dukata (koji je ujedno priređivač knjige i redaktor prijevoda), te dodatak s izvacima iz kritike, kronologijom, rodoslovljem Prometejevim, tumačem imena i osnovnom bibliografijom.

The Oresteia is the only trilogy of tragedy plays to survive from Ancient Greece. Agamemnon, Libation Bearers, and Eumenides have established the enduring themes of Greek tragedy--the inexorable nature of Fate, the relationship between justice, revenge, and religion. In this family history, Fate and the gods decree that each generation will repeat the crimes and endure the suffering of their forebears. When Agamemnon is murdered by his wife, Clytemnestra, their son Orestes must avenge his father's death. Only Orestes' appeal to the goddess Athena saves him from his mother's Furies, breaking the bloody chain; together gods and humans inaugurate a way of just conduct that will ensure stable families and a strong community. The Oresteia is majestic as theater and as literature, and this new translation seeks to preserve both these qualities. The introduction and notes emphasize the relationship between the scenes, ideas, and language that distinguishes this unique work.

Neste quarto volume da série de tragédias gregas estão presentes os três maiores dramaturgos gregos: Ésquilo, Sófocles e Eurípides. Além da introdução e das notas que acompanham cada uma das peças, este volume inclui ainda uma apresentação geral da tragédia grega. Os Persas, uma das tragédias gregas mais antigas, foi encenada pela primeira vez em 472 a.C., e apresenta a singularidade de ser a única tragédia subsistente baseada em um acontecimento histórico – a guerra entre os gregos e os persas, guerra na qual o próprio autor, Ésquilo, participou como combatente. Electra, de Sófocles, representada pela primeira vez por volta de 413 a.C., começa com o retorno de Orestes, filho de Agamêmnon, a Micenas para vingar o assassinato do pai cerca de onze anos antes. Hécuba, representada pela primeira vez provavelmente em 423 a.C., em Atenas, se baseia em episódios do chamado Ciclo Troiano. Eurípides, chamado por Aristóteles de "o mais trágico dos trágicos" deve essa merecida fama em parte à Hécuba.

A new, accurate, and readable translation of four of Aeschylus' plays: Persians, Seven Against Thebes, Suppliants, and Prometheus Bound. It is based upon the most authoritative recent edition of the Greek text and particular care is taken with the many lyric passages. A lengthy introduction sets the plays in their original context, and includes short appreciative essays on them. The explanatory notes treat dramatic issues, structure and form, and theatrical aspects, as well as details of content and language. Major difficulties in the texts themselves, which affect general interpretation, are briefly discussed. The volume as a whole should provide an informative, reliable, and suggestive basis for study and enjoyment. Aeschylus is a towering figure in western literature, the first of the great Greek playwrights, a dramatist whose work still has the power to inspire and terrify readers and theatre-goers alike. The four plays in this volume demonstrate the full range and depth of Aeschylus's genius. Persians is the only surviving tragedy to draw on contemporary history, the Greeks' extraordinary victory over Persia in 480 BC. In Seven Against Thebes, a royal family is cursed with self-destruction, in a remorseless tragedy that anticipates the grandeur of the later Oresteia. Suppliants portrays the wretched plight of the daughters of Danaus, fleeing from enforced marriage. And in the hugely influential Prometheus Bound, Prometheus is relentlessly persecuted by Zeus for benefitting mankind in defiance of the god. About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

Quello di Prometeo si direbbe il mito per eccellenza: il più fecondo, il più segreto, forse il più rappresentativo della cultura occidentale. In questa tragedia, una delle più suggestive e originali del teatro greco, il titano Prometeo compare in scena incatenato tra le rocce del Caucaso, orribilmente torturato dall'aquila di Zeus. Punito per aver rubato il fuoco agli dei e averlo donato agli uomini. Prometeo tuttavia conosce la segreta profezia sul futuro del regno di Zeus: in cambio del terribile segreto il dio gli promette la libertà. Testo greco a fronte.

La straordinaria sensibilità e lo scavo psicologico di Eschilo non solo danno vita nel suo teatro a personaggi grandiosi e complessi, ricchi di risvolti, ma fanno irrompere sulla scena, e con la massima violenza, le grandi questioni politiche e sociali dell'epoca, incredibilmente attuali e moderne: il diritto d'asilo, il sorgere dello stato dalle ceneri delle lotte intestine, la necessità del voto e della democrazia. Il linguaggio è ricchissimo di risorse e accosta registri lirici ed epici, espressioni del parlar comune o dialettali, e quando si gonfia e tende al solenne ha sempre, come in Shakespeare, il crisma dell'autenticità.

Prometeu ludibriou Zeus, o qual, como castigo, privou os homens do fogo. Servindo-se de novo ardil, Prometeu conseguiu roubar o fogo e devolvê-lo aos humanos, ao que Zeus respondeu agrilhoando o Titã e condenando-o a suportar os ataques de uma águia que lhe devora o fígado. Aos mortais, deu como castigo a primeira mulher – Pandora. Arquétipo do rebelde que recusa submeter-se ao jugo da tirania, Prometeu tornou-se um símbolo da resistência, da luta por um ideal e da nobreza de alma.

For readers accustomed to the relatively undramatic standard translations of Prometheus Bound , this version by James Scully, a poet and winner of the Lamont Poetry Prize, and C. John Herington, one of the world's foremost Aeschylean scholars, will come as a revelation. Scully and Herington accentuate the play's true power, drama, and relevance to modern times. Aeschylus originally wrote Prometheus Bound as part of a tragic trilogy, and this translation is unique in including the extant fragments of the companion plays.

Aeschylus (525–456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. In Prometheus Bound the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. The Suppliants tells the story of the fifty daughters of Danaus who must flee to escape enforced marriages, while Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus. And The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the aftermath of the defeat of Persia in the battle of Salamis, with a sympathetic portrayal of its disgraced King Xerxes. Philip Vellacott’s evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology.

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A landmark anthology of the masterpieces of Greek drama, featuring all-new, highly accessible translations of some of the world's most beloved plays, including Agamemnon, Prometheus Bound, Bacchae, Electra, Medea, Antigone, and Oedipus the King Featuring translations by Emily Wilson, Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Mary Lefkowitz, and James Romm The great plays of Ancient Greece are among the most enduring and important legacies of the Western world. Not only is the influence of Greek drama palpable in everything from Shakespeare to modern television, the insights contained in Greek tragedy have shaped our perceptions of the nature of human life. Poets, philosophers, and politicians have long borrowed and adapted the ideas and language of Greek drama to help them make sense of their own times. This exciting curated anthology features a cross section of the most popular--and most widely taught--plays in the Greek canon. Fresh translations into contemporary English breathe new life into the texts while capturing, as faithfully as possible, their original meaning. This outstanding collection also offers short biographies of the playwrights, enlightening and clarifying introductions to the plays, and helpful annotations at the bottom of each page. Appendices by prominent classicists on such topics as "Greek Drama and Politics," "The Theater of Dionysus," and "Plato and Aristotle on Tragedy" give the reader a rich contextual background. A detailed time line of the dramas, as well as a list of adaptations of Greek drama to literature, stage, and film from the time of Seneca to the present, helps chart the history of Greek tragedy and illustrate its influence on our culture from the Roman Empire to the present day. With a veritable who's who of today's most renowned and distinguished classical translators, The Greek Plays is certain to be the definitive text for years to come. Praise for The Greek Plays "Mary Lefkowitz and James Romm deftly have gathered strong new translations from Frank Nisetich, Sarah Ruden, Rachel Kitzinger, Emily Wilson, as well as from Mary Lefkowitz and James Romm themselves. There is a freshness and pungency in these new translations that should last a long time. I admire also the introductions to the plays and the biographies and annotations provided. Closing essays by five distinguished classicists--the brilliant Daniel Mendelsohn and the equally skilled David Rosenbloom, Joshua Billings, Mary-Kay Gamel, and Gregory Hays--all enlightened me. This seems to me a helpful light into our gathering darkness."--Harold Bloom

Produced in 458 BC, Aeschylus' Choephori is the second play in the Oresteian trilogy. Many years after king Agamemnon's murder at the hands of his wife Clytamnestra and her lover Aigisthos, his son Orestes returns home with Pylades to mourn at his grave. He has been living in exile and has come back to Argos in secret; his mission is to avenge Agamemnon's death.

The Oresteia, the only complete trilogy to survive from the ancient Greek theater, is here presented in the first sound recording of all three plays: Agamemnon, The Libation Bearers, and The Eumenides. In the Oresteia, Aeschylus dramatizes the myth of the curse on the royal house of Argos. The action begins when King Agamemnon returns victorious from the Trojan War only to be treacherously slain by his own wife. It ends with the trial of their son, Orestes, who slew his mother to avenge her treachery--a trial with the goddess Athena as judge, the god Apollo as defense attorney, and, as prosecutors, relentless avenging demons called The Furies. The results of the trial change the nature of divine and human justice forever. As was the custom in antiquity, this trilogy was accompanied by a satyr play called Proteus, a broad farce on a related theme, namely, the encounter between Agamemnon's brother, Menelaus, with the slippery Old Man of the Sea. This play is lost, but Blackstone has included verses from The Odyssey, which inspired it. From the Publisher (Blackstone Audio) Length 03:38:11

Alternate covers of this ISBN here, here, here, here. Most recent cover is here. In the Oresteia—the only trilogy in Greek drama which survives from antiquity—Aeschylus took as his subject the bloody chain of murder and revenge within the royal family of Argos. Moving from darkness to light, from rage to self-governance, from primitive ritual to civilized institution, their spirit of struggle and regeneration becomes an everlasting song of celebration.

The most renowned of Aeschylus’ tragedies and one of the foundational texts of Western literature, the Oresteia trilogy is about cycles of deception and brutality within the ruling family of Argos. In Agamemnon, afflicted queen Clytemnestra awaits her husband’s return from war to commit a terrible act of retribution for the murder of her daughter. The next two plays, radically retitled here as The Women at the Graveside and Orestes in Athens, deal with the aftermath of the regicide, Orestes’ search to avenge his father’s death, and the ceaseless torment of the young prince. A powerful discourse on the formation of democracy after a period of violent chaos, The Oresteia has long illuminated the tensions between loyalty to one’s family and to the greater community. Now, Oliver Taplin’s “vivid and accessible translation” (Victoria Mohl) captures the lyricism of the original, in what is sure to be a classic for generations to come.

The Orestia is a trilogy of plays written by the ancient Greek playwright Aeschylus. The three plays, Agamemnon, The Libation Bearers, and The Eumenides, tell the story of the House of Atreus and the curse that plagues the family. The first play, Agamemnon, begins with the return of Agamemnon, king of Mycenae, from the Trojan War. His wife, Clytemnestra, plots to kill him in revenge for sacrificing their daughter Iphigenia to the gods. The second play, The Libation Bearers, follows their children, Orestes and Electra, as they seek revenge for their father's death. The final play, The Eumenides, deals with the consequences of Orestes' actions and his trial in the court of Athena. The Orestia is a powerful exploration of justice, revenge, and the role of the gods in human affairs. It is considered one of the greatest works of Western literature and has influenced countless writers, philosophers, and artists over the centuries.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

The Persians is a Greek tragedy written by Aeschylus in 472 BCE. The play is based on the Persian Wars, specifically the Battle of Salamis in 480 BCE, which was a decisive victory for the Greeks. The play opens with the arrival of a messenger from the Persian court, who brings news of the defeat of the Persian army and the death of King Xerxes' brother. The rest of the play is a series of lamentations and reflections on the tragedy of war, as the Persian court and people come to terms with their loss. The chorus, made up of elderly Persians, serves as a voice of reason and wisdom, urging the characters to accept their fate and learn from their mistakes. The play is notable for its sympathetic portrayal of the Persians, who are typically depicted as barbarians in Greek literature. Aeschylus' portrayal of the Persians as human beings with complex emotions and motivations has been praised for its empathy and insight into the human condition. The Persians is considered one of Aeschylus' greatest works and a masterpiece of Greek tragedy.The mighty Xerxes from Darius sprung, The stream of whose rich blood flows in our veins, Leads against Greece; whether his arrowy shower Shot from the strong-braced bow, or the huge spear High brandish'd, in the deathful field prevails.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Esquilo es es el primer trágico griego del que conservamos obra, y uno de los tres grandes dramaturgos –con Sófocles y Eurípides– de la escena ateniense. Aunque bebe de la épica, Esquilo muestra una actitud nueva: con asuntos y temas paradigmáticos, atemporales aborda problemas humanos desde un enfoque cada vez más humano. Sirviéndose de dos actores y del coro, orquestó grandes espectáculos musicales y poéticos, herederos de la antigua majestad de la épica y la lírica coral, con tonos arcaicos y religiosos. Conocemos unos ochenta títulos suyos, pero sólo conservamos completas siete de sus obras, tres de las cuales –Agamenón, Coéforas, Euménides– componen la trilogía de la Orestía. Las demás son Los persas, Siete contra Tebas, Suplicantes y Prometeo encadenado. Este volumen constituye la primera edición integral en castellano tanto de las citadas obras como de los fragmentos conocidos, y se completa con otros fragmentos teatrales de atribución dudosa e incluso algunos pertenecientes a las creaciones no dramáticas de Esquilo (elegías y epigramas). Poco sabemos de Esquilo. Nació en Eleusis, cerca de Atenas, en el 525 a.C. Luchó contra los persas en Maratón, en Salamina, y quizás también en Platea: cuando escribió sobre la guerra, lo hizo como persona conocedora de su gloria y su miseria. Vivió el momento fundacional de la segunda democracia de Atenas, la de Clístenes, que tras la agresión persa resurgía más avanzada que la de Solón, y en la que se forjaba un nuevo orden divino y humano, en un proceso que culminaría en la Atenas de Pericles. Murió en Gela (Sicilia) en 456 a.C. Escribió tragedias, las puso en escena y actuó en ellas. Fijó los postulados del teatro occidental, cuyas múltiples evoluciones parten, en último término, de él.

Aiskhylos (MÖ 525?-456): Eski Yunan'ın en önemli tragedya yazarlarındandır. Mitolojik konuların hemen hemen hepsini eserlerinde işlemiştir. Yazdığı 90 tragedyadan sadece 7 tanesi günümüze kalmıştır. Aiskhylos özellikle adaletin gerekliliği üzerinde durmuş, eserlerinin çoğunda hak meselesini konunun ağırlık merkezine yerleştirmiştir. Zincire Vurulmuş Prometheus'da da farklı kuşaklardan tanrılar arasındaki anlaşmazlığı ele almıştır. Tragedyanın kahramanı Olympos tanrılarına başkaldıran titan Prometheus ateşi tanrılardan çalmış ve insanlara vermiş, tanrıların kurmuş olduğu düzene karşı geldiği için zincire vurulmuştur. Aiskhylos bu tragedyasında akıl gücünün kaba kuvvete üstünlüğünü, akla ve özgür düşünceye verilmesi gereken önemi vurgulamıştır.

"Орестея" - единственная дошедшая до нас целиком древнегреческая драматическая трилогия, посвященная проблеме трагической судьбы рода. Сюжет "Орестеи" заимствован из поэм троянского цикла. В основу ее положен миф о потомках Атрея, над которыми тяготеет проклятие за преступление их предка.