Study Guide to the Plays of Aeschylus

Intelligent Education

• Publisher: Influence Publishers
• Year: 2020
• ISBN:
  9781645424413
• Edition: 1
• Topic: Guías de estudio
• Subtopic: Guías de estudio

A comprehensive study guide offering in-depth explanation, essay, and test prep for selected works by Aeschylus, the ancient greek playwright. Titles in this study guide include The Suppliant Maids, The Persians, The Oresteia, Seven Against Thebes, Prometheus Bound, The Eumenides, and The Libation Bearers. As the world's first great dramatist, Aeschylus became known as "the father of tragedy." Aeschylus greatly influenced Greek tragedies by expanding the number of characters in theater. Moreover, Aeschylus' plays focused on daily activities and studies of human behavior, ethical problems, and divine justice. This Bright Notes Study Guide explores the context and history of Aeschylus classic work, helping students to thoroughly explore the reasons they have stood the literary test of time. Each Bright Notes Study Guide contains: - Introductions to the Author and the Work
- Character Summaries
- Plot Guides
- Section and Chapter Overviews
- Test Essay and Study Q&AsThe Bright Notes Study Guide series offers an in-depth tour of more than 275 classic works of literature, exploring characters, critical commentary, historical background, plots, and themes. This set of study guides encourages readers to dig deeper in their understanding by including essay questions and answers as well as topics for further research.

INTRODUCTION TO AESCHYLUS

 

LIFE

Though there are few facts known concerning Aeschylus’ life, the following may be stated with some assurance. He was born at Eleusis, a city northwest of Athens, in 525 B.C. His father, Euphorion, belonged to the old Athenian nobility, the “Eupatridae.” Aeschylus is said to have presented his first dramas in 499, at the age of twenty-six. In 490 he participated in the battle of Marathon, in which his brother Cynaegirus was killed. He won his first dramatic victory in 484, with a play no longer extant. In 481 the Persians won the battle of Thermopylae, and Aeschylus and the rest of the Athenian population left the city. He returned with his fellow-citizens in 480 after he had taken part in the brilliant Athenian naval victory at Salamis. He made a number of visits to Syracuse, in Sicily, during and after the lifetime of Hiero the First, tyrant of Syracuse, who ruled from 478-467, and for whom Aeschylus exhibited a number of his plays.

Aeschylus died in 456 B.C. in Gela, in Sicily, where he was also buried. On his tomb was placed this epitaph: “Beneath this stone lies Aeschylus, son of Euphorion, the Athenian, who perished in the wheat-bearing land of Gela; of his noble prowess the grove of Marathon can speak, or the long-haired Persian who knows it well.” Who wrote this epitaph is not known, but many people feel that only Aeschylus himself could have praised the soldier and remained silent about the poet. He had, after all, exhibited between eighty and ninety dramas during his lifetime, and had won the prize at least thirteen times. He was the most commanding figure among the tragedians of 500-458, and for more than half that time he was usually the victor in the contests. Unfortunately, of Aeschylus’ plays only seven are extant.

STYLE

No one contributed more to the development of Greek tragedy than Aeschylus. When he was young the drama was primarily choral, with some rudimentary action between the chorus and a single masked actor added. When he began to write plays himself, he therefore had to choose between this near-ritual and what we would call “theatre,” between chorus and drama. He himself was a professional director of choruses, and could be expected to be partial to the sung and danced portions. Indeed, his choruses are the longest in Greek drama; even in the Agamemnon, his most fully developed tragedy, there are only 900 lines of dialogue out of a total of about 1,670 lines. Nonetheless, Aeschylus did enlarge significantly the acted portions of his plays, and in a further attempt to overcome the static quality of the established form of drama he took a great step by adding a second tragic actor. Later, after Sophocles had introduced yet a third actor, Aeschylus made use of this innovation as well.

DECLINE OF THE CHORUS

By increasing the number of actors and the number of lines given over to them, the importance of the chorus and the number of lines assigned to it necessarily had to be decreased. As a result, Aeschylus was able to reduce the size of the chorus from a relatively unwieldy fifty to a compact twelve to fifteen. Thus, while the chorus was less important than it had been, Aeschylus was enabled to integrate it much more dramatically with the actors. This, in turn, made it possible for him to delve much more deeply into the inner being of each of the characters he portrayed. So by adding a second actor, who could impersonate several characters, by extending the action of the play, deepening characterization, and intensifying the dramatic function of the chorus, Aeschylus became the world’s first great dramatist. He is, indeed, known as “the father of tragedy.”

PLOTS AND CHARACTERIZATION

While presenting a good deal of variety through the use of his innovations, it is interesting that Aeschylus’ plots remained quite simple and the action in his plays relatively static. He is occasionally vague as to time and setting, the entrances and exits of his characters are often awkward, and the characters themselves undergo little or no development. Yet his characters possess a stark and majestic grandeur, his tragedies have an epic quality, and his language is exalted, though sometimes bombastic. In addition, it was Aeschylus who originated the trilogy on one unified theme. This made it possible for him to explore in depth the themes he presented, to be a dramatist of ideas who could often employ symbolism.

OTHER INNOVATIONS

Surprisingly, perhaps, Aeschylus was something of a sensationalist. Many of his characters are weird impersonations of natural forces and fantastic mythological figures. In the Eumenides, for example, he brought the Furies on the scene so realistically that he was reputed to have frightened children and to have caused women in the audience to have miscarriages. At least part of this effect was the result of the costumes worn by the Furies, costumes which had been designed by Aeschylus himself. In fact, Greek tradition credits him with the invention of tragic costume, but this is probably incorrect. He does seem, however, to have been responsible for the invention of the tragic boot called the cothurnus, which was intended to give added stature to the actors, and which is described later. Aeschylus was also the first to decorate the front of the skene with screens and other props required by his specific play, and apparently he was the first to employ machinery and scenic effects successfully. Consequently, he was the theatre’s first notable showman, as well as its first important playwright, stage director, costumer, and dancing master. Before his death, therefore, he enjoyed the dual satisfaction of seeing a theatre replete with action, movement, and color, and knowing that it was largely his own creation.

THEMES

Aeschylus’ mind was constantly concerned with ethical problems, with questions of guilt, hereditary evil, and divine justice, and here he was an innovator, too. He virtually dismissed the polytheism of his time and closely approached monotheism. He regarded Zeus as the guardian of justice and as a god far removed from the willful and rather immoral divinities who appear in the Homeric poems. In addition, he conceived of God as a developing personality or principle which grows in goodness with the passage of time. He also makes it clear in his plays that he saw an evolutionary principle in nature, for he asserts that Fate or Necessity, which orders everything, ensures the development of divine law in the direction of greater altruism and justice. In the realm of human behavior, Aeschylus mediates between the primitive blood feud and civilized order. In the Oresteia, his last trilogy, he arrives at the conclusion that it is the evil in man and not the envy of the gods that destroys happiness. His main themes, therefore, present the triumph of justice over violence, personal responsibility and the possibility of retribution for sin, the punishment of pride, self-will, and sacrilege, the inherent limitations of man, and the concept that life is basically tragic but that wisdom emerges from suffering.

EXTANT PLAYS

The Suppliant Maidens, traditionally dated c. 490 B.C., which if correct would make this the earliest surviving drama. A recently published papyrus indicates, however, that the trilogy of which this play is a part might not have been first produced until after 470 B.C.

The Persians, 472 B.C. If the papyrus mentioned above is correct, then this is the earliest produced surviving drama.

Seven Against Thebes, 467 B.C.

Prometheus Bound, date unknown.

Agamemnon, 458 B.C.

The Libation Bearers, 458 B.C.

The Eumenides, 458 B.C.

The last three plays, Agamemnon, The Libation Bearers, and The Eumenides, make up the Oresteia, the only surviving trilogy by Aeschylus.

KNOWN LOST PLAYS

Alcmena; Amymone; The Argives; The Argo; Atalanta; Athamas; The Bacchae; The Cabiri; Calisto; Cercyon; The Chantriae; The Children of Heracles; Circe; The Daughters of Danaus; The Daughters of Phorcys; The Daughters of the Sun; The Dictyolloi; The Edonians; The Egyptians; The Epigonoi; Europa; The Female Archers; Glaucus; Glaucus of the Sea; Glaucus of Potniae; The Heralds; Hypsipyle; Iphigenia; Ixion; The Judgment of the Armor; Laius; The Lemnians; Lion; Lycurgus; Memnon; The Men of Eleusis; The Myrmidons; The Mysians; The Necromancers; Nemea; The Nereids; The Net-Drawers; Niobe; The Nurses of Dionysus; Oedipus; The Ostologoi; Oreithyia; Palamedes; Pentheus; The Perrhaebians: Penelope; Perseus; Phineus; Philoctetes; The Phrygians; Polydectes; The Priestesses; Prometheus the Fire-Bringer; Prometheus Unbound; The Propomppoi; Proteus; The Ransom of Hector; The Salaminiae; Semele; Sisyphus; The Sphinx; Telephus; The Thracian Women; The Theoroi; The Women of Aetna; The Women of Crete; The Women of the Fawn-Skin; The Weighing of Souls; The Youth.

INTRODUCTION TO AESCHYLUS

THE DEVELOPMENT OF FIFTH CENTURY ATHENS

ORIGIN OF THE GREEKS

It is difficult to trace the origin of the Greeks with any real certainty. Scholars agree that the historical Greeks were most likely the result of a slow fusing of Achaean and other invaders from the north and the people they found already living in the Aegean world. The descendants of these early Greeks then migrated to the islands and Asiatic shores of the Aegean Sea, sometimes coming into conflict with the descendants of other groups of the earlier invaders. It is quite possible that the memory of one or more of these conflicts is embodied in the story of the Trojan war, the traditional date of which is 1184 B.C. The date, and even the war itself, might be traditional, but the city was a fact. Heinrich Schliemann, the German archaeologist, excavated the site of Troy during the years 1871 to 1875. These migrations of the Greeks across the Aegean took place between 1300 and 1000 B.C.

While these events were taking place the Dorians, the ancestors of the Spartans, spilled into Central and Western Greece and gradually moved south, finally occupying most of the Peloponnesus, Crete, Rhodes, and parts of Asia Minor. By the time these migrations ended, about 900 B.C., the Greeks and their language and customs were well established on both sides of the Aegean Sea.

THE GREEK CITY-STATES

Although the early history of the Greeks is obscure, the development of the city-states must have begun early, for by the eighth century B.C., the earliest time for which records exist, the city-states were well established, and in the more advanced communities laws and constitutions were beginning to appear. It is important to remember that Greece was not a single, large state. Race and language constituted the national bond, not politics. Competition between the hundreds of city-states ranged from athletics to religion. Although all Hellenes were devoted to athletics, each city desired supremacy in one or another sport, and while all Greeks held to the same basic religion, there were innumerable local variations. Thus, though the art, poetry, and science that developed in different cultural centers rapidly became a common possession of all, the Greeks did not feel the need of political unity as an aid to civilization.

THE POLIS

The polis, or city-state, was responsible for the development of almost all of the outstanding Greek characteristics. Its small size enabled all citizens to realize and experience the problems, moral and economic, which confront men in all ages and communities as they try to develop the basic conditions of a worthy civic life. In the city-states the Greeks achieved the union of civilized life and political liberty, and they were the first to do so. In Homer, the polis was first and foremost a defensible fortress. This attitude explains why the Acropolis was built on a rocky hill, and, for that matter, why most Greek temples were built on elevated ground at the heart of the city.

In time the individual Greek family became less important than the community family, and the polis was at all times visible to the naked eye of every citizen whether he was farming in the outskirts or conversing within the city’s walls. Everyone in the community knew everyone else by sight and each, rich or poor, ruler or ruled, had a personal relationship to the others. Since the Greeks were an agricultural people who cultivated corn, grapes, and olives, they lived a good part of their lives outdoors and they had substantial stretches of leisure. This leisure was spent in social intercourse and the gaining and display of intellect and talent. The only life truly worth living was that of citizen service, and the Greek word for virtue (arete) expressed not only moral excellence but also intellectual talent and the capacity to succeed in every field of public life.

SOCIAL LIFE AND THE POLIS

In the Greek scheme of things it was the male who was all-important. His mother, and later his wife, had no soul and therefore did not count. In both their daily lives and their formal assemblies Greek men had freedom of thought and speech, and they talked chiefly about what was most worthy of being discussed: law and freedom, moral duty and the purpose of government, the nature and causes of things, art and poetry, virtue and the well-being of man. Moreover, their talk was reasoned and logical, the expression of clear thinking and grasp of fact, and they translated their thought into the communal and political action of the polis. One natural result of their logic was that while the free population of a city included men, women, and children, only the men could vote. Another was that there was no distinction between church and state: the magistrate presided over the religion of the city, while the priesthood discharged the ceremonial duties.

WRITERS AND THE POLIS

The dramatists and historians of the fifth century constantly wrote of their sense of the value of the polis as the provider of scope for the realization of the good life. The philosophers taught that the only life worth living was that of the citizen in the Hellenic city-state. Socrates, after being condemned by the Athenians, was offered the chance to escape and turned it down, asserting that to evade the law of the polis, even though unjustly exercised, was morally wrong. Plato condemned all of the existing Greek city-states as corrupt beyond saving, yet the outlined in his Republic an ideal community that was really a reformed Hellenic polis. Aristotle later defined the polis, in his Politics, as “an...