Aeschylus: A Guide to Selected Sources: Difference between revisions
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{{#lemma: Philostratus | [[Philostratus, The Life of Apollonius of Tyana 6.10-11]]}} says (in a playful passage) that the Athenians considered Aeschylus (ca. 525-456/5) ‘the father of tragedy’ because of his innovations in the genre. We have titles of over seventy plays; many fragments and seven complete tragedies survive. These include Prometheus Bound, whose attribution to Aeschylus is no longer accepted (see Griffith 1977), and the Oresteia, which, like all Aeschylus’ trilogies, is thematically connected. Sadly, the accompanying satyr play, Proteus, is lost. But we have substantial fragments of other satyr plays, {{#lemma: a genre in which Aeschylus was thought to excel | [[Diogenes Laertius, Lives of the Philosophers 2.133]]<br />[[Pausanias, Description of Greece 2.13.6]]}}. In tragedy, {{#lemma: Aristotle | [[Aristotle, Poetics 4, 1449a15]]}} says that he introduced a second actor and reduced the role of the chorus. He won thirteen times in the Athenian dramatic festivals and, after his death, was afforded the unique honour of having his plays re-staged. | {{#lemma: Philostratus | [[Philostratus, The Life of Apollonius of Tyana 6.10-11]]}} says (in a playful passage) that the Athenians considered Aeschylus (ca. 525-456/5) ‘the father of tragedy’ because of his innovations in the genre. We have titles of over seventy plays; many fragments and seven complete tragedies survive. These include ''Prometheus Bound'', whose attribution to Aeschylus is no longer accepted (see Griffith 1977), and the ''Oresteia'', which, like all Aeschylus’ trilogies, is thematically connected. Sadly, the accompanying satyr play, ''Proteus'', is lost. But we have substantial fragments of other satyr plays, {{#lemma: a genre in which Aeschylus was thought to excel | [[Diogenes Laertius, Lives of the Philosophers 2.133]]<br />[[Pausanias, Description of Greece 2.13.6]]}}. In tragedy, {{#lemma: Aristotle | [[Aristotle, Poetics 4, 1449a15]]}} says that he introduced a second actor and reduced the role of the chorus. He won thirteen times in the Athenian dramatic festivals and, after his death, was afforded the unique honour of having his plays re-staged. | ||
== Sources == | == Sources == | ||
The {{#lemma: ''Vita'' | [[Life of Aeschylus]]}} transmitted with Aeschylus’ plays contains an eclectic mixture of fact, critical assessment, and apocrypha. Aristophanes’ comic portrayal of Aeschylus in the ''Frogs'' is an important (and acknowledged) source that provides invaluable insights into late fifth-century views about Aeschylus and his poetry. The ''Vita'' may also draw on biographical material from the Visits by Ion of Chios (fifth century), Heraclides Ponticus’ book on the three tragic poets, and Chamaeleon’s ''Concerning Aeschylus''. Sources on Aeschylus are collected by Wilamowitz (1914) and Radt (1985). | |||
== Origins == | |||
The {{#lemma: ''Vita'' | [[Life of Aeschylus]]}}, says that Aeschylus was the son of Euphorion and brother of Cynaegeirus, whose death at Marathon {{#lemma: Herodotus | [[Herodotus, Histories 6.114]]}} describes. {{#lemma: Diodorus | [[Diodorus, Historical Library 11.27.2]]}}, following Ephorus—probably mistakenly—gives Aeschylus another brother, Ameinias. He is followed by the {{#lemma: ''Suda'' | [[Suda s.v. Aeschylus]]}}. {{#lemma: Ion of Chios | [[Scholion to Aeschylus’ Persians 429]]}} and the {{#lemma: Parian Marble | [[Parian Marble]]}} are among the sources which mention Aeschylus’ own participation in the Persian Wars. Aeschylus’ deme, Eleusis, also connects him to one of the city’s most important religious institutions—the Eleusinian Mysteries. Mysteries feature in several of Aeschylus’ plays. {{#lemma: Aristotle | [[Aristotle, Nicomachean Ethics 3.2, 1111a8]]}} says that he was tried for revealing them and pleaded innocent on the grounds that he did not know they were secret. A {{#lemma: commentator | [[Anonymous Commentator on Aristotle Nicomachean Ethics 3.2]]}} supplies further intriguing details. | |||
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Revision as of 15:24, 24 April 2013
Philostratus Philostratus, The Life of Apollonius of Tyana 6.10-11 says (in a playful passage) that the Athenians considered Aeschylus (ca. 525-456/5) ‘the father of tragedy’ because of his innovations in the genre. We have titles of over seventy plays; many fragments and seven complete tragedies survive. These include Prometheus Bound, whose attribution to Aeschylus is no longer accepted (see Griffith 1977), and the Oresteia, which, like all Aeschylus’ trilogies, is thematically connected. Sadly, the accompanying satyr play, Proteus, is lost. But we have substantial fragments of other satyr plays, a genre in which Aeschylus was thought to excel Diogenes Laertius, Lives of the Philosophers 2.133
Pausanias, Description of Greece 2.13.6. In tragedy, Aristotle Aristotle, Poetics 4, 1449a15 says that he introduced a second actor and reduced the role of the chorus. He won thirteen times in the Athenian dramatic festivals and, after his death, was afforded the unique honour of having his plays re-staged.
Sources
The Vita Life of Aeschylus transmitted with Aeschylus’ plays contains an eclectic mixture of fact, critical assessment, and apocrypha. Aristophanes’ comic portrayal of Aeschylus in the Frogs is an important (and acknowledged) source that provides invaluable insights into late fifth-century views about Aeschylus and his poetry. The Vita may also draw on biographical material from the Visits by Ion of Chios (fifth century), Heraclides Ponticus’ book on the three tragic poets, and Chamaeleon’s Concerning Aeschylus. Sources on Aeschylus are collected by Wilamowitz (1914) and Radt (1985).
Origins
The Vita Life of Aeschylus, says that Aeschylus was the son of Euphorion and brother of Cynaegeirus, whose death at Marathon Herodotus Herodotus, Histories 6.114 describes. Diodorus Diodorus, Historical Library 11.27.2, following Ephorus—probably mistakenly—gives Aeschylus another brother, Ameinias. He is followed by the Suda Suda s.v. Aeschylus. Ion of Chios Scholion to Aeschylus’ Persians 429 and the Parian Marble Parian Marble are among the sources which mention Aeschylus’ own participation in the Persian Wars. Aeschylus’ deme, Eleusis, also connects him to one of the city’s most important religious institutions—the Eleusinian Mysteries. Mysteries feature in several of Aeschylus’ plays. Aristotle Aristotle, Nicomachean Ethics 3.2, 1111a8 says that he was tried for revealing them and pleaded innocent on the grounds that he did not know they were secret. A commentator Anonymous Commentator on Aristotle Nicomachean Ethics 3.2 supplies further intriguing details.
