To install click the Add extension button. That's it.

The source code for the WIKI 2 extension is being checked by specialists of the Mozilla Foundation, Google, and Apple. You could also do it yourself at any point in time.

How to transfigure the Wikipedia

Would you like Wikipedia to always look as professional and up-to-date? We have created a browser extension. It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology.

Try it — you can delete it anytime.

Install in 5 seconds
4,5
Kelly Slayton
Congratulations on this excellent venture… what a great idea!
Alexander Grigorievskiy
I use WIKI 2 every day and almost forgot how the original Wikipedia looks like.
What we do. Every page goes through several hundred of perfecting techniques; in live mode. Quite the same Wikipedia. Just better.
Great Wikipedia has got greater.
.
Leo
Newton
Brights
Milds

The Persians

From Wikipedia, the free encyclopedia

For other uses, see Persian (disambiguation).
The Persians
Drawing by George Romney: The Ghost of Darius Appearing to Atossa
Written byAeschylus
ChorusPersian Elders
CharactersAtossa
Messenger
Ghost of Darius
Xerxes
Date premiered472 BC
Place premieredAthens
Original languageAncient Greek
SettingSusa

The Persians (Ancient Greek: Πέρσαι, Persai, Latinised as Persae) is an ancient Greek tragedy written during the Classical period of Ancient Greece by the Greek tragedian Aeschylus. It is the second and only surviving part of a now otherwise lost trilogy that won the first prize at the dramatic competitions in Athens' City Dionysia festival in 472 BC, with Pericles serving as choregos.

YouTube Encyclopedic

  • 1/5
    Views:
    4 794 204
    1 481 519
    2 614
    51 286
    2 957
  • The Persians & Greeks: Crash Course World History #5
  • THE PERSIAN EMPIRE
  • The Persians by Aeschylus (Full Audiobook)
  • The Persian Empire
  • Exploring Greek Tragedy: "The Persians" of Aeschylus [Lecture]

Transcription

Hi, I’m John Green, this is Crash Course: World History, and today we’re going to do some legitimate comp. civ., for those of you into that kind of thing. Stan, I can’t help but feel that we have perhaps too many globes. That’s better. Today we’re going to learn about the horrible totalitarian Persians and the saintly democracy-loving Greeks. But of course we already know this story: There were some wars in which no one wore any shirts and everyone was reasonably fit; the Persians were bad; the Greeks were good; Socrates and Plato were awesome; the Persians didn’t even philosophize; The West is the Best Go Team. Yeah, well, no. [music intro] [music intro] [music intro] [music intro] [music intro] [music intro] Let’s start with the Persian empire, which became the model for pretty much all land-based empires throughout the world. Except for—wait for it—the Mongols. Much of what we know about the Persians and their empire come from an outsider writing about them which is something we now call history, and one of the first true historians was Herodotus, whose famous book The Persian Wars talks about the Persians quite a bit. Now the fact that Herodotus was a Greek is important because it introduces us to the idea of historical bias. But more on that in a second. So the Persian Achaemenid dynasty- Achaemenid? Hold on... [audible computer pronunciation] AkEEmenid or AkEHmenid So they’re both right? I was right twice! Right, so the Persian AkEEmenid or AkEHmenid dynasty was founded in 539 BCE by King Cyrus the Great. Cyrus took his nomadic warriors and conquered most of Mesopotamia, including the Babylonians, which ended a sad period in Jewish history called The Babylonian Exile, thus ensuring that Cyrus got great press in the Bible. But his son, Darius the First, was even greater: He extended Persian control east to our old friend the Indus Valley, west to our new friend Egypt, and north to Crash Course newcomer Anatolia. By the way, there were Greeks in Anatolia called Ionian Greeks who will become relevant shortly. So even if you weren’t Persian, the Persian Empire was pretty dreamy. For one thing, the Persians ruled with a light touch: Like conquered kingdoms were allowed to keep their kings and their elites as long as they pledged allegiance to the Persian King and paid taxes, which is why the Persian king was known as The King of Kings. Plus taxes weren’t too high and the Persians improved infrastructure with better roads and they had this pony express-like mail service of which Herodotus said: “… they are stayed neither by snow nor rain nor heat nor darkness from accomplishing their appointed course with all speed.” And the Persians embraced freedom of religion. Like they were Zoroastrian, which has a claim to being the world’s first monotheistic religion. It was really Zoroastrianism that introduced to the good/evil dualism we all know so well. You know: god and satan or harry and voldemort... But the Persians weren’t very concerned about converting people of the empire to their faith. Plus, Zoroastrianism forbid slavery, and so slavery was almost unheard of in the Persian Empire. All in all, if you had to live in the 5th century BCE, the Persian Empire was probably the best place to do it. Unless, that is, you believe Herodotus and the Greeks. We all know about the Greeks: Architecture. Philosophy Literature. The very word music comes from Greek, as does so much else in contemporary culture. Greek poets and mathematicians playwrights and architects and philosophers founded a culture we still identify with. And they introduced us to many ideas, from democracy to fart jokes. And the Greeks gave the west our first dedicated history, they gave us our vocabulary for talking about politics. Plus they gifted us our idealization of democracy, which comes from the government they had in Athens. Mr. Green, Mr. Green, Mr. Green, Mr Green—did you say fart jokes? Uhhh. You don’t ask about Doric, Ionian, or Corinthian columns. You don’t ask about Plato’s allegory of the cave. It’s all scatological humor with you—it’s time for the open letter? Really? Already? Alright. [rolls in] An open letter [the whoopee cushion sounds]- Stan! To Aristophanes. Dear Aristophanes, --Oh right, I have to check the secret compartment. Stan, what... oh. Thank you, Stan. It’s fake dog poo. How thoughtful. So, good news and bad news, Aristophanes. 2,300 years after your death, this is the good news,you’re still a reasonably famous. Only 11 of your 40 plays survived, but even so, you’re called the Father of Comedy, there are scholars devoted to your work. Now, the bad news: Even though your plays are well-translated and absolutely hilarious, students don’t like to read them in schools. There always like, why do we gotta read this boring crap? And this must be particularly galling to you because so much of what you did in your career was make fun of boring crap, specifically in the form of theatrical tragedies. Plus, you frequently used actual crap to make jokes. Such as when you had the chorus in The Acharnians imagining a character in your play throwing crap at a real poet you didn’t like. You, Aristophanes, who wrote that under every stone lurks a politician, who called wealth the most excellent of all the gods.. You, who are responsible for the following conversation: Praxagora: I all to have a share of everything and everything to be in common; there will no longer be either rich or poor; [...] I shall begin by making land, money, everything that is private property, common to all. [...] Blepyrus: But who will till the soil? Praxagora: The slaves. Blepyrus: Oh. And yet you’re seen as homework! Drudgery! That, my friend, is a true tragedy. On the upside, we did take care of slavery. It only took 2,000 years. Best wishes, John Green When we think about the high point of Greek culture, exemplified by the Parthenon and the plays of Aeschylus, what we’re really thinking about is Athens in the 4th century BCE, right after the Persian Wars. But Greece was way more than Athens. Greeks lived in city-states which consisted of a city and its surrounding area. Most of these city-states featured at least some form of slavery and in all of them citizenship was limited to males. Sorry ladies... Also, Each of the city-states had its own form of government, ranging from very democratic—unless you were a women or a slave—to completely dictatorial. And the people who lived in these cities considered themselves citizens of that city, not of anything that might ever be called Greece. At least until the Persian wars. So between 490 and 480 BCE, the Persians made war on the Greek City states. This was the war that featured the battle of Thermopylae where 300 brave Spartans battled--if you believe Herodotus--five million Persians. And also the battle of Marathon, which is a plain about 26.2 miles away from Athens. The whole war started because Athens supported those aforementioned Ionian Greeks when they were rebelling in Anatolia against the Persians. That made the Persian king Xerxes mad so he led two major campaigns against the Athenians, and the Athenians enlisted the help of all the other Greek city states. And in the wake of that shared Greek victory, the Greeks began to see themselves as Greeks rather than as Spartans or Athenians or whatever. And then Athens emerged as the de facto capital of Greece and then got to experience a Golden Age, which is something that historians make up. But a lot of great things did happen during the Golden Age, including the Parthenon, a temple that became a church and then a mosque and then an armory until finally settling into its current gig as a ruin. You also had statesmen like Pericles, whose famous funeral oration brags about the golden democracy of Athens with rhetoric that wouldn’t sound out of place today. “If we look to the laws, they afford equal justice to all in their private differences … if a man is able to serve the state, he is not hindered by the obscurity of his condition.” When you combine that high minded rhetoric with the undeniable power and beauty of the art and philosophy that was created in ancient Athens, it’s not hard to see it as the foundation of Western civilization. And if you buy into this, you have to be glad that the Greeks won the Persian Wars. But even if you put aside the slavery and other injustices in Greek society, there’s still trouble. Do I have to say it, seriously? FINE. TROUBLE RIGHT HERE IN RIVER CITY WITH A CAPITAL T WHICH RHYMES WITH P AND THAT STANDS FOR THE PELOPONNESE. Pericles’s funeral oration comes from a later war, The Peloponnesian War, a 30-year conflict between the Athens and the Spartans. The Spartans did not embrace democracy but instead embraced a kingship that functioned only because of a huge class of brutally mistreated slaves. But to be clear, the war was not about Athens trying to get Sparta to embrace democratic reform; wars rarely are. It was about resources and power. And the Athenians were hardly saintly in all of this, as evidenced by the famous Melian Dialogue. Let’s go to the Thought Bubble. So in one of the most famous passages of Thucydides’ history of the Peloponnesian War, the Athenians sailed to the island of Melos, a Spartan colony, and demanded that the Melians submit to Athenian Rule. The Melians pointed out they’d never actually fought with the Spartans and were like, “Listen, if it’s all the same to you, we’d like to go Switzerland on this one,” except of course they didn’t say that because there was no Switzerland, to which the Athenians responded, and here I am quoting directly, “The strong do what they can and the weak suffer what they must.” Needless to say, this is not a terribly democratic or enlightened position to take. This statement, in fact, is sometimes seen as the first explicit endorsement of the so-called theory of Realism in international relations. For realists, interaction between nations (or peoples or cultures) is all about who has the power. Whoever has it can compel whoever doesn’t have it to do pretty much anything. So what did the meritocratic and democratic Athenians do when the Melians politely asked not to participate in the fight? They killed all the Melian men, and enslaved all the women and children. So, yes, Socrates gave us his interrogative Method; Sophocles gave us Oedipus; but the legacy of Ancient Greece is profoundly ambiguous, all the more so because the final winner of the Peloponnesian War were the dictatorial Spartans. Thanks for the incredible bummer, ThoughtBubble. So here’s a non-rhetorical question: Did the right side win the Persian wars? Most classicists and defenders of the Western Tradition will tell you that of course we should be glad the Greeks won. After all, winning the Persian war set off the cultural flourishing that gave us the classical age. And plus, if the Persians had won with their monarchy that might have strangled democracy in its crib and gave us more one -man rule. And that’s possible, but as a counter that argument, lets consider three things: First, it’s worth remembering that life under the Persians was pretty good and if you look at the last five thousand years of human history, you’ll find a lot more successful and stable empires than you will democracies. Second, life under the Athenians wasn’t so awesome, particularly if you were a woman or a slave and their government was notoriously corrupt. And ultimately the Athenian government derived its power not from its citizens but from the imperialist belief that Might Makes Right. It’s true that Athens gave us Socrates, but let me remind you, they also killed him. Well, I mean they forced him to commit suicide. Whatever, Herodotus, you’re not the only one here who can engage in historical bias. And lastly, under Persian rule the Greeks might have avoided the Peloponnesian War, which ended up weakening the Greek city states so much that Alexander “Coming Soon” the Great’s father was able to conquer all of them and then there were a bunch of bloody wars with the Persians and all kinds of horrible things and Greece wouldn’t glimpse democracy again for two millennia. All of which might have been avoided if they’d just let themselves get beaten by the Persians. All of which forces us to return to the core question of human history: What’s the point of being alive? I’ve got good news for you, guy. You’re only going to have to worry about it for about 8 more seconds. Should we try to ensure the longest, healthiest, and most productive lives for humans? If so, it’s easy to argue that Greece should have lost the Persian Wars. But perhaps lives are to be lived in pursuit of some great ideal worth sacrificing endlessly for. And if so, maybe the glory of Athens still shines, however dimly. Those are the real questions of history: What’s the point of being alive? How should we organize ourselves, what should we seek from this life? Those aren’t easy questions, but we’ll take another crack at them next week when we talk about the Buddha. I’ll see you then. Crash Course is produced and directed by Stan Muller. Our script supervisor is Danica Johnson. The graphics team is ThoughtBubble and the show is written by my high school history teacher Raoul Meyer and me. Our phrase of the week last week was "Un Mot De Francais". If you’d like to guess this week’s phrase of the week you can do so in comments. You can also ask questions about today’s video in comments where our team of historians will attempt to answer them. Thanks for watching, and don’t forget to be awesome.

Place in Aeschylus' work

The first play in the trilogy, called Phineus, presumably dealt with Jason and the Argonauts' rescue of King Phineus from the torture that the monstrous harpies inflicted at the behest of Zeus. The subject of the third play, Glaucus, was either a mythical Corinthian king who was devoured by his horses because he angered the goddess Aphrodite (see Glaucus (son of Sisyphus)) or else a Boeotian farmer who ate a magical herb that transformed him into a sea deity with the gift of prophecy (see Glaucus).[1][2]

In The Persians, Xerxes invites the gods' enmity for his hubristic expedition against Greece in 480/79 BC; the focus of the drama is the defeat of Xerxes' navy at Salamis. Given Aeschylus' propensity for writing connected trilogies, the theme of divine retribution may connect the three. Aeschylus himself had fought the Persians at Marathon (490 BC). He may even have fought at Salamis, just eight years before the play was performed.

The satyr play following the trilogy was Prometheus Pyrkaeus, translated as either Prometheus the Fire-lighter or Prometheus the Fire-kindler, which comically portrayed the titan's theft of fire.[3] Several fragments of Prometheus Pyrkaeus are extant, and according to Plutarch, one of those fragments was a statement by Prometheus warning a satyr who wanted to kiss and embrace the fire that he would "mourn for his beard" if he did.[4][5] Another fragment from Prometheus Pyrkaeus was translated by Herbert Weir Smyth as "And do thou guard thee well lest a blast strike thy face; for it is sharp, and deadly-scorching its hot breaths".[4][5]

Summary

The Persians takes place in Susa, which at the time was one of the capitals of the Persian Empire, and opens with a chorus of old men of Susa, who are soon joined by the Queen Mother, Atossa, as they await news of her son King Xerxes' expedition against the Greeks. Expressing her anxiety and unease, Atossa narrates "what is probably the first dream sequence in European theatre."[6] This is an unusual beginning for a tragedy by Aeschylus; normally the chorus would not appear until slightly later, after a speech by a minor character. An exhausted messenger arrives, who offers a graphic description of the Battle of Salamis and its gory outcome. He tells of the Persian defeat, the names of the Persian generals who have been killed, and that Xerxes had escaped and is returning. The climax of the messenger's speech is his rendition of the battle cry of the Greeks as they charged:

On, sons of Greece! Set free
Your fatherland, set free your children, wives,
Places of your ancestral gods and tombs of your ancestors!
Forward for all[7]

In the original, this reads:

ὦ παῖδες Ἑλλήνων ἴτε,
ἐλευθεροῦτε πατρίδ', ἐλευθεροῦτε δὲ
παῖδας, γυναῖκας, θεῶν τέ πατρῴων ἕδη,
θήκας τε προγόνων: νῦν ὑπὲρ πάντων ἀγών.

"The Ghost of Darius Appearing to Atossa", drawing by George Romney.

At the tomb of her dead husband Darius, Atossa asks the chorus to summon his ghost: "Some remedy he knows, perhaps,/Knows ruin's cure" they say.[8] On learning of the Persian defeat, Darius condemns the hubris behind his son's decision to invade Greece. He particularly rebukes an impious Xerxes’ decision to build a bridge over the Hellespont to expedite the Persian army's advance. Before departing, the ghost of Darius prophesies another Persian defeat at the Battle of Plataea (479 BC): "Where the plain grows lush and green,/Where Asopus' stream plumps rich Boeotia's soil,/The mother of disasters awaits them there,/Reward for insolence, for scorning God."[9] Xerxes finally arrives, dressed in torn robes ("grief swarms," the Queen says just before his arrival, "but worst of all it stings / to hear how my son, my prince, / wears tatters, rags" (845–849)) and reeling from his crushing defeat. The rest of the drama (908–1076) consists of the king alone with the chorus engaged in a lyrical kommós that laments the enormity of Persia's defeat.

Discussion

Aeschylus was not the first to write a play about the Persians — his older contemporary Phrynichus wrote two plays about them. The first, The Sack of Miletus (written in 493 BC, 21 years before Aeschylus' play), concerned the destruction of an Ionian colony of Athens in Asia Minor by the Persians. For his portrayal of this brutal defeat, which emphasized Athens' abandonment of its colony, Phrynichus was fined and a law passed forbidding subsequent performances of his play.[10] The second, Phoenician Women (written in 476 BC, four years before Aeschylus' version), treated the same historical event as Aeschylus' Persians. Neither of Phrynichus' plays have survived.

Interpretations of Persians either read the play as sympathetic toward the defeated Persians or else as a celebration of Greek victory within the context of an ongoing war.[11] The sympathetic school has the considerable weight of Aristotelian criticism behind it; indeed, every other extant Greek tragedy arguably invites an audience's sympathy for one or more characters on stage. The celebratory school argues that the play is part of a xenophobic culture that would find it difficult to sympathize with its hated barbarian enemy during a time of war.[12] During the play, Xerxes calls his pains "a joy to my enemies" (line 1034).

Subsequent production history

Detail from the front cover of the programme to Peter Sellars' 1993 production of the play.

According to a scholium at Aristophanes' Frogs 1028, Hiero of Syracuse at some point invited Aeschylus to reproduce The Persians in Sicily.[13]

Seventy years after the play was produced, the comic playwright Aristophanes mentions an apparent Athenian reproduction of The Persians in his Frogs (405 BC).[14] In it, he has Aeschylus describe The Persians as "an effective sermon on the will to win. Best thing I ever wrote"; while Dionysus says that he "loved that bit where they sang about the days of the great Darius, and the chorus went like this with their hands and cried 'Wah! Wah!'" (1026–28).[15]

The Persians was popular in the Roman Empire and Byzantine Empire, who also fought wars with the Persians, and its popularity has endured in modern Greece. According to Anthony Podlecki, during a production at Athens in 1965 the audience "rose to its feet en masse and interrupted the actors' dialogue with cheers."[16]

The American Peter Sellars directed an important production of The Persians at the Edinburgh Festival and Los Angeles Festival in 1993, which articulated the play as a response to the Gulf War of 1990–1991. The production was in a new translation by Robert Auletta.[17] It opened at the Royal Lyceum Theatre on 16 August 1993.[18] Hamza El Din composed and performed its music, with additional music by Ben Halley Jr. and sound design by Bruce Odland and Sam Auinger.[18] Dunya Ramicova designed the costumes and James F. Ingalls the lighting.[18] Cordelia Gonzalez played Atossa, Howie Seago the Ghost of Darius, and John Ortiz played Xerxes.[18] The Chorus was performed by Ben Halley Jr, Joseph Haj, and Martinus Miroto.[18]

Ellen McLaughlin translated Persians in 2003 for Tony Randall's National Actors Theatre in New York as a response to George Bush's invasion of Iraq.[19] The production starred Len Cariou as Darius and Michael Stuhlbarg as Xerxes.

A 2010 translation by Aaron Poochigian[20] included for the first time the detailed notes for choral odes that Aeschylus himself created, which directed lines to be spoken by specific parts of the chorus (strophe and antistrophe). Using Poochigian's edition, which includes theatrical notes and stage directions, "Persians" was presented in a staged read-through as part of New York's WorkShop Theater Company's Spring 2011 one-act festival "They That Have Borne the Battle."[21]

Also in 2010, Kaite O'Reilly's award-winning translation was produced on Sennybridge Training Area (a military range in the Brecon Beacons) by National Theatre Wales. Audiences valued the way this production required them to shift their attention between the spectacular landscape surrounding them, the particular history of the area, and the modern adaptation of the ancient Greek text performed onstage.[22] The work went on to win O'Reilly the Ted Hughes Award for New Work in Poetry, presented by the Poet Laureate, Carol Ann Duffy.

Οn the occasion of the 2500th anniversary of the Battle of Salamis, on July 25, 2020, Persians was the first Ancient Greek tragedy that was played at its natural environment, i.e. the open-air theatre of Epidaurus, and was live streamed internationally via YouTube.[23] The play was a production of the Hellenic National Theatre and was directed by Dimitrios Lignadis as part of the Epidaurus Festival. Actors delivered the play in Ancient and Modern Greek, while English subtitles were projected on YouTube.

The play is currently in production as one of a double bill in the 2022 Cambridge Greek Play.

In March 2024 Dublin's Abbey Theatre staged the first Irish language translation of the play by poet Nuala Ní Dhomhnaill.[24]

Influence

Aeschylus' drama was a model for Percy Bysshe Shelley's 1821 Hellas: A Lyrical Drama, his final published poetical work before his death in 1822. T. S. Eliot, in The Waste Land, "The Burial of the Dead", line 63 "I had not thought Death had undone so many" echoes line 432 of the Messenger account in The Persians: "However, you can be sure that so great a multitude of men never perished in a single day",[25] which is also similar to Dante's line in Inferno, Canto III, lines 56–57: ch'i' non averei creduto/Che morte tanta n'avesse disfatta.[26]

In modern literature, Dimitris Lyacos in his dystopian epic[27] Z213: Exit uses quotations from the Messenger's account[28] in The Persians (δίψῃ πονοῦντες, οἱ δ᾽ ὑπ᾽ ἄσθματος κενοὶ: some, faint from thirst, while some of us, exhausted and panting[29]) in order to convey the failure of a military operation and the subsequent retreat of the troops in a post-apocalyptic setting.[30] The excerpts from The Persians enter a context of fragmentation whereby broken syntax is evocative of a landscape in the aftermath of war.[31]

Translations into English

Notes

  1. ^ A catalogue of Aeschylus' plays contains the two titles Glaucus Potnieus and Glaucus Pontius – hence the uncertainty. To add to the confusion, one title could easily be a garbled duplicate of the other. The consensus seems to favor Glaucus Potnieus
  2. ^ Garvie 2009, xl–xlvi); however see Muller/Lewis 1858, p. 322.
  3. ^ According to the hypothesis of The Persians found, for instance, in the Loeb and OCT editions of Aeschylus' plays.
  4. ^ a b "Aeschylus Fragments 57–154". theoi.com. Retrieved 2011-07-24.
  5. ^ a b Smyth, H. W. (1930). Aeschylus: Agamemnon, Libation-Bearers, Eumenides, Fragments. Harvard University Press. pp. 453–454. ISBN 0-674-99161-3.
  6. ^ Taxidou (2004, 99).
  7. ^ page 401–405. Raphael and Macleish (1991, p. 14).
  8. ^ Raphael and McLeish (1991, 20).
  9. ^ Raphael and McLeish (1991, p. 26).
  10. ^ See Herodotus 6.21.2 and Taxidou (2004, pp. 96–97).
  11. ^ For the first reading, see, for example, Segal (1993, p. 165) and Pelling (1997, pp. 1–19); for the second, see Hall (1996) and Harrison (2000). While there is some disagreement, the consensus is that the Persian Wars did not come to a formal conclusion until 449 BC with the Peace of Callias.
  12. ^ See Hall (1991).
  13. ^ The Vita Aeschyli §18 repeats this claim, adding that the play was well received there. For questions surrounding this Sicilian production and its bearing on the text of the Persae that survives, see Broadhead 2009, pp. xlviii–liii; Garvie 2009, pp. liii–lvii.
  14. ^ Garvie 2009, p. lv.
  15. ^ See Barrett 1964, p. 194.
  16. ^ Podlecki (1986, p. 78).
  17. ^ See Favorini (2003) and Banham (1998, p. 974).
  18. ^ a b c d e From the programme to the Edinburgh Festival production.
  19. ^ McLaughlin (2005, p. 254)
  20. ^ http://jhupbooks.press.jhu.edu:80/ecom/MasterServlet/GetItemDetailsHandler?iN=9781421400631&qty=1&source=2&viewMode=3&loggedIN=false&JavaScript=y released by Johns Hopkins University Press
  21. ^ They That Have Borne the Battle Veterans Festival http://workshoptheater.org/jewelbox/2011/TheyThatHave Archived 2011-09-02 at the Wayback Machine
  22. ^ Sedgman, Kirsty (2016). Locating the Audience. Bristol: Intellect. ISBN 9781783205714.
  23. ^ Live from Epidaurus: Aeschylus’ “The Persians” in international live streaming from the Ancient Theatre of Epidaurus http://greekfestival.gr/live-from-epidaurus-aeschylus-quot-the-persians-quot-in-international-live-streaming-from-the-ancient-theatre-of-epidaurus/?lang=en, Date accessed: 2020-07-25
  24. ^ "Na Peirsigh / Persians".
  25. ^ Aeschylus, Persians, line 432. Herbert Weir Smyth Ed. http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0012%3Acard%3D480
  26. ^ Dante Alighieri, La Divina Commedia, Inferno, Canto III, lines 56–57.http://eliotswasteland.tripod.com
  27. ^ Michael O'Sullivan. The precarious destitute. A possible commentary on the lives of unwanted immigrants. http://www.asiancha.com/content/view/2105/505/
  28. ^ Dimitris Lyacos Z213: Exit. Translated by Shorsha Sullivan. Shoestring Press 2010, pp. 77–81.
  29. ^ Aeschylus, Persians, line 484. Herbert Weir Smyth, ed. Retrieved 7 December 2018.
  30. ^ Allison Elliott, A review of Z213: Exit by Dimitris Lyacos. Retrieved 7 December 2018. Archived 4 March 2016 at the Wayback Machine
  31. ^ Spencer Dew, A review of "Poena Damni, Z213: Exit. Retrieved 7 December 2018.
  32. ^ Aeschylus (June 2011). Persians, Seven against Thebes, and Suppliants | Johns Hopkins University Press Books. ISBN 9781421400648.

References

  • Banham, Martin, ed. 1998. The Cambridge Guide to Theatre. Cambridge: Cambridge UP. ISBN 0-521-43437-8.
  • Barrett, David, trans. 1964. The Frogs. By Aristophanes. In The Wasps / The Poet and the Women / The Frogs. London: Penguin, 1986. 147–212. ISBN 0-14-044152-2.
  • Broadhead, H. D. 2009. The Persae of Aeschylus. Cambridge.
  • Favorini, Attilio. 2003. "History, Collective Memory, and Aeschylus' Persians." Theatre Journal 55:1 (March): 99–111.
  • Garvie, A. F. 2009 Aeschylus Persae. Oxford.
  • Hall, Edith. 1991. Inventing the Barbarian: Greek Self-definition through Tragedy. Oxford Classical Monographs ser. Oxford: Clarendon. ISBN 0-19-814780-5.
  • Hall, Edith. 1996. Aeschylus Persians: Text and Commentary. Warminster: Aris & Phillips. ISBN 0-85668-597-6.
  • Harrison, Thomas. 2000. The Emptiness of Asia: Aeschylus' Persians and the History of the Fifth Century. London: Gerald Duckworth. ISBN 0-7156-2968-9.
  • Lesky, Albin et al. 1996. A History of Greek Literature. Hackett. ISBN 0-87220-350-6.
  • McLaughlin, Ellen. 2005. The Greek Plays. New York: Theatre Communications Group. ISBN 978-1-55936-240-5.
  • Muller, K. O. 1858. History of the Literature of Ancient Greece: To the Period of Isocrates. Trans. George C. Lewis. Longmans, Green & Co.
  • Munn, Mark H. 2000. The School of History: Athens in the Age of Socrates. Berkeley: U of California P. ISBN 0-520-23685-8.
  • Podlecki, A. J. 1986. "Polis and Monarchy in Early Greek Tragedy." In Greek Tragedy and Political Theory. Ed. Peter Euben. New ed. Berkeley: U of California P, 1992. ISBN 0-520-05584-5.
  • Raphael, Frederic, and Kenneth McLeish, trans. 1991. Plays: One. By Aeschylus. Ed. J. Michael Walton. Methuen Classical Greek Dramatists series, London: Methuen, 1998. ISBN 0-413-65190-8.
  • Segal, Charles. Euripides and the Poetics of Sorrow: Art, Gender and Commemoration in Alcestis, Hippolytus and Hecuba. Durham: Duke UP. ISBN 0-8223-1360-X.
  • Taxidou, Olga. 2004. Tragedy, Modernity and Mourning. Edinburgh: Edinburgh UP. ISBN 0-7486-1987-9.

External links

This page was last edited on 8 May 2024, at 20:09
Basis of this page is in Wikipedia. Text is available under the CC BY-SA 3.0 Unported License. Non-text media are available under their specified licenses. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc. WIKI 2 is an independent company and has no affiliation with Wikimedia Foundation.
Contact WIKI 2
Introduction
Terms of Service
Privacy Policy