Эсхил: Отец трагедии Древней Греции

5th century BC Athenian Greek tragedian
the ancient Greek playwright

Aeschylus (/UK/'/iː//s//k//ɪ//l//ə//s/, /US/'/ɛ//s//k//ɪ//l//ə//s/; wikt:Αἰσχύλος (Αἰσχύλος]]) Aiskhýlos; c. 525/524 – c. 456/455 BC) was an ancient Greek tragedian often described as the father of tragedy. Academic knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus. Only seven of Aeschylus's estimated 70 to 90 plays have survived. There is a long standing debate regarding the authorship of one of them, Prometheus Bound, with some scholars arguing that it may be the work of his son Euphorion. Fragments from other plays have survived in quotations, and more continue to be discovered on Egyptian papyri. These fragments often give further insights into Aeschylus' work. He was likely the first dramatist to present plays as a trilogy. His Oresteia is the only extant ancient example. At least one of his plays was influenced by the Persians' second invasion of Greece (480–479 BC). This work, The Persians, is one of very few classical Greek tragedies concerned with contemporary events, and the only one extant. The significance of the war with Persia was so great to Aeschylus and the Greeks that his epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright.

Aeschylus was born around 525 BC in Eleusis, a small town about northwest of Athens, in the fertile valleys of western Attica. Some scholars argue that the date of Aeschylus's birth may be based on counting back 40 years from his first victory in the Great Dionysia. His family was wealthy and well established. His father, Euphorion, was said to be a member of the Eupatridae, the ancient nobility of Attica, but this might be a fiction invented by the ancients to account for the grandeur of Aeschylus' plays. As a youth, Aeschylus worked at a vineyard until, according to the 2nd century AD geographer Pausanias, the god Dionysus visited him in his sleep and commanded him to turn his attention to the nascent art of tragedy. In 510 BC, when Aeschylus was 15 years old, Cleomenes I expelled the sons of Peisistratus from Athens, and Cleisthenes came to power. Cleisthenes' reforms included a system of registration that emphasized the importance of the deme over family tradition. In the last decade of the 6th century, Aeschylus and his family were living in the deme of Eleusis. The Persian Wars played a large role in Aeschylus' life and career. In 490 BC, he and his brother Cynegeirus fought to defend Athens against the invading army of Darius I of Persia at the Battle of Marathon. The Athenians emerged triumphant, and the victory was celebrated across the city states of Greece. Cynegeirus was killed while trying to prevent a Persian ship retreating from the shore, for which his countrymen extolled him as a hero. Ion of Chios was a witness for Aeschylus' war record and his contribution in Salamis. Aeschylus was one of many Greeks who were initiated into the Eleusinian Mysteries, an ancient cult of Demeter based in his home town of Eleusis. According to Aristotle, Aeschylus was accused of asebeia (impiety) for revealing some of the cult's secrets on stage. A nephew of Aeschylus, Philocles (his sister's son), was also a tragic poet, and won first prize in the competition against Sophocles' Oedipus Rex. Aeschylus had at least two brothers, Cynegeirus and Ameinias.

The seeds of Greek drama were sown in religious festivals for the gods, chiefly Dionysus, the god of wine. The first competition Aeschylus would have participated in involved three playwrights each presenting three tragedies and one satyr play. The Oresteia is the only extant example of this type of connected trilogy, but there is evidence that Aeschylus often wrote such trilogies. The satyr plays that followed his tragic trilogies also drew from myth. The satyr play Proteus, which followed the Oresteia, treated the story of Menelaus' detour in Egypt on his way home from the Trojan War. It is assumed, based on the evidence provided by a catalogue of Aeschylean play titles, scholia, and play fragments recorded by later authors, that three other extant plays of his were components of connected trilogies: Seven Against Thebes was the final play in an Oedipus trilogy, and The Suppliants and Prometheus Bound were each the first play in a Danaid trilogy and Prometheus trilogy, respectively. Scholars have also suggested several completely lost trilogies, based on known play titles. A number of these treated myths about the Trojan War. One, collectively called the Achilleis, comprised Myrmidons, Nereids and Phrygians (alternately, The Ransoming of Hector). Another trilogy apparently recounted the entrance of the Trojan ally Memnon into the war, and his death at the hands of Achilles (Memnon and The Weighing of Souls being two components of the trilogy). The Award of the Arms, The Phrygian Women, and The Salaminian Women suggest a trilogy about the madness and subsequent suicide of the Greek hero Ajax. Aeschylus seems to have written about Odysseus' return to Ithaca after the war (including his killing of his wife Penelope's suitors and its consequences) in a trilogy consisting of The Soul raisers, Penelope, and The Bone gatherers. Other suggested trilogies touched on the myth of Jason and the Argonauts (Argô, Lemnian Women, Hypsipylê), the life of Perseus (The Net draggers, Polydektês, Phorkides), the birth and exploits of Dionysus (Semele, Bacchae, Pentheus), and the aftermath of the war portrayed in Seven Against Thebes (Eleusinians, Argives (or Argive Women), Sons of the Seven).

The Persians (Persai) is the earliest of Aeschylus' extant plays. It was performed in 472 BC. It was based on Aeschylus' own experiences, specifically the Battle of Salamis. It is unique among surviving Greek tragedies in that it describes a recent historical event.

Seven against Thebes (Hepta epi Thebas) was performed in 467 BC. It has the contrasting theme of the interference of the gods in human affairs. The play tells the story of Eteocles and Polynices, the sons of the shamed king of Thebes, Oedipus. Eteocles and Polynices agree to share and alternate the throne of the city. After the first year, Eteocles refuses to step down. Polynices therefore undertakes war. The pair kill each other in single combat, and the original ending of the play consisted of lamentations for the dead brothers. But a new ending was added to the play some fifty years later: Antigone and Ismene mourn their dead brothers, a messenger enters announcing an edict prohibiting the burial of Polynices, and Antigone declares her intention to defy this edict.