Г†schylos Tragedies and Fragments

Aeschylus

E. Plumptre

Г†schylos Tragedies and Fragments

PUBLISHER'S NOTE

The reception accorded to the pocket edition of Dean Plumptre's “Dante” has encouraged the publishers to issue in the same format the Dean's masterly translation of the Tragedies of Æschylos.

In preparing the present issue they have followed the carefully revised text of the second edition, and have included the scholarly and suggestive annotations with which the Dean invariably delighted to enrich his work as a translator.

The seven Plays, which are all that remain of the seventy or eighty with which Г†schylos is credited, are presented in their chronological order. Passages in which the reading or the rendering is more or less conjectural, and in which, accordingly, the aid of the commentator is advisable, are marked by an asterisk; and passages which are regarded as spurious by editors of authority have been placed in brackets.

In translating the Choral Odes the Dean used such unrhymed metres – observing the strophic and antistrophic arrangement – as seemed to him most analogous in their general rhythmical effect to those of the original. He added in an appendix, however, for the sake of those who preferred the rhymed form with which they were familiar, a rhymed version of the chief Odes of the Oresteian trilogy. Those in the other dramas did not appear to him to be of equal interest, or to lend themselves with equal facility to a like attempt. The Greek text on which the translation is based is, for the most part, that of Mr. Paley's edition of 1861.

A translation was also given of the Fragments which have survived the wreck of the lost plays, so that the work contains all that has been left to us associated with the name of Г†schylos.

In the present edition a chronological outline has been substituted for the biographical sketch of the poet, who from his daring enlargement of the scope of the drama, the magnificence of his spectacular effects and the splendour of his genius, was rightly honoured as “the Father of Tragedy.”

CHRONOLOGICAL OUTLINE OF THE LIFE OF Г†SCHYLOS

Примечание 1[1 - Cf., the legend of Caedmon, “the Father of English Song.”]

THE PERSIANS[2 - Note.– Within two years after the battle of Salamis, the feeling of natural exultation was met by Phrynichos in a tragedy bearing the title of The Phœnikians, and having for its subject the defeat of Xerxes. As he had come under the displeasure of the Athenian demos for having brought on the stage the sufferings of their Ionian kinsmen in his Capture of Miletos, he was apparently anxious to regain his popularity by a “sensation” drama of another kind; and his success seems to have prompted Æschylos to a like attempt five years later, B.C. 473. The Tetralogy to which the play belonged, and which gained the first prize on its representation, included the two tragedies (unconnected in subject) of Phineus and Glaucos, and the satyric drama of Prometheus the Fire-stealer.The play has, therefore, the interest of being strictly a contemporary narrative of the battle of Salamis and its immediate consequences, by one who may himself have been present at it, and whose brother Ameinias (Herod, viii. 93) distinguished himself in it by a special act of heroism. As such, making all allowance for the influence of dramatic exigencies, and the tendency to colour history so as to meet the tastes of patriotic Athenians, it may claim, where it differs from the story told by Herodotos, to be a more trustworthy record. And it has, we must remember, the interest of being the only extant drama of its class, the only tragedy the subject of which is not taken from the cycle of heroic myths, but from the national history of the time. Far below the Oresteian Trilogy as it may seem to us as a work of art, having more the character of a spectacle than a poem, it was, we may well believe, unusually successful at the time, and it is said to have been chosen by Hiero for reproduction in Syracuse after Æschylos had settled there under his