Before proceeding to the analysis of a particular work, a few words should be said about its author.
Aeschylus. The ancients already called him the "father of tragedy", which indicates an unconditional understanding of his role in the development of theatrical art.
Aeschylus came from an old aristocratic family to a. He was born in 525 BC. e. in the Attic settlement of Ele-vsin. He was a member of the Greco-Persian war, fought at Marathon (490), Salamis (480) and Plataea (479). The fact that Aeschylus valued his own merits as a warrior and citizen more than his victories in dramatic states is evidenced by the words of the epitaph written by himself:
"Courage is remembered by his marathon grove and the tribe of the long-haired Medes, who recognized him in battle."
The beginning of the dramatic work of Aeschylus dates back to 500 BC. e., but only in 484 he managed to defeat his rivals. Then he won 12 more times, first places and in the 70-60s. was the most popular tragic poet of Athens. He died in 456 in Sicily. But his tragedies even after his death, as an exception (because the tragedies of dead authors were not renewed) were staged in the Athenian theater. In total, Aeschylus wrote about 80 dramas. 7 of his tragedies have come down to us, several hundred fragments of various sizes, including papyrus excerpts from satyr dramas. Aeschylus made a significant contribution to the development of the structure of the drama. He introduced a second actor, increased speech scenes at the expense of choral parts, and strengthened the role of dialogue.
The Persians were staged in 472 as part of a tetralogy, along with two other tragedies: Phineus and Glaucus and the satyr drama Prometheus the Firestarter. This tetralogy brought Aeschylus victory in the competition of poets and playwrights. There was no meaningful connection between the works. Aeschylus combined 4 completely independent plays - this is a rare case in his practice.
An important feature of the drama is that it is based not on a myth, but on a genuine historical event. True, Aeschylus did not set himself the goal of a detailed reproduction of historical facts. The task of this tragedy also corresponds to the main pathos of Aeschylus's theatrical work -
The moral education of fellow citizens, the formation of patriotic and civic feelings of the Athenians. It is no coincidence that Aristophanes in The Frogs noted this important role of the tragedies of Aeschylus and emphasized his enormous contribution to the development of Athenian democracy, to the formation of a moral, just society.
The statement about the priority of the educational function of the ancient theater is generally significant. The Greek theater was one of the most effective means of influencing the formation of people's worldview. All citizens of the policy were obliged to go to the theater. And the number of seats in the theater corresponded to the free population of the city. The Athenian theater, for example, had 17,000 seats, while the city's treasury had 17,000 seats. so-called "spectacle money" was used to provide access to the theater to the poor and needy citizens.
The main merit of Aeschylus, Aristophanes considered the image of a positive hero he created, which encouraged citizens to moral self-improvement.
As an explanation, a few words should be said about the problem of a positive, ideal hero in culture in general. It is no coincidence that this problem is relevant in all cultures; pax and at all times. Why is so much attention paid to the role of a positive hero in society, what is behind this?
Every society, every social system exists as a whole, based on value-normative unity. And the main task of any social system is the formation and preservation of this unity. In other words, every society should make sure that all its citizens have approximately the same understanding of "what is good and what is bad." The personal qualities necessary for a given society are formed in the minds of its citizens. Society has many ways of influencing the formation of a worldview. This is the system of upbringing, and education, and means mass media, and other forms and methods. An important role in solving this problem belongs to art. It is art that creates a visible, personified image of value-normative unity. The personification of this unity is the positive hero. Therefore, such a hero becomes a symbol of culture, the embodiment of its aspirations. And the analysis of such an image 138
This is the key to understanding the specific features of contemporary culture.
Of course, such a scheme gives us a simplified and forcedly straightforward vision of the problem, but at the same time it helps to isolate the main coordinates and landmarks of culture. The uniqueness of the interpretation of the image in culture is given by the educational function of art. (However, in parentheses, it should be noted that the educational function does not always dominate in culture. This is especially noticeable during periods of changing formations, social instability, and the destruction of culture, when the task of art becomes the destruction and ridicule of the ideals and stereotypes of the previous culture).
The theater of Aeschylus performed educational, patriotic, consolidating functions, and therefore the positive hero had to be an example to follow, to be a bearer of only positive traits needed by the culture that gave birth to it. An important role in solving this problem is played by the negative hero, with the help of which the personality traits rejected by the culture are personified. Thus, a positive hero is always opposed by a negative one, so that it is clear what should be imitated and what should be avoided.
So, the heroes of the tragedies of Aeschylus are divided, as it were, into two poles - positive and negative. But all the action of the "Persians" takes place in the camp of the enemy - in Susa - the Persian capital. All the more surprising is Aeschylus's technique for portraying a positive hero. It is absolutely clear that the enemy cannot be a good hero. It's against the rules. But we learn about all the events that took place only from the speeches of the Persians - the enemies of the Greeks. There is not a single Greek in tragedy who could rightly be the personification of a positive hero. And therefore, the enemy becomes a positive hero in Aeschylus, but (this is the secret of Aeschylus's reception) the enemy is dead (!). For the first time, Aeschylus brings to the stage a dead hero - the shadow of Darius - the father of Xerxes. (Then this device will be used by Shakespeare). The enemy can be a goodie - but only a dead one.
Aeschylus does not spare bright colors to describe the sanity and heroism of Darius. And he opposes him as a negative hero - his own son - Xerxes.
The historical basis of the drama was the naval battle of Salamis (480), which Xerxes undertook to take revenge on the Greeks for the defeat at Marathon.
The discussion is built around the story of the Persian messenger about the defeat of the Persians and the victory of the Greeks and an analysis of the reasons for the defeat of the Persians.
Aeschylus builds, as it were, two plans for the tragedy. The first one is “political, in which people act. At this level, it substantiates the advantages of the Athenian democratic system, in contrast to Eastern tyranny. And the divine one is the triumph of Zeus as the guarantor of world order and justice. The Persians exclaim:
“Oh, sovereign Zeus! You ruined, crushed the arrogant power of a populous country, You destroyed our army!
Here we should note a very interesting problem of Greek drama - the evolution of the image of Zeus in the tragedies of Aeschylus, Sophocles and Euripides. It is in the "Persians" that Zeus appears as a just and wise lord of gods and people. But already the later tragedies of Aeschylus, then Sophocles and Euripides draw a different image of Zeus - from "a capricious thunderer to an enemy who planned to exterminate the entire human race. It is necessary to understand the historical and cultural background of this process.
The Persians are not just conquerors, they are the external enemy that forces all Greeks to unite. It is the opposition to an external force that contributes to the consolidation of society, a sense of unity and power of the entire Greek people. Zeus personifies this unity and therefore becomes the guarantor of justice in a just war of liberation. Only the unification of the Greeks allowed them to defeat the Persians. But after the victory, Heretia did not long enjoy triumph and peace. The Peloponnesian Wars began again. 1 Greek cities resumed armed internecine conflicts. Gone is their former unity, and with it the image of the just mighty Zeus.
Aeschylus' appeal to the theme of "Persians" is not accidental. This is not only the formation of patriotic feelings of citizens, the glorification of victory, a hymn to a fair democratic structure of society and the Greek gods. The tragedy had an even more specific address. One of the political groups in Athens called for an offensive war with Asia. Aeschylus advocated peace with Persia. Therefore, he portrays the Persians very sympathetically, without any hostility, showing that the people of Persia fell victim to the recklessness of Xerxes, who encroached on the will of the gods. The gods have defined Heretia -
klzano. It was for the attempt on the divine order that Xerxes suffered defeat. Therefore, "Persians" is not only the pathos of the victory of the Greeks, it is also a command to them to obey the will of the gods and not make the mistake of Xerxes, otherwise they will face the fate of the Persians, which the tragedy so vividly depicts.
Aeschylus
Persians
CHARACTERS
Choir of Persian Elders. Atossa. Messenger. Shadow of Darius. Xerxes.
Square in front of the palace in Susa. The tomb of Darius is visible.
The entire Persian army went to Hellas.
And we old people stand guard
Golden palaces, expensive houses
Native land. The king himself ordered
Son of Darius, Xerxes,
To their eldest, tested servants
Keep this land sacred.
But the soul is confused by the anxiety of things,
He smells bad. Will the king return home with victory, will the army return,
Shining with power?
All Asia color in a foreign side
Fighting. The wife cries for her husband.
And the army does not send any foot messengers,
No cavalry to the capital of the Persians.
From everywhere - from Susa, Ekbatan, from the gate
Towers of ancient Kissian
And in the ranks of the ship, and in the cavalry,
And in the ranks of the foot soldiers, in a continuous stream, 20 soldiers left for the battle.
They were led on a campaign by Amistre, Artafren,
Megabat and Astasp - four kings
Under the greatest king,
Persians glorious leaders, chiefs of troops,
Shooters-strongmen on fast horses,
Severe in appearance, hot in battle,
Adamant soul, full of courage
And glorious formidable prowess.
Then Artembar, on horseback, 30 Masist and well-aimed archer Have,
Glorious fighter, then Farandak
And the horseman Sostan behind them.
The fruitful Nile sent others,
Mighty stream. Susiskan went,
The Egyptian Pegastagon went,
The king of holy Memphis has gone,
Great Arsames, and Ariomard,
Lord and leader of the ancient Thebes,
And the rowers that live in the swamps of the Delta, 40 Countless went in a crowd.
Behind them are the Lydians, pampered people,
They have the whole continent under their thumb.
And the Lydian army was led on a campaign
Mitrogat and Arktey, leaders and kings.
And from Sardis golden by the will of the lords
Chariots with fighters rushed into the distance,
Now fours of horses, then sixes of horses,
Look - and freeze with fear.
And the sons of Tmola, the sacred mountain, 50 wished to put a yoke on Hellas
Mardon, Taribid, spear-throwing army
Misiytsev. And myself Babylon golden,
Gathering his army from everywhere,
Sent to war - and on foot
Shooters, and ships, one after another.
So Asia is all at the call of the king
I took up arms, and took off from the place,
And moved menacingly to Greece.
So the power and beauty of the Persian land 60 War carried away.
All Asia is a mother about those who left,
Yearning in tears, languishing with anxiety.
Parents and wives are counting the days.
And time goes on and on.
Verse 1 The army of the king invaded the country of neighbors,
What is on the other side of the Strait of Gella
Athamantides, tying the rafts with a rope, 70 Loading the sea around their necks
A heavily built bridge with a heavy yoke.
Antistrophe 1 Drives the army by land and water,
Full of rage, lord of Asia,
Dotted with people. Believe in their leaders
Strong, severe, persistent, 80 offspring of Danae, equal to the gods.
Verse 2 He looks blue-black
With the gaze of a predatory dragon,
From the Assyrian chariot
Ships and fighters
Driving, and towards
He sends arrows to the spears of the enemy.
Antistrophe 2 No barrier to hold back
The onslaught of crowded hordes, 90 No dam to storm
She stood before the sea.
The inexorable army of the Persians,
It is impossible to overcome him. Verse 3 But what a mortal is capable of
Unravel the cunning of God?
Which of us is easy and simple
Escape from the trap?
Antistrophe 3 God lures in a net
A man's cunning caress, 100 And mortal is no longer able to
Leave the web of fate.
Stanza 4 So it was decided by the gods and fate,
So from ancient times it was commanded to the Persians:
To fight, sweeping away the walls,
Reveling in horse slashes,
Occupying the city from the raid.
Antistrophe 4 And people are accustomed to look without fear 110 At the gray-haired, furious with the wind
Dal sea, learned
Weave mooring ropes,
Build bridges over the abysses.
Verse 5 That's why black fear
And it hurts my chest, alas!
Fear that, having lost his army,
Suddenly empty Susa
And the capital will scream in pain.
Antistrophe 5 And the Kissians cry out Suz 120 They will echo, and - alas!
Crowds of women crying and screaming
In tatters will be on themselves
To tear apart a thin-woven dress.
Verse 6 Who is on horseback, who is on foot
Behind the leader set off on the road,
All the people left the house with a swarm of bees, 130 So that, with one team
Connecting shore to shore
Cross the strait, where the capes
The two lands are separated by waves.
Antistrophe 6 And in the pillows bye
Persian wives shed tears,
Yearning for dear husbands,
Weep silently for those
Who's gone to the fight to the death
And left the poor wife
Longing for an empty bed.
EPISODIUM ONE
choir leader
140 Well, Persians, it's time! We sit by the walls
Here are the old
And strain the mind: the need has come
In difficult and important decisions.
What about Xerxes the king? Where is Daria's son,
Whose ancestor, Perseus,
Did he give the name of our tribe?
Did the bow strike the enemy,
Or an enemy spear
Spearhead won?
Atossa appears, accompanied by maids
150 But behold, like the radiance of the eyes of a deity,
Queen, the great king's mother,
Appears to us. Rather fall down
And all, as one, their queen
Honor with a welcoming speech!
Oh, hello to you, queen of the Persians, Daria's wife,
Xerxes' low-girded mother, mistress!
You were the wife of God, you are the mother of the god of Persia,
If the ancient demon of happiness did not leave our troops.
That's why I went out, leaving the golden house and the peace that served as a bedroom for me and Darius.
And anxiety gnaws at me. Frankly, my friends
I say: fear and fear are not alien to me either.
I'm afraid in the dust of the campaign all the wealth that I collected
Darius, with the help of the immortals, will themselves turn into dust.
Therefore, with double care, I am unspeakably punished:
After all, wealth is dishonorable if there is no power behind it,
But even in power there is little glory if you live in poverty.
Yes, we have full prosperity, but fear takes over the Eye
I call the owner with the eye of home and prosperity. 170 Now, O old Persians, my faithful servants,
Help me with advice, judge how to be here.
All my hope is on you, I expect encouragement from you.
Oh, believe me, queen, you won't have to ask us twice,
So that in word or deed, to the best of your ability, you
We helped: we really are your good servants.
All the time I dream at night since then,
As my son, having equipped the army, went
Devastate and plunder the Ionian region.
But there has not yet been such a clear 180 Dream as last night. I'll tell him.
I saw two well-dressed women:
One in a Persian dress, the other with a headdress
Dorian was, and both of these current
And growth, and wonderful beauty of his
Exceeded, two consanguineous
Sisters. Alone in Hellas to live permanently
He appointed a lot, in a barbarian country - another.
Having learned - so I dreamed - that some
Send them strife, son, so that the arguing 190 Calm and calm, harnessed to the chariot
Both and put on both women
A yoke around the neck. Harness this rejoicing,
One of them obediently took the bit,
But the other, uplifted, horse harness
I tore it apart with my hands, threw off the reins
And immediately broke the yoke in half.
My son fell here, and stands, mourning, over him
His parent is Darius. Seeing his father, 200 Xerxes tears his clothes furiously.
This is what I dreamed about tonight.
Then I got up, spring hands
She rinsed with water and, carrying in her hands
A cake, a sacrifice to lapel demons,
As custom requires, I came to the altar.
I look: an eagle at the altar of Phoebov
Seeking salvation. Numb with horror
I stand and see: a hawk on an eagle, whistling
Wings, falling from the fly and into the head
He is stabbed with claws. And the eagle drooped 210 And surrendered. If it was scary to listen to you,
What a sight for me! You know:
The son will win - everyone will be delighted,
And if he doesn’t win - there is no demand for the city
From the king: he remains, if alive, the king.
Not to scare you too much, nor to encourage you too much,
Our mother, we won't. If you are a bad sign
I saw that misfortune to avert the moths of the gods
And ask yourself, and your son, and the state, and friends
Give only one benefit. A libation then 220 Make the earth and the dead and humbly ask,
So that your husband Darius - at night you saw him
From the depths of the underground, I sent goodness to my son and you,
And he hid the evil in the black darkness of the depths of the valley.
Here is the advice of a humble insightful mind.
But we will hope for a happy fate.
With this kind speech, the first interpreter of my
Dreams, you did a service to me and the house.
May everything be done for good! And the gods, as you command,
And we will honor our beloved shadows with rituals, 230 Returning to the house. But first I want to know, friends,
Where is Athens located, how far is this region?
Far in the land of sunset, where the god of the sun fades.
Why does my son want to take over this city?
Because all Hellas would have submitted to the king.
Is the army of the city of Athens so huge?
This army caused many troubles to the army of the Medes.
What else is that city famous for? Is it not the wealth of houses?
Bust of Aeschylus from the Capitoline Museums, Rome
The youth of Aeschylus and the events of the then Athenian history
Aeschylus, son of Euphorion, was born in Eleusis in 525. Therefore, at the time when his closest predecessor in the development of tragic art, Thespis (Thespis), lived, Aeschylus could only be a child, while the playwrights Choiril, Pratinus and Phrynichus were his older contemporaries, with whom he competed. Aeschylus belonged to an ancient aristocratic family of Attica, and among his ancestors he considered one of the ancient kings of this region. His youth coincides with an extremely lively and turbulent period in the life of the Athenian state. After the Athenians overthrew the tyranny of the Peisistratids in 510, a struggle began to establish a new order between two parties - the aristocratic, led by Isagoras, and the democratic, led by Alcmeonides Cleisthenes, who played an important role in the expulsion of Hippias; some wanted the restoration of the old oligarchy, others - democratic freedom, Cleisthenes, elected to the post of archon, defeated the aristocrats and his legislation, in which it was given further development democratic elements of the laws of Solon, laid the foundation of Athenian democracy. But the oligarchs found help from the Spartans, whose hegemony in Greece was based mainly on the rule of the aristocracy. The Spartan army, led by Cleomenes, returned Isagoras to Athens; having occupied the Athenian acropolis, he again destroyed the democracy and all the institutions of Cleisthenes and expelled 700 citizens. But the indignant people expelled the Spartans, restored the old institutions again and returned Cleisthenes. Then a new danger appeared: Cleomenes, in anger at the Athenians, invaded Attica with the Peloponnesian allies (506 BC); the Boeotians approached from the north, the Chalcidians from the east; but the countrymen of Aeschylus, the Athenians, did not lose courage; resolving to defend their freedom to the last extreme, they first went out to meet the Peloponnesians, and when they, divided among themselves, retreated without a fight, the Athenians turned against the Boeotians and Chalcidians and defeated both of them utterly. Young freedom was saved, and the Athenians - a tribe that combined Ionian mobility with rare vigor - self-confidently went forward along the path of freedom, obtained by hard work, so that, after a few years, they decided to even oppose the "great king" of Persia, wanting to gain fame and glory for themselves. help their Ionian compatriots win freedom.
Aeschylus' participation in the Greco-Persian wars
At the time when Hippias was expelled, Aeschylus was only 15 years old. The internal and external struggle for freedom, which then continued for several years, should have made a deep impression on the young man, especially since the noble family to which he belonged probably did not remain indifferent to this struggle, which, of course, had a decisive influence on the character. Aeschylus. The family of Euphorion stood on the side of Cleisthenes and the people, and young Aeschylus became a zealous supporter of the new direction. If he personally did not take part in the struggle before 500, then soon after that he had the opportunity to prove his patriotism and come out in defense of the freedom of his fatherland. At Marathon, Aeschylus, already a 35-year-old strong warrior, bravely and courageously fought along with his brother Cynegir. The latter was killed in the battle for the Persian ships; when he seized one ship by the protrusion of the stern, wishing to hold it, his hand was cut off with an axe. Aeschylus, covered with wounds, was carried from the battlefield on a stretcher. In this matter he excelled; in the picture depicting the battle of Marathon and exhibited in the Athenian gallery, in addition to Miltiades and the polemarch Callimachus, Aeschylus was also indicated among the fighting. He himself was proud of his exploits at Marathon. In the epitaph, which he composed for himself, he is completely silent about his poetic fame - which, however, was quite famous - and mentions only his participation in the marathon battle.
Ten years after this battle, Aeschylus again fought bravely at Artemisium and Salamis, and the next year at Plataea. The Athenian Amenius, who under Salamis was the first to fight on his ship and generally distinguished himself in this battle so much that all the Greeks unanimously awarded him a reward for bravery, is called by many writers the brother of Aeschylus; but this seems to be contradicted by the fact that Amenius, according to Herodotus, came from Pallene, and Aeschylus from Eleusis. Be that as it may, the relatives of Aeschylus, like himself, were distinguished by their courage and bravery in battles with the Persians. “To understand the poetry of Aeschylus, it is very important to know that his family became famous for his exploits: to stand at the head of his contemporaries, towering both in his wealth, and in the glory of his family, and in the nobility of origin, and in habits and social position above the crowd working for the sake of daily food is a rare and important happiness for the poet and for the development of his talent ”(Droizen).
The Greeks characterized the chronological relationship between the three great tragic poets, determining the connection of their lives with the great Battle of Salamis; they said that Aeschylus, a man of 45, fought in this battle; that Sophocles, a 15-year-old youth, was the coryphaeus of the choir at the feast of this victory, and Euripides was born on her day. According to this story, the younger of them was only 45 years younger than the older; but between their tragedies we see very significant differences both in content and in tone; during this short period there were great changes in the mental life of the Athenian people. Comparing the creations of Aeschylus, Sophocles and Euripides, we see a gradual transition from the ideal world of legendary antiquity to new concepts.
Aeschylus is the father of tragedy. video film
The beginning of the dramatic activity of Aeschylus
After the battle of Marathon, at a time when the Greek nation was proud of the consciousness of its victory and the elimination of a terrible danger, Aeschylus received (for the first time) the first victorious award. This was in 485 BC (Ol. 73, 4), when the poet was already 40 years old. The oldest of the tragedies of Aeschylus that has survived to our time - "Persians" - was the second part of the trilogy, presented in 472 (Ol. 76, 4); it is the only tragedy with historical content that has come down to us. Its plot was the battle of Salamis; consequently, its content is similar to the tragedy of Phrynichus “Phoenician Women” mentioned by us, for which the author was awarded a few years before. It is said that it was the tragedy of Phrynichus that prompted Aeschylus to write the Persians trilogy, and that he took advantage of the work of his predecessor, without committing, however, plagiarism. In Aristophanes' comedy The Frogs (v. 1298 et seq.), Aeschylus himself says on this occasion that he remade from beautiful to beautiful, so that they would not say that he was picking the flowers of his poetry in the same meadow as Phrynichus.
"Persians" was given in Athens around 472. This tragedy is imbued with enthusiastic pride, which filled the patriot Aeschylus and all the Greeks with the triumph over the Persians. The action of the drama takes place in the capital of Persia, Susa. The chorus of Persian nobles glorifies the large number and courage of the army that moved in 480 with King Xerxes to Greece, but also expresses the fear that this army may be subject to disasters and that Persia will be saddened by his death. Atossa, the mother of Xerxes, who, in the absence of her son, plays the role of the ruler of the Persian kingdom, tells the chorus that she had a dream that filled her with a sad foreboding. The chorus advises her to make a sacrifice to her dead husband Darius and ask him to save the army. Just then a messenger from Xerxes appears and informs Atossa and the nobles about the battle of Salamis and the destruction of the Persian fleet. His story - a magnificent description of the battle - constitutes the climax of this tragedy of Aeschylus:
“When will the white clear Phoebus
The neighborhood lit up - like a hymn
There was a powerful, noisy click in the distance:
They were Hellenes - and loudly
Echoing them, from the rocky shores
Ajax echoed them
And intense fear attacked the barbarians;
Hope deceived them; enemies
Didn't think to run, but sang the anthem
Majestic, speaking boldly
To fight. And the sound of the trumpet ignited
Their hearts with exuberant courage; and immediately
Striking the oars, clattering together
On the noisy waves of the sea, rushed
And soon they all appeared before us.
The right wing carried forward
In good order, and behind him - the whole fleet
Their rest; then it was possible
Hear the click: “Forward, sons of Hellas!
Go and save from the enemy
Fatherland! Oh save the children
And wives, dwellings of grandfather's gods,
Ancestral tombs; the battle will decide everything,
Then in Persian
Rushed the talk to meet them, and hesitate
There was nothing more ... and in an instant
Ship to ship with a copper-clad prow
Hit: that is a Hellenic ship;
He knocked down the tops of all the masts
In Phoenician; then grappled
other ships. At the start of the battle
The Persian army bravely defended:
When the multitude of ships hesitated
In the bay, and help each other
It was impossible in any way when they collided
Some ships, bound with copper,
With others, scary, scary crackled
The sides of the ships; the oars broke;
A Hellenic ships insidiously
We were completely surrounded, and on our
Heavy blows rained down:
And turned upside down
Ships; we have not seen the sea:
All around was covered with rubble
From ships and dead bodies:
Both the shores and the rocks were also
Covered with all the dead... Then
In confusion your ships rushed
Forward, backward, seeking salvation in flight.
A Hellenes, like tunas
Any, or other fish,
Fragments from oars, or boards
From the broken ships, ours were beaten
And they killed; crying and groaning
At sea until the very time
Until the darkness of the night removed the enemies...
When would a story about all of these
I spent ten days of misfortune,
Even then it wouldn't have ended. Oh know
That never perished in a day
One of such a multitude of people!”
The chorus, having heard the sad news, expresses fear that the conquered peoples will rise up against the Persians and overthrow their yoke. Atossa makes a sacrifice on her husband's coffin, evoking his shadow; is a shadow Darius. Atossa tells her husband about the misfortune that the kingdom has undergone. In response, Darius says that the fault of all the misfortunes of the Persians is the arrogance of Xerxes. She accelerated the fulfillment of the ancient prophecy that the Persian army that went to Greece would perish. The gods are angry that the Persians built bridges over the waters of the Hellespont and destroyed the Hellenic temples. Through the mouth of Darius, Aeschylus says that the Persians should not encroach on Hellas and be content with dominion over Asia, which was given to them by the gods, for people who want to acquire more than they are destined are punished from above.
The action of the "Persians" continues with the appearance on the stage of the fugitive from Greece Xerxes whose royal robes are torn. The play ends with Xerxes and a chorus of Persian nobles mourning the disaster. Aeschylus, therefore, explains the defeat of the Persians from a moral-religious point of view, as a punishment for the arrogance of their king.
Aeschylus - "Etneyanki"
The first tragedy from the Persians trilogy, for which Aeschylus received the first award, was called Phineas; the third - "Glavk". In the latter, Aeschylus glorified the victory (sung also by Pindar in his 1st Pythian ode), which he won at Himera Hiero with his brothers over the Carthaginians, almost simultaneously with the battle of Salamis. Perhaps this was the reason why Hiero invited Aeschylus to Syracuse. Aeschylus accepted this invitation and once again put his trilogy "Persians" on stage in Syracuse, of course, at the request of Hiero. A few years before (in 476 BC, Ol. 76, 1) Hieron founded the city of Etna, which, during Aeschylus's stay in Sicily, was not yet fully completed; in this new city, Aeschylus staged his trilogy "Etneianki" - "as an omen of a happy life for the inhabitants of the new city."
How long Aeschylus lived in Sicily we do not know; but in the year 468 (Ol. 77, 4) he appears again in Athens. This year he entered into a contest with Sophocles and was defeated by this young poet, who at that time first appeared before the people with his works. This event, unpleasant for Aeschylus, was subsequently also put forward as the reason for his removal to Sicily. But we agree with Welker, who says: “For an Athenian and a winner at Marathon, and, moreover, already in old age, more important reasons were needed to leave his city than the fact that he was not crowned at the feast of Dionysus, which could happen to everyone." The indifference of Aeschylus in this regard is evidenced by the remark of Theophrastus or Chameleon that Aeschylus was philosophically calm to such an extent that once, having suffered an undeserved defeat, he said: "I dedicate my tragedies to time."
Aeschylus - "The Petitioners" (summary)
Shortly after the appearance of the Persians, Aeschylus wrote the tragedy Iketida (Supplices, "The Petitioners"), which was very simple in content, performed by only two actors. (Later, Aeschylus, following the example of Sophocles, brought a third actor onto the stage.) The Petitioners, it seems, constituted the first part of the trilogy, the second part of which was the Egyptians, and the third the Danaids; this explains the nature of The Petitioners: there is little action in this play, and it is only passive.
Danaids (daughters of Danae), who fled from their cousins, the sons of their uncle, Egypt, who wanted to forcibly take them as wives, seek refuge in Argos and sit down as prayers for the protection of the petitioner at the altars in front of the city. The Argos king Pelasg for some time hesitates between the danger of being attacked by the suitors of Danaid and the fear of incurring the wrath of the gods by refusing to protect those who sat at the altars. The supplications of the daughters of Danae and the decision of the Argive National Assembly triumph over his timidity. Pelasg takes Danaid under the protection of Argos. The suitors, who have come to the coast of Argos, send a messenger demanding that the girls be given to them. The herald wants to take them away by force. Pelasg does not allow this. The herald leaves, threatening war. The Danaids, forming a choir, thank the gods of their new fatherland for salvation from the hated suitors.
However, the denouement of the drama is not achieved by this. The Herald's threats at the end of "The Petitioners" evoked an oppressive, unsettling foreboding in the audience. It served as a transition to the next part of this dramatic trilogy of Aeschylus - "The Egyptians", where the tragedian, developing the same myth, depicted how the daughters of Danae were forcibly married off to the sons of Egypt - and on their wedding night they killed their husbands. Only one of the Danaids, Hypermnestra, spared her husband. In the third part of this trilogy of Aeschylus - "Danaids" - dissatisfied sisters dressed up the trial of Hypermnestra. But he justified her through the intercession of the goddess of love, Aphrodite. In ancient times, Hypermnestra was considered the progenitor of the family of Argive kings.
This trilogy of Aeschylus had a character more national than moral; it represented the first appearance of the Danaans, the kind of Perseids and Heraclides in Argos. In The Petitioners, the songs of the Danaid choir are excellent, which mournfully cling to the altars, like timid doves threatened by a hawk. Praises to the people of Argos, expressed by the Danaids, had, according to the plan of Aeschylus, political significance. The Danaids pray to the gods to protect Argos from military disasters, from fire, disease, strife; so that the government always wisely takes care of the welfare of the state and provides protection to foreigners, protecting them from offense. Just at this time, about 462, the Athenians made an alliance with Argos and opened war against the Persians in Egypt. The tragedy of The Petitioner was put on stage, probably at the same time as all these events. By creating it, Aeschylus had the goal of strengthening the Athenian-Argive friendship.
Aeschylus - "Seven against Thebes" (summary)
Read also separate articles Aeschylus "Seven against Thebes" - a summary and Aeschylus "Seven against Thebes" - analysis
About the tragedy of Aeschylus "Seven against Thebes" (Έπτά ένί Φήβας, Septem Contra Thebas) it is now reliably known that she was awarded the first award in 467 (Ol. 78, 1) and constituted the last part of the trilogy, which depicted the events of the myth of Oedipus and the fate of the Theban royal family.
The Theban king Lai, having received a prediction that he would die at the hands of his own son, ordered that the child Oedipus, recently born to him, be taken to the mountains and thrown there. But the shepherds saved Oedipus. He ended up in the house of the Corinthian king, who raised him as his own son. When Oedipus matured, he received a prediction that in the future he would kill his father and marry his mother. Considering himself the son of the ruler of Corinth and his wife, the stunned Oedipus fled from his imaginary parents in order to prevent the fulfillment of the prophecy. Wandering around Greece, he killed his true father, Laius, in one accidental road fight. Soon, Oedipus helped the city of Thebes to free itself from the monster, the Sphinx, that was atrocious in its district. For this, the Thebans elected Oedipus king and married him to the widow of the recently deceased Laius, Jocasta. So Oedipus, without knowing it, killed his own father and took his mother as his wife. When all this was revealed a few years later, Jocasta hanged herself, and Oedipus blinded himself and voluntarily left Thebes for exile.
Two of his sons, Eteocles and Polynices, began to claim the Theban throne, competing with each other. Oedipus, who lived in the Attic Colon, seeing the cruelty of his own children, cursed both of these brothers. After the death of his father, Eteocles seized power and expelled his brother. In exile, Polynices married the daughter of the king of Argos, attracted six glorious Hellenic heroes to his side and arranged with them a campaign of the Seven against Thebes in order to overthrow Eteocles.
All these events were depicted in the first two parts of the Aeschylus trilogy: Laius and Oedipus. They did not reach us. The surviving third drama, The Seven Against Thebes, was praised by ancient commentators for the warlike spirit of its author, an old fighter at Marathon and Salamis. Aeschylus himself speaks of himself in Aristophanes' comedy The Frogs: “I created a drama full of the spirit of Areev -“ Seven Against Thebes ”; everyone, seeing her on the stage, was imbued with militancy.
In the prologue of the tragedy "Seven Against Thebes", Eteocles directs the defense of the city and sends the Scout to the enemy's camp. The Theban women who make up the chorus of the tragedy are seized with fear. The returned Scout tells that each of the seven gates of Thebes will be attacked by one of the Seven leaders of the enemy army. Eteocles appoints a special Theban general to defend each gate, and at those gates that his brother Polynices approaches, he decides to command personally. Eteocles expresses his firm determination to fight with his brother in order to fulfill the curse that their common father, Oedipus, subjected him and Polynices to. The Theban members of the choir persuade him not to enter into a personal fight with his brother, but Eteocles rejects these persuasions, although he well comprehends the horror of a possible fratricide. The shocked choir sings a mournful song about the curse of the house of Oedipus.
In the next act of this tragedy, Aeschylus, the Herald reports the defeat of the Seven and that Eteocles and Polyneices killed each other in a personal duel. Their sisters Antigone and Ismene, together with the choir, mourn the death of their brothers; the impression of crying is reinforced by the bitter sarcasm contained in it. The Council of Elders of Thebes decides to bury the body of Eteocles with honor, and leave Polynices without burial. Antigone firmly says that she will not allow such sacrilege and will bury the body of Polyneices, despite the ban. Part of the choir with Ismene leaves to bury Eteocles, and the other part follows Antigone to mourn Polyneices. However, some scholars believe that this ending does not belong to Aeschylus, but is a later insert based on Sophocles' Antigone and Euripides' The Phoenicians.
The mutual murder of two brothers forms the core of the Seven Against Thebes. According to Aeschylus, it is a consequence of the crime of Laius in the first part and the curse of Oedipus in the second. In this tragedy, a third actor has already appeared on the stage.
"Seven Against Thebes" were given on stage during the lifetime of the famous Athenian politician Aristides. Plutarch tells that when the words referring to one of the heroes of the drama, Amphiaraus, were uttered:
He wants to be fair, and not only
To seem so; and in his high soul
Wise, good advice ripens, -
then all the spectators turned their eyes to Aristide in the belief that he alone, above all others, deserves this praise. Aeschylus, of course, himself in these verses, as well as in the whole characterization of Amphiaraus, had in mind precisely the aristocrat Aristides. His fair, wise and moderate policy was liked by Aeschylus, who did not approve of the restless and not always straightforward line of the democrat Themistocles, with her desire to establish Athenian domination over all Greeks.
Aeschylus - "Prometheus"
The majestic trilogy of Aeschylus "Prometheus", consisting of the tragedies: "Prometheus, stealing fire" (or "Prometheus the Fire-bearer"), "Prometheus chained" and "Prometheus liberated", was created around the 79th Olympiad (464-461 BC. ), although there is another dating - 469 BC. Of it, only the second part has come down to us, which requires the participation of a third actor and some machines; in the nature of the verse and in execution, this tragedy approaches the works of Sophocles and Euripides. AT Greek mythology the image of the mighty titan Prometheus personified the human mind, soul and will. Wanting to improve the fate of people, Prometheus, like themselves, transgressed the boundaries set by the gods for human desire.
The plot of "Prometheus" is taken from an ancient myth in which, as can be seen from the cult of Prometheus in Attica, he was represented as the god of fire. The first mention of Prometheus is contained in the poems of Hesiod. In mythology, Prometheus was considered the son of the Earth, which was sometimes identified with the goddess of justice, Themis. Prometheus was a titan. When Zeus reigned on Olympus, the sons of the Earth, the titans, rebelled against this new world ruler, but Prometheus was the only one of them who went over to the side of Zeus. However, later the Olympic gods decided to destroy the human race, and Prometheus, speaking out against Zeus, saved humanity by bringing him fire stolen from heaven. By this he aroused the irreconcilable enmity of Zeus.
The opening scene of Chained Prometheus depicts the execution of a defiant titan. The executors of the will of Zeus - Power and Strength - lead Prometheus to the end of the world, to gloomy Scythia, and Hephaestus nails him to a rock. Titan steadfastly and courageously endures all this. When the servants of Zeus leave, Prometheus pours out his grief alone. Hearing his words, the daughters of the Ocean, the nymphs Oceanides, are brought to Scythia on a winged chariot, who, according to Aeschylus, personify all nature sympathetic to Prometheus. The Oceanides make up the chorus of Aeschylus's tragedy. Prometheus tells them how he helped Zeus before and how he quarreled with him later. To the rock of the chained Prometheus, the father of the Oceanides, Oceanus, flies on a winged griffin. He also takes pity on Prometheus, persuades him to submit to Zeus and thereby reconcile with him. Prometheus proudly refuses. The ocean flies away, and Prometheus tells the Oceanians about how he taught people to use fire, build houses, create states, gave them the art of counting and writing, introduced them to cattle breeding, crafts, and navigation. The unfortunate heroine Io also comes to the rock of Prometheus, who aroused the love of Zeus and for this was turned by his wife, Hera, into a cow. Prometheus prophesies that from Io to the future will happen great hero who will free him from torment (Hercules).
The time will come when Zeus is haughty
Humiliate ... So now let him sit,
Hoping for your smashing thunder
Threatening with his flaming thunderbolt;
He will not be saved from trouble by this,
From a terrible, shameful fall...
Hearing these words in heaven, Zeus sends Hermes to find out what the oracle's prediction (communicated to Prometheus by his mother) is, the fulfillment of which threatens the father of the immortals "an impudent scolder who offended the gods for the sake of mortals." Prometheus refuses to answer the question. Hermes threatens him with new executions. “Go,” the titan answers him, “go back on your way,”
I will not give up my terrible execution
For the happiness of being with Zeus on parcels;
It's better to be a slave to my rock
Than a gracious servant of Zeus ...
There is no that torment and there is no that cunning,
How would Zeus incline me to say
Anything while I'm in chains...
Let him throw a lightning beam
Let the white-winged blizzards throw snow
Or shake the earth with a roll of thunder
And the whole universe collapses around -
Nothing will make me open,
Who will take away his power and kingdom...
Discard the thought, so that in cowardly fear
I bowed under the yoke of arbitrariness,
And so that the one who is so hated by me,
Like a woman with her hands up to the sky
He began to beg to save me from execution -
Oh never!...
Hermes, in response, draws before Prometheus a terrible picture of the execution awaiting him for disobedience:
“...First, your rock
Zeus's anger will crush with a thunderbolt;
Then your wounded body
He will hide deep between the stones;
When will the flow of time be fulfilled
And you will see the light again - then
A ferocious eagle will fly to you; greedily
He will tear with his iron beak
Remains of black gnawed meat
And your liver will be bloody
An uninvited guest to feed every day -
And do not wait for the end of your suffering!
But Prometheus remains adamant. He prefers to die completely, but not to give out his secret. Then Hermes advises the Oceanid choir to leave, so as not to suffer from the blows of a terrible thunder. However, the choir decides to share the fate of Prometheus and curses treason and violence. Hermes retires, and the final, climactic scene of the tragedy follows. A terrible storm breaks out, Zeus' lightning strikes the rock. A terrible thunderclap; earthquake ... "It is happening," says Prometheus,
Accomplished - that word is not empty.
The earth trembles, and the lingering rumble of thunder
All around roars, and tremble brightly
Fiery twists of lightning; winter storm,
Kicking up dust, spinning it in a column
And all the whirlwinds broke free;
It interferes, colliding, the sky with the sea,
And this destructive impulse
Sent by Zeus, rushes straight,
Furious, terrible - on me!
Oh mother earth holy! Oh ether
Light is all-encompassing! - look,
What a shame I am!..."
Prometheus and his rock fall into the ground. This is where the drama ends. The main collision of this tragedy of Aeschylus is the clash of the tyrannical power of the gods and Zeus with the proud opposition of the free human will to it.
But Aeschylus always reconciles the struggle of human freedom with the all-powerful laws of fate. Therefore, there is no doubt that Prometheus and Zeus were reconciled with him; this denouement was the content of the third part of Aeschylus's trilogy. In this tragedy, Prometheus Liberated, which has not come down to us (only small fragments of it have survived), Aeschylus imagines how, after many centuries, Prometheus is subjected to a new execution. He is again chained to the Caucasian rock, and the eagle of Zeus, arriving every day, pecks at his liver, which grows again during the night. The choir of "Freed Prometheus" is made up of the brothers of the protagonist, the titans who came out of the bowels of the earth, where they were kept by the Olympian gods. Prometheus tells them about his torments.
But they are already close to the end. Hercules comes to Scythia, kills an eagle with a bow and frees Prometheus. Then Prometheus reveals to Zeus the notorious secret of his possible death. Zeus must refuse his desired marriage with the goddess Thetis, for it will bring him death. The gods give Thetis for the mortal Peleus (from whom the famous Achilles is born to her). In Prometheus Unbound, the idea was probably carried out that Zeus rules the world and the fate of people fairly, leads everything to the good of man, although his ways are often incomprehensible, and he often subjects people to suffering. Thus the playwright reconciled the seemingly cruel divine necessity with the proud and rebellious free will.
Aeschylus and the reform of the Areopagus by Ephialtes and Pericles
Around 460 BC, an important political upheaval took place in Aeschylus's homeland of Athens. From the time of the exile of Themistocles (about 471 BC), the primacy passed into the hands of an aristocratic party, and the head of this party, a friend of Aeschylus Kimon, who, thanks to his brilliant military exploits, generosity and friendliness, enjoyed high respect and love of the people, for several years was the only leader of the foreign and domestic policy the Athenian state. But the Democratic Party, little by little, regained its strength and began to undermine the authority of Cimon. Pericles became the soul and leader of this party, unpleasant to Aeschylus, who, however, at first remained in the background and fought through his friends. His aim was to give the popular forces full scope for internal and external activities, and thus put Athens at the head of all Greece. With such a goal, the fall of Cimon became necessary, since he opposed any innovation in state affairs, and in relation to Sparta, which the Athenian democrats wanted to humiliate, he demanded moderation and good consent. Pericles and his friends, with the help of various bills favorable to the people, managed to free the masses from the influence of rich aristocrats (to whom Aeschylus was also close) and remove them from Cimon; having achieved this goal, they turned their forces around the year 460 against the last stronghold of the aristocracy - against the highest court, the Areopagus. One of the friends of Pericles, Ephialtes, proposed to deprive the Areopagus of the right of wide supervision over government agencies and the lives of citizens and leave him only the right to criminal trial of murderers, on the grounds that the Areopagus is a representative of the special interests of the anti-people party and for the sake of its benefits hinders the free development of state and popular forces. Aeschylus wholeheartedly opposed this reform.
Aeschylus - Oresteia
The struggle for the rights of the Areopagus, waged on both sides with extreme persistence, dragged on, for unknown reasons, for several years. Kimon and his friends made every effort to save the ancient institution; but Cimon was finally ostracized and the Areopagus fell. Aeschylus, who saw in these democratic innovations a danger to the state and stood on the side of Cimon, as before on the side of Aristides, also took part in this struggle; he strained all the forces of his poetic talent to save the last remnant of a glorious past. In order to convince the people not to destroy the "guardian of laws and good morals" - the Areopagus, Aeschylus wrote the Oresteia trilogy, which was presented in 458 (Ol. 80, 2). This is the only one of the trilogies of Aeschylus that has come down to us in full. It consisted of the tragedies "Agamemnon", Hoefor, "Eumenides" and the satirical drama "Proteus". In the third part of this trilogy - in the tragedy "Eumenides" - Aeschylus presents to the people how the patroness of the city, the goddess Athena, founded the supreme court of the Areopagus to try Orestes, who seeks protection, the murderer of his mother; this court, according to the poet, should exist forever, as the supreme council of citizens, and should enjoy the greatest respect, as the pride and stronghold of the country; in the drama of Aeschylus, Athena herself, in the face of the whole people, agrees with the venerable elders of the Areopagus, warns the people against immoderation and advises them not to remove everything better and stronger from the city:
Yes, so that the fear of the holy, reverent
He always dwelt in the soul of his fellow citizens;
Otherwise, which of the mortals is fair
Perhaps if he is reverent
Didn't you feed on the truth in your soul?
The Athenian people crowned the poet with an award for art; but Aeschylus did not achieve his main goal - the salvation of the Areopagus. Saddened by this, the elder left his fatherland and went to Sicily. This time, Aeschylus did not settle in Syracuse, but in calm Gela, where he died three years later in a sad exile.
Aeschylus
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CHARACTERS
Choir of Persian Elders. Atossa. Messenger. Shadow of Darius. Xerxes.
Square in front of the palace in Susa. The tomb of Darius is visible.
The entire Persian army went to Hellas.
And we old people stand guard
Golden palaces, expensive houses
Native land. The king himself ordered
Son of Darius, Xerxes,
To their eldest, tested servants
Keep this land sacred.
But the soul is confused by the anxiety of things,
He smells bad. Will the king return home with victory, will the army return,
Shining with power?
All Asia color in a foreign side
Fighting. The wife cries for her husband.
And the army does not send any foot messengers,
No cavalry to the capital of the Persians.
From everywhere - from Susa, Ekbatan, from the gate
Towers of ancient Kissian
And in the ranks of the ship, and in the cavalry,
And in the ranks of the foot soldiers, in a continuous stream, 20 soldiers left for the battle.
They were led on a campaign by Amistre, Artafren,
Megabat and Astasp - four kings
Under the greatest king,
Persians glorious leaders, chiefs of troops,
Shooters-strongmen on fast horses,
Severe in appearance, hot in battle,
Adamant soul, full of courage
And glorious formidable prowess.
Then Artembar, on horseback, 30 Masist and well-aimed archer Have,
Glorious fighter, then Farandak
And the horseman Sostan behind them.
The fruitful Nile sent others,
Mighty stream. Susiskan went,
The Egyptian Pegastagon went,
The king of holy Memphis has gone,
Great Arsames, and Ariomard,
Lord and leader of the ancient Thebes,
And the rowers that live in the swamps of the Delta, 40 Countless went in a crowd.
Behind them are the Lydians, pampered people,
They have the whole continent under their thumb.
And the Lydian army was led on a campaign
Mitrogat and Arktey, leaders and kings.
And from Sardis golden by the will of the lords
Chariots with fighters rushed into the distance,
Now fours of horses, then sixes of horses,
Look - and freeze with fear.
And the sons of Tmola, the sacred mountain, 50 wished to put a yoke on Hellas
Mardon, Taribid, spear-throwing army
Misiytsev. And Babylon itself is golden,
Gathering his army from everywhere,
Sent to war - and on foot
Shooters, and ships, one after another.
So Asia is all at the call of the king
I took up arms, and took off from the place,
And moved menacingly to Greece.
So the power and beauty of the Persian land 60 War carried away.
All Asia is a mother about those who left,
Yearning in tears, languishing with anxiety.
Parents and wives are counting the days.
And time goes on and on.
Verse 1 The army of the king invaded the country of neighbors,
What is on the other side of the Strait of Gella
Athamantides, tying the rafts with a rope, 70 Loading the sea around their necks
A heavily built bridge with a heavy yoke.
Antistrophe 1 Drives the army by land and water,
Full of rage, lord of Asia,
Dotted with people. Believe in their leaders
Strong, severe, persistent, 80 offspring of Danae, equal to the gods.
Verse 2 He looks blue-black
With the gaze of a predatory dragon,
From the Assyrian chariot
Square in front of the palace in Susa. The tomb of Darius is visible.
The entire Persian army went to Hellas.
And we old people stand guard
Golden palaces, expensive houses
Native land. The king himself ordered
Son of Darius, Xerxes,
To their eldest, tested servants
Keep this land sacred.
But the soul is confused by the anxiety of things,
He smells bad. Will he return home
10 With victory, the king, will the army return,
Shining with power?
All Asia color in a foreign side
Fighting. The wife cries for her husband.
And the army does not send any foot messengers,
No cavalry to the capital of the Persians.
From everywhere - from Susa, Ekbatan, from the gate
Towers of ancient Kissian -
And in the ranks of the ship, and in the cavalry,
And in the ranks of the foot soldiers, in a continuous stream,
20 Soldiers went to battle.
They were led on a campaign by Amistre, Artafren,
Megabat and Astasp - four kings
Under the greatest king,
Persians glorious leaders, chiefs of troops,
Shooters-strongmen on fast horses,
Severe in appearance, hot in battle,
Adamant soul, full of courage
And glorious formidable prowess.
Then Artembar, on horseback,
30 Masist and archer well-aimed Have,
Glorious fighter, then Farandak
And the horseman Sostan behind them.
The fruitful Nile sent others,
Mighty stream. Susiskan went,
The Egyptian Pegastagon went,
The king of holy Memphis has gone,
Great Arsames, and Ariomard,
Lord and leader of the ancient Thebes,
And rowers that live in the swamps of the Delta,
40 Countless went in a crowd.
Behind them are the Lydians, pampered people,
They have the whole continent under their thumb.
And the Lydian army was led on a campaign
Mitrogat and Arktey, leaders and kings.
And from Sardis golden by the will of the lords
Chariots with fighters rushed into the distance,
Now fours of horses, then sixes of horses,
Look - and freeze with fear.
And Tmola, the sacred mountain, sons
50 They wished to put a yoke on Hellas -
Mardon, Taribid, spear-throwing army
Misiytsev. And Babylon itself is golden,
Gathering his army from everywhere,
Sent to war - and on foot
Shooters, and ships, one after another.
So Asia is all at the call of the king
I took up arms, and took off from the place,
And moved menacingly to Greece.
So the power and beauty of the Persian land
60 The war took away.
All Asia is a mother about those who left,
Yearning in tears, languishing with anxiety.
Parents and wives are counting the days.
And time goes on and on.
Verse 1 The army of the king invaded the country of neighbors,
What is on the other side of the Strait of Gella
Athamantides, tying the rafts with a rope,
70 I put the sea on my neck
A heavily built bridge with a heavy yoke.
Antistrophe 1 Drives the army by land and water,
Full of rage, lord of Asia,
Dotted with people. Believe in their leaders
Strong, harsh, persistent,
80 Offspring of Danae, equal to the gods.
Verse 2 He looks blue-black
With the gaze of a predatory dragon,
From the Assyrian chariot
Ships and fighters
Driving, and towards
He sends arrows to the spears of the enemy.
Antistrophe 2 No barrier to hold back
The onslaught of crowded hordes,
90 No dam to storm
She stood before the sea.
The inexorable army of the Persians,
It is impossible to overcome him.
Verse 3 But what a mortal is capable of
Unravel the cunning of God?
Which of us is easy and simple
Escape from the trap?
Antistrophe 3 God lures in a net
A man with a cunning caress,
100 And no longer able to mortal
Leave the web of fate.
Stanza 4 So it was decided by the gods and fate,
So from ancient times it was commanded to the Persians:
To fight, sweeping away the walls,
Reveling in horse slashes,
Occupying the city from the raid.
Antistrophe 4 And people got used to look without fear
110 On the gray-haired, furious with the wind
Dal sea, learned
Weave mooring ropes,
Build bridges over the abysses.
Verse 5 That's why black fear
And it hurts my chest, alas! -
Fear that, having lost his army,
Suddenly empty Susa
And the capital will scream in pain.
Antistrophe 5 And the Kissians cry out Suz
120 They will echo, and - alas! -
Crowds of women crying and screaming
In tatters will be on themselves
To tear apart a thin-woven dress.
Verse 6 Who is on horseback, who is on foot
Behind the leader set off on the road,
A swarm of bees left the house all the people,
130 So that, with a team of one
Connecting shore to shore
Cross the strait, where the capes
The two lands are separated by waves.
Antistrophe 6 And in the pillows bye
Persian wives shed tears,
Yearning for dear husbands,
Weep silently for those
Who's gone to the fight to the death
And left the poor wife
Longing for an empty bed.
EPISODIUM ONE
choir leader
140 Well, Persians, it's time! We sit by the walls
Here are the old
And strain the mind: the need has come
In difficult and important decisions.
What about Xerxes the king? Where is Daria's son,
Whose ancestor, Perseus,
Did he give the name of our tribe?
Did the bow strike the enemy,
Or an enemy spear
Spearhead won?
Atossa appears, accompanied by maids
150 But behold, like the radiance of the eyes of a deity,
Queen, the great king's mother,
Appears to us. Rather fall down
And all, as one, their queen
Honor with a welcoming speech!
Oh, hello to you, queen of the Persians, Daria's wife,
Xerxes' low-girded mother, mistress!
You were the wife of God, you are the mother of the god of Persia,
If the ancient demon of happiness did not leave our troops.
That's why I went out, leaving the golden house
160 And the rest, which served as a bedroom for me and Darius.
And anxiety gnaws at me. Frankly, my friends
I say: fear and fear are not alien to me either.
I'm afraid in the dust of the campaign all the wealth that I collected
Darius, with the help of the immortals, will themselves turn into dust.
Therefore, with double care, I am unspeakably punished:
After all, wealth is dishonorable if there is no power behind it,
But even in power there is little glory if you live in poverty.
Yes, we have full prosperity, but fear takes over the Eye -
I call the owner with the eye of home and prosperity.
170 Now, O old Persians, my faithful servants,
Help me with advice, judge how to be here.
All my hope is on you, I expect encouragement from you.
Oh, believe me, queen, you won't have to ask us twice,
So that in word or deed, to the best of your ability, you
We helped: we really are your good servants.
All the time I dream at night since then,
As my son, having equipped the army, went
Devastate and plunder the Ionian region.
But it was not yet so clear
180 Sleep like last night. I'll tell him.
I saw two well-dressed women:
One in a Persian dress, the other with a headdress
Dorian was, and both of these current
And growth, and wonderful beauty of his
Exceeded, two consanguineous
Sisters. Alone in Hellas to live permanently
He appointed a lot, in a barbarian country - another.
Having learned - so I dreamed - that some
Send them strife, son, so that the arguing
190 Calm down and calm down, harnessed to the chariot
Both and put on both women
A yoke around the neck. Harness this rejoicing,
One of them obediently took the bit,
But the other, uplifted, horse harness
I tore it apart with my hands, threw off the reins
And immediately broke the yoke in half.
My son fell here, and stands, mourning, over him
His parent is Darius. Seeing my father
200 Xerxes tears his clothes furiously.
This is what I dreamed about tonight.
Then I got up, spring hands
She rinsed with water and, carrying in her hands
A cake, a sacrifice to lapel demons,
As custom requires, I came to the altar.
I look: an eagle at the altar of Phoebov
Seeking salvation. Numb with horror
I stand and see: a hawk on an eagle, whistling
Wings, falling from the fly and into the head
He is stabbed with claws. And the eagle fell
210 And surrendered. If it was scary to listen to you,
What a sight for me! You know:
The son will win - everyone will be delighted,
And if he doesn’t win - there is no demand for the city
From the king: he remains, if alive, the king.
Not to scare you too much, nor to encourage you too much,
Our mother, we won't. If you are a bad sign
I saw that misfortune to avert the moths of the gods
And ask yourself, and your son, and the state, and friends
Give only one benefit. libation then
220 Create for the earth and the dead, and humbly ask,
So that your husband Darius - at night you saw him -
From the depths of the underground, I sent goodness to my son and you,
And he hid the evil in the black darkness of the depths of the valley.
Here is the advice of a humble insightful mind.
But we will hope for a happy fate.
With this kind speech, the first interpreter of my
Dreams, you did a service to me and the house.
May everything be done for good! And the gods, as you command,
And we will honor our beloved shadows with rites,
230 Returning to the house. But first I want to know, friends,
Where is Athens located, how far is this region?
Far in the land of sunset, where the god of the sun fades.
Why does my son want to take over this city?
Because all Hellas would have submitted to the king.
Is the army of the city of Athens so huge?
This army caused many troubles to the army of the Medes.
What else is that city famous for? Is it not the wealth of houses?
There is a silver vein in that land, a great treasure.
These people throw arrows by straining the bowstring?
240 No, they go out with a long spear and a shield.
Who is their leader and shepherd, who is the lord over the army?
They serve no one, they are not subject to anyone.
How do they hold back the onslaught of a foreign enemy?
So that Darieva even managed to destroy the army.
Your speech is terrible for the hearing of those whose children have gone into battle.
Soon, however, you will know for sure about everything:
Judging by the hurried gait, the Persian is coming here
And reliable news brings us - for joy or misfortune.
The messenger enters.
O cities of all Asia, O Persia,
250 Great wealth center,
With one blow, our life is happy
Broken. The color of the native land is fading.
Though it is bitter for me to be a herald,
I must tell you the terrible truth,
O Persians: the barbarian army is all dead.
Verse 1 Terrible news! Woe, pain!
Cry Persians! Let the rivers of tears
Will be your answer.
260 Yes, everything ended there, everything ended,
And I no longer believed that I would return home.
Antistrophe 1 It is too long, my long age,
If I, an old man, had to
Woe to know this.
I saw everything with my own eyes. Not from the words of strangers
I will tell you, Persians, how trouble befell.
Verse 2 Woe! Not at a good time
Armed to the teeth
270 Asia moved to Hellas,
Invaded the terrible land!
The bodies of those who accepted a deplorable death,
Now the seaside of Salamis is completely covered.
Antistrophe 2 Woe! By the will of the waves
Among the coastal rocks, you say
The corpses of our loved ones are rushing about,
Dressed in white foam!
What was the use of the arrows? We were rammed
All our army was destroyed by the ship battle.
Stanza 3
280 Weep, cry sorrowfully,
Curse your fate!
The Persians got an evil lot,
The gods sent an army to their doom.
O Salamis, O hateful name!
When I remember Athens, I'm ready to scream.
Antistrophe 3 Will be Athens in memory
To live in eternal damnation:
So many in Persia now
Husbandless wives, childless mothers!
290 I've been silent for a long time, stunned
Hit it. Too much trouble
To say a word or ask a question.
However, woe that the gods sent,
We, the people, must take it down. Tell us everything
Overcoming moans, coping with himself.
Tell me who is alive and who to cry about
From commanders? Who among those who carry the rod
Killed fell in battle, exposing the detachment?
Xerxes himself remained alive and sees the light of the sun,
300 Your words are like the sun to our house,
As after the darkness of the night - a radiant day.
But Artembara - ten thousand horsemen
He led - the surf shakes at the Silenian rocks.
And from the ship Dedak, head of the thousand,
He flew off like a fluff, yielding to the force of the spears.
And the brave Tenagon, a resident of Bactria,
On the island of Ayanta now found a home.
Liley, Arsam, Argest crushed their heads
About the stones of the rocky shore
310 That island land that feeds the pigeons.
Of the Egyptians who grew up in the upper reaches of the Nile,
Arcteus, Adey and the third shield-bearing leader,
Farnukh, - all died on the ship alone.
314 Died Matall, who ruled many thousands
316 Chrysian army - scarlet paint beard
He poured his thick one, giving up the spirit.
318 Arab magician and Artam from Bactria,
315 That thirty thousand black horsemen
319 He led the battle, forever lay down in that land.
320 And Amphistraeus, our experienced spearman,
With Amester, and Ariomard the daredevil (about him
Weep in Sardis), and Sisam from Moesia,
And the leader of two and a half hundred courts Tarib,
A Lirnessian by birth, - oh, what a handsome man he was! -
All the poor perished, all were overtaken by death.
And Cieness, bravest of the bravest,
The leader of the Cilicians - he is one and then a thunderstorm
He was a great enemy, - he fell a glorious death.
Here are the generals I have named for you.
330 There were many troubles, and my report is short.
Oh, woe, woe! I found out the worst.
Shame on us Persians! Just right and sob and howl!
But you tell me, returning to the former,
Are there so many ships?
The Greeks had that in the battle with the Persians
They decided on sea ram go?
Oh no, in number - there is no doubt - barbarians
Were stronger. About three hundred total
The Greeks turned out to have ships, but to them
340 Choice ten. And Xerxes has a thousand
There were ships - this is not counting those
Two hundred and seven, special speed,
What he also led. Here is the balance of power.
No, we were not weaker in this battle,
But some god destroyed our troops
346 The fact that he did not share his luck equally.
348 The city of Athens, then, is still intact?
349 They've got people. This is the strongest shield.
347 Pallas fortress is strong by the power of the gods.
350 But how, tell me, did the battles of the sea break out?
Who started the battle - the Hellenes themselves
Or my son, proud of his number of ships?
All these troubles are the beginning, O mistress,
There was some kind of demon, really, some kind of evil spirit.
Some Greek from the Athenian army
He also came to Xerxes your son and said,
That the Greeks as soon as the darkness of the night comes,
They will not sit anymore, but will crumble
On the ships and, ruling who goes where, secretly
360 They will go far away just to save their lives.
The insidiousness of the Greek, as well as envy
Gods, without feeling, the king, as soon as he finished his speech,
He gives orders to his shipbuilders:
As soon as the sun stops burning the earth
And the sky will be covered with the darkness of the night,
Build ships in three squads,
To cut off all paths for sailors,
Ayants island is surrounded by a dense ring.
And if the Greeks suddenly escape death
370 And they will find a secret exit for the ships,
Heads of the barrier do not demolish heads.
So he ordered, possessed by pride,
I did not know that the gods predetermined everything.
Order obeyed, as expected.
Dinner was prepared, and to the oarlocks
Each rower hurried to adjust the oars,
Then when the last ray of the sun went out
And the night has come, all the rowers and warriors
With weapons, as one, they boarded the ships,
380 And the ships, lining up, called to each other.
And so, keeping to the order that was indicated,
Goes to sea and in sleepless swimming
The ship's people are regularly serving.
And the night has passed. But nowhere did
Attempts by the Greeks to secretly bypass the barrier.
When will the earth be white again
The luminary of the day filled with bright radiance,
There was a roar of rejoicing in the camp of the Greeks,
Similar to a song. And they answered him
390 Thundering echo of the rock of the island,
And immediately the fear of the bewildered barbarians
Proshiblo. The Greeks did not think about flight,
Singing the solemn song
And went to battle with selfless courage,
And the roar of the trumpet kindled hearts with courage.
The salty abyss was foamed together
Consonant strokes of Greek oars,
And soon we saw everyone with our own eyes.
Went ahead, in perfect formation, right
400 Wing, and then proudly followed
The entire fleet. And from everywhere at the same time
A mighty cry rang out: "Children of the Hellenes,
Fight for the freedom of the motherland! children and wives
Free, and native gods at home,
And great-grandfathers graves! The fight is on!"
Persian speech of our many-tongued rumble
Answered the call. It was impossible to delay here.
A ship with a copper-studded prow at once
Hit the ship. The Greeks began the attack
410 Ramming the Phoenician through the stern,
And then the ships went to each other.
At first, the Persians managed to hold back
Head. When in a narrow place there are many
Ships accumulated, no one to help
I could not, and the beaks directed copper
Own in their own, destroying oars and rowers.
And the Greeks ships, as they planned,
We were surrounded. The sea was not visible
Because of the rubble, because of the overturned
420 Vessels and lifeless bodies and corpses
The shallows were covered and the coast was completely.
Find salvation in a disorderly flight
The entire surviving barbarian fleet tried.
But the Greeks of the Persians, like tuna fishermen,
Anyone with anything, boards, debris
Ships and oars were beaten. Screams of terror
And the cries resounded the salty distance,
Until the eye of the night hid us.
All troubles, lead me even ten days in a row
430 The story is sad, I can't list it, no.
I'll tell you one thing: never before
So many people on earth did not die in a day.
Alas! On the Persians and on everyone who is a barbarian
Born into the world, a sea of evil rushed in!
But you don't know half of the troubles yet.
Another misfortune befell us,
Which is twice as heavy as the rest of the losses.
What grief could be worse?
What is this, answer, trouble
440 Happened to the army to double the evil?
All Persians, shining with youthful strength,
Courage impeccable, kind noble,
The most faithful of the ruler's faithful servants,
They fell to an inglorious death - to their own shame.
Oh, evil share! Woe to me, my friends!
What fate befell them, tell me.
There is a small island near Salamis,
It is difficult to approach him. There along the shore
Pan often leads round dances to Krutoy.
450 The king sent them there, so that if the enemy
From the wreckage of ships escaping to the island
Swimming rushes, beat the Greeks without a miss
And get out on land to help your own.
The king was a bad seer! On the same day when
God sent victory to the Greeks in a naval battle,
They, in copper armor, descended from the ships,
Whole surrounded the island, so there's nowhere to go
The Persians had to go and they did not know
What to do. Stones hail in the coming
460 Arrows flew from my hands, from a tight bowstring
Flying, they killed the fighters on the spot.
But the Greeks invaded with a friendly onslaught
On this island - and went to chop, chop,
Until they were all wiped out.
Xerxes wept when he saw the depth of the trouble:
He is on a high hill near the shore
He sat where he could see the whole army.
And tearing clothes and a long groan
Having issued, he ordered the infantry immediately
470 Take flight. Here's another one for you
Trouble in addition, to shed tears again.
Oh evil demon, how did you manage to shame
Persian Hope! Found bitter revenge
My son to Athens glorious. Few barbarians
Already ruined the marathon fight before?
The son hoped to avenge those killed
And only the darkness of misfortune brought upon himself!
But the ships, tell me, survived
Where did you leave? I'm waiting for a clear answer.
480 Surrendering to the will of the wind, randomly
The leaders of the surviving ships fled.
And the rest of the army is all in Boeotia
Died, near the key, life-giving
The water is tormented by thirst. We are barely breathing
They came to Phocaea, made their way, tired,
To Dorida, reached the Melian
The bay where the river Sperhei waters the fields,
From there we, not having eaten, moved again
Seek shelter in the cities of Thessaly,
490 In the Achaean lands. Most died there.
Some from thirst, hunger killed others.
We then went to the region of Magnesia
And into the land of the Macedonians, and, the Axian ford
Having passed and swamp Bolby, we are in Edonida,
To Mount Pangea, we went out. God is not on time
Sent frost that night, and froze
Stream sacred Strymon. And not honored
The gods are still here with a prayer of earnest
They began to cry out to earth and sky in fear.
500 Prayed for a long time. And when finished
The army prayed, the river crossed over the ice.
Who crossed before the god scattered
The rays of the day, that one of us was saved there.
After all, soon the sun's luminous flame
The scorching heat melted the fragile bridge.
People fell on each other. happy
Those who, without tormenting for a long time, gave up their spirit.
And the rest, all who survived then,
Passed with great difficulty through Thrace
510 And they return to their hearths
