Portal aeschylus biography

Aeschylus was a man of such stature, who not only faced many a barrage of tragic incidents but lived through it to tell tales of loss and misery.
AE'SCHRIGN (Anrxph*^), a native of Pergamus, and a physician in the second century after Christ.
Aeschylus was born around 525 BC in Eleusis, a small town about 27 kilometres (17 mi) northwest of Athens, in the fertile valleys of western.

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Aeschylus

5th century BC Athenian Greek tragedianTemplate:SHORTDESC:5th century BC Athenian Greek tragedian

This article is about the ancient Greek playwright. For other uses, see Aeschylus (disambiguation).

Aeschylus (UK,^[1]US;^[2]Greek: ΑἰσχύλοςAiskhýlos; c. 525/524 – c. 456/455 BC) was an ancient Greektragedian often described as the father of tragedy.^[3]^[4] Academic knowledge of the genre begins with his work,^[5] and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays.^[6] According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus.^{[nb 1]}

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,

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Earth, nature and the cult of the tomb : the posthumous reception of Aeschylus heros

Bakola, Emmanuela (2018) Earth, nature and the cult of the tomb : the posthumous reception of Aeschylus heros. In: Goldschmidt, Nora and Graziosi, Barbara, (eds.) Tombs of the Ancient Poets: Between Literary Reception and Material Culture. Oxford : Oxford University Press. ISBN 9780198826477

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Official URL: https://doi.org/10.1093/oso/9780198826477.003.0007

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Abstract

This chapter examines the depiction of the fifth-century tragic poet Aeschylus in Aristophanes’ Frogs by paying particular attention to the play’s engagement with space, especially the space of the earth below, from which the poet is welcomed back to Athens in the finale. It offers new arguments for connecting Frogs to the cult of Aeschylus’ tomb in Sicily, including the play’s engagement with the volcanic properties of the Sicilian l

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The stage is set in Antiquity. It was the beginning of the 5^th century BC. The city of Athens had just entered the most glorious era of its history. The despotic and tyrannical rule of the Peisistratus had been overthrown. A few years past, crucial political reforms were instilled which manifested Athens into a complete democracy, Europe’s first. What later took place was the Persian invasion which, by some great act of the Gods, was defeated by the conduit of several small Greek nations uniting under the Athenian rule. Athens then organized the ‘Delian’ league and slowly began to transform into a worthy empire. Athens became wealthy and powerful, the center for all the cultural and intellectual activity in Greece. The century following these events witnessed a rise of geniuses through various sectors of human activity, a feat which has rarely been witnessed thousands of years since.

Witnessing, and to a certain extent marshalling, this live transformation of Athens was Aeschylus, who like every other Athenian, shared the pride and the glory of his dear cit