Creator: Aeschylus
Αἰσχύλος
Work Type: Tragedy
Description:
The Persians, written by Aeschylus, is the oldest surviving Greek tragedy, premiering in 472 BC. It depicts the Persian court’s reaction to their navy’s defeat at the Battle of Salamis. The play is unique in focusing on recent historical events rather than myth. Atossa, the Persian queen, anxiously awaits news from the war and summons the ghost of her husband, Darius, who predicts further Persian losses due to their hubris. Xerxes returns in defeat, and the chorus and Xerxes lament the empire’s downfall.
Aeschylus’ portrayal is notable for its sympathetic view of the Persians, potentially fostering reflection on the consequences of hubris and imperial overreach. This humanization contrasts with typical Greek xenophobia and suggests a nuanced perspective on war and leadership. The play’s production history reflects its lasting impact, influencing works by writers like Percy Bysshe Shelley and T.S. Eliot. Modern adaptations continue to explore its themes in contemporary contexts, demonstrating its enduring relevance and adaptability.
The production history of The Persians includes notable stagings, such as Peter Sellars’ 1993 interpretation in response to the Gulf War, highlighting its timeless anti-war message. More recently, it was performed at Epidaurus in 2020 to mark the 2500th anniversary of the Battle of Salamis, showcasing its significance in Greek cultural heritage. The play’s themes of loss and reflection resonate across centuries, influencing both ancient and modern audiences.
In modern scholarship, interpretations vary between viewing the play as a critique of Persian hubris or as a sympathetic portrayal of the defeated. The complexity of The Persians allows it to serve as a powerful medium for exploring themes of war, leadership, and human suffering, maintaining its relevance and prompting ongoing analysis and performance.
Relationship to Sicilianos's Work:
Yorgos Sicilianos provided the incidental music for the Greek National Theatre’s production of Herakles.
Sicilianos discusses his composition Epiklesis, based on the second stasimon of Aeschylus’ Persians, where he uses the original Greek text’s rhythmic and melodic qualities, arguing that its archaic language conveys the tragedy’s emotional depth better than translations. He employs Erasmian pronunciation for a richer phonetic variety, bridging ancient and modern musical expressions, and emphasising the importance of preserving the original language’s musicality.
See: Searching for the Lost Musical Tradition of Ancient Greek Tragedy in texts.
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YSC70 |
Epiklesis (II) |
for Narrator, male-choir, four women's voices and twelve performers. Original text from Aeschelus' tragedy "Persians" |
29B |
2 Horns, 3 Trombones, 3 Pianos (3rd Piano can be upright), Glockenspiel, Harp, Percussion (3 Performers: Xylophone, Tubular Bells, Vibraphone, 3 Large Suspended Cymbals, Piccolo Snare Drum, Bass Snare without Snares, Bass Drum, Large Tamtam), Choir (7 Tenors, 7 Basses, 4 Sopranos), Narrator |
Aeschylus’s The Persians – Lines 528-680 |
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2 |
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YSC69 |
Epiklesis |
29A |
Harp, Guitar, Celesta, 2 Pianos, Glockenspiel, Xylophone, Vibraphone, Bass Drum, Tamtam, Suspended Cymbal, Tubular Bells, Tenors, Basses, 4 Sopranos |
Aeschylus’s The Persians – Lines 528-680 |