possess a trilogy of Æschylus, in his Agamemnon, Choëphoræ, and Eumenides. The best illustration of the nature of a trilogy will therefore be a short analysis of these dramas, and accordingly we proceed to give an account of his extant works.
§ 3. Of the early part of the career of Æschylus we do not possess a single work. All his extant dramas are of a later date than the battle of Salamis. Probably his early works contained little to attract the taste of the later Greeks.
The earliest of the extant works of Æschylus is probably the Persians, which was performed in Olymp. 76. 4. B. C. 472; a piece unique in its kind, which appears, at a first glance, more like a lament over the misfortunes of the Persians than a tragic drama. But we are led to modify this opinion, on considering the connexion of the parts of the trilogy, which is apparent in the drama itself.
We will give an outline of the plan of the Persians of Æschylus. The chorus (consisting of the most distinguished men of the Persian empire, into whose hands Xerxes, at his departure, had committed the government of the country) proclaim in their opening song the numbers and power of the Persian army; but, at the same time, express a fear of its destruction; for "what mortal man may elude the insidious deceit of the gods?" The first stasimon, which immediately follows the opening choral song, describes, in a more agitated manner, the grief of the country in case the army should not return. The chorus is preparing for a deliberation, when Atossa appears, the mother of Xerxes, and widow of Darius; she relates an ominous dream which has filled her with anxious forebodings. The chorus advise her to implore the gods to avert the impending evil, and especially to propitiate the spirit of Darius by libations, and to pray for blessing and protection. To her questions concerning Athens and Greece they answer with characteristic descriptions of the distinctions of the different nations; when a messenger from Greece arrives, and, after the first announcements of mishap and laments of the chorus, he presents a magnificent picture of the battle of Salamis, with its terrific consequences for the Persian army. Atossa resolves, though everything is lost, to follow the advice of the chorus, in case any benefit may be obtained from it. In the second stasimon the chorus dwell upon the desolation of Asia, to which is added a fear that the subject nations will no longer endure their servitude. In the second episodion the libations for the dead change into an evocation of the spirit of Darius. The chorus, during the libations of Atossa, call upon Darius, in songs resembling a commos, full of warmth and feeling, as the wise and happy ruler, the good father of his people, who now alone can help them, to appear on the summit of the tomb. Darius appears, and learns from Atossa (for fear and
