The marathon of Greek tragedy
Aeschylus is often considered as the father of tragedy. Born in 525 BC in Eleusis, a small town near Athens, he is credited with between 70 and 90 tragedy plays, of which only seven have survived in complete form.
Before him, Greek drama primarily consisted of dithyrambs—choral hymns sung in honor of Dionysus, the god of wine and fertility. These performances were largely narrative and lacked the dramatic structure that characterizes classical Greek tragedy.
Of the three classic tragedians, alongside Sophocles and Euripides, Aeschylus wrote the fewest plays. Sophocles wrote about 120 (7 surviving in complete form), and Euripides 92, with 18 coming down to us.
Nevertheless, Aeschylus’ output was nothing short of a marathon run.
And he might have known a thing or two about marathons. Perhaps not as a runner, but as a fighter.
Those familiar with some of his plays might not know that he played a significant role as a soldier in the Battle of Marathon, which took place in 490 BC during the first Persian invasion of Greece. The battle was a crucial moment in Greek history, marking a decisive victory for the Greeks against the Persian forces.
His experiences as a soldier undeniably influenced his contributions to Greek drama, enriching his plays with a profound understanding of human courage and resilience. He knew what he was talking about.
In his play ‘The Persians’, Aeschylus depicts the Persian perspective on their defeat at the Battle of Salamis, a naval engagement in which Aeschylus equally participated. Through the Persian characters’ grief and disillusionment, he explores the human cost of war, the folly of hubris - the engine of Greek tragedy - , and the valor of the Greek forces. His portrayal of the Persian defeat emphasizes both the tragedy of war and the heroism required to endure and overcome it. Life shapes art, art reflects life.
In the Oresteia trilogy, tracking the violence and curses of the house of Agamemnon, he launches into a profound meditation on the cycle of blood vengeance and the establishment of justice. The war experience again, leading to a marathon of resilience underwriting his understanding of the need for a justice system to replace the endless return of personal retribution.
His learnings from war are manifold. Aeschylus gave birth to characters who prioritize the welfare of their community over personal gain, justice over untramelled violence.
He may not have run the 42 kilometres which separate the battlefield of Marathon from Athens, a feat which, according to legend, belongs to a messenger named Pheidippides, who, as if borrowing Eliud Kipchoge’s feet, announced the Greek victory over the Persians. But Aeschylus showed no less passion, resilience and endurance in birthing one of the most distinguishing cultural products of ancient Greece, one of the world’s most profound explorations of the human condition, emphasizing the interplay of fate, divine intervention, and personal flaw, wrapped in compelling narratives and elevated by poetic dialogue. Something to think about next time we put our running shoes on.