- Title Pages
- 1 The titles of Greek dramas
- 2 Violence in Greek drama*
- 3 Adolescence, ephebeia, and Athenian drama
- 4 <i>Sherlockismus</i> and the study of fragmentary tragedies
- 5 The seniority of Polyneikes in Aeschylus' <i>Seven</i>
- 6 The beginning and the end of Aeschylus' Danaid trilogy
- 7 The theatre audience, the <i>Demos</i>, and the <i>Suppliants</i> of Aeschylus*
- 8 Sleeping safe in our beds: stasis, assassination, and the <i>Oresteia</i>
- 9 The tangled ways of Zeus
- 10 The omen of Aulis or the omen of Argos?
- 11 <i>Pathos</i> and <i>mathos</i> before Zeus
- 12 <i>Oresteia</i> Act II: two misconceptions
- 13 Aeschylus' epitaph
- 14 Dearest Haimon
- 15 ‘They all knew how it was going to end’: tragedy, myth, and the spectator
- 16 Alternative scenarios in Sophocles' <i>Electra</i> *
- 17 Sophocles' Palamedes and Nauplius plays: no trilogy here
- 18 ‘The rugged Pyrrhus’: the son of Achilles in tragedy
- 19 What <i>ought</i> the Thebans to have done?
- Index Locorum
- General Index
- (p.195) 13 Aeschylus' epitaph
- The Tangled Ways of Zeus
Alan H. Sommerstein (Contributor Webpage)
- Oxford University Press
This chapter argues that the epitaph on Aeschylus cited by his ancient biographer and others — which commemorates him as one who fought bravely at Marathon without mentioning his poetry — while unlikely to be by Aeschylus himself was probably written soon after his death by a member of his family and inscribed on his tomb at Gela. Features of its language which have been claimed to be Hellenistic are in fact well attested in the classical period, and the unusual use of alsos in the sense ‘level expanse’ (instead of ‘sacred grove, glade, sacred enclosure’) is confined to Aeschylus and his contemporaries.
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