Special reference to Aeschylus

 

Trace the origin of the Greek tragedy with a special reference to Aeschylus.

 

Ans. In Poetics', his special study of Greek dramatic art Aristotle comments that the novel and drama are compounded of the same elements. A great deal of what would be said about the former, would be found equally applicable to the latter. The general principles of criticism which have been laid down for the study of plot, characterization, dialogue, local and temporal setting and interpretation of life, in prose fiction, hold good, for the most part, as will be seen, in respect of the same constituents in a play.

 

It was also pointed out that though their elements are identical the novelist and the dramatist work under very dissimilar conditions. Naturally they have to manipulate their material in a dissimilar way. It is worthwhile in our study of any drama we should do our utmost to recreate its proper theatrical circumstances and surroundings.

 

The Greek tragedy was a combination of poetical speech, music of flute, dancing of the chorus including the movement of feet and gesticulation of the body. A typical tragedy had fine divisions-the prologue, the parodos, the episodia, the stasima and exodos.

 

The real father of Greek tragedy was Aeschylus (525-456 B.C). The most remarkable innovations which Aeschylus introduced into tragedy are the following: he added a second actor, reduced the number of chorus drastically from fifty to twelve, made the dialogue which he created alongside the creation of the second actor. Besides he provided his tragedy with all sorts of imposing spectacles improved the theatrical costumes, mąde the mask expressive and more convenient and increased the stature of the performers giving them thick-soled boots.