"lest he should make him to haunt his house, a dread visitor who
quits not sinners even in the world to come."
The Egyptian herald reverences no gods of Greece "who reared him not nor brought him to old age". The Chorus declare that "what is fated will come to pass, for Zeus' mighty boundless will cannot be thwarted". Here we have the three leading ideas in the system of Aeschylus—the doctrine of the inherited curse, of human pride and impiety, and the might of Destiny.
The Persians is unique as being the only surviving historical play in Greek literature. It is a poem rather than a drama, as there is little truly dramatic action. The piece is a succession of very vivid sketches of the incidents in the great struggle which freed Europe from the threat of Eastern despotism. A Chorus of Persian elders is waiting for news of the advance of the great array which Xerxes led against Greece in 480. They tell how Persia extended her sway over Asia. Yet they are uneasy, for
"what mortal can avoid the crafty deception of Heaven? In seeming
kindness it entices men into a trap whence they cannot escape."
The Queen-mother Atossa enters, resplendent with jewels; she too is anxious, for in a dream she had seen Xerxes yoke two women together who were at feud, one clad in Persian garb, the other in Greek. The former was obedient to the yoke, but the latter tore the car to pieces and broke the curb. The Chorus advises her to propitiate the gods with sacrifice, and to pray to Darius her dead husband to send his son prosperity. At that moment a herald enters with the news of the Greek victory at Salamis. Xerxes, beguiled by some fiend or evil spirit, drew up his fleet at night to intercept the Greeks, supposed to be preparing for flight. But at early dawn they sailed out to attack, singing mightily
"Ye sons of Greece, onward! Free your country, your children and
wives, the shrines of your fathers' gods, and your ancestral tombs.
Now must ye fight for all."
Winning a glorious victory, they landed on the little island (Psyttaleia) where the choicest Persian troops had been placed to cut off the retreat of the Greek navy, and slew them all. Later, they drove back the Persians by land; through Boeotia, Thessaly and Macedonia the broken host retreated, finally recrossing to Asia over the Hellespont.
On hearing the news Atossa disappears and the Persian Chorus sing a dirge. The Queen returns without her finery, attired as a suppliant; she bids the Chorus call up Darius, while she offers libations to the dead. The ghost of the great Empire-builder rises before the astonished spectators, enquiring what trouble has overtaken his land. His release from Death is not easy, "for the gods of the lower world are readier to take men's spirits than to let them go". On learning that his son has been totally defeated, he delivers his judgment. The oracles had long ago prophesied this disaster; it was hurried on by Xerxes' rashness, for when a man is himself hurrying on to ruin Heaven abets him. He had listened to evil counsellors, who bade him rival his father's glory by making wider conquests. The ruin of Persia is not yet complete, for when insolence is fully ripe it bears a crop of ruin and reaps a harvest of tears. This evil came upon Xerxes through the sacrilegious demolition of altars and temples. Zeus punishes overweening pride, and his correcting hand is heavy. Darius counsels Atossa to comfort their son and to prevent him from attacking Greece again; he further advises the Chorus to take life's pleasures while they can, for after death there is no profit in wealth. A distinctly grotesque touch is added by the appearance of Xerxes himself, broken and defeated, filling the scene with lamentations for lost friends and departed glory, unable to answer the Chorus when they demand the whereabouts of some of the most famous Persian warriors.
The play is valuable as the result of a personal experience of the poet. As a piece of literature it is important, for it is a poetic description of the first armed conflict between East and West. It directly inspired Shelley when he wrote his Hellas at a time when Greece was rousing herself from many centuries of Eastern oppression. As a historical drama it is of great value, for it is substantially accurate in its main facts, though Aeschylus has been compelled to take some liberties with time and human motives in order to satisfy dramatic needs. From Herodotus it seems probable that Darius himself hankered after the subjugation of Greece, while Xerxes at the outset was inclined to leave her in peace.
One or two characteristic features are worth note. The genius of Aeschylus was very bold; it was a daring thing to bring up a ghost from the dead, for the supernatural appeal does not succeed except when it is treated with proper insight; yet even Aeschylus' genius has not quite succeeded in filling his canvas, the last scenes being distinctly poor in comparison with the splendour of the main theme. On the other hand a notable advance in dramatic power has been made. The main actors are becoming human; their wills are beginning to operate. Tragedy is based on a conflict of some sort; here the wilful spirit of youth is portrayed as defying the forces of justice and righteousness; it is insolence which brings Xerxes to ruin. The substantial creed of Aeschylus is contained in Darius' speech; as the poet progresses in dramatic cunning we shall find that he constantly finds his sources of tragic inspiration in the acts of the sinners who defy the will of the gods.