[Illustration:  AESCHYLUS]

During the struggle with Persia, fought out on Greek soil, the poet was at the height of his physical powers, and we may feel confidence in the tradition that he fought not only at Marathon, but also at Salamis.  Two of his extant tragedies breathe the very spirit of war, and show a soldier’s experience; and the epitaph upon his tomb, which was said to have been written by himself, recorded how he had been one of those who met the barbarians in the first shock of the great struggle and had helped to save his country.

       “How brave in battle was Euphorion’s son,
     The long-haired Mede can tell who fell at Marathon.”

Before Aeschylus, Attic tragedy had been essentially lyrical.  It arose from the dithyrambic chorus that was sung at the festivals of Dionysus.  Thespis had introduced the first actor, who, in the pauses of the choral song, related in monologue the adventures of the god or engaged in dialogue with the leader of the chorus.  To Aeschylus is due the invention of the second actor.  This essentially changed the character of the performance.  The dialogue could now be carried on by the two actors, who were thus able to enact a complete story.  The functions of the chorus became less important, and the lyrical element was subordinated to the action. (The word “drama” signifies action.) The number of actors was subsequently increased to three, and Aeschylus in his later plays used this number.  This restriction imposed upon the Greek playwright does not mean that he was limited to two or three characters in his play, but that only two, or at the most three, of these might take part in the action at once.  The same actor might assume different parts.  The introduction of the second actor was so capital an innovation that it rightly entitles Aeschylus to be regarded as the creator of the drama, for in his hands tragedy first became essentially dramatic.  This is his great distinction, but his powerful genius wrought other changes.  He perfected, if he did not discover, the practice of introducing three plays upon a connected theme (technically named a trilogy), with an after-piece of lighter character.  He invented the tragic dress and buskin, and perfected the tragic mask.  He improved the tragic dance, and by his use of scenic decoration and stage machinery, secured effects that were unknown before him.  His chief claim to superior excellence, however, lies after all in his poetry.  Splendid in diction, vivid in the portraiture of character, and powerful in the expression of passion, he is regarded by many competent critics as the greatest tragic poet of all time.