|
gptkbp:instance_of
|
gptkb:ethnic_group
gptkb:play
|
|
gptkbp:adaptation
|
gptkb:film_adaptation
gptkb:opera
|
|
gptkbp:adapted_into
|
films and operas
|
|
gptkbp:addresses
|
the fate of the Persian Empire
|
|
gptkbp:author
|
gptkb:Aeschylus
|
|
gptkbp:contains
|
gptkb:poetry
|
|
gptkbp:country
|
gptkb:Iran
|
|
gptkbp:critical_reception
|
studied in literature courses
performed in festivals
well-received in antiquity
|
|
gptkbp:cultural_contribution
|
gptkb:Persian_literature
gptkb:cuisine
Persian architecture
Persian miniature painting
Persian carpets
|
|
gptkbp:cultural_influence
|
gptkb:Zoroastrianism
|
|
gptkbp:cultural_practices
|
gptkb:Yalda_Night
gptkb:Chaharshanbe_Suri
gptkb:Nowruz
Sizdah Bedar
Tir Festival
|
|
gptkbp:cultural_significance
|
exploration of grief
reflection on war consequences
commentary on leadership
historical context of the Persian Wars
|
|
gptkbp:debut_year
|
472 BC
|
|
gptkbp:depicts
|
the consequences of war
|
|
gptkbp:explores
|
themes of hubris
|
|
gptkbp:features
|
ghost of Darius
|
|
gptkbp:follows
|
gptkb:the_Battle_of_Salamis
|
|
gptkbp:genre
|
gptkb:tragedy
|
|
gptkbp:has_adaptation
|
various modern productions
|
|
gptkbp:has_culture
|
gptkb:Persian_Empire
gptkb:Roman_Empire
gptkb:Sassanian_Empire
gptkb:Elamite_civilization
|
|
gptkbp:historical_context
|
addresses themes of imperialism
depicts the aftermath of war
examines the role of fate in history
reflects on the Persian Empire's downfall
set after the Battle of Salamis
|
|
gptkbp:historical_event
|
gptkb:Greco-Persian_Wars
gptkb:Fall_of_the_Sassanian_Empire
gptkb:Battle_of_Marathon
|
|
gptkbp:historical_figure
|
gptkb:Rumi
gptkb:Ferdowsi
gptkb:Hafez
gptkb:Omar_Khayyam
gptkb:Saadi
|
|
gptkbp:historical_period
|
gptkb:Persian_Empire
gptkb:Sassanian_Empire
|
|
gptkbp:historical_site
|
gptkb:Qeshm_Island
gptkb:Tehran
gptkb:Kermanshah
gptkb:Ahvaz
gptkb:Tabriz
gptkb:Bushehr
gptkb:Mashhad
gptkb:Isfahan
gptkb:Kish_Island
gptkb:Persepolis
gptkb:Qom
gptkb:Yazd
gptkb:Pasargadae
gptkb:Bishapur
gptkb:Bandar_Abbas
gptkb:Kerman
gptkb:Shiraz
gptkb:Ctesiphon
gptkb:Gorgan
gptkb:Khorramabad
gptkb:Naqsh-e_Rustam
gptkb:Rasht
gptkb:Urmia
Babol
Sari
Zanjan
Arak
Noshahr
Hamedan
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
The Persians
|
|
gptkbp:influence
|
Western literature
|
|
gptkbp:influenced_by
|
gptkb:historical_events
|
|
gptkbp:inspiration
|
modern playwrights
directors of classical theater
scholars of tragedy
|
|
gptkbp:is_analyzed_in
|
its political themes
|
|
gptkbp:is_available_in
|
translated versions
|
|
gptkbp:is_available_on
|
various streaming platforms
|
|
gptkbp:is_cited_in
|
literary analyses
the study of Aeschylus' works
|
|
gptkbp:is_considered
|
a classic of world literature
a reflection on leadership
a commentary on imperialism
the oldest surviving play
|
|
gptkbp:is_discussed_in
|
gptkb:academic_journals
|
|
gptkbp:is_influenced_by
|
Aeschylus' experiences in war
|
|
gptkbp:is_influential_in
|
the development of tragedy
|
|
gptkbp:is_notable_for
|
its portrayal of women
its historical perspective
|
|
gptkbp:is_noted_for
|
its emotional depth
its use of dramatic irony
|
|
gptkbp:is_part_of
|
gptkb:Aeschylus'_Oresteia_trilogy
the canon of Western literature
the tradition of Greek theater.
|
|
gptkbp:is_recognized_as
|
a significant work in drama history
|
|
gptkbp:is_recognized_by
|
scholars of ancient drama
|
|
gptkbp:is_referenced_in
|
other literary works
|
|
gptkbp:is_related_to
|
Greek tragedy tradition
|
|
gptkbp:is_set_in
|
the aftermath of the Persian Wars
|
|
gptkbp:is_studied_in
|
classical literature courses
|
|
gptkbp:language
|
gptkb:Persian
gptkb:Ancient_Greek
|
|
gptkbp:main_theme
|
defeat of the Persians
|
|
gptkbp:notable_character
|
gptkb:Darius
gptkb:Xerxes
gptkb:Atossa
gptkb:communication
Chorus of Persian Elders
|
|
gptkbp:notable_figures
|
gptkb:Darius_the_Great
gptkb:Xerxes_I
gptkb:Artaxerxes_I
gptkb:Cyrus_the_Great
gptkb:Cyrus_II
|
|
gptkbp:notable_quote
|
' The gods are just.'
' The greatest of all evils is war.'
' Time is the greatest of all teachers.'
' We are all but shadows.'
' What is the fate of the vanquished?'
|
|
gptkbp:original_language
|
Greek
|
|
gptkbp:performance
|
performed in modern theaters
performed in ancient Greece
|
|
gptkbp:performance_style
|
use of masks
dramatic monologues
choral odes
dialogue between characters
staging with minimal props
|
|
gptkbp:performed_at
|
gptkb:Theater_of_Dionysus
|
|
gptkbp:performed_by
|
theater companies
students in educational settings
|
|
gptkbp:performed_in
|
academic settings
in theaters worldwide
the Festival of Dionysia
|
|
gptkbp:premiered_on
|
472 BC
|
|
gptkbp:region
|
gptkb:Iran
|
|
gptkbp:related_works
|
gptkb:Prometheus_Bound
gptkb:The_Oresteia
gptkb:Seven_Against_Thebes
|
|
gptkbp:religion
|
gptkb:Bahá'í_Faith
gptkb:Islam
|
|
gptkbp:research
|
gptkb:historians
|
|
gptkbp:scholarly_analysis
|
interpreted through feminist lenses
examined for its character development
analyzed for its themes of power
discussed in terms of its historical accuracy
studied for its use of irony
|
|
gptkbp:setting
|
gptkb:Persia
|
|
gptkbp:theme
|
gptkb:hubris
gptkb:fate
gptkb:war
|
|
gptkbp:translated_into
|
multiple translators
|
|
gptkbp:uses
|
gptkb:choir
|
|
gptkbp:written_by
|
gptkb:Aeschylus
|
|
gptkbp:bfsParent
|
gptkb:Aeschylus
|
|
gptkbp:bfsLayer
|
4
|