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Like all other male Athenian citizens, Aeschylus was a soldier in addition to being a producer of plays.

象所有其他男性雅典公民,埃斯库罗斯是一名士兵,除了作为生产者的发挥。

In Aeschylus's drama "The Persians" can be seen, the Queen of Persia asked the following people, you have owner?

而在埃斯库罗斯的戏剧《波斯人》中可以看到,波斯女王问下面的人,你们有主人吗?

Aeschylus, the earliest of the great Attic tragedians, presented his Oresteia at Athens' City Dionysia festival in 458 BCE.

埃斯库罗斯,伟大的雅典悲剧最早提交雅典市酒神节在公元前458他提亚。

Hence, except by special pleading (e.g.,that the tetralogy was composed early in Aeschylus' career but not produced until the 460's B.C.), the Danaid tetralogy must be put after

因此,除非是通过特殊辩解(例如这样一种情形,即该四部曲作于埃斯库罗斯戏剧生涯的早期,但直到公元前五世纪六十年代始告完成),不然的话,《达那特四部曲》就必须被置于公元前468年之后。

For example, forty years ago a survey of the early Greek dramatist Aeschylus' plays would have started with The Suppliant Women.

譬如,四十多年之前,一项对早期希腊剧作家埃斯库罗斯诸剧作的调查分析,极有可能以《乞援衰女》为开端。

The Oresteia is Aeschylus' only complete surviving trilogy; the satyr play with which it was first performed, Proteus, is lost.

埃斯库罗斯的奥瑞斯提亚是唯一的完整的生存三部曲;的色狼玩它首次演出,变形,丢失。

In accordance with this view, Bachofen interprets the Oresteia of Aschylusas the dramatic representation of the conflict between declining mother-right and the new father-right that arose and triumphed in the heroic age.

根据这一点,巴霍芬指出,埃斯库罗斯的《奥列斯特》三部曲是用戏剧的形式来描写没落的母权制跟发生于英雄时代并日益获得胜利的父权制之间的斗争。

In this thesis we therefore draw attention to political and theological aspects of Aeschylus' Oresteia, because it presents a world in which the divine plays a determining role in human affairs. Aeschylus portrays a cosmic and political order which is the conflict of two rights—of justice absolute and inexorable with the relative justice of a civic community. Like Sophocles, Aeschylus recognizes that no political order is base upon the morality of absolute justice.

在论文中,本人将着力研究&奥瑞斯特亚&三部曲政治和神学方面的问题,因为在此剧中,其主题和情节主要彰显了神圣意志在人事中的关键作用,而埃斯库罗斯的目的正是要突出两种不同正义观的冲突,一种正义是神的绝对正义,而另外一种是城邦公共体代表的相对正义。

In this thesis we therefore draw attention to political and theological aspects of Aeschylus' Oresteia, because it presents a world in which the divine plays a determining role in human affairs. Aeschylus portrays a cosmic and political order which is the conflict of two rights—of justice absolute and inexorable with the relative justice of a civic community. Like Sophocles, Aeschylus recognizes that no political order is base upon the morality of absolute justice.

在论文中,本人将著力研究&奥瑞斯特亚&三部曲政治和神学方面的问题,因为在此剧中,其主题和情节主要彰显了神圣意志在人事中的关键作用,而埃斯库罗斯的目的正是要突出两种不同正义观的冲突,一种正义是神的绝对正义,而另外一种是城邦公共体代表的相对正义。

In addition, a few letters in the fragment suggest the name Archedemides, archon in 463 B.C., thus perhaps tying the plays to that precise date, almost exactly halfway between Aeschylus' Seven Against Thebes of 467 B.C. and his Oresteia.

此外,残片中的几个字母依稀可辨出Archedemides这一名字,即公元前463年的执政官,这样或许可将四部曲牢牢地与这一确切的年代连结起来,几乎恰好居于埃斯库罗斯作于公于元前467年的《七雄攻忒拜》与他的《奥瑞斯提亚》之间。

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