A poem by Aeschylus (c. 525 – c. 456 Before Christ )
MESSENGER
Now at the Seventh Gate the seventh chief,
Thy proper mother’s son, I will announce,
What fortune for this city, for himself,
With curses he invoketh:–on the walls
Ascending, heralded as king, to stand,
With paeans for their capture; then with thee
To fight, and either slaying near thee die,
Or thee, who wronged him, chasing forth alive,
Requite in kind his proper banishment.
Such words he shouts, and calls upon the gods
Who o’er his race preside and Fatherland,
With gracious eye to look upon his prayers.
A well-wrought buckler, newly forged, he bears,
With twofold blazon riveted thereon,
For there a woman leads, with sober mien,
A mailed warrior, enchased in gold;
Justice her style, and thus the legend speaks:–
“This man I will restore, and he shall hold
The city and his father’s palace homes.”
Such the devices of the hostile chiefs.
‘Tis for thyself to choose whom thou wilt send;
But never shalt thou blame my herald-words.
To guide the rudder of the State be thine!
ETEOCLES
O heaven-demented race of Oedipus,
My race, tear-fraught, detested of the gods!
Alas, our father’s curses now bear fruit.
But it beseems not to lament or weep,
Lest lamentations sadder still be born.
For him, too truly Polyneikes named,–
What his device will work we soon shall know;
Whether his braggart words, with madness fraught,
Gold-blazoned on his shield, shall lead him back.
Hath Justice communed with, or claimed him hers,
Guided his deeds and thoughts, this might have been;
But neither when he fled the darksome womb,
Or in his childhood, or in youth’s fair prime,
Or when the hair thick gathered on his chin,
Hath Justice communed with, or claimed him hers,
Nor in this outrage on his Fatherland
Deem I she now beside him deigns to stand.
For Justice would in sooth belie her name,
Did she with this all-daring man consort.
In these regards confiding will I go,
Myself will meet him. Who with better right?
Brother to brother, chieftain against chief,
Foeman to foe, I’ll stand. Quick, bring my spear,
My greaves, and armor, bulwark against stones.

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External links
Bat’s Poetry Page – more poetry by Fledermaus
Talking Writing Monster’s Page –
Batty Writing – the bat’s idle chatter, thoughts, ideas and observations, all original, all fresh
Poems in English
- Sonnet 115: Those lines that I before have writ do lie by William Shakespeare
- Sonnet 114: Or whether doth my mind, being crowned with you by William Shakespeare
- Sonnet 113: Since I left you, mine eye is in my mind by William Shakespeare
- Sonnet 112: Your love and pity doth th’ impression fill by William Shakespeare
- Sonnet 111: O, for my sake do you with Fortune chide by William Shakespeare
- Sonnet 110: Alas, ’tis true, I have gone here and there by William Shakespeare
- Sonnet 10: For shame, deny that thou bear’st love to any by William Shakespeare
- Sonnet 109: O, never say that I was false of heart by William Shakespeare
- Sonnet 108: What’s in the brain that ink may character by William Shakespeare
- Sonnet 107: Not mine own fears, nor the prophetic soul by William Shakespeare
- Sonnet 106: When in the chronicle of wasted time by William Shakespeare
- Sonnet 105: Let not my love be called idolatry by William Shakespeare
- Sonnet 104: To me, fair friend, you never can be old by William Shakespeare
- Sonnet 103: Alack, what poverty my Muse brings forth by William Shakespeare
- Sonnet 102: My love is strengthened, though more weak in seeming by William Shakespeare
- Sonnet 101: O truant Muse, what shall be thy amends by William Shakespeare
- Sonnet 100: Where art thou, Muse, that thou forget’st so long by William Shakespeare
- Sonnet LIV by William Shakespeare
- Silvia by William Shakespeare
- Sigh No More by William Shakespeare
More external links (open in a new tab):
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Parallel Translations of Poetry
The Poetry Repository – an online library of poems, poetry, verse and poetic works
Aeschylus (525 Before Christ to 456 B.C.) was an ancient Greek author of Greek tragedy, and is often described as the father of tragedy. Academics’ knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them.