Aeschylus' work has a strong moral and religious emphasis, concentrating on the human position in the cosmos in relation to the gods, divine law, and divine punishment—especially in the Oresteia trilogy.
Aeschylus frequently traveled to Sicily, where the tyrant of Gela was a patron.
Aeschylus provides an important example of how closely art participates in human development.
Attributed to Aeschylus in antiquity, it is generally considered by modern scholars to be the work of an unknown playwright.
The reflection of societal struggles and social norms in mythology makes the plays of Aeschylus of enduring interest, offering poignant cultural and historical insights to every generation.
One theory is that it was written by Euphorion, one of Aeschylus' sons, and produced as his father's work.
More than the other tragedians, Aeschylus was concerned about the role of the divine, the path to moral rectitude, and the nature of justice.
The "final" New Testament canon was first listed by Athanasius of Alexandria—the leading orthodox figure in the Arian controversy—in 367, in a letter written to his churches in Egypt.
Like Sophocles and Euripides, who would follow him, Aeschylus is one of the seminal figures in the development of drama in the Western world.
at Eleusis in western Attica, Aeschylus wrote his first plays in 498 B.C.E., but his earliest surviving play is probably The Persians, performed in 472 B.C.E.
The existing canon of Aeschylus' plays includes a seventh, Prometheus Bound.
Most scholars of Greek literature currently agree that the attribution of the play to Aeschylus is tenuous at best.