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Towards the end of the sixth century before Christ, one of the most momentous advances in literature was made by the genius of Aeschylus. European drama was created and a means of utterance was given to the rapidly growing democratic spirit of Greece. Before Aeschylus wrote, rude public exhibitions had been given of the life and adventures of Dionysus, the god of wine. Choruses had sung odes to the deity and variety was obtained by a series of short dialogues between one of the Chorus and the remainder. Aeschylus added a second actor to converse with the first; he thus started a movement which eventually ousted the Chorus from its place of importance, for the interest now began to concentrate on the two actors; it was their performance which gave drama its name. In time more characters were added; the Chorus became less necessary and in the long run was felt to be a hindrance to the movement of the story. This process is plainly visible in the extant works of the Attic tragedians.

Aeschylus was born at Eleusis in 525; before the end of the century he was writing tragedies. In 490 he fought in the great battle of Marathon and took part in the victory of Salamis in 480. This experience of the struggle for freedom against Persian despotism added a vigour and a self-reliance to his writing which is characteristic of a growing national spirit. He is said to have visited Sicily in 468 and again in 458, various motives being given for his leaving Athens. His death at Gela in 456 is said to have been due to an eagle, which dropped a tortoise upon his head which he mistook for a stone. He has left to the world seven plays in which the rapid development of drama is conspicuous.

One of the earliest of his plays is the Suppliants, little read owing to the uncertainty of the text and the meagreness of the dramatic interest. The plot is simple enough. Danaus, sprung from Io of Argos, flees from Egypt with his fifty daughters who avoid wedlock with the fifty sons of Aegyptus. He sails to Argos and lays suppliant boughs on the altars of the gods, imploring protection. The King of Argos after consultation with his people decides to admit the fugitives and to secure them from Aegyptus' violence. A herald from the latter threatens to take the Danaids back with him, but the King intervenes and saves them. There is little in this play but long choral odes; yet one or two Aeschylean features are evident. The King dreads offending the god of suppliants