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Aeschylus

Aeschylus (, ; Αἰσχύλος ; c. 525/524 – c. 456/455 BC) was an ancient Greek tragedian often described as the father of tragedy. Academic 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. Formerly, characters interacted only with the chorus.

Only seven of Aeschylus's estimated 70 to 90 plays have survived. There is a long-standing debate regarding the authorship of one of them, Prometheus Bound, with some scholars arguing that it may be the work of his son Euphorion. Fragments from other plays have survived in quotations, and more continue to be discovered on Egyptian papyri. These fragments often give further insights into Aeschylus' work. He was likely the first dramatist to present plays as a trilogy. His Oresteia is the only extant ancient example. At least one of his plays was influenced by the Persians' second invasion of Greece (480–479 BC). This work, The Persians, is one of very few classical Greek tragedies concerned with contemporary events, and the only one extant. The significance of the war with Persia was so great to Aeschylus and the Greeks that his epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright.

Life
Aeschylus was born around 525 BC in Eleusis, a small town about 27 km northwest of Athens, in the fertile valleys of western Attica. Some scholars argue that the date of Aeschylus's birth may be based on counting back 40 years from his first victory in the Great Dionysia. His family was wealthy and well established. His father, Euphorion, was said to be a member of the Eupatridae, the ancient nobility of Attica, but this might be a fiction invented by the ancients to account for the grandeur of Aeschylus' plays.

As a youth, Aeschylus worked at a vineyard until, according to the 2nd-century AD geographer Pausanias, the god Dionysus visited him in his sleep and commanded him to turn his attention to the nascent art of tragedy. As soon as he woke, he began to write a tragedy, and his first performance took place in 499 BC, when he was 26 years old. He won his first victory at the Dionysia in 484 BC.

In 510 BC, when Aeschylus was 15 years old, Cleomenes I expelled the sons of Peisistratus from Athens, and Cleisthenes came to power. Cleisthenes' reforms included a system of registration that emphasized the importance of the deme over family tradition. In the last decade of the 6th century, Aeschylus and his family were living in the deme of Eleusis.

The Persian Wars played a large role in Aeschylus' life and career. In 490 BC, he and his brother Cynegeirus fought to defend Athens against the invading army of Darius I of Persia at the Battle of Marathon. The Athenians emerged triumphant, and the victory was celebrated across the city-states of Greece. Cynegeirus was killed while trying to prevent a Persian ship retreating from the shore, for which his countrymen extolled him as a hero.

In 480 BC, Aeschylus was called into military service again, together with his younger brother Ameinias, against Xerxes I's invading forces at the Battle of Salamis. Aeschylus also fought at the Battle of Plataea in 479 BC. Ion of Chios was a witness for Aeschylus' war record and his contribution in Salamis. Salamis holds a prominent place in The Persians, his oldest surviving play, which was performed in 472 BC and won first prize at the Dionysia.

Aeschylus was one of many Greeks who were initiated into the Eleusinian Mysteries, an ancient cult of Demeter based in his home town of Eleusis. According to Aristotle, Aeschylus was accused of asebeia (impiety) for revealing some of the cult's secrets on stage.

Other sources claim that an angry mob tried to kill Aeschylus on the spot but he fled the scene. Heracleides of Pontus asserts that the audience tried to stone Aeschylus. Aeschylus took refuge at the altar in the orchestra of the Theater of Dionysus. He pleaded ignorance at his trial. He was acquitted, with the jury sympathetic to the military service of him and his brothers during the Persian Wars. According to the 2nd-century AD author Aelian, Aeschylus' younger brother Ameinias helped to acquit Aeschylus by showing the jury the stump of the hand he had lost at Salamis, where he was voted bravest warrior. The truth is that the award for bravery at Salamis went not to Aeschylus' brother but to Ameinias of Pallene.

Aeschylus travelled to Sicily once or twice in the 470s BC, having been invited by Hiero I, tyrant of Syracuse, a major Greek city on the eastern side of the island. He produced The Women of Aetna during one of these trips (in honor of the city founded by Hieron), and restaged his Persians. By 473 BC, after the death of Phrynichus, one of his chief rivals, Aeschylus was the yearly favorite in the Dionysia, winning first prize in nearly every competition. In 472 BC, Aeschylus staged the production that included the Persians, with Pericles serving as choregos.

Personal life
Aeschylus married and had two sons, Euphorion and Euaeon, both of whom became tragic poets. Euphorion won first prize in 431 BC in competition against both Sophocles and Euripides. A nephew of Aeschylus, Philocles (his sister's son), was also a tragic poet, and won first prize in the competition against Sophocles' Oedipus Rex. Aeschylus had at least two brothers, Cynegeirus and Ameinias.

Death

In 458 BC, Aeschylus returned to Sicily for the last time, visiting the city of Gela, where he died in 456 or 455 BC. Valerius Maximus wrote that he was killed outside the city by a tortoise dropped by an eagle which had mistaken his head for a rock suitable for shattering the shell, and killed him. Pliny, in his Naturalis Historiæ, adds that Aeschylus had been staying outdoors to avoid a prophecy that he would be killed by a falling object, but this story may be legendary and due to a misunderstanding of the iconography on Aeschylus' tomb. Aeschylus' work was so respected by the Athenians that after his death his tragedies were the only ones allowed to be restaged in subsequent competitions. His sons Euphorion and Euæon and his nephew Philocles also became playwrights.

The inscription on Aeschylus' gravestone makes no mention of his theatrical renown, commemorating only his military achievements:

Works
The seeds of Greek drama were sown in religious festivals for the gods, chiefly Dionysus, the god of wine. During Aeschylus' lifetime, dramatic competitions became part of the City Dionysia, held in spring. The festival opened with a procession which was followed by a competition of boys singing dithyrambs, and all culminated in a pair of dramatic competitions. The first competition Aeschylus would have participated in involved three playwrights each presenting three tragedies and one satyr play. A second competition involving five comedic playwrights followed, and the winners of both competitions were chosen by a panel of judges.

Aeschylus entered many of these competitions, and various ancient sources attribute between seventy and ninety plays to him. Only seven tragedies attributed to him have survived intact: The Persians, Seven Against Thebes, The Suppliants, the trilogy known as The Oresteia (the three tragedies Agamemnon, The Libation Bearers and The Eumenides), and Prometheus Bound (whose authorship is disputed). With the exception of this last play – the success of which is uncertain – all of Aeschylus's extant tragedies are known to have won first prize at the City Dionysia.

The Alexandrian Life of Aeschylus claims that he won the first prize at the City Dionysia thirteen times. This compares favorably with Sophocles' reported eighteen victories (with a substantially larger catalogue, an estimated 120 plays), and dwarfs the five victories of Euripides, who is thought to have written roughly 90 plays.

Trilogies
One hallmark of Aeschylean dramaturgy appears to have been his tendency to write connected trilogies in which each play serves as a chapter in a continuous dramatic narrative. The Oresteia is the only extant example of this type of connected trilogy, but there is evidence that Aeschylus often wrote such trilogies. The satyr plays that followed his tragic trilogies also drew from myth.

The satyr play Proteus, which followed the Oresteia, treated the story of Menelaus' detour in Egypt on his way home from the Trojan War. It is assumed, based on the evidence provided by a catalogue of Aeschylean play titles, scholia, and play fragments recorded by later authors, that three other extant plays of his were components of connected trilogies: Seven Against Thebes was the final play in an Oedipus trilogy, and The Suppliants and Prometheus Bound were each the first play in a Danaid trilogy and Prometheus trilogy, respectively. Scholars have also suggested several completely lost trilogies, based on known play titles. A number of these treated myths about the Trojan War. One, collectively called the Achilleis, comprised Myrmidons, Nereids and Phrygians (alternately, The Ransoming of Hector).

Another trilogy apparently recounted the entrance of the Trojan ally Memnon into the war, and his death at the hands of Achilles (Memnon and The Weighing of Souls being two components of the trilogy). The Award of the Arms, The Phrygian Women, and The Salaminian Women suggest a trilogy about the madness and subsequent suicide of the Greek hero Ajax. Aeschylus seems to have written about Odysseus' return to Ithaca after the war (including his killing of his wife Penelope's suitors and its consequences) in a trilogy consisting of The Soul-raisers, Penelope, and The Bone-gatherers. Other suggested trilogies touched on the myth of Jason and the Argonauts (Argô, Lemnian Women, Hypsipylê), the life of Perseus (The Net-draggers, Polydektês, Phorkides), the birth and exploits of Dionysus (Semele, Bacchae, Pentheus), and the aftermath of the war portrayed in Seven Against Thebes (Eleusinians, Argives (or Argive Women), Sons of the Seven).

The Persians (472 BC)
The Persians (Persai) is the earliest of Aeschylus' extant plays. It was performed in 472 BC. It was based on Aeschylus' own experiences, specifically the Battle of Salamis. It is unique among surviving Greek tragedies in that it describes a recent historical event. The Persians focuses on the popular Greek theme of hubris and blames Persia's loss on the pride of its king.

It opens with the arrival of a messenger in Susa, the Persian capital, bearing news of the catastrophic Persian defeat at Salamis, to Atossa, the mother of the Persian King Xerxes. Atossa then travels to the tomb of Darius, her husband, where his ghost appears, to explain the cause of the defeat. It is, he says, the result of Xerxes' hubris in building a bridge across the Hellespont, an action which angered the gods. Xerxes appears at the end of the play, not realizing the cause of his defeat, and the play closes to lamentations by Xerxes and the chorus.

Seven Against Thebes (467 BC)
Seven against Thebes (Hepta epi Thebas) was performed in 467 BC. It has the contrasting theme of the interference of the gods in human affairs. Another theme, with which Aeschylus' would continually involve himself, makes its first known appearance in this play, namely that the polis was a key development of human civilization.

The play tells the story of Eteocles and Polynices, the sons of the shamed king of Thebes, Oedipus. Eteocles and Polynices agree to share and alternate the throne of the city. After the first year, Eteocles refuses to step down. Polynices therefore undertakes war. The pair kill each other in single combat, and the original ending of the play consisted of lamentations for the dead brothers. But a new ending was added to the play some fifty years later: Antigone and Ismene mourn their dead brothers, a messenger enters announcing an edict prohibiting the burial of Polynices, and Antigone declares her intention to defy this edict. The play was the third in a connected Oedipus trilogy. The first two plays were Laius and Oedipus. The concluding satyr play was The Sphinx.

The Suppliants (463 BC)
Aeschylus continued his emphasis on the polis with The Suppliants (Hiketides) in 463 BC. The play gives tribute to the democratic undercurrents which were running through Athens and preceding the establishment of a democratic government in 461. The Danaids (50 daughters of Danaus, founder of Argos) flee a forced marriage to their cousins in Egypt. They turn to King Pelasgus of Argos for protection, but Pelasgus refuses until the people of Argos weigh in on the decision (a distinctly democratic move on the part of the king). The people decide that the Danaids deserve protection and are allowed within the walls of Argos despite Egyptian protests.

A Danaid trilogy had long been assumed because of The Suppliants' cliffhanger ending. This was confirmed by the 1952 publication of Oxyrhynchus Papyrus 2256 fr. 3. The constituent plays are generally agreed to be The Suppliants and The Egyptians and The Danaids. A plausible reconstruction of the trilogy's last two-thirds runs thus: In The Egyptians, the Argive-Egyptian war threatened in the first play has transpired. King Pelasgus was killed during the war, and Danaus rules Argos. Danaus negotiates a settlement with Aegyptus, a condition of which requires his 50 daughters to marry the 50 sons of Aegyptus. Danaus secretly informs his daughters of an oracle which predicts that one of his sons-in-law would kill him. He orders the Danaids to murder their husbands therefore on their wedding night. His daughters agree. The Danaids would open the day after the wedding.

It is revealed that 49 of the 50 Danaids killed their husbands. Hypermnestra did not kill her husband, Lynceus, and helped him escape. Danaus is angered by his daughter's disobedience and orders her imprisonment and possibly execution. In the trilogy's climax and dénouement, Lynceus reveals himself to Danaus and kills him, thus fulfilling the oracle. He and Hypermnestra will establish a ruling dynasty in Argos. The other 49 Danaids are absolved of their murders, and married off to unspecified Argive men. The satyr play following this trilogy was titled Amymone, after one of the Danaids.

The Oresteia (458 BC)
Besides a few missing lines, the Oresteia of 458 BC is the only complete trilogy of Greek plays by any playwright still extant (of Proteus, the satyr play which followed, only fragments are known). Agamemnon and The Libation Bearers (Choephoroi) and The Eumenides together tell the violent story of the family of Agamemnon, king of Argos.

Agamemnon

Aeschylus begins in Greece, describing the return of King Agamemnon from his victory in the Trojan War, from the perspective of the townspeople (the Chorus) and his wife, Clytemnestra. Dark foreshadowings build to the death of the king at the hands of his wife, who was angry that their daughter Iphigenia was killed so that the gods would restore the winds and allow the Greek fleet to sail to Troy. Clytemnestra was also unhappy that Agamemnon kept the Trojan prophetess Cassandra as his concubine. Cassandra foretells the murder of Agamemnon and of herself to the assembled townsfolk, who are horrified. She then enters the palace knowing that she cannot avoid her fate. The ending of the play includes a prediction of the return of Orestes, son of Agamemnon, who will seek to avenge his father.

The Libation Bearers
The Libation Bearers opens with Orestes' arrival at Agamemnon's tomb, from exile in Phocis. Electra meets Orestes there. They plan revenge against Clytemnestra and her lover, Aegisthus. Clytemnestra's account of a nightmare in which she gives birth to a snake is recounted by the chorus. This leads her to order her daughter, Electra, to pour libations on Agamemnon's tomb (with the assistance of libation bearers) in hope of making amends. Orestes enters the palace pretending to bear news of his own death. Clytemnestra calls in Aegisthus to learn the news. Orestes kills them both. Orestes is then beset by the Furies, who avenge the murders of kin in Greek mythology.

The Eumenides
The third play addresses the question of Orestes' guilt. The Furies drive Orestes from Argos and into the wilderness. He makes his way to the temple of Apollo and begs Apollo to drive the Furies away. Apollo had encouraged Orestes to kill Clytemnestra, so he bears some of the guilt for the murder. Apollo sends Orestes to the temple of Athena with Hermes as a guide.

The Furies track him down, and Athena steps in and declares that a trial is necessary. Apollo argues Orestes' case, and after the judges (including Athena) deliver a tie vote, Athena announces that Orestes is acquitted. She renames the Furies The Eumenides (The Good-spirited, or Kindly Ones), and extols the importance of reason in the development of laws. As in The Suppliants, the ideals of a democratic Athens are praised.

Prometheus Bound (date disputed)

Prometheus Bound is attributed to Aeschylus by ancient authorities. Since the late 19th century, however, scholars have increasingly doubted this ascription, largely on stylistic grounds. Its production date is also in dispute, with theories ranging from the 480s BC to as late as the 410s.

The play consists mostly of static dialogue. The Titan Prometheus is bound to a rock throughout, which is his punishment from the Olympian Zeus for providing fire to humans. The god Hephaestus and the Titan Oceanus and the chorus of Oceanids all express sympathy for Prometheus' plight. Prometheus is met by Io, a fellow victim of Zeus' cruelty. He prophesies her future travels, revealing that one of her descendants will free Prometheus. The play closes with Zeus sending Prometheus into the abyss because Prometheus will not tell him of a potential marriage which could prove Zeus' downfall.

Prometheus Bound seems to have been the first play in a trilogy, the Prometheia. In the second play, Prometheus Unbound, Heracles frees Prometheus from his chains and kills the eagle that had been sent daily to eat Prometheus' perpetually regenerating liver, then believed the source of feeling. We learn that Zeus has released the other Titans which he imprisoned at the conclusion of the Titanomachy, perhaps foreshadowing his eventual reconciliation with Prometheus.

In the trilogy's conclusion, Prometheus the Fire-Bringer, it seems that the Titan finally warns Zeus not to sleep with the sea nymph Thetis, for she is fated to beget a son greater than the father. Not wishing to be overthrown, Zeus marries Thetis off to the mortal Peleus. The product of that union is Achilles, Greek hero of the Trojan War. After reconciling with Prometheus, Zeus probably inaugurates a festival in his honor at Athens.

Lost plays
Of Aeschylus' other plays, only titles and assorted fragments are known. There are enough fragments (along with comments made by later authors and scholiasts) to produce rough synopses for some plays.

Myrmidons
This play was based on books 9 and 16 of the Iliad. Achilles sits in silent indignation over his humiliation at Agamemnon's hands for most of the play. Envoys from the Greek army attempt to reconcile Achilles to Agamemnon, but he yields only to Patroclus, who then battles the Trojans in Achilles' armour. The bravery and death of Patroclus are reported in a messenger's speech, which is followed by mourning.

Nereids
This play was based on books 18 and 19 and 22 of the Iliad. It follows the Daughters of Nereus, the sea god, who lament Patroclus' death. A messenger tells how Achilles (perhaps reconciled to Agamemnon and the Greeks) slew Hector.

Phrygians, or Hector's Ransom
After a brief discussion with Hermes, Achilles sits in silent mourning over Patroclus. Hermes then brings in King Priam of Troy, who wins over Achilles and ransoms his son's body in a spectacular coup de théâtre. A scale is brought on stage and Hector's body is placed in one scale and gold in the other. The dynamic dancing of the chorus of Trojans when they enter with Priam is reported by Aristophanes.

Niobe
The children of Niobe, the heroine, have been slain by Apollo and Artemis because Niobe had gloated that she had more children than their mother, Leto. Niobe sits in silent mourning on stage during most of the play. In the Republic, Plato quotes the line "God plants a fault in mortals when he wills to destroy a house utterly."

These are the remaining 71 plays ascribed to Aeschylus which are known:

 * Alcmene
 * Amymone
 * The Archer-Women
 * The Argivian Women
 * The Argo, also titled The Rowers
 * Atalanta
 * Athamas
 * Attendants of the Bridal Chamber
 * Award of the Arms
 * The Bacchae
 * The Bassarae
 * The Bone-Gatherers
 * The Cabeiroi
 * Callisto
 * The Carians, also titled Europa
 * Cercyon
 * Children of Hercules
 * Circe
 * The Cretan Women
 * Cycnus
 * The Danaids
 * Daughters of Helios
 * Daughters of Phorcys
 * The Descendants
 * The Edonians
 * The Egyptians
 * The Escorts
 * Glaucus of Pontus
 * Glaucus of Potniae
 * Hypsipyle
 * Iphigenia
 * Ixion
 * Laius
 * The Lemnian Women
 * The Lion
 * Lycurgus
 * Memnon
 * The Men of Eleusis
 * The Messengers
 * The Myrmidons
 * The Mysians
 * Nemea
 * The Net-Draggers
 * The Nurses of Dionysus
 * Orethyia
 * Palamedes
 * Penelope
 * Pentheus
 * Perrhaibides
 * Philoctetes
 * Phineus
 * The Phrygian Women
 * Polydectes
 * The Priestesses
 * Prometheus the Fire-Bearer
 * Prometheus the Fire-Kindler
 * Prometheus Unbound
 * Proteus
 * Semele, also titled The Water-Bearers
 * Sisyphus the Runaway
 * Sisyphus the Stone-Roller
 * The Spectators, also titled Athletes of the Isthmian Games
 * The Sphinx
 * The Spirit-Raisers
 * Telephus
 * The Thracian Women
 * Weighing of Souls
 * Women of Aetna (two versions)
 * Women of Salamis
 * Xantriae
 * The Youths

Influence on Greek drama and culture
The theatre was just beginning to evolve when Aeschylus started writing for it. Earlier playwrights such as Thespis had already expanded the cast to include an actor who was able to interact with the chorus. Aeschylus added a second actor, allowing for greater dramatic variety, while the chorus played a less important role. He is sometimes credited with introducing skenographia, or scene-decoration, though Aristotle gives this distinction to Sophocles. Aeschylus is also said to have made the costumes more elaborate and dramatic, and made his actors wear platform boots (cothurni) to make them more visible to the audience. According to a later account of Aeschylus' life, the chorus of Furies in the first performance of the Eumenides were so frightening when they entered that children fainted and patriarchs urinated and pregnant women went into labour.

Aeschylus wrote his plays in verse. No violence is performed onstage. The plays have a remoteness from daily life in Athens, relating stories about the gods, or being set, like The Persians, far away. Aeschylus' work has a strong moral and religious emphasis. The Oresteia trilogy concentrated on humans' position in the cosmos relative to the gods and divine law and divine punishment.

Aeschylus' popularity is evident in the praise that the comic playwright Aristophanes gives him in The Frogs, produced some 50 years after Aeschylus' death. Aeschylus appears as a character in the play and claims, at line 1022, that his Seven against Thebes "made everyone watching it to love being warlike". He claims, at lines 1026–7, that with The Persians he "taught the Athenians to desire always to defeat their enemies." Aeschylus goes on to say, at lines 1039ff., that his plays inspired the Athenians to be brave and virtuous.

Influence outside Greek culture
Aeschylus' works were influential beyond his own time. Hugh Lloyd-Jones draws attention to Richard Wagner's reverence of Aeschylus. Michael Ewans argues in his ''Wagner and Aeschylus. The Ring and the Oresteia (London: Faber. 1982) that the influence was so great as to merit a direct character by character comparison between Wagner's Ring and Aeschylus's Oresteia''. But a critic of that book, while not denying that Wagner read and respected Aeschylus, has described the arguments as unreasonable and forced.

J.T. Sheppard argues in the second half of his Aeschylus and Sophocles: Their Work and Influence that Aeschylus and Sophocles have played a major part in the formation of dramatic literature from the Renaissance to the present, specifically in French and Elizabethan drama. He also claims that their influence went beyond just drama and applies to literature in general, citing Milton and the Romantics.

Eugene O'Neill's Mourning Becomes Electra (1931), a trilogy of three plays set in America after the Civil War, is modeled after the Oresteia. Before writing his acclaimed trilogy, O'Neill had been developing a play about Aeschylus, and he noted that Aeschylus "so changed the system of the tragic stage that he has more claim than anyone else to be regarded as the founder (Father) of Tragedy."

During his presidential campaign in 1968, Senator Robert F. Kennedy quoted the Edith Hamilton translation of Aeschylus on the night of the assassination of Martin Luther King Jr. Kennedy was notified of King's murder before a campaign stop in Indianapolis, Indiana, and was warned not to attend the event due to fears of rioting from the mostly African-American crowd. Kennedy insisted on attending and delivered an impromptu speech that delivered news of King's death. Acknowledging the audience's emotions, Kennedy referred to his own grief at the murder of Martin Luther King and, quoting a passage from the play Agamemnon (in translation), said: "My favorite poet was Aeschylus. And he once wrote: 'Even in our sleep, pain which cannot forget falls drop by drop upon the heart, until in our own despair, against our will, comes wisdom through the awful grace of God.' What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness; but is love and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country, whether they be white or whether they be black ... Let us dedicate ourselves to what the Greeks wrote so many years ago: to tame the savageness of man and make gentle the life of this world." The quotation from Aeschylus was later inscribed on a memorial at the gravesite of Robert Kennedy following his own assassination.

Editions

 * Ulrich von Wilamowitz-Moellendorff, Aeschyli Tragoediae. Editio maior, Berlin 1914.
 * Gilbert Murray, Aeschyli Septem Quae Supersunt Tragoediae. Editio Altera, Oxford 1955.
 * Denys Page, Aeschyli Septem Quae Supersunt Tragoediae, Oxford 1972.
 * Martin L. West, Aeschyli Tragoediae cum incerti poetae Prometheo, 2nd ed., Stuttgart/Leipzig 1998.
 * The first translation of the seven plays into English was by Robert Potter in 1779, using blank verse for the iambic trimeters and rhymed verse for the choruses, a convention adopted by most translators for the next century.
 * Anna Swanwick produced a verse translation in English of all seven surviving plays as The Dramas of Aeschylus in 1886 full text
 * Stefan Radt (ed.), Tragicorum Graecorum Fragmenta. Vol. III: Aeschylus (Göttingen, Vandenhoeck & Ruprecht, 2009) (Tragicorum Graecorum Fragmenta, 3).
 * Alan H. Sommerstein (ed.), Aeschylus, Volume II, Oresteia: Agamemnon. Libation-bearers. Eumenides. 146 (Cambridge, Massachusetts/London: Loeb Classical Library, 2009); Volume III, Fragments. 505 (Cambridge, Massachusetts/London: Loeb Classical Library, 2008).

title: Aeschylus


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Amber Road

The Amber Road was an ancient trade route for the transfer of amber from coastal areas of the North Sea and the Baltic Sea to the Mediterranean Sea. Prehistoric trade routes between Northern and Southern Europe were defined by the amber trade.

As an important commodity, sometimes dubbed "the gold of the north", amber was transported from the North Sea and Baltic Sea coasts overland by way of the Vistula and Dnieper rivers to Italy, Greece, the Black Sea, Syria and Egypt over a period of thousands of years.

Antiquity
The oldest trade in amber started from Sicily. The Sicilian amber trade was directed to Greece, North Africa and Spain. Sicilian amber was also discovered in Mycenae by the archaeologist Heinrich Schliemann, and it appeared in sites in southern Spain and Portugal. Its distribution is similar to that of ivory, so it is possible that amber from Sicily reached the Iberian Peninsula through contacts with North Africa. After a decline in the consumption and trade of amber at the beginning of the Bronze Age, around 2000 BC, the influence of Baltic amber gradually took the place of Sicilian amber throughout the Iberian Peninsula from around 1000 BC. The new evidence comes from various archaeological and geological locations on the Iberian Peninsula.

From at least the 16th century BC, amber was moved from Northern Europe to the Mediterranean area. The breast ornament of the Egyptian Pharaoh Tutankhamen (c. 1333–1324 BC) contains large Baltic amber beads. Schliemann found Baltic amber beads at Mycenae, as shown by spectroscopic investigation. The quantity of amber in the Royal Tomb of Qatna, Syria, is unparalleled among known second millennium BC sites in the Levant and the Ancient Near East. Amber was sent from the North Sea to the Temple of Apollo at Delphi as an offering. From the Black Sea, trade could continue to Asia along the Silk Road, another ancient trade route.

In Roman times, a main route ran south from the Baltic coast (modern Lithuania), the entire north–south length of modern-day Poland (likely through the Iron Age settlement of Biskupin), through the land of the Boii (modern Czech Republic and Slovakia) to the head of the Adriatic Sea (Aquileia by the modern Gulf of Venice). Other commodities were exported to the Romans along with amber, such as animal fur and skin, honey, and wax, in exchange for Roman glass, brass, gold, and non-ferrous metals such as tin and copper imported into the early Baltic region. As this road was a lucrative trade route connecting the Baltic Sea to the Mediterranean Sea, Roman military fortifications were constructed along the route to protect merchants and traders from Germanic raids.

The Old Prussian towns of Kaup and Truso on the Baltic were the starting points of the route to the south. In Scandinavia the amber road probably gave rise to the thriving Nordic Bronze Age culture, bringing influences from the Mediterranean Sea to the northernmost countries of Europe.

Kaliningrad Oblast is occasionally referred to in Russian as Янтарный край, which means "the amber region" (see Kaliningrad Regional Amber Museum).

Estonia
Old coastal Amber road route goes along E67 highway from Reiu in Häädemeeste Parish of Pärnumaa South, where it continues as 331 local road between Rannametsa and Ikla villages.

Poland
The shortest (and possibly oldest) road avoids alpine areas and led from the Baltic coastline (nowadays Lithuania and Poland), through Biskupin, Milicz, Wrocław, the Kłodzko Valley (less often through the Moravian Gate), crossed the Danube near Carnuntum in the Noricum province, headed southwest past Poetovio, Celeia, Emona, Nauportus, and reached Patavium and Aquileia at the Adriatic coast. One of the oldest directions of the last stage of the Amber Road to the south of the Danube, noted in the myth about the Argonauts, used the rivers Sava and Kupa, ending with a short continental road from Nauportus to Tarsatica in Rijeka on the coast of the Adriatic.

Germany
Several roads connected the North Sea and Baltic Sea, especially the city of Hamburg to the Brenner Pass, proceeding southwards to Brindisi (nowadays Italy) and Ambracia (nowadays Greece).

Switzerland
The Swiss region indicates a number of alpine roads, concentrating around the capital city Bern and probably originating from the banks of the Rhône and Rhine.

The Netherlands
A small section, including Baarn, Barneveld, Amersfoort and Amerongen, connected the North Sea with the Lower Rhine.

Belgium
A small section led southwards from Antwerp and Bruges to the towns Braine-l'Alleud and Braine-le-Comte, both originally named "Brennia-Brenna". The route continued by following the Meuse towards Bern in Switzerland.

Southern France and Spain
Routes connected amber finding locations at Ambares (near Bordeaux), leading to Béarn and the Pyrenees. Routes connecting the amber finding locations in northern Spain and in the Pyrenees were a trading route to the Mediterranean Sea.

Mongolia
Sources of archaeological finds suggest that routes may also have connected Mongolia to eastern Europe during the Kitan/Liao Period.

Modern usage
There is a tourist route stretching along the Baltic coast from Kaliningrad to Latvia called "Amber Road".

"Amber Road" sites are:
 * Mizgiris Amber Gallery-Museum in Nida;
 * Amber Bay in Juodkrantė;
 * Lithuania Minor History Museum;
 * Amber collection place in Karklė, Lithuania;
 * Palanga Amber Museum in Palanga;
 * Open amber workshop in Palanga;
 * Amber museum in Gdańsk; and
 * Samogitian Alka in Šventoji.
 * Amber deposit from Partynice - Dating from the 1st century BC amber deposit found in Wrocław. It is the world's largest archaeological find of amber, estimated at 1,240–1,760 kg. Currently it is in the Archaeological Museum in Wrocław.

In Poland, the north–south motorway A1 is officially named Amber Highway.

EV9 The Amber Route is a long-distance cycling route between Gdańsk, Poland and Pula, Croatia which follows the course of the Amber Road.

The modern Baltic–Adriatic Corridor connects the two seas along routes that roughly follow the Amber Road.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Amber Road


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Crandall University

Crandall University is a Baptist Christian liberal arts university located in Moncton, New Brunswick, Canada. It is affiliated with the Canadian Baptists of Atlantic Canada (Canadian Baptist Ministries).

History
Crandall University was founded in 1949 under the name United Baptist Bible Training School (UBBTS), and served as both a secondary school and a Bible school by the Canadian Baptists of Atlantic Canada. Over two decades, the focus of the school gradually shifted toward post-secondary programs. In 1968, UBBTS became a Bible and junior Christian liberal arts college, and in 1970 the name was changed to Atlantic Baptist College (ABC). A sustained campaign to expand the school's faculty and improve the level of education resulted in ABC being able to grant full Bachelor of Arts degrees in 1983. Its campus at this time was located along the Salisbury Road, west of Moncton's central business district.

The institution moved to a new campus built on the Gorge Road, north of the central business district, in 1996. The name was changed to Atlantic Baptist University (ABU), a reflection of expanded student enrolment and academic accreditation. In 2003, the ABU sports teams adopted the name The Blue Tide. The institution was the first, and thus far only, English-language university in Moncton. The Atlantic Baptist University Act was passed by the Legislative Assembly of New Brunswick in 2008.

On August 21, 2009, it was announced that the institution had changed its name to Crandall University in honour of Rev. Joseph Crandall, a pioneering Baptist minister in the maritime region. In conjunction with the university name change, Crandall Athletics took on a new identity as "The Crandall Chargers."

Academics
, Crandall offers 16 undergraduate programs, 3 graduate programs, and a variety of certificate programs. Through its partnership with Acadia Divinity College, students can also enrol in the Bachelor of Theology program concurrent with a Crandall degree. Crandall has a 13:1 student-to-faculty ratio.

Controversy
In 2012, Crandall University came under public scrutiny for receiving municipal funds for having a scripturally based hiring policy consistent with its denomination's tradition, that is, forbidding the hiring of non-celibate LGBTQ people. This has been characterized by the press as an anti-gay hiring policy. That same year, the Crandall Student Association publicly broke with the university's administration over the policy, with the student president at the time telling the CBC, "The Christian faith does say do not judge others. And the Christian faith is all about love. So I feel that this policy – to me – doesn't seem like it's following those specific guidelines." In 2013, a year after the controversy erupted, the university opted to not apply for $150,000 in public funding that it had received annually. The university president also issued an apology, stating: "We wish to apologize for anything that Crandall University might possibly have communicated in the past that may have seemed unloving or disrespectful in any way toward any individual or groups."

Affiliations
Crandall is an affiliate member of the Association of the Registrars of the Universities and Colleges of Canada (ARUCC); a full member of the ARUCC regional association, the Atlantic Association of Registrars and Admissions Officers (AARAO); an active member of Christian Higher Education Canada (CHEC); and an active member of the New Brunswick Association of Private Colleges and Universities. However, Crandall faculty are not members of the Canadian Association of University Teachers (CAUT). In their report, the CAUT found that "while the university has a statement on academic freedom, it is significantly inconsistent with that of the CAUT and the majority of universities across the western world, and assurances that free enquiry is still possible within its constraints are unconvincing." They therefore recommended that Crandall University "be placed on the list of institutions 'found to have imposed a requirement of a commitment to a particular ideology or statement of faith as a condition of employment.'"

The university is affiliated with the Canadian Baptists of Atlantic Canada (Canadian Baptist Ministries). It is a member of the Council for Christian Colleges and Universities.

Library and archives
Crandall University houses the Baptist Heritage Center whose 300 artifacts preserve the material history of Atlantic Baptists, the Convention of Atlantic Baptist Churches, and its predecessor organizations. The collection and archives includes objects used in worship services, furniture, musical instruments, church building architecture pictures and printed material.

Athletics
Crandall University is represented in the Atlantic Collegiate Athletic Association (ACAA) by 8 varsity teams. The Chargers teams include men's and women's soccer, basketball, volleyball, and cross country. The Chargers also offer a boxing club program that competes internationally.

The Chargers have won six ACAA banners: women's soccer in 2003–04, men's cross country in 2021–22, and both men's and women's cross country in 2022–23 and 2023-24.

Notable alumni

 * David Alward – former Premier of New Brunswick
 * Ken LeBlanc – entrepreneur
 * Ralph Richardson – first chancellor of the university
 * Cathy Rogers – politician

title: Crandall University


text:
Andrew Wiles

Sir Andrew John Wiles (born 11 April 1953) is an English mathematician and a Royal Society Research Professor at the University of Oxford, specialising in number theory. He is best known for proving Fermat's Last Theorem, for which he was awarded the 2016 Abel Prize and the 2017 Copley Medal and for which he was appointed a Knight Commander of the Order of the British Empire in 2000. In 2018, Wiles was appointed the first Regius Professor of Mathematics at Oxford. Wiles is also a 1997 MacArthur Fellow.

Wiles was born in Cambridge to theologian Maurice Frank Wiles and his wife Patricia. While spending much of his childhood in Nigeria, Wiles developed an interest in mathematics and in Fermat's Last Theorem in particular. After moving to Oxford and graduating from there in 1974, he worked on unifying Galois representations, elliptic curves and modular forms, starting with Barry Mazur's generalizations of Iwasawa theory. In the early 1980s, Wiles moved to Princeton University from Cambridge and worked on expanding out and applying Hilbert modular forms. In 1986, upon reading Ken Ribet's seminal work on Fermat's Last Theorem, Wiles set out to prove the modularity theorem for semistable elliptic curves, which implied Fermat's Last Theorem. By 1993, he had been able to prove Fermat's Last Theorem, though a flaw was discovered. After an insight on 19 September 1994, Wiles and his student Richard Taylor were able to circumvent the flaw, and published the results in 1995, to widespread acclaim.

In proving Fermat's Last Theorem, Wiles developed new tools for mathematicians to begin unifying disparate ideas and theorems. His former student Taylor along with three other mathematicians were able to prove the full modularity theorem by 2000, using Wiles' work. Upon receiving the Abel Prize in 2016, Wiles reflected on his legacy, expressing his belief that he did not just prove Fermat's Last Theorem, but pushed the whole of mathematics as a field towards the Langlands program of unifying number theory.

Education and early life
Wiles was born on 11 April 1953 in Cambridge, England, the son of Maurice Frank Wiles (1923–2005) and Patricia Wiles (née Mowll). From 1952 to 1955, his father worked as the chaplain at Ridley Hall, Cambridge, and later became the Regius Professor of Divinity at the University of Oxford.

Wiles began his formal schooling in Nigeria, while living there as a very young boy with his parents. However, according to letters written by his parents, for at least the first several months after he was supposed to be attending classes, he refused to go. From that fact, Wiles himself concluded that in his earliest years, he was not enthusiastic about spending time in academic institutions. He trusts the letters, though he could not remember a time when he did not enjoy solving mathematical problems.

Wiles attended King's College School, Cambridge, and The Leys School, Cambridge. Wiles states that he came across Fermat's Last Theorem on his way home from school when he was 10 years old. He stopped at his local library where he found a book The Last Problem, by Eric Temple Bell, about the theorem. Fascinated by the existence of a theorem that was so easy to state that he, a ten-year-old, could understand it, but that no one had proven, he decided to be the first person to prove it. However, he soon realised that his knowledge was too limited, so he abandoned his childhood dream until it was brought back to his attention at the age of 33 by Ken Ribet's 1986 proof of the epsilon conjecture, which Gerhard Frey had previously linked to Fermat's equation.

Career and research
In 1974, Wiles earned his bachelor's degree in mathematics at Merton College, Oxford. Wiles's graduate research was guided by John Coates, beginning in the summer of 1975. Together they worked on the arithmetic of elliptic curves with complex multiplication by the methods of Iwasawa theory. He further worked with Barry Mazur on the main conjecture of Iwasawa theory over the rational numbers, and soon afterward, he generalised this result to totally real fields.

In 1980, Wiles earned a PhD while at Clare College, Cambridge. After a stay at the Institute for Advanced Study in Princeton, New Jersey, in 1981, Wiles became a Professor of Mathematics at Princeton University.

In 1985–86, Wiles was a Guggenheim Fellow at the Institut des Hautes Études Scientifiques near Paris and at the École Normale Supérieure.

In 1987, Wiles was elected to the Royal Society. At that point according to his election certificate, he had been working "on the construction of ℓ-adic representations attached to Hilbert modular forms, and has applied these to prove the 'main conjecture' for cyclotomic extensions of totally real fields".

From 1988 to 1990, Wiles was a Royal Society Research Professor at the University of Oxford, and then he returned to Princeton. From 1994 to 2009, Wiles was a Eugene Higgins Professor at Princeton. He rejoined Oxford in 2011 as Royal Society Research Professor.

In May 2018, Wiles was appointed Regius Professor of Mathematics at Oxford, the first in the university's history.

Proof of Fermat's Last Theorem
Starting in mid-1986, based on successive progress of the previous few years of Gerhard Frey, Jean-Pierre Serre and Ken Ribet, it became clear that Fermat's Last Theorem (the statement that no three positive integers $a$, $b$, and $c$ satisfy the equation $a^{n} + b^{n} = c^{n}$ for any integer value of $n$ greater than $2$) could be proven as a corollary of a limited form of the modularity theorem (unproven at the time and then known as the "Taniyama–Shimura–Weil conjecture"). The modularity theorem involved elliptic curves, which was also Wiles's own specialist area, and stated that all such curves have a modular form associated with them. These curves can be thought of as mathematical objects resembling solutions for a torus' surface, and if Fermat's Last Theorem were false and solutions existed, "a peculiar curve would result". A proof of the theorem therefore would involve showing that such a curve would not exist.

The conjecture was seen by contemporary mathematicians as important, but extraordinarily difficult or perhaps impossible to prove. For example, Wiles's ex-supervisor John Coates stated that it seemed "impossible to actually prove", and Ken Ribet considered himself "one of the vast majority of people who believed [it] was completely inaccessible", adding that "Andrew Wiles was probably one of the few people on earth who had the audacity to dream that you can actually go and prove [it]."

Despite this, Wiles, with his from-childhood fascination with Fermat's Last Theorem, decided to undertake the challenge of proving the conjecture, at least to the extent needed for Frey's curve. He dedicated all of his research time to this problem for over six years in near-total secrecy, covering up his efforts by releasing prior work in small segments as separate papers and confiding only in his wife.

Wiles' research involved creating a proof by contradiction of Fermat's Last Theorem, which Ribet in his 1986 work had found to have an elliptic curve and thus an associated modular form if true. Starting by assuming that the theorem was incorrect, Wiles then contradicted the Taniyama–Shimura–Weil conjecture as formulated under that assumption, with Ribet's theorem (which stated that if $n$ were a prime number, no such elliptic curve could have a modular form, so no odd prime counterexample to Fermat's equation could exist), and Wiles also proved that the conjecture applied to the special case known as the semistable elliptic curves to which Fermat's equation was tied; in other words, Wiles had found that the Taniyama–Shimura–Weil conjecture was true in the case of Fermat's equation, and Ribet's finding, that the conjecture holding for semistable elliptic curves could mean Fermat's Last Theorem is true, prevailed, thus proving Fermat's Last Theorem.

In June 1993, he presented his proof to the public for the first time at a conference in Cambridge. Gina Kolata of The New York Times summed up the presentation as follows: "He gave a lecture a day on Monday, Tuesday and Wednesday with the title 'Modular Forms, Elliptic Curves and Galois Representations'. There was no hint in the title that Fermat's last theorem would be discussed, Dr. Ribet said. ... Finally, at the end of his third lecture, Dr. Wiles concluded that he had proved a general case of the Taniyama conjecture. Then, seemingly as an afterthought, he noted that that meant that Fermat's last theorem was true. Q.E.D."

In August 1993, it was discovered that the proof contained a flaw in several areas, related to properties of the Selmer group and use of a tool called an Euler system. Wiles tried and failed for over a year to repair his proof. According to Wiles, the crucial idea for circumventing—rather than closing—this area came to him on 19 September 1994, when he was on the verge of giving up. According to Eric W. Weisstein, the circumvention involved "replacing elliptic curves with Galois representations, reducing the problem to a class number formula, solving that problem, and tying up loose ends", all using Iwasawa theory to fix "results from Matthias Flach based on ideas from Victor Kolyvagin", and letting Iwasawa's and Flach's approaches strengthen each other. Together with his former student Richard Taylor, he published a second paper which contained the circumvention and thus completed the proof. Both papers were published in May 1995 in a dedicated issue of the Annals of Mathematics.

Legacy
Wiles' work has been used in many fields of mathematics. Notably, in 1999, his former student Richard Taylor and three other mathematicians built upon Wiles' proof to prove the full modularity theorem.

In 2016, upon receiving the Abel Prize, Wiles said about his proof of Fermat's Last Theorem, "The methods that solved it opened up a new way of attacking one of the big webs of conjectures of contemporary mathematics called the Langlands Program, which as a grand vision tries to unify different branches of mathematics. It’s given us a new way to look at that".

Awards and honours
Wiles's proof of Fermat's Last Theorem has stood up to the scrutiny of the world's other mathematical experts. Wiles was interviewed for an episode of the BBC documentary series Horizon about Fermat's Last Theorem. This was broadcast as an episode of the PBS science television series Nova with the title "The Proof". His work and life are also described in great detail in Simon Singh's popular book Fermat's Last Theorem.

Wiles has been awarded a number of major prizes in mathematics and science:
 * Junior Whitehead Prize of the London Mathematical Society (1988)
 * Elected a Fellow of the Royal Society (FRS) in 1989
 * Elected member of the American Academy of Arts and Sciences (1994)
 * Schock Prize (1995)
 * Fermat Prize (1995)
 * Wolf Prize in Mathematics (1995/6)
 * Elected a Foreign Associate of the National Academy of Sciences (1996)
 * NAS Award in Mathematics from the National Academy of Sciences (1996)
 * Royal Medal (1996)
 * Ostrowski Prize (1996)
 * Cole Prize (1997)
 * MacArthur Fellowship (1997)
 * Wolfskehl Prize (1997) – see Paul Wolfskehl
 * Elected member of the American Philosophical Society (1997)
 * A silver plaque from the International Mathematical Union (1998) recognising his achievements, in place of the Fields Medal, which is restricted to those under 40 (Wiles was 41 when he proved the theorem in 1994)
 * King Faisal Prize (1998)
 * Clay Research Award (1999)
 * Premio Pitagora (Croton, 2004)
 * Shaw Prize (2005)
 * The asteroid 9999 Wiles was named after Wiles in 1999.
 * Knight Commander of the Order of the British Empire (2000)
 * The building at the University of Oxford housing the Mathematical Institute is named after Wiles.
 * Abel Prize (2016)
 * Copley Medal (2017)

title: Andrew Wiles


text:
Ambient

Ambient or Ambiance or Ambience may refer to:

Arts and entertainment

 * Ambiancé, an unreleased experimental film
 * Ambient (novel), a novel by Jack Womack

Music and sound

 * Ambience (sound recording), also known as atmospheres or backgrounds
 * Ambient music, a genre of music that puts an emphasis on tone and atmosphere
 * Ambient (album), by Moby
 * Ambience (album), by the Lambrettas
 * Virgin Ambient series, a series of 24 albums released on the UK Virgin Records label between 1993 and 1997
 * Ambient 1–4, a set of four albums by Brian Eno, released by Obscure Records between 1978 and 1982
 * Stingray Ambiance, the channel "Ambiance" on the Singray music service

Other

 * Ambient (computation), a process calculus
 * Ambient (desktop environment), a MUI-based desktop environment for MorphOS
 * Mark Ambient (1860–1937), pen name of Harold Harley, English dramatist
 * MS Ambience, a cruise ship
 * Ambient Technologies, semiconductor company specialising in modem ICs, spun off from Cirrus Logic in 1999 and purchased by Intel in 2000

title: Ambient


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Anne Brontë

Anne Brontë (, commonly ; 17 January 1820 – 28 May 1849) was an English novelist and poet, the youngest member of the Brontë literary family.

Anne Brontë was the daughter of Maria ( Branwell) and Patrick Brontë, a poor Irish clergyman in the Church of England. Anne lived most of her life with her family at the parish of Haworth on the Yorkshire moors. Otherwise, she attended a boarding school in Mirfield between 1836 and 1837, and between 1839 and 1845 lived elsewhere working as a governess. In 1846 she published a book of poems with her sisters and later two novels, initially under the pen name Acton Bell. Her first novel, Agnes Grey, was published in 1847 at the same time as Wuthering Heights by her sister Emily Brontë. Anne's second novel, The Tenant of Wildfell Hall, was published in 1848. The Tenant of Wildfell Hall is often considered one of the first feminist novels.

Anne died at 29, most likely of pulmonary tuberculosis. After her death, her sister Charlotte edited Agnes Grey to fix issues with its first edition, but prevented republication of The Tenant of Wildfell Hall. As a result, Anne is not as well known as her sisters. Nonetheless, both of her novels are considered classics of English literature.

Family background
Anne's father was Patrick Brontë (1777–1861). Patrick Brontë was born in a two-room cottage in Emdale, Loughbrickland, County Down, Ireland. He was the oldest of ten children born to Hugh Brunty and Eleanor McCrory, poor Irish peasant farmers. The family surname, mac Aedh Ó Proinntigh, was Anglicised as Prunty or Brunty. Struggling against poverty, Patrick learned to read and write, and from 1798 taught others. In 1802, at 25, he won a place to study theology at St. John's College, Cambridge. Here he changed his name, Brunty, to the more distinguished sounding Brontë. In 1807, he was ordained in the priesthood in the Church of England. He served as a curate in Essex and then in Wellington, Shropshire. In 1810, he published his first poem, Winter Evening Thoughts, in a local newspaper. In 1811, he published a collection of moral verse, Cottage Poems. Also in 1811, he became vicar of St. Peter's Church in Hartshead, Yorkshire. In 1812, he was appointed an examiner in Classics at Woodhouse Grove School, near Bradford. This was a Wesleyan academy where, at 35, he met his future wife, the headmaster's niece, Maria Branwell.

Maria Branwell (1783–1821), Anne's mother, was the daughter of Anne Carne, the daughter of a silversmith, and Thomas Branwell, a successful and property-owning grocer and tea merchant in Penzance. Maria was the eleventh of twelve children and enjoyed the benefits of a prosperous family in a small town. After the death of her parents, Maria went to help her aunt with housekeeping functions at the school. Maria was intelligent and well read, and her strong Methodist faith attracted Patrick Brontë, whose own leanings were similar.

Within three months, on 29 December 1812, though from considerably different backgrounds, Patrick Brontë and Maria Branwell were married. Their first child, Maria (1814–1825), was born after they moved to Hartshead. In 1815, Patrick was appointed curate of the chapel in Market Street Thornton, near Bradford. A second daughter, Elizabeth (1815–1825), was born shortly after. Four more children followed: Charlotte (1816–1855), Patrick Branwell (1817–1848), Emily (1818–1848), and Anne (1820–1849).

Early life
Anne was the youngest of the Brontë children. She was born on 17 January 1820 at the parsonage in Market Street, Thornton (now known as the Brontë Birthplace), on the outskirts of Bradford. Her father, Patrick, was curate there. Anne was baptised there on 25 March 1820. Later Patrick was appointed to the perpetual curacy in Haworth, a small town 7 mi away. In April 1820 the family moved into the five-roomed Haworth Parsonage.

When Anne was barely a year old her mother, Maria, became ill, probably with uterine cancer. Maria Branwell died on 15 September 1821. Patrick tried to remarry, without success. Maria's sister, Elizabeth Branwell (1776–1842), had moved to the parsonage initially for Maria, but spent the rest of her life there raising Maria's children. She did it from a sense of duty. She was stern and expected respect, not love. There was little affection between her and the older children. According to tradition Anne was her favourite.

In Elizabeth Gaskell's biography of Charlotte, Patrick remembered Anne as precocious. Patrick said that when Anne was four years old he had asked her what a child most wanted and that she had said: "age and experience".

In summer 1824 Patrick sent daughters Maria, Elizabeth, Charlotte, and Emily to Crofton Hall in Crofton, West Yorkshire, and subsequently to the Clergy Daughter's School at Cowan Bridge in Lancashire. Maria and Elizabeth Brontë died of tuberculosis on 6 May and 15 June 1825 respectively, and Charlotte and Emily were brought home. The unexpected deaths distressed the family so much that Patrick could not face sending them away again. They were educated at home for the next five years, largely by Elizabeth Branwell and Patrick. The children made little attempt to mix with others outside the parsonage and relied on each other for company. The bleak moors surrounding Haworth became their playground. Anne shared a room with her aunt, Elizabeth. They were close, and she may have influenced Anne's personality and religious beliefs.

Education
Anne's studies at home included music and drawing. The Keighley church organist gave piano lessons to Anne and Emily and Branwell, and John Bradley of Keighley gave them art lessons. Each drew with some skill. Their aunt tried to teach the girls how to run a household, but they inclined more to literature. They read much from their father's well-stocked library. Their reading included the Bible, Homer, Virgil, Shakespeare, Milton, Byron, Scott, articles from Blackwood's Edinburgh Magazine and Fraser's Magazine and The Edinburgh Review, and miscellaneous books of history and geography and biography.

Their reading fed their imaginations, and their creativity soared after their father gave Branwell a set of toy soldiers in June 1826. They gave names to the soldiers, or the "Twelves", and developed their characters. This led to the creation of an imaginary world: the African kingdom of "Angria", which was illustrated with maps and watercolour renderings. The children devised plots about the inhabitants of Angria and its capital city, "Glass Town", later called Verreopolis or Verdopolis.

Their fantastical worlds and kingdoms gradually acquired characteristics from their historical world, drawing from its sovereigns, armies, heroes, outlaws, fugitives, inns, schools, and publishers. The characters and lands created by the children were given newspapers and magazines and chronicles written in tiny books with writing so small that it was difficult to read without a magnifying glass. These creations and writings were an apprenticeship for their later literary talents.

Juvenilia
Around 1831, when Anne was eleven, she and Emily broke away from Charlotte and Branwell to create and develop their own fantasy world, "Gondal". Anne and Emily were particularly close, especially after Charlotte left for Roe Head School in January 1831. Charlotte's friend Ellen Nussey visited Haworth in 1833 and reported that Emily and Anne were "like twins" and "inseparable companions". She described Anne so: "Anne, dear gentle Anne was quite different in appearance from the others, and she was her aunt's favourite. Her hair was a very pretty light brown and fell on her neck in graceful curls. She had lovely violet-blue eyes; fine pencilled eyebrows and a clear almost transparent complexion. She still pursued her studies and especially her sewing, under the surveillance of her aunt." Anne took lessons from Charlotte after Charlotte had returned from Roe Head. Charlotte returned to Roe Head as a teacher on 29 July 1835, accompanied by Emily as a pupil. Emily's tuition was largely financed by Charlotte's teaching. Emily was unable to adapt to life at school and was physically ill from homesickness within a few months. She was withdrawn from school by October and replaced by Anne.

Anne was 15 and it was her first time away from home. She made few friends at Roe Head. She was quiet and hardworking and determined to stay to acquire the education which she would need to support herself. She stayed for two years and returned home only during Christmas and summer holidays. She won a good-conduct medal in December 1836. Charlotte's letters almost never mention Anne while Anne was at Roe Head, which might imply that they were not close, but Charlotte was at least concerned about Anne's health. By December 1837 Anne had become seriously ill with gastritis and embroiled in religious crisis. A Moravian minister was called to see her several times during her illness, suggesting her distress was caused, in part, by conflict with the local Anglican clergy. Charlotte wrote to their father and he brought Anne home.

Employment at Blake Hall
A year after leaving the school, and aged 19, Anne was seeking a teaching position. She was the daughter of a poor clergyman and needed to earn money. Her father had no private income and the parsonage would revert to the church on his death. Teaching or working as a governess were among few options for a poor and educated woman. In April 1839 Anne started work as a governess for the Ingham family at Blake Hall, near Mirfield.

The children in her charge were spoiled and disobedient. Anne had great difficulty controlling them and little success in educating them. She was not allowed to punish them, and when she complained about their behaviour she received no support and was criticised for being incapable. The Inghams were dissatisfied with their children's progress and dismissed Anne. She returned home in 1839 at Christmas. At home also were Charlotte and Emily, who had left their positions, and Branwell. Anne's time at Blake Hall was so traumatic that she reproduced it in almost perfect detail in her novel Agnes Grey.

William Weightman
Anne returned to Haworth and met William Weightman (1814–1842), her father's new curate who had started work in the parish in August 1839. Weightman was 25 and had obtained a two-year licentiate in theology from the University of Durham. He was welcome at the parsonage. Anne's acquaintance with him parallels her writing a number of poems, which may suggest she fell in love with him  although there is disagreement over this possibility. Little evidence exists beyond a small anecdote of Charlotte's to Ellen Nussey in January 1842.

In Agnes Grey, Agnes' interest in the curate refreshes her interest in poetry. Outside fiction, William Weightman aroused much curiosity. It seems that he was good-looking and engaging, and that his easy humour and kindness towards the sisters made an impression. It is such a character that she portrays in Edward Weston, and that her heroine Agnes Grey finds deeply appealing.

Weightman died of cholera in the same year. Anne expressed her grief for his death in her poem I will not mourn thee, lovely one, in which she called him "our darling".

Governess
From 1840 to 1845 Anne worked at Thorp Green Hall, a comfortable country house near York. Here she was governess to the children of the Reverend Edmund Robinson and his wife, Lydia. The house appeared as Horton Lodge in Agnes Grey. Anne had four pupils: Lydia (15), Elizabeth (13), Mary (12), and Edmund (8). She initially had problems similar to those at Blake Hall. Anne missed her home and family. In a diary paper in 1841 she wrote that she did not like her situation and wished to leave it. Her quiet and gentle disposition did not help. But Anne was determined and made a success of her position, becoming well-liked by her employers. Her charges, the Robinson girls, became lifelong friends.

Anne spent only five or six weeks a year with her family, during holidays at Christmas and in June. The rest of her time was spent with the Robinsons. She accompanied the Robinsons on annual holidays to Scarborough. Between 1840 and 1844 Anne spent around five weeks each summer at the coastal town and loved it. A number of locations in Scarborough were used for her novels. She had opportunities to collect semi-precious stones, considering an interest in geology, at least in her novels, or from personal experience, as something suitable for men and women to be considered as equals.

Anne and her sisters considered setting up a school while she was still working for the Robinsons. Various locations were considered, including the parsonage, but the project never materialised. Anne came home on the death of her aunt in early November 1842 while her sisters were in Brussels. Elizabeth Branwell left a £350 legacy (equivalent to £0 in ) for each of her nieces.

It was at the Long Plantation at Thorp Green in 1842 that Anne wrote her three-verse poem Lines Composed in a Wood on a Windy Day, which was published in 1846 under the name Acton Bell.

In January 1843 Anne returned to Thorp Green and secured a position for Branwell. He was to tutor Edmund, who was growing too old to be in Anne's care. Branwell did not live in the house as Anne did. Anne's vaunted calm appears to have been the result of hard-fought battles, balancing deeply felt emotions with careful thought, a sense of responsibility and resolute determination. All three Brontë sisters worked as governesses or teachers, and all experienced problems controlling their charges, gaining support from their employers, and coping with homesickness, but Anne was the only one who persevered and made a success of her work.

Back at the parsonage
Anne and Branwell taught at Thorp Green for the next three years. Branwell entered into a secret relationship with his employer's wife, Lydia Robinson. When Anne and Branwell returned home for the holidays in June 1845 Anne resigned. Anne gave no reason, but the reason may have been the relationship between her brother and Mrs Robinson. Branwell was dismissed when his employer found out about the relationship. Anne continued to exchange letters with Elizabeth and Mary Robinson. They came to visit Anne in December 1848.

Anne took Emily to visit some of the places which Anne had become fond of. A plan to visit Scarborough fell through, but they went to York and saw York Minster.

A book of poems

The Brontës were at home with their father during the summer of 1845. None had any immediate prospect of employment. Charlotte found Emily's poems, which had been shared only with Anne. Charlotte said that they should be published. Anne showed her own poems to Charlotte, and Charlotte "thought that these verses too had a sweet sincere pathos of their own". The sisters eventually reached an agreement. They told nobody what they were doing. With the money from Elizabeth Branwell they paid for publication of a collection of poems, 21 from Anne and 21 from Emily and 19 from Charlotte.

The book was published under pen names which retained their initials but concealed their sex. Anne's pseudonym was Acton Bell. Poems by Currer, Ellis, and Acton Bell was available for sale in May 1846. The cost of publication was 31 pounds and 10 shillings, about three-quarters of Anne's salary at Thorp Green. On 7 May 1846 the first three copies were delivered to Haworth Parsonage. The book achieved three somewhat favourable reviews, but was a commercial failure, with only two copies sold in the first year. Anne nonetheless found a market for her later poetry. The Leeds Intelligencer and Fraser's Magazine published her poem The Narrow Way under her pseudonym in December 1848. Four months earlier, Fraser's Magazine had published her poem The Three Guides.

Agnes Grey
By July 1846 a package containing the manuscripts of each sister's first novel was making the rounds of London publishers. Charlotte had written The Professor, Emily had written Wuthering Heights, and Anne had written Agnes Grey.

After some rejections Wuthering Heights and Agnes Grey were accepted by the publisher Thomas Cautley Newby. The Professor was rejected. It was not long before Charlotte had completed her second novel, Jane Eyre. Jane Eyre was accepted immediately by Smith, Elder & Co. It was the first published of the sisters' novels, and an immediate and resounding success. Meanwhile, Anne and Emily's novels "lingered in the press". Anne and Emily were obliged to pay fifty pounds to help meet their publishing costs. Their publisher was galvanised by the success of Jane Eyre and published Wuthering Heights and Agnes Grey together in December 1847. They sold well, but Agnes Grey was outshone by Emily's more dramatic Wuthering Heights.

The Tenant of Wildfell Hall
Anne's second novel, The Tenant of Wildfell Hall, was published in the last week of June 1848.

The novel challenged contemporary social and legal structures. In 1913 May Sinclair said that the slamming of Helen Huntingdon's bedroom door against her husband reverberated throughout Victorian England.

In the book Helen has left her husband to protect their son from his influence. She supports herself and her son in hiding by painting. She has violated social conventions and English law. Until the Married Women's Property Act 1870 was passed, a married woman had no legal existence independent from her husband and could not own property nor sue for divorce nor control the custody of her children. Helen's husband had a right to reclaim her and charge her with kidnapping. By subsisting on her own income she was stealing her husband's property since this income was legally his.

Anne stated her intentions in the second edition, published in August 1848. She presented a forceful rebuttal to critics (among them Charlotte) who considered her portrayal of Huntingdon overly graphic and disturbing. Anne "wished to tell the truth". She explained further that

"When we have to do with vice and vicious characters, I maintain it is better to depict them as they really are than as they would wish to appear. To represent a bad thing in its least offensive light is doubtless the most agreeable course for a writer of fiction to pursue; but is it the most honest, or the safest? Is it better to reveal the snares and pitfalls of life to the young and thoughtless traveller, or to cover them with branches and flowers? O Reader! if there were less of this delicate concealment of facts – this whispering 'Peace, peace', when there is no peace, there would be less of sin and misery to the young of both sexes who are left to wring their bitter knowledge from experience."

Anne also castigated reviewers who speculated on the sex of authors and the perceived appropriateness of their writing. She was

"satisfied that if a book is a good one, it is so whatever the sex of the author may be. All novels are or should be written for both men and women to read, and I am at a loss to conceive how a man should permit himself to write anything that would be really disgraceful to a woman, or why a woman should be censured for writing anything that would be proper and becoming for a man."

London visit
In July 1848 Anne and Charlotte went to Charlotte's publisher George Smith in London to dispel the rumour that the "Bell brothers" were one person. Emily refused to go. Anne and Charlotte spent several days with Smith. Many years after Anne's death, he wrote in the Cornhill Magazine his impressions of her: "a gentle, quiet, rather subdued person, by no means pretty, yet of a pleasing appearance. Her manner was curiously expressive of a wish for protection and encouragement, a kind of constant appeal which invited sympathy."

The increasing popularity of the Bells' works led to renewed interest in Poems by Currer, Ellis, and Acton Bell, originally published by Aylott and Jones. The remaining print run was bought by Smith and Elder, and reissued under new covers in November 1848. It still sold poorly.

Family tragedies
Branwell's persistent drunkenness disguised the decline of his health and he died on 24 September 1848. His sudden death shocked the family. He was 31. The cause was recorded as chronic bronchitis – marasmus, but was probably tuberculosis.

The family suffered from coughs and colds during the winter of 1848, and Emily became very ill. She worsened over two months and rejected medical aid until the morning of 19 December. She was very weak and said that "if you will send for a doctor, I will see him now". But Emily died at about two o'clock that afternoon, aged 30.

Emily's death deeply affected Anne. Her grief undermined her physical health. Over Christmas Anne had influenza. Her symptoms intensified and in early January her father sent for a Leeds physician. The doctor diagnosed advanced consumption with little hope of recovery. Anne met the news with characteristic determination and self-control. However, in her letter to Ellen Nussey she expressed her frustrated ambitions:

"I have no horror of death: if I thought it inevitable I think I could quietly resign myself to the prospect ... But I wish it would please God to spare me not only for Papa's and Charlotte's sakes but because I long to do some good in the world before I leave it. I have many schemes in my head for future practise – humble and limited indeed – but still I should not like them all to come to nothing, and myself to have lived to so little purpose. But God's will be done."

Unlike Emily, Anne took all the recommended medicines and followed the advice she was given. That same month she wrote her last poem, A dreadful darkness closes in, in which she deals with being terminally ill. Her health fluctuated for months, but she grew thinner and weaker.

Death
Anne seemed somewhat better in February. She decided to visit Scarborough to see if the change of location and the fresh sea air might benefit her. Charlotte was initially against the journey, fearing that it would be too stressful, but changed her mind after the doctor's approval and Anne's assurance that it was her last hope.

On 24 May 1849, Anne set off for Scarborough with Charlotte and Ellen Nussey. They spent a day and night in York en route. Here they escorted Anne in a wheelchair and did some shopping and visited York Minster. It was clear that Anne had little strength left. On Sunday 27 May, Anne asked Charlotte whether it would be easier to return home and die instead of remaining in Scarborough. A doctor was consulted the next day and said that death was close. Anne received the news quietly. She expressed her love and concern for Ellen and Charlotte, and whispered for Charlotte to "take courage". Anne died at about two o'clock in the afternoon on Monday 28 May 1849, aged 29.

Charlotte decided to "lay the flower where it had fallen". So Anne was buried in Scarborough. The funeral was held on 30 May. Patrick Brontë could not have made the 70 mi journey if he had wished to. The former schoolmistress at Roe Head, Miss Wooler, was in Scarborough, and she was the only other mourner at Anne's funeral. Anne was buried in St Mary's churchyard, beneath the castle walls and overlooking the bay. Charlotte commissioned a stone to be placed over her grave with the inscription, "Here lie the remains of Anne Brontë, daughter of the Revd P. Brontë, Incumbent of Haworth, Yorkshire. She died Aged 28 May 28th 1849." When Charlotte visited the grave three years later she discovered multiple errors on the headstone and had it refaced, but it was still not free of error, for Anne was 29 when she died, not 28 as written.

In 2011 the Brontë Society installed a new plaque at Anne Brontë's grave. The original gravestone had become illegible at places and could not be restored. It was left undisturbed while the new plaque was laid horizontally, interpreting the fading words of the original and correcting its error. In April 2013 the Brontë Society held a dedication and blessing service at the gravesite to mark the installation of the new plaque.

Reputation
After Anne's death, Charlotte addressed issues with the first edition of Agnes Grey for its republication, but she prevented republication of The Tenant of Wildfell Hall. In 1850 Charlotte wrote that "Wildfell Hall it hardly appears to me desirable to preserve. The choice of subject in that work is a mistake, it was too little consonant with the character, tastes and ideas of the gentle, retiring inexperienced writer." Subsequent critics paid less attention to Anne's work and some dismissed her as "a Brontë without genius".

But since the mid-20th century her life and works have been given better attention. Biographies by Winifred Gérin (1959), Elizabeth Langland (1989) and Edward Chitham (1991), as well as Juliet Barker's group biography, The Brontës (1994; revised edition 2000), and work by critics such as Inga-Stina Ewbank, Marianne Thormählen, Laura C Berry, Jan B Gordon, Mary Summers, and Juliet McMaster has led to acceptance of Anne Brontë as a major literary figure. Sally McDonald of the Brontë Society said in 2013 that in some ways Anne "is now viewed as the most radical of the sisters, writing about tough subjects such as women's need to maintain independence and how alcoholism can tear a family apart." In 2016 Lucy Mangan championed Anne Brontë in the BBC's Being the Brontës, declaring that "her time has come".

Electronic editions

 * Anne Brontë eText Archive
 * Music On Christmas Morning – Audio Poem

title: Anne Brontë