Not because he had complete courage based on overwhelming strength, which is merely a matter of course, but because, by his sorrow for wrongdoing ad … - Edith Hamilton

When Nietzsche made his famous definition of tragic pleasure he fixed his eyes, like all the other philosophers in like case, not on the Muse herself but on a single tragedian. His “reaffirmation of the will to live in the face of death, and the joy of its inexhaustibility when so reaffirmed” is not the tragedy of Sophocles nor the tragedy of Euripides, but it is the very essence of the tragedy of Æschylus. The strange power tragedy has to present suffering and death in such a way as to exalt and not depress is to be felt in Æschylus’ plays as in those of no other tragic poet. He was the first tragedian; tragedy was his creation, and he set upon it the stamp of his own spirit. It was a soldier-spirit. Æschylus was a Marathon-warrior, the title given to each of the little band who had beaten back the earlier tremendous Persian onslaught.

You die, O thrice desired,
And my desire has flown like a dream.
Gone with you is the girdle of my beauty,
But I myself must live who am a goddess
And may not follow you.
Kiss me yet once again, the last, long kiss,
Until I draw your soul within my lips
And drink down all your love.

Fundamental to everything the [ancient] Greeks achieved was their conviction that good for humanity was possible only if men were free, body, mind, and spirit, and if each man limited his own freedom. A good state or work of art or piece of thinking was possible only through the self-mastery of the free individual, self-government.