456 BC PROMETHEUS BOUND Aeschylus Translated by G.M
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Sea Monsters in Antiquity: a Classical and Zoological Investigation
Sea Monsters in Antiquity: A Classical and Zoological Investigation Alexander L. Jaffe Harvard University Dept. of Organismic and Evolutionary Biology Class of 2015 Abstract: Sea monsters inspired both fascination and fear in the minds of the ancients. In this paper, I aim to examine several traditional monsters of antiquity with a multi-faceted approach that couples classical background with modern day zoological knowledge. Looking at the examples of the ketos and the sea serpent in Roman and Greek societies, I evaluate the scientific bases for representations of these monsters across of variety of media, from poetry to ceramics. Through the juxtaposition of the classical material and modern science, I seek to gain a greater understanding of the ancient conception of sea monsters and explain the way in which they were rationalized and depicted by ancient cultures. A closer look at extant literature, historical accounts, and artwork also helps to reveal a human sentiment towards the ocean and its denizens penetrating through time even into the modern day. “The Sea-monsters, mighty of limb and huge, the wonders of the sea, heavy with strength invincible, a terror for the eyes to behold and ever armed with deadly rage—many of these there be that roam the spacious seas...”1 Oppian, Halieutica 1 As the Greek poet Oppian so eloquently reveals, sea monsters inspired both fascination and fear in the minds of the ancients. From the Old Testament to Ovid, sources from throughout the ancient world show authors exercising both imagination and observation in the description of these creatures. Mythology as well played a large role in the creation of these beliefs, with such classic examples as Perseus and Andromeda or Herakles and Hesione. -
Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff. -
Prometheus, the Firebringer
Curriculum Units by Fellows of the Yale-New Haven Teachers Institute 1983 Volume II: Greek and Roman Mythology Prometheus, the Firebringer Guide for Curriculum Unit 83.02.03 by Kelley O’rourke Prometheus, the Firebringer is a unit developed for the Conte School theatre curriculum but it could be easily adapted and used in an English or Language Arts class. The Titan, Prometheus, was chosen to be the center of this unit as he is one of the few figures to appear in both the ancient narrative and dramatic forms of Greek mythology. This unit uses the stories of Prometheus to teach basic theatre skills using a Creative Dramatics approach. Ancient literature sources such as Hesiod and Aeschylus are utilized as well as modern retellings. These stories will be explored in a variety of ways. Students will be led through an organic and graduating theatre process as they enter the world of Greek Mythology. Prometheus and his myths are the core of this curriculum unit, but students in reading about Prometheus will also study the Greek myth of Creation and will be exposed to the other Greek Gods. Prometheus is a major character in the tale of Zeus’ rise to power and his stories are entwined through many of the Greek myths such as the stories of Heracles and Io. In studying the myths of Prometheus students will see how the Greek myths were presented as one long narrative with characters weaving in and out of the ancient sources. Students will also be able to compare the myths as they appear in ancient and modern versions after reading the materials selected for this unit. -
The Intention of the Prometheus Bound of Aeschylus
JUNE, 1875. No. 16.16, Mv.iac./fH/. BULLETIN OF THE UNIVERSITY of CALIFORNIA THESIS PREPARED AS A CANDIDATE FOR THE DEGREE OP BACHELOR OF ARTS, i ' By Josiah Royce, '75. 0 THE INTENTION OF THE PROMETHEUS BOUND OF .ESCHYLUS, BEING An Investigation in the Department of Greek Theology. Page 2.— Intboduction. .The nature of the discussion. " 4.—Section I The problem of the Prometheus Bound. " 7.— Section II The critical solutions suggested for that prob lem stated and briefly discussed. " 16. — Section III.... The Religious beliefs and feelings of the Greeks considered as affecting the problem. " 21.— Section IV. .The Theological and Artistic aim of the play. " 24. — Notes. Apkil 29th, 1875. University Press, Berkeley. 113 ""■"• ■ Mr , ,* , r c M r«r lmm . ^^ _ 0{, ?l BULLETIN OF THE HARVARO COUEGE LIBRA*; GIH OF JAMES M. PATON AU6UST.16,1828 THE INTENTION OF THE PROMETHEUS BOUND OF ^SCHYLUS. PREFATORY NOTE. The following discussion, having been prepared as a scholastic exercise, amid other duties and with considerable haste, is necessarily very incom plete, and no doubt any one who has paid any attention to the subject dis a it cussed will see great deal in that needs entire remodeling. I have pre pared it chiefly in the hope that the work done on it may be sometime of value to myself in future researches on kindred topics, and not at all in the expectation of affecting the views of any who have already formed views as to the nature and intentions of the Prometheus Bound. In fact, as will be seen, Greek Theology plays a much more prominent part in the discussion than does the play itself. -
Child Abuse in Greek Mythology: a Review C Stavrianos, I Stavrianou, P Kafas
The Internet Journal of Forensic Science ISPUB.COM Volume 3 Number 1 Child Abuse in Greek Mythology: A Review C Stavrianos, I Stavrianou, P Kafas Citation C Stavrianos, I Stavrianou, P Kafas. Child Abuse in Greek Mythology: A Review. The Internet Journal of Forensic Science. 2007 Volume 3 Number 1. Abstract The aim of this review was to describe child abuse cases in ancient Greek mythology. Names like Hercules, Saturn, Aesculapius, Medea are very familiar. The stories can be divided into 3 categories: child abuse from gods to gods, from gods to humans and from humans to humans. In these stories children were abused in different ways and the reasons were of social, financial, political, religious, medical and sexual origin. The interpretations of the myths differed and the conclusions seemed controversial. Archaeologists, historians, and philosophers still try to bring these ancient stories into light in connection with the archaeological findings. The possibility for a dentist to face a child abuse case in the dental office nowadays proved the fact that child abuse was not only a phenomenon of the past but also a reality of the present. INTRODUCTION courses are easily available to everyone. Child abuse may be defined as any non-accidental trauma, On 1860 the forensic odontologist Ambroise Tardieu, neglect, failure to meet basic needs or abuse inflicted upon a referring to 32 cases, made a connection between subdural child by a caretaker that is beyond the acceptable norm of haematoma and abuse. In 1874 a church group in New York childcare in our culture. Abused children found in all 1 City took a child named Mary-Helen from home in which economic, social, ethnic and cultural backgrounds and she was being abused. -
Greek, Tamil and Sanskrit: Comparison Between the Myths of 29 Herakles (Related with Iole and Deianira) and Rama in Hinduism
2021-4155-AJP – 23 MAR 2021 1 Greek, Tamil and Sanskrit: Comparison between the 2 Myths of Prometheus, Sembian and Sibi 3 4 The Prometheus myth in Greek literature deals primarily with the theft of fire. 5 The mythological story unwinds such events as the sacrificial thigh bone, God’s 6 corporal punishment, and the eating of flesh by an eagle. A link with the Ocea- 7 nus race and with the continent of Asia is also seen. Interestingly resemblances 8 with this myth can be seen in some ancient literary sources from Tamil and San- 9 skrit languages. The Tamil myth of ‘Sembian’ and the Sanskrit myth of ‘Sibi’ 10 also have resemblances with the Greek myth of Prometheus. The parallels seen 11 between these myths are examined here. 12 13 Keywords: comparative study, Indian, myth, Prometheus, Sanskrit, Sembi- 14 an, Sibi, Tamil 15 16 17 Introduction 18 19 Myths can be considered to be the ancient sources of information on an- 20 cient history and culture. Some myths even though arising in different corners 21 of the world and in different languages strangely reflect one another. The simi- 22 larities in mythologies may indicate parallels and influences of one on another. 23 If the similarities are occasional they may be seen as parallels. If the similari- 24 ties are made by personal contact, they may be seen as influences. The Greek 25 myth of Prometheus has similarities with the Tamil myth of Sembian and the 26 Sanskrit myth of Sibi. 27 28 Prometheus 29 30 There are many myths related with Prometheus, among those myths some 31 noteworthy mentions are as follows: 32 33 1. -
1 Aeschylus, Prometheus Vinctus Enter FORCE and VIOLENCE
1 Aeschylus, Prometheus Vinctus Enter FORCE and VIOLENCE carrying PROMETHEUS, and HEPHAESTUS. FORCE Now we have come to the land at the end of the earth, to the Scythians’ road, a desert where are no mortals. Hephaestus, you must look to the orders Father Zeus laid on you, to fetter this insolent creature to the high-cragged rocks in adamantine-chained unbreakable bonds. For he stole your bloom, the brightness of all-crafting fire, and bestowed it on humans. For this offence he must pay their price to the deities, so that he may learn to love Zeus’s rule and cease from his custom of caring for mortal men. HEPHAESTUS Violence, Force, through you the will of Zeus has its way, and nothing can obstruct it. But I lack the daring to bind by violence a cousin-deity to this bitter cliff. And yet somehow I must find the presumption for this; a grave thing it is to ignore the Father’s word. High-thinking child of Themis of right judgement, unwilling I will hammer unwilling you with unloosable bronze to this abominable rock where you will see neither shape nor sound of men. The bloom of your skin blisters off in the sun’s fierce Phoebus-flame. Your only relief as an age of grief seeps out of each moment’s evil is when the glittering robe of night-frost hides that fire till again the sunrise strips off your dawn-time ice. Only one can respite you; he's not yet alive. And this your reward for your custom of caring for men. -
PROMETHEUS BOUND by Aeschylus
PROMETHEUS BOUND By Aeschylus In dealing with "Prometheus Bound," it helps to know something about Greek mythology, in particular, the generations of divine beings which preceded Zeus, Athena, Aphrodite, Dionysus, and the pantheon of Greek gods with whom we are familiar. Among other immortal beings at the dawn of time were the Titans, who fought against Zeus when he defeated his father, Cronos. With the help of the Hecatoncheires (the hundred-handed monsters), and the Cyclopes, Zeus prevailed, gradually taming his ferocious allies and reaching a rough accommodation with the Titans. One of the Titans was Prometheus, who remained somewhat rebellious. His name means forethought. His brother, Epimetheus, (afterthought) was slow to figure things out, but Prometheus could look ahead. He knew things the gods did not know. Prometheus had what the gods considered a character flaw: he had sympathy for humans. The Olympian gods were completely indifferent to the fate of mankind and were content to let them struggle for existence. Prometheus decided to give them something forbidden: fire. In giving humanity physical fire, he also endowed them with mental fire: intelligence and self-awareness. For this he was severely punished. His story was told by the Greek tragedian Aeschylus in three plays, only the first of which survives. Actually, scholars now doubt that Aeschylus was the author because the play calls for stage effects that did not exist when Aeschylus was alive. We can't be completely sure, because knowledge of dramatic techniques 25 centuries ago is sketchy, at best. However, what we can glean of Aeschylus' thought and temperament seems reflected in the play, so most are willing to cite him as its author until we have definitive proof otherwise. -
Heterogeny in Analyses of the Greek God Hermes: a Systematic Review
Research and Reviews on Healthcare: Open Access Journal DOI: 10.32474/RRHOAJ.2020.05.000223 ISSN: 2637-6679 Review Article Heterogeny In Analyses of The Greek God Hermes: A Systematic Review Trevor C Hunt BA* College of Health Professions, The University of Phoenix, Phoenix, AZ, USA *Corresponding author: Trevor C Hunt BA, College of Health Professions, 4035 S Riverpoint Pkwy, Phoenix, AZ, USA Received: October 02, 2020 Published: October 12, 2020 Abstract Hermes was the ancient Greek god of trade, wealth, luck, fertility, animal husbandry, sleep, language, thieves, and travel. One of the cleverest and most mischievous of the Olympian gods, he was the patron of shepherds, invented the lyre, and was, above all, the herald and messenger of Mt. Olympus so that he came to symbolize the crossing of boundaries in his role as a guide between the two realms of gods and humanity. To the Romans, the god was known as Mercury. Herein, we present a review of the literature expoundingKeywords: upon Urology; significant Hermes; heterogeneity Greek; Mythology; in the classicalReview understanding and interpretation of this figure within urology. Main Text extremely broad work that is the Theogony, Hermes is given some The Slayer of Argos; Keeper of the Flocks; Messenger of the of his most crucial traits. His power over animals and ability to Gods: all of these are epithets for the glorious Greek god Hermes make them mate and produce offspring is referenced early on in a that appear in the urologic literature. Indeed, Hermes is quite the passage speaking primarily of Hecate, who shares the same power multifaceted character in the Greek mythological tradition. -
The Persians / Prometheus Bound / Seven Against Thebes / the Suppliants Pdf, Epub, Ebook
THE PERSIANS AND OTHER PLAYS: THE PERSIANS / PROMETHEUS BOUND / SEVEN AGAINST THEBES / THE SUPPLIANTS PDF, EPUB, EBOOK Aeschylus,Alan H. Sommerstein | 304 pages | 23 Feb 2010 | Penguin Books Ltd | 9780140449990 | English | London, United Kingdom Prometheus Bound and Other Plays by Aeschylus: | : Books Darius also becomes a vehicle to tell us what the Greeks or Aeschylus thought the basic reason for the Persian failure:. Were the opposite of these perhaps characteristically Greek virtues? Everything ends happily. Instead, maybe the lesson is that being brave and clever enough to threaten suicide and desecration of statues of deities will be rewarded in the end. Prometheus never once seems to regret his decision to help humans by giving them fire; in fact he proudly reveals that he gave them the gift of many other arts and skills as well. He displays no fear when Hermes comes and demands him reveal his secret plan for toppling Zeus. In the second play, reconstructed from fragments and secondary sources, Heracles, the descendant of Io that Prometheus foretells, frees him from his chains. In the third play, Prometheus eventually warns Zeus to not lie with Thetis as their son will be his downfall. This reconciles them together. I think this may seal the deal for me: despite his rebellion, ultimately Prometheus is redeemed, despite having forever altered the cosmic landscape by raising the status of humans. Perhaps we were worth it after all. Or at least the pious Greeks. Your email address will not be published. Leader Thus I invoke the saving rays of morn. Danaus Yea, may he pity , giving race and aid. -
Hercules Rescuing Hesione on a Stojnik Funerary Monument
https://doi.org/10.2298/STA2070111G UDC: 904:726.825.046"652"(497.11) Original research article NADEŽDA GAVRILOVIĆ VITAS, Institute of Archaeology, Belgrade JELENA ANĐELKOVIĆ GRAŠAR, Institute of Archaeology, Belgrade A MESSAGE FROM BEYOND THE GRAVE: HERCULES RESCUING HESIONE ON A STOJNIK FUNERARY MONUMENT email: [email protected] Abstract. – The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a seamonster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument makes it a very important example of funerary art in the period from the end of the 2nd and the beginning of the 3rd century – the eschatological symbolism of the presented scenes and motifs is more than clear and underlines not only the hope of the deceased’s family for his eternal and blessed life after death, but also the deceased’s victory over death and presents him as a symbol of courage and virtue. The architectural scheme of the monument, along with its iconography, suggests strong artistic influences from Noricum and both the Pannonian provinces, while the the mythical tale of Hercules and Hesione was chosen, it is argued, not only because Hercules was one of the most favoured gods in the Roman army, but also because he was a protector of miners and mines. -
Seven Against Thebes [PDF]
AESCHYLUS SEVEN AGAINST THEBES Translated by Ian Johnston Vancouver Island University, Nanaimo, BC, Canada 2012 [Reformatted 2019] This document may be downloaded for personal use. Teachers may distribute it to their students, in whole or in part, in electronic or printed form, without permission and without charge. Performing artists may use the text for public performances and may edit or adapt it to suit their purposes. However, all commercial publication of any part of this translation is prohibited without the permission of the translator. For information please contact Ian Johnston. TRANSLATOR’S NOTE In the following text, the numbers without brackets refer to the English text, and those in square brackets refer to the Greek text. Indented partial lines in the English text are included with the line above in the reckoning. Stage directions and endnotes have been provided by the translator. In this translation, possessives of names ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hermes and Hermes’ are both two-syllable words). BACKGROUND NOTE Aeschylus (c.525 BC to c.456 BC) was one of the three great Greek tragic dramatists whose works have survived. Of his many plays, seven still remain. Aeschylus may have fought against the Persians at Marathon (490 BC), and he did so again at Salamis (480 BC).