DOCSLIB.ORG

The Prometheus Bound Aeschylus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Prometheus Bound Aeschylus TH E P RO METH EU S BO UND O F A E SC H YLU S TH E P R O M E T H E US B O U N D A E S C HY L U S Rendered into E ng/M: by EDWYN RO BE RT BEVAN ’ ‘ LONDON : PUBLISHED BY DAVID NUT I AT THE SIG N OF TH E PHOENIX LONG AC RE 1 9 0 2 To ou this word is ou whose ives are lit y , y l B n othin air to wh om each da break brin s y gf , y g One ove ess abour o the hands where c in s l l l f , l g To soul an d bod smoke and rim e and rit y g g . A so to th em this word an sit l , if y ’ Ease d secure t ll d with all ood thin s fi , , fi lfi g g , And sa o ar-o a i en travailirs s y ff fi l g , ’ Where a re the ? and o hun er What is it ? y f g , B ehold how in an ancien t hea rt rose up ’ This vision o the wise hind od who view d f , g , Naked and oor in bonda e o b ind a in p , g f l p , ’ M an s trem u ous brood nor on er wou d retain l , l g l H is bliss dseat but drank a bitter cu fi , p, H in com assion on the m u titude av g p l . E . R . B . P R E F A C E To put forth a translatio n o f something which has already un dergone translation at man y han ds is to i provoke censure . For the u n dertaking ( f not an i n eptitude) is itself a cen sure of previous perform f o . an n n anc s It implies Opi io that they all short , an d an ambition to better them . M any perhaps will concur with the present tran slator in his opin ion that English literature does n o t hitherto i n clude an y worthy ren deri n g o f the P rometh eus o f — " Aeschylus the most sublime poem in the world , M - n — in r . Watts Du ton has called it will concur n an d n this opinio , at the same time add his tra s n to t f . latio the lis of ailures There are , however, n n If co sideratio s which encourage a new attempt . n n f the former tra slatio s were unsatis actory, it is (in appearance) largely due to the tran slators n o o f ff having clear view the e ect to be produced . n They would seem to have thought it e ough , if ” n c c o aed Br n n c art. o e r . E y l p ia ita i a , P t y vii PREFACE t n as n they ra slated the Greek , it came , i to any form which gave the logical sen se with a certai n n eupho y o f syllables . It is as if o n e should attempt to scale a mountai n by maki n g a rush at n fo r n it , without looki g the path . By observi g f the path , a less power ul climber may perhaps arrive higher . The effect o f a foreign origin al c an only be given by a style which suggests that which most n i r nearly correspo ds to it n o u o wn literature . in n as in Now we have E glish literature , well as o f o f Greek , a great age poetic drama , the time an d O f Elizabeth and the early Stuarts , the best this drama is by theory part o f the furn iture o f ’ n n every educated E glishma s mind . Its vocab n o f n ulary , characteristic phrases , tur s expressio , come to him charged with the associations o f n poetic drama . Here , the , we have a model to n in n n guide us , a la guage to draw upon , tra slati g f the plays o the Greeks . But we must also take o f f n account the act that , with all their a alogies , Greek an d Elizabethan tragedy do n o t absolutely n an d correspond in spirit . The Greek tragedia s , in especially Aeschylus , stood to their people some VI11 PREFACE ways as the Hebrew prophets stood to theirs . an d n in n We Again agai , readi g Aeschylus , do seem to hear the voice o f Jo b o r Isaiah ; again an d again does the gn omic wisdom o f the Bible suggest the gn omic wisdom of the Greek poets ; an d n an But there is a style la guage which , to n n fo r n E glishma , is ever bou d up with these — association s the style an d lan guage o f the En glish in n n o t Bible , its origi indeed largely Hebraic , n n n n n E glish , but e teri g the la guage , whe it was l a o f stil fluid , till it has become as much a p rt n n l n n E glish as its most origi al e eme ts . Here, the , n us . we have a seco d model to guide But thirdly, n an d n h ad the bla k verse the style of dictio , which n n was bee developed by the Elizabetha drama , taken up by Milton an d subjected to modification s an d refin emen ts u n der the very i n fluence o f classical : types , and the Bible it became something less n in adapted for dramatic uses , but it gai ed rich i n and in n . ness , elaborate pomp , orga ic structure o ur Here , then , is third model , the more obvious in the case o f this particular play in th at the i n fluen ce o f the Aeschylean Prometheus is very n n o f pro ounced in the Sata Milton . 1X PREFACE n v It is to be observed that , take by themsel es , o f n none these models c a be altogether followed . In the Elizabethan drama there is much that is ‘ n in n rufiled deficie t u iversality , that calls up n - n e h e collars and poi ted beards verbal co ceits , p n n n o f meral ma erisms . The Hebraic la guage the n n Of Bible is too primitive, to say othi g its dearth Of n an d adjectives , to re der the more complex a n o f v rious la guage Greek poetry . The classical construction s o f Milton have n ever become part o f an d n n English , would be i tolerable at seco d han d : they would give exactly that cast o f cold and conventional unreality, which vitiates what o n e C o f may call the Eighteenth entury ~ view an d n Greek antiquity , which it is one of the mai - f pro occupation s o a translator to avoid . It follows that the style which best reproduces ff n the e ect of the Greek drama in E glish , would be o n e whose basis was that o f the Elizabethan h o f dramatists , but whic was purged Elizabethan o f an d eccentricities , with more elemental breadth simplicity by approximation to the language of the l n Bible , and in the special y so orous and elaborate f f passages soundi n g o Milton . Sometimes one o PREFACE n n these eleme ts would predomi ate , sometimes an other ; the Hebraic an d Milton ic would be m n n ore pronou ced in Aeschylus tha in Euripides , an d in the same poet they would assert themselves n nl n in varyi g degrees . It is o y by fusi g these differen t elemen ts that the effect O f the Greek c an n n drama be give . The fusio is made possible f n by the act that the dramatists , the E glish Bible , and Milton have a great deal to start with in n n f commo . A si gle li etime would cover the o n e o f period , which saw at extreme the activity Shakespeare and at the other the productio n o f o n l o f Paradise L st . The E g ish that period is the r common source f om which all three draw . n n n These pri ciples will , I thi k , comma d the assen t of an y o n e who takes the trouble to thi n k if n n . o about them And , they are asse ted to , exception c an be taken to words and phrases in n o n o f any tra slation simply the score archaism . A style which might justly be blamed as a po se in n o wn a modern poet , speaki g in his person , may be th e very style required to represe n t the voice f f o another age .
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • Feminine Io As a Natural and Political Principle in Aeschylus' Prometheus Bound
    Feminine Io as a Natural and Political Principle In Aeschylus’ Prometheus Bound Matthew Green Prometheus Bound re-enacts and addresses two colossal shifts in power: on the divine level, the transition from the natural, earth- born Titans to the rational Olympians; and on the mortal level, the emergence of political civilization. The titan Prometheus straddles these deeply related, parallel developments. He gave fire and the technical arts to humans, bestowing on them a drive to overcome and innovate. This drive requires proper direction to be good, and although political order as embodied by Zeus may represent this end, his authority at this nascent stage is not fully informed, and manifests as tyranny. I will argue that the mortal Io presents the missing link necessary for well-ordered human civilization. She embodies both a natural principle, incorporating the chthonic Titans into the new order of Olympians, and a feminine political one, creating and preserving human political order through marriage and childbirth. Prometheus’ long list of the technical arts, or techne, that he taught to humans includes astronomy, writing, animal husbandry, medicine, divination, and metallurgy.1 But throughout the play, it is made clear that these arts are neutral relative to the ends that they make possible. The possession of techne does not entail goodness or civilization, as evidenced by the savage foreigners Io is fated to encounter on her journey. The Scythian nomads, who possess transportation and weaponry, and the Chalybes, who possess metallurgy, remain savages, “wild” and without cities.2 More immediately, the chaining of Prometheus himself is effected by Hephaestus, the Olympian technician, against his own sense of justice, and for the sake of Zeus’ tyranny.
    [Show full text]
  • Aeschylus Offers Paradigms for Today's Politics
    Aeschylus Offers Paradigms for Today’s Politics THEODORE ZIOLKOWSKI We recognize the pattern immediately. A rebel leader supported by a broad coalition overthrows the ruling order. Quickly assuming dictatorial powers, he exe- cutes, imprisons, or exiles his more liberal supporters, tor- tures those who still have essential information, and threatens mass exterminations of certain groups regarded as inferior. The Soviet Union under Stalin? Nazi Germany under Hitler? Iran since 1979? Other more recent revolutions in Africa and the Middle East? Yes, all of the above, but also a drama first performed almost 2,500 years ago. In Prometheus Bound, usually attributed to the dramatist Aeschylus and first seen by Athenian audiences in the mid-fifth century BCE, Zeus—with the advice and assistance of his cousin (or uncle) Prometheus—has overthrown his father Kro- nos, leader of the Titans, and installed himself as ruthless ruler of the new order of Olympian gods. Because Prometheus, no longer the trickster as which he was represented by Hesiod and others, defies him with his democratic ideas and actions—civ- ilizing humankind and giving it the gift of fire—Zeus has had him chained to a mountainside in Scythia, where an eagle will gnaw daily at his entrails. But Zeus doesn’t kill him because Prometheus, whose name suggests foreknowledge, knows a se- cret concerning a threat to Zeus’s future. What we witness is perhaps the earliest depiction of the contest between the rebel- lious intellectual and political authority. Why, apart from its value in Trivial Pursuit, should this analogy interest us? What does it demonstrate other than the ancient truth: plus ça change .
    [Show full text]
  • The Date of Prometheus Bound Dana Ferrin Sutton
    FERRIN SUTTON, DANA, The Date of "Prometheus Bound" , Greek, Roman and Byzantine Studies, 24:4 (1983:Winter) p.289 The Date of Prometheus Bound Dana Ferrin Sutton E HEAR on a number of occasions of spurious or doubtfully W authentic plays, l and so it is clear that Alexandrian scholar­ ship was alive to the need for establishing authentic canons of playwrights' works. If inauthentic plays did circulate in antiquity bearing the names of notable poets, there seem to be no grounds for excluding a priori the possibility that the Alexandrians could have been fooled and spurious plays eluded their detection. The date and circumstances of production of Prometheus Bound are not known. Its authenticity appears to have been unanimously ac­ cepted in antiquity~ the one conceivable exception to this gener­ alization can easily be set aside.2 But in the nineteeth and twentieth centuries a number of authorities have doubted or denied its at­ tribution to Aeschylus.3 Indeed, of the two leading historians of Greek literature of this century, one vigorously denied its authen­ ticity and the other regarded its attribution as an open question.4 Although in 1970 C. J. Herington defended the play's authenticity,5 Mark Griffith has more recently subjected Prometheus to a battery of stylometric tests and examined various other aspects of the play, producing results that in his opinion tell against attribution to Aes- I Some of the evidence is noted by C. J. Herington, The Author of the Prometheus Bound (Austin/London 1970) 17 - 21. 2 Soph. fr.1141 Radt dubia et spuria (schol.
    [Show full text]
  • Prometheus Bound and Contemporary Trends in Greek Natural Philosophy Georgia L
    Prometheus Bound and Contemporary Trends in Greek Natural Philosophy Georgia L. Irby-Massie HE PROMETHEUS BOUND is a lively testament to the Greek intellectual achievement of the sixth and fifth T centuries B.C.E. In Aeschylus’ poetry one finds subtle reflections of the new learning and advances in both ethical and natural philosophy.1 For instance, Apollo’s defense of Orestes, that the mother is not even related to her children, but rather that the father provides the “seed” and the generative material, evinces the current state of medical theory and an- ticipates Aristotle’s efficient cause.2 Okeanos’ mandate to Pro- 1 See J. Duchemin, “La justice de Zeus et le destin d’Io. Regard sur les sources proche-orientales d’un mythe eschyléen,” REG 102 (1979) 1–54; D. Cohen, “The Theodicy of Aeschylus. Justice and Tyranny in the Oresteia,” G&R 33 (1986) 129–141. Thomas G. Rosenmeyer, The Art of Aeschylus (Berkeley/Los Angeles 1982) 371, suggests that the intellectual theories broadcast by sophists, including Gorgias and Protagoras—both born about a generation before Aeschylus’ death—were not fully available in Athens in Aeschylus’ time. However, Aeschylus may have become familiar with the rhetorical theories of Gorgias during his visits to Sicily: C. J. Herington, “Aeschylus in Sicily,” JHS 87 (1967) 74–85, at 74. Kratos, as he binds Prometheus, calls him a “sophist” (σοφιστής, PV 62), as does Hermes in his opening words to Prometheus (σὲ τὸν σοφιστήν, 944). The term seems already pejorative: A. J. Podlecki, Aeschylus: Prometheus Bound (Oxford 2005) 163 and n.3.
    [Show full text]
  • Suffering and the Tragic in Aeschylus's Prometheus Bound
    Batson 1 Running head: PROMETHEUS IN SUSPENSION Prometheus in Suspension: Suffering and the Tragic in Aeschylus’s Prometheus Bound Anna Katherine Batson A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Fall 2009 Batson 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Carl C. Curtis, Ph.D. Thesis Chair ______________________________ Karen S. Prior, Ph.D. Committee Member ______________________________ Donald L. Fowler, Th.D. Committee Member ______________________________ James Nutter, D.A. Honors Director ______________________________ Date Batson 3 Of all dramatic forms, tragedy is the least realistic, in a sense the most symbolic, and, as such, in its masterpieces . the closest neighbor of absolute beauty. – Ferdinand Brunetiere, L’Evolution d’un genre: la tragédie Batson 4 Abstract Prometheus Bound (ca. 430 B.C.), Aeschylus’s sweeping tragedy of suffering and injustice, has been the subject of critics for centuries because of its episodic structure and unique themes. Though, like much of the rest of Aeschylus’s corpus, it does not align with the criteria of effective tragedy according to the standards of Aristotle’s Poetics (ca. 330 B.C.), Aeschylus achieves the tragic by placing Prometheus in a state of suspension between his own divine nature and his affinity for humankind, a nearly unheard of stasis in a world where the chasm between gods and men was no small one. In receiving his punishment for giving men fire, Prometheus experiences the very suffering which he hoped to spare men, and chained to the edge of a cliff where an eagle descends to consume his daily-replenished liver, Prometheus cries out against the existential anguish to which he is unjustly condemned.
    [Show full text]
  • The Gifts of Prometheus, Phe So Feeble As That of Reconciling the Champion with and Eliminate the Oligarchical Forces That Have Prevented the Oppressor of Mankind
    Appendix Prometheus The Historical Record by Jason Ross rometheus was a historical personality, who endured as long as Zeus’s anger lasts. With a stake driven through the wrath of the Zeus for daring to bring “fire” and his chest, pinning him to the rock, and his arms and legs Pscience to man. The oldest direct historical knowl- bound, Prometheus is to suffer the endless torment of edge of Prometheus comes from the Greek poet Hesiod having his liver devoured every day by an eagle (a sym- in his Theogony and Works and Days and the Greek play- bol of Zeus), only to have it grow back each night. wright Aeschylus in his play Prometheus Bound.1 The After he is bound, a Chorus of the daughters of Ocea- story they relate of Prometheus the Fire-Bringer is one nus flies to his location, to speak to him. Aeschylus writes: that finds parallels in other cultures, and may actually date back to the early part of the Bronze Age.2 His story CHORUS: Unfold the whole story and tell us upon what served as inspiration for works by Percy Bysshe Shelley, charge Zeus has caught you and painfully punishes you who wrote Prometheus Unbound and Johann Wolfgang with such dishonor. Instruct us, unless, indeed, there is von Goethe, who wrote a poem Prometheus, and had in- some harm in telling. tended to compose an entire play. PROMETHEUS: It is painful to me to tell the tale, painful According to Hesiod and Aeschylus, Prometheus was to keep it silent. My case is unfortunate every way.
    [Show full text]