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Up until now, we have read and studied two different accounts of various events in the life of Prometheus. The first one came from Hesiod, who described the Prometheus myth in his Theogony, and briefly in Works and Days, mainly to explain the various aspects of human life, such as sacrifice. On the other hand, Aeschylus' Prometheus Bound mainly illustrates Prometheus' punishment and plight along with other victims of Zeus, such as the nymph, Io. Since Hesiod's works were written before Prometheus Bound, we can assume that Aeschylus was familiar with his version because the plot and a few elements are quite similar in both works. As a result, it is interesting to see the Prometheus myth presented in two vastly different contexts, which are shown …show more content…
through differences in the events surrounding Prometheus' punishment, the portrayals of certain characters, and their motivations. There are many differences between the way the two stories are told, all of which greatly change the emotion and context of the story. The major discrepancy between the two authors is their view on two characters, Prometheus and Zeus. Unlike Hesiod's short description of Prometheus' imprisonment, And he bound Prometheus with ineluctable fetters, Painful bonds, and drove a shaft through his middle (Theogony 223 224) Prometheus Bound begins with a detailed scene of him being chained onto a rock by Power, Force, and Hephaestus. Aeschylus repeatedly mentions the pain and brutality of the punishment, helping the audience feel pity, but also takes great care to emphasize that he is being tortured because of the will of Zeus through various references over the course of the scene. While Hephaestus puts the shackles in place, Power constantly tells him to "strike harder" (Prometheus Bound 61) and "pin him with all your strength" (Prometheus Bound 68) and mentions Zeus often, stating that "the one who oversees this work is strict." (Prometheus Bound 80) Throughout the Theogony, Hesiod pays little attention to the thoughts of Prometheus and shows the events from the view character he supports, Zeus. In contrast, Zeus fails to make an appearance or even speak in Prometheus Bound whereas Prometheus is present for the entire play. Still, we manage to learn a large amount about Zeus and his method of ruling through Prometheus' encounters with various characters and they make it very clear that Zeus, who Hesiod describes as a just ruler, is a untrusting, angry, and cruel tyrant. When Hephaestus shows pity for Prometheus, Power tells him to "watch out: you may soon be pitying yourself," (Prometheus Bound 71) implying that Zeus may punish him as well. Later, when Oceanus offers to speak to Zeus about Prometheus' punishment, Prometheus dissuades him, warning, "make sure your journey doesn't do you harm." (Prometheus Bound 365) Both these exchanges show Zeus' quick temper and lack of pity or empathy. Furthermore, these warnings are given mainly to people who show pity for Prometheus' predicament, making Zeus seem like even more like a tyrant. The most significant addition in this play is Io, a nymph who was raped and then transformed into a cow by Zeus. (Prometheus Bound 565) Even though the story of Io is completely separate from Prometheus, Aeschylus seems to introduce her with the intention of deteriorating Zeus' image even further. Lastly, after Prometheus reveals he knows how Zeus will be overthrown, we meet Hermes, who comes on behalf of Zeus, demanding to be told this prophecy. (Prometheus Bound 913956) Hermes warns that Zeus will worsen Prometheus' punishment, but to no avail, and the play ends with Prometheus being trapped underground. (Prometheus Bound 1019 1028) We know that Prometheus' punishment will become even worse when the eagle arrives to eat his liver. Unlike Hesiod who suggests that the original punishment included the eagle (Theogony 525), Aeschylus delays this punishment, demonstrating the danger of danger of defying Zeus. In Prometheus Bound, Aeschylus reverses Hesiod's roles of the two characters, Prometheus and Zeus, by illustrating highly detailed scenes, allowing the audience to empathize with Prometheus, and by introducing additional characters, such as Io and Hermes, who either show pity for Prometheus, or personify Zeus' personality and attitude, and ultimately, casting Zeus into the role of a villain. In both accounts, the central plot is exactly the same.
Essentially, Zeus punishes Prometheus for stealing fire from the gods in a fennel stalk and gifting it to humans. However, besides the main story, there are many conflicting details where the authors show clear bias towards different characters. Throughout the text, Aeschylus sees Prometheus as a gift for mankind and depicts Zeus as a distant, cruel tyrant, whereas Hesiod blames Prometheus' actions for mankind's suffering. For instance, Hesiod claims that Prometheus', and humanity's, troubles began when he deceived Zeus at Mecone. He tricked Zeus into picking the disguised pack of bones over the fat, innards, and the rest of the meat, which was left for the humans. (Theogony 537560) In retaliation, Zeus decided to hide fire from humans until Prometheus succeeds in stealing it and giving it to humans. (Theogony 564572) Although, in Prometheus Bound, Prometheus states that he "burnt the thighbones wrapped in fat...and so led mortals to this unmapped art," implying that he taught humans the art of sacrifice, there is no mention of any trickery involved, which shows Prometheus in a much more positive light. (Prometheus Bound 508) Later in the play, Prometheus lists everything he taught and gave to humans, claiming that "all human arts derive from Prometheus." (Prometheus Bound 255261) In addition, we learn that he saved mankind from being annihilated by Zeus, who viewed them as worthless a detail which Hesiod failed to mention. (Prometheus Bound 517) Once again, Aeschylus paints Prometheus as the hero and saviour of mankind while depicting Zeus as a violent and cruel tyrant. Unlike his counterpart, Hesiod places a large amount on emphasis on the evil that was given to humans due to the actions of Prometheus Pandora. (Theogony 605) In fact, he dedicates an entire section to the creation of woman in both the Theogony and Works and Days. Nevertheless, Aeschylus excludes the entire story of Pandora, once
again choosing to avoid any negative parts of the myth and preserve a positive image of Prometheus. Instead, he chose to present Prometheus, contrary to Hesiod who used Gaia (Theogony 630), as the person who paved Zeus' road to power, making Prometheus appear even more heroic while making Zeus punishment seem shocking. (Prometheus Bound 246) Additionally, the advice given to Zeus differs between the two works. Although in Prometheus Bound, Prometheus told the Titans "that strength and force were worthless, and that those superior in trickery would win." (Prometheus Bound 239) However, the Theogony tells us the exact opposite, stating that the Titans were only defeated through the strength and force of the Hundred-handed Obriareos, Cottos, and Gyges. (Theogony 632) After reading the respective works of both Hesiod and Aeschylus, there is a clear resemblance between the two. There seem to be multiple connections and shared elements in both versions which might mean that Aeschylus modeled Prometheus Bound after the stories told by Hesiod in the Theogony. However, he adapted the original story and reversed the roles of Zeus and Prometheus, depicting the two completely differently from Hesiod. In Prometheus Bound, Prometheus is the hero, the reason Zeus is on the throne, and the saviour of mankind, transformed from the trickster and thief Hesiod portrayed him as. Zeus is the villain, outrageously punishing the one who helped him rise to power, and the enemy of humanity. Even though both authors discuss the same myth, the two stories are remarkably unique.
In Hesiod’s Theogony, the tensions within a family seem to be an intensified version of issues that are relatable to people. The results of these tensions are also dramatic and have a tendency to have a fulfillment of the fears that were causing the tensions as a result. This implies that there is a natural cycle of destruction between father and son. Tension seems to arise with the implication of the woman’s creative nature juxtaposed to the destructive nature of her husband.
Allusions to the Greek Myth of Prometheus allow insightful readers to withhold a better understanding of the story of Prometheus. First, from the poem “Prometheus” by Marin Sorescu we were given a piece that has far more meaning to the text then is depicted. “Whoever said I was chained” (Sorescu 1). Said the mighty Prometheus, which I believe portrays how free Prometheus feels due to the eagle’s presence and how itself has the freedom to soar in the sky and be free with itself. Next, from D'aulaires’ Book Of Greek Myths we read through a number of passages that gave us more understanding as to how Prometheus cares for his creations, the humans. “Prometheus could not bear to see his people suffer and he decided to steal fire, though he knew
We don't have any exact dates for Hesiod, but it seems that his poetic activity dates from around the last third of the 8th century BC. We find his versions of the Prometheus myth in two of his works: the Theogony at lines 521-616, and the Works and Days, at lines 42-89. The Theogony in general discusses the origin and genealogies of the gods and the events that led to the establishment of Zeus as their king. The Works and Days is quite varied in content but overall could be described as giving advice for living a life of honest industry. In the Theogony the story of Prometheus comes as a narrative interlude and aims at explaining the origins of certain institutions ...
Based on the readings, I conclude that Hesiod has intended his audience to regard elpis as a curse rather than a blessing. First of all, when Zeus is over taken by his anger with Prometheus after Prometheus makes an ill hearted attempt to fool Zeus at Mykone in regards to which food to choose. After Zeus discovered this trickery, he and the other gods put ingredients together to create a woman called Pandora. Pandora is a ‘gift’ to Epimetheus. The poem writes “Prometheus had said to him, bidding him never take a gift of Olympian Zeus, but to send it back for fear it might prove to be something harmful to men,” (Hesiod, Works and Days, 85-90).
Hesiod leaves no doubt that the existence of women is on balance a terrible thing for men. Zeus ordered Hephaistos to create women as a punishment for his having been decieved.. Women were to be a poisoned gift for men, which "all shall take to their hearts with delight, an evil to love and embrace" (W&D, 57-59). In the Theogony women are called "a great plague" because they are "ill-suited to Poverty’s curse, but suited to Plenty" (592-93), among other flaws. While Hesiod offers some well-turned phrases in praise of womens’ good qualities, it is unmistakable that these positive attributes are all put there by Zeus for the sole purpose of making woman an "inescapable snare" (589). Women are attractive, they have useful skills and, they provide progeny to help men in their old age, but these qualities are only to prevent men form avoiding the punishment that she brings.
The first question which must be addressed is, "Why have these men been made to suffer?" To simply say that Zeus or God is displeased is not enough, and to say that Prometheus and Job have sinned is confusing. Most Western readers approach these works with a pre-conceived notion of sin which has been born out of the Judeo-Christian theological tradition a tradition which dictates that there are specific moral rules which must be followed, and to transgress them is to sin. While this interpretation of sin may be functional for a reading of Job, it is useless for understanding Prometheus Bound.
In the end of "Anthem", Prometheus comes to the realization that his society's teachings and ideas were not helpful in advancement to the society. Ideas like individuality, that the society tried to squash out of its people, is beneficial to the society as a whole because men are meant to think for themselves. In the book Prometheus made the light bulb back when he was in the society, but once he showed it to the World Council, they but him in jail. After this incidence he realized that no matter what brilliant things he invents, it will never be something that particular society can use. At first he is confused, but realizing that he was acting like an individual made him see that maybe society is the evil one and he is the good one. All of this made him realize that maybe he is not meant for this, and he is thrown out into the uncharted territory. He learns that men are meant to think for themselves, and that if they do society will become more advanced and they will be able to move forward instead of staying at the same spot forever. This is how he realizes his "sins" were actually good and that men are supposed to think for themselves.
The role of women in Hesiod's Theogony and Works and Days is outstandingly subordinate. There are a number of times in Hesiod's text that despises women, being mortal, immortal, or flesh-eating monsters. The overall impression of women from Theogony and Works and Days, leads one to believe that Hesiod is a misogynist.
Both the poems of Hesiod’s tell of the curse of Pandora and both have Prometheus as the main character. Prometheus in both is the cause of why Zeus inflicted
To begin comparing Euripides Medea and Ovid’s Metamorphoses Book 7, we need to look at three components: context, characters, and themes. Both Euripides and Ovid tell the story of Jason abandoning Medea for another woman; however, they do not always share a perspective on the female protagonist’s traits, behavior, and purpose. Euripides portrays a woman who reacts to discrimination by beginning a battle to gain revenge all who harmed her, which she is prepared to follow through with even if it means resorting to the most despicable methods. Ovid, on the other hand, tells of a much less severe figure whose modest goal is only to persuade Jason to return. Despite these written differences, both of their Medea’s create trouble by acting with emotions instead of with reason, and as a result, put themselves in undesirable situations. Euripides and Ovid present two different sets of motivations for Medea's behavior wh...
The story of Europa, tells of how Zeus took the form of a majestic Bull in order to enchant Europa, a beautiful maiden so that he could possess what he desired, “He could hardly hope to tempt the girls innocent spirit if he came in his own form, the god contrived a ruse…he assumed the shape of a bull” (53). I feel this moment in the story shows that Zeus is willing to do anything to get what he wants even if it means taking advantage of the naivety and trusting nature of Europa. In his mind his needs and wants come first no matter the consequences of his actions showing how selfish he can be. Whereas instead of using illusions and tricks for lustful intentions, Dionysus uses deception and mind games for his murderous intentions using his charismatic nature to his advantage. “He promised Pentheus to bring back the Maenads, if the king would don woman’s raiment, lest seeing him⎯a man, and uninitiate⎯they tear him to pieces” (65). Dionysus tricks Pentheus with false promises that eventually lead to the Kings untimely and gruesome death. This shows that Dionysus is no stranger to deceit and willingly lulls the King into a false sense of security. To me this situation is a perfect representation of how easily mortals are tempted and deceived when given enough
Roman and Greek mythology are filled with multiple interpretations of how the creator, be it the gods or nature, contributed to the birth of the world. These stories draw the backgrounds of the gods and goddesses that govern much of classical mythology. Ovid’s Metamorphoses and Hesiod’s Theogony are two pieces of work that account for how our universe came to be. A comparison of Theogony with Metamorphoses reveals that Hesiod’s creation story portrays the deities as omnipresent, powerful role whose actions triggered the beginning of the universe whereas in Metamorphoses, the deities do not play a significant role; rather the humans are center of the creation. The similarities and differences are evident in the construction of the universe, ages of man, and the creation of men and women on earth.
I said that after going through much hardship and losing all his men he should come home again in the twentieth year and that no one would know him; and now all this is coming true” (14). This shows how the gods did interfere and would tell the people on earth with symbols. The gods knew from the beginning the fate of Odysseus because they predestined it. The gods are those who gave Odysseus misfortune, and they are also the ones who fated him the way he did. Through these examples of hospitality, pride and fate, one can learn many important Greek principles.
Aeschylus’ Prometheus Bound portrays a greek god detained by a superior for disobedience against the latter’s rule. On the other hand in Euripides’ Hippolytus portrays lust and vengeance of the gods and the extent that they can go to to avenge it.
To begin to understand what Euripides was doing, it is best to understand the medium of his art: the Greek theater. Theater was a competitive art among playwrights, with several competitions throughout the year, the greatest of which was at the Dionysian festivals in the spring. Greek drama, tragedy in particular, had little in common with modern acting productions. There was little or no suspense as to the outcome of the play; most all were based on Homeric tales from The Iliad and The Odyssey. The skill, therefore, was not in creating a fascinating plot, but in the subtle changes the playwright could incorporate to increase the dramatic effect. Changing the reasons for conflicts, dialogue, order of events, and sometimes even the outcome of the play were all ways to do this. With all these devices available to the fifth century playwright, what made Euripides so special that he was almost exclusiv...