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Prometheus Bound analysis
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Aeschylus’ play Prometheus Bound is a distinct tragedy in the sense that it tells a story in which humans are relived as opposed to being punished. The main character of the play, Prometheus, defies the almighty Zeus by giving humans the gift of fire. Zeus, dissatisfied with the humans, had intended to exterminate them and create and entirely new human race. With his gift, Prometheus is giving the humans an essential tool for their survival and the key to their freedom. Infuriated by the situation, Zeus severely punishes Prometheus. However, in defying Zeus, Prometheus gives the humans the most significant gift and becomes the ultimate symbol for human resistance to tyranny.
In giving humans the gift of fire, Prometheus provides them with
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the necessary tools for the continuity of their existence and an autonomous lifestyle. Before Zeus could carry out his plan to exterminate the human race, Prometheus went against him and presented human beings with fire, which proved to be a remarkably versatile and significant gift. Fire primarily allowed the humans to have light and heat, which were the basis of their newfound sedentary lifestyle. With this, humans were able to develop methods of agriculture and mining, which led to building and the creation of weapons and armor. Furthermore, humans began to have the need for letters and language, which later led to the need for numbers. Soon after, humans had the arts as a means to create culture, give life meaning and have various mediums for self-expression. Prometheus also gave humans astronomy and nautical instruments, which gave them the ability to sail. Through the gift of fire, humans—infamous for living their lives consumed by the preoccupation of death—could now live for longer and brighter days. Apart from the material benefits that Prometheus’ gift brought about, the humans also acquire a resonating message from Prometheus’ actions and suffering regarding their very existence.
One the most important gifts the humans received from Prometheus was courage, which allowed human beings to discover their freedom. Throughout the play, Prometheus maintains that he was the only one who “had the courage to halt men in their walk of death and to extinction” (pg. 35) and to defy the all-powerful Zeus. In doing this, Prometheus becomes the ultimate symbol of resistance to tyranny because he goes against the ruler of mortals and immortals in order to defend what he believes is right. Despite being chained to a rock and having his liver eaten daily by an eagle, Prometheus is determined to endure the suffering to prove his actions were not in vain. Thus, teaching humans the concept of courage. Initially human beings led lives in which they “…had eyes to see, but never saw; [had] ears for hearing, but never heard. Like huddled shapes in dreams, they used to drag their long lives through…” (pg. 46). Yet with fire, humans now had instruments that gave them a sense of courage and, in a way, a purpose for living as opposed to a continuous fight against death. Now, humans had courage through physical mediums and through Prometheus’ actions and
sufferings. Not only did Prometheus go against the ultimate ruler and give the human race the essential tools for their survival, but in doing so, he handed them the key that would set them free. Fire allowed the humans to begin a sedentary and self-sufficient lifestyle, which gave them courage and a purpose during their lives on Earth. Yet, it was through this courage that the humans were able to become aware of their autonomy and their freedom. Prometheus made them realize there was hope for life despite Zeus and the gods and therefore they could live without being suppressed by a tyrannical figure. Prometheus’ material and non-material gifts were of utmost importance because they permitted the survival of the human race and essentially set them free from their past miserable existence and from the gods’ oppression. By giving the humans their freedom and suffering the consequences of his actions, Prometheus became the most significant symbol for courage and for human resistance to tyranny.
Many thematic issues are found in modern plays from classic myths in the book Nine Muses by Wim Coleman. Long ago, when life was full of mysteries, myths, or explanations, helped people make sense of a perplexing world. Myths also explain deeper questions. Such as, how did the world itself come to be? How did life begin? How were human beings created and why? And why is there suffering and death in the world? People of ancient cultures all over the world puzzled over such questions, and they created stories to answer them. One of the main thematic issues in Nine Muses is the tragic effect of engaging in actions which are forbidden. Some plays which express this thematic issue are “Pandora”, “Phaeton and the Sun Chariot”, and “Eros and Psyche”.
Prometheus Bound is quite different from other tragedies in that it is peopled entirely by gods. The play focuses on the story of Prometheus, and we have versions of this myth in Hesiod's famous works. There is reason to think that the author of Prometheus Bound was not only acquainted with Hesiod's version but actually drew on Hesiod directly in this play. This essay therefore aims to establish in what ways the author of Prometheus Bound seems to have drawn from Hesiod's version of myth, in what ways he has diverged from it, and what reasons he might have had for making these changes and innovations. This might therefore highlight any particular emphasis or purpose of Prometheus Bound and what its author might have been trying to get across. Though there is not space in this essay to discuss the problems of attributing this play, it must be recognised that this ambiguity of authorship and dating makes it even more difficult than usual to look at views and purposes behind the play.
What would happen to the world when the Government and the drug producers create a partnership that benefits each side? This is reality in The House of the Scorpion, by Nancy Farmer. The drug producers are given land between Mexico and the United States, known as Aztlán, that is theirs to do whatever they want, without the interference of outside government, as long as they make sure no illegal immigrants come to the U.S. In the middle of all of this, there is Opium. This is the largest exported drug from Aztlán and the center of young Matt’s life.
The choices we make define the destiny of our lives. Since the beginning of time, man has always been an imperfect being full of flaws. Man is faced with different situations that can end up bringing disgrace to himself and his family if the situations are not well handled. In the texts Book II of the Aeneid by Virgil, Antigone by Sophocles, Oedipus the king by Sophocles, and Book XXII from the Iliad by Homer; Creon, the Trojan people, Hector, Achilles, and Oedipus embody what can lead to a man’s downfall through their own choices. Through these texts we are able to learn from the mistakes people made in the past and lead good moral lives. The texts illustrate how pride, lack of empathy, and ignorance lead to the destruction of man.
Prometheus' vicarious studying of the past and present, via the library of books found in the house of the Unmentionable Times, guides him in deciding that he will not allow the future of man to slip away in the same manner as before. Akin to Prometheus the Titan, Rand’s Prometheus brings light and knowledge to his people by ultimately writing an anthem to the ego, embracing his identity as a revolutionary of his time and the “god whom men have sought since men came into being…‘I’” (97).
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.
Finally, human nature must also be carefully understood so as to protect it from being manipulated and to understand its place in society. In ancient Greece, Aeschylus sought to define for the people of Athens the part of human nature that necessitates justice and power. At the end of his series of plays in the Oresteia, Aeschylus tells the story of Orestes and the progression of justice. The final play, The Eumenides, ends with a struggle between different definitions of justice. Orestes is a youth charged with matricide, which is punishable by death according to the Furies and the traditional method of restoring equity.
In summation, Prometheus’ society believes that the “best in him”, his internal curiosity, is a sin, as it makes him different from his brothers. In actuality, his curiosity allows him to see that his totalitarian society has regressed and in doing so, they have lost the ability to give their citizens an independent identity, which could be used to benefit the society.
Numerous lively heroes ventured into Persephone’s clutches with the hopes of beating death, yet she explains that despite their god-like strength they too will die. Two such heroes were Theseus and Pirithous. When Theseus and Pirithous attempted to kidnap the Queen of the Underworld she enticed them to sit in the chair of forgetfulness where their flesh fused to the cushions and refused to relinquish them (Taylor 268). Persephone appears many times to offer food, drink, or rest to weary heroes in the underworld in order to trap them there forever in the same manner that Hades tricked her (Taylor, 268). Because of Persephone and Hades’ antics many people hated them as gods, but Persephone’s cruelty serves as a reminder that while death is necessary it is not always kind. In the same manner that Persephone accepted her fate, mortals must also accept their own imminent
Aeschylus, was a master dramatist - he liked to portray conflict between persons, human or divine, or between principles.1 His trilogy of plays, the Oresteia, develops many conflicts that must be resolved during the action of the Eumenides, the concluding play of the trilogy. The central theme of the Oresteia is justice (dike) and in dealing with questions of justice, Aeschylus at every stage involves the gods.2 The Oresteia's climactic conflict in the Eumenides revolves around justice and the gods - opposing conceptions of justice and conflicting classes of gods. This essay will describe and discuss these conflicts and, more importantly, the manner in which they are resolved so that the play, and indeed the entire trilogy, might reach a satisfactory conclusion.
The Odyssey details Odysseus’ arduous return to his homeland. Ten years have passed since the end of the Trojan war and Odysseus, the “most cursed man alive”, has been missing and presumed dead by many. (10.79). Throughout the novel, gods play a significant role in the fate of Odysseus and other characters. The extent of the gods’ role though is not unqualified, contrary to Telemachus’ suggestion that, “Zeus is to blame./He deals to each and every/ laborer on this earth whatever doom he pleases” (1.401-403). While Zeus does have this power, his description of how humans meet their fate is more accurately depicted throughout the novel. As he aptly points out, “from us alone, the say, come all their miseries, yes,/ but they themselves, with their own reckless ways,/ compound their pain beyond their proper share” (1.38-52). While the gods do doom certain mortals, many of these mortals exacerbate their ill fate by making rash decisions and ignoring the gods’ warnings. The gods are also not always disrupting mortals lives; they often aid mortals in need. In fact, mortals who effectively court the favor of the gods often benefit greatly. While the gods’ powers are unquestionable, no one god’s power is insurmountable. Gods can be outsmarted and their wrath escaped. The Odyssey, in congruence with Zeus’ statement, ultimately, portrays human freedom as existent, but limited.
An interesting and important aspect of this Greek notion of fate is the utter helplessness of the human players. No matter the choice made by the people involved in this tragedy, the gods have determined it and it is going to come to pass. T...
One of the best summarizes of Greeks’ gods attitude toward human is the claim of Aphrodite in Euripides’ Hippolytus that she will treat well the people who revere her power, but will “trip up” those who are proud towards her, and this pri...
Prompt for the Final Essay PHI118 Examined Life 1. At the end of the final play of his trilogy (The Eumenides), Aeschylus has Athena make the following two points to Orestes, the Furies, and the people of Athens: a. “I open on this rock [the Areopagus opposite the Acropolis] the pure springs of my laws. Do not taint them by an expedient shift for advantages. Protect this court which will protect you all from the headstrong license of any man’s will and from slavery.
The story of Prometheus is I think one of the best stories in Greek mythology, I think Prometheus showed a lot of loyalty to man when he defied Zeus to bring fire to mankind. Without fire mankind, who had been enduring great hardships, such as freezing and starving, would not have survived much longer as the story goes. I think that when Prometheus decided to go against Zeus’ wish to not help mankind he must have known it would make Zeus mad and that he would be punished, this is why I think it is one of the most incredible things I have seen in Greek myth. I think that it really takes a man that is true to himself to know you are going to face trouble, hardship, or even punishment and not let that sway your decision to do the right thing,