Promoetheus Bound

ISBN-10: 1603841903

ISBN-13: 9781603841900

Edition: 2012

List price: $10.00
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Description: "Prometheus is best known to modern readers as the Greek god who stole fire from the other gods, gave it to human beings, and was cruelly punished for that theft, tortured daily by an eagle that ate his ever-regenerating liver. This story has made him doubly an emblem of resistance to power, since he embodies both wily subversion and stubborn endurance. It also associates him closely with human beings; the gift of fire, which in many accounts gives rise to and stands for technological achievement and creativity, makes him our benefactor, while his punishment makes him our fellow sufferer, subject as mortals are to the will of the ruling gods. Prometheus Bound dramatizes a part of the myth of Prometheus that falls between the theft and the well-known punishment and looks backward and forward to other events. Immobilised by his chains, the god can see beyond them, and takes his hearers travelling through distant regions and into past and future as he tells his own story and the stories of others." -- from the Introduction

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Book details

List price: $10.00
Copyright year: 2012
Publisher: Hackett Publishing Company, Incorporated
Publication date: 3/15/2012
Binding: Paperback
Pages: 97
Size: 5.50" wide x 8.25" long x 0.25" tall
Weight: 0.286
Language: English

Aeschylus was born at Eleusis of a noble family. He fought at the Battle of Marathon (490 b.c.), where a small Greek band heroically defeated the invading Persians. At the time of his death in Sicily, Athens was in its golden age. In all of his extant works, his intense love of Greece and Athens finds expression. Of the nearly 90 plays attributed to him, only 7 survive. These are The Persians (produced in 472 b.c.), Seven against Thebes (467 b.c.), The Oresteia (458 b.c.)---which includes Agamemnon, Libation Bearers, and Eumenides (or Furies) --- Suppliants (463 b.c.), and Prometheus Bound (c.460 b.c.). Six of the seven present mythological stories. The ornate language creates a mood of tragedy and reinforces the already stylized character of the Greek theater. Aeschylus called his prodigious output "dry scraps from Homer's banquet," because his plots and solemn language are derived from the epic poet. But a more accurate summation of Aeschylus would emphasize his grandeur of mind and spirit and the tragic dignity of his language. Because of his patriotism and belief in divine providence, there is a profound moral order to his plays. Characters such as Clytemnestra, Orestes, and Prometheus personify a great passion or principle. As individuals they conflict with divine will, but, ultimately, justice prevails. Aeschylus's introduction of the second actor made real theater possible, because the two could address each other and act several roles. His successors imitated his costumes, dances, spectacular effects, long descriptions, choral refrains, invocations, and dialogue. Swinburne's (see Vol. 1) enthusiasm for The Oresteia sums up all praises of Aeschylus; he called it simply "the greatest achievement of the human mind." Because of his great achievements, Aeschylus might be considered the "father of tragedy."

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