Swanwick's translation, paratext, page breaks, speaker turns, stage directions, notes, and line markers are preserved. Speaker turns and Smyth card milestones are aligned to urn:cts:greekLit:tlg0085.*.perseus-grc2.
PROMETHEUS.
OCEANOS.
HEPHÆSTOS.
HERMES.
STRENGTH AND FORCE.
IO, DAUGHTER OF INACHOS.
CHORUS OF NYMPHS, DAUGHTERS OF OCEANOS.
[SCENE.—Scythia; to the right a rocky promontory of Caucasos, to the left the Euxine. Enter HEPHÆSTOS, with hammer and chains; PROMETHEUS is led in by STRENGTH and FORCE.]
THE combat between the Titans and the Olympian Gods, issuing in the triumph of the latter, constitutes, as Hegel remarks, the central fact of Hellenic mythology. This hoary legend may be regarded as symbolizing in the physical universe the emergence of order out of chaos, while in the history of religious thought it marks a period of transition, characterized mainly by the metamorphosis of the nature-powers, the objects of men's earlier worship, into the humanized divinities of Hellas, involving the recognized supremacy of the higher over the lower elements of being.
One phase of this struggle is treated by Æschylus in the drama of the Eumenides; there the hoary goddesses, the dark vengeance-powers of the primeval world, are brought into harmonious subordination to Pallas Athena, the impersonation of the wisdom and benignity of Zeus. Another aspect of the conflict formed the subject of the Promethean trilogy, which set forth the relation between the finite and the supreme will, in their antagonism and their reconciliation.
Among the grand ideals bequeathed to the world by Hellenic genius there is none, perhaps, which has more deeply impressed the poetic imagination than the much-enduring
The three dramas of which the trilogy consisted are believed to have been “Prometheus, the Fire-bringer,” "Prometheus Bound," and "Prometheus Unbound," of which the second has alone survived.* Prometheus there appears as the champion and benefactor of mankind, whose condition, at the close of the Titanic age, is depicted as weak and miserable in the extreme:
Zeus, it is said, proposed to annihilate these puny ephemerals, and to plant upon the earth a new race in their stead. Prometheus represents himself as having frustrated this design, and as being consequently subjected, for the sake of mortals, to the most agonising pain, inflicted by the remorseless cruelty of Zeus. We
The attempt to explain this apparent anomaly has given rise to a variety of theories and speculations. It is urged by some that at the time of Æschylus so sharp a line was drawn, in the minds of educated men, between religion and mythology, that the latter was accepted simply as poetical imagery, and was employed by the poet without any definite moral aim. Others imagine, with Welcker, that Æschylus, as a contemporary of Zenophanes, and one initiated into the Eleusinian mysteries, maintained an antagonistic attitude towards the traditional creed, and that in the Promethean trilogy he seized the opportunity to enter his protest against it, by representing the head of the Olympian system under so revolting an aspect. It must be remembered, however, that the Athenian drama formed part of a solemn religious festival, celebrated by the entire population, and that the popular theology was intertwined with the national and political life not only of Athens, but of Hellas. The magnificent statues of Pallas Athena and of Olympian Zeus, executed at enormous cost by Phidias, the contemporary of Æschylus, were doubtless regarded by the multitudes assembled at the national festivals as symbols of divine and very awful realities; and if we turn to the remaining dramas of the poet we find his delineation of these divinities in harmony with
The Chorus, in their solemn invocation (Ag. 160), lay peculiar stress upon the name of Zeus, as the supreme deity, the prime source of consolation and of wisdom. He is elsewhere portrayed as the almighty ruler (Sup. 795), who by ancient law directs destiny (Sup. 655), and without whose will nothing is accomplished for mortals (Sup. 804). He is invoked as king of kings, most blest among the blest, of powers on high most perfect power (Sup. 519). He is likewise apostrophised as father, creator, king, supreme artificer, wielding no delegated sway, and whose deed is prompt as his word to execute the designs of his deep-counselling mind (Sup. 587). He is the all-seeing father (Sup. 130); lord of ceaseless ages (Sup. 567); the guardian of the guest (Ag. 353); the punisher of overweening pride (Per. 822); the upholder of the righteous law of retribution (Ag. 154). Many more passages of a similar character might be adduced, from which it would appear that the poet, though not emancipated from the errors and limitations of Polytheism, had, nevertheless, risen to the sublime ideal of one supreme ruler, whose righteous will was identified with the eternal decrees of destiny. Instead of placing himself in antagonism with the popular religion, he seems rather, as the prophet of Polytheism, to have striven to elevate the popular conception of Zeus, and of the other Hellenic divinities, more especially Apollo and Pallas Athena, who are represented in the Oresteia as the
As it seems unreasonable to accept, without qualification, the gross picture of Zeus as represented, in the extant drama, by his exasperated adversary, Prometheus, so we must look elsewhere for the true ground of the antagonism subsisting between him and the Olympian divinities, all of whom are arrayed against him. Though the Promethean myth, as related by Plato, in the “Protagoras," differs in many essential features from the version of Æschylus, yet the fundamental thought there embodied is so completely in harmony with the teaching of the prophet-bard, that it may be referred to as, perhaps, throwing light upon the moral significance of the trilogy. In the “Protagoras" a distinction is drawn between the wisdom which ministers to physical well-being, and political wisdom which enables men to live in organized communities. Prometheus is represented as having endowed men with the former, but as unable to invest them with the latter, which involved the exercise of justice, and was under the special guardianship of Zeus. Now it is this
It was, moreover, an idea familiar to the Æschylean age that all excellence was the gift of the gods, more especially of Zeus, and that it could not be obtained without their intervention. "God alone is good," sang Simonides; “no one wins virtue without the aid of the gods, neither a state nor an individual." "Zeus, the great virtues attend upon mortals from thee," sang Pindar; “and,” he adds, "prosperity lives longer with those who revere thee, but with perverse minds it does not equally abide, thriving for all time" (Isthm. Ode iii.) “Through the favour of God man blooms with a wise heart."* "An untainted mind," according to Æschylus, is “heaven's first gift." The Chorus remind Prometheus of “the dreamlike feebleness that fetters the blind race of mortals" (Pro. 556); an expression which recalls Pindar's description of men as “the dream of a shadow;” “yet,” he adds, "when splendour given by the god comes to them, a brilliant light falls upon men and a sweet life" (Pyth. Ode viii. Epode 5). Not only was Prometheus unable to endow mortals
He may thus be regarded as personifying that insurgent condition of the will which, blind to the perception of higher truth, is full of arrogant self-confidence and all-defying pride. In many respects he offers a parallel to Milton's Satan, "a creation requiring in its author almost the spiritual energy with which he invests the fallen Seraph." The Titan chained to his solitary rock, and the archangel prone upon the lake of fire, stand alone, the one in ancient, the other in modern literature, as stupendous examples of indomitable will; of both it may be said with truth that, "what chains us, as with a resistless spell, in such a character, is spiritual might made visible by the racking pains which it overpowers."*
For the Titan, however, there is deliverance, and the extant fragments of the concluding member of the trilogy enable us to form some idea as to the agency by which it was accomplished. At the opening of the "Prometheus Unbound" the Titan was seen brought once more to light, after the lapse of ages, from the abyss into which he had been hurled at the conclusion of the “Prometheus Bound." He was still chained to the rock, with the additional torment of the eagle, which daily preyed upon his liver. The punishments
We are here reminded of the poet's utterances respecting the discipline of suffering, which afford a clue to the significance of this feature of the legend—
The Chorus consisted of the twelve Titans, six male and six female personages, who, redeemed from Tartaros, visibly represent one of the two worlds whose strife and reconciliation formed the subject of the trilogy. The elementary forces of nature, personified as gods, must be defeated in order to assure dominion to a more spiritual order of divinities; but when the triumph of mind has been assured, the once rebellious nature-powers reappear, as beneficent but subordinate agents.*
They open the drama with an ode in which they describe the journey they have taken in order to pay Prometheus a visit of sympathy.
In the well-known fragment translated by Cicero, Prometheus, in return, narrates his sufferings, describes the torment he endures from the eagle, and longs for death as the goal of his anguish.
Herakles* next appears upon the scene, and in him Prometheus recognizes his heaven-appointed deliverer. Nowhere are the noble and the repulsive features of Hellenic mythology more remarkably associated than in the numerous legends which gather round the person of Herakles. The fundamental idea embodied in this Zeus-born hero is, however, that of irresistible power, "whose action is as beneficent to the children of men as it is fatal to the enemies of light." The heroic deeds of Herakles are glorified by Pindar (Nem. i. 33, 34, 62-72), who also appeals to them as authenticating his divine vocation; while, according to the rhetorician Aristides, he was styled by men their saviour, the averter of evil. Nowhere, however, is he introduced in this character more significantly than as the liberator of Prometheus.
According to Hellenic mythology,† Herakles closed the line of heroes, the earth-born sons of Zeus, whose mission it was to ennoble and elevate the human race. He therefore exhibited the highest result of the fellowship
In “The Suppliants," however, Zeus appears in relation to Io, not as the obdurate tyrant, but as the beneficent deity, whose severest judgments issue in blessings to the individual and to mankind. Doubtless, under this aspect he would have been represented in the third member of the Promethean trilogy.
Herakles inquires from Prometheus his way to the gardens of the Hesperides; the Titan, in reply, describes his journey thither, and announces the dangers which he will have to encounter. Forthwith the eagle appears, winging its flight towards Prometheus: Herakles utters the exclamation, “Archer Apollo, surely guide mine arrow,” draws his bow, and slays the pest.
In what manner the subsequent liberation of Prometheus was effected we have no means of determining; whether Herakles himself unloosed his chains, or whether this was accomplished through the intervention of Hermes, or some other divinity; whether Herakles prevailed upon Zeus to accept Cheiron as a substitute for Prometheus, and whether Cheiron voluntarily
The chief interest, however, centres in the mind of Prometheus, and upon the agency by which the arch-rebel was transformed into the willing subject and minister of Zeus. The spectacle of his brother and sister Titans and Titanesses redeemed from durance would tend to correct the false impression which had possessed his mind respecting the ruthless tyranny of Zeus, and consequently the gnawing desire to witness his humiliation would give place to the unreluctant recognition of his supremacy. He would accordingly no longer refuse to reveal the secret, upon the disclosure of which he, in his blindness, imagined the maintenance of that supremacy to depend.* In Hesiod Zeus is represented as allowing himself to be apparently deceived by Prometheus, when he taught men to bring worthless offerings to the Gods; the Titan there appears as the trickster caught at last in his own wiles. That the reign of Zeus, whom the poet elsewhere extols as "The Lord of ceaseless ages," "Most blessed among the blest," should be conceived of by him as contingent upon the word of Prometheus, seems to me incredible. The voluntary revelation of his supposed
It is related* that Zeus, when he released Prometheus from his chains, required him, as a slight voluntary punishment, to bind his head with branches of the agnus-castus (λύγος
), a plant frequently employed for religious purposes.
The same symbolic signification was, in after times, attached to the ring of Prometheus, referred to by Catullus and Pliny. The former relates that when Prometheus appeared at the marriage festival of Peleus and Thetis, he wore a ring, as a slight token of his ancient punishment:
Not as an ornament, says Pliny (xxxiii. 4), has Prometheus worn the iron ring, but as a chain; and (xxxvii. 1), as a slight token of punishment, a piece of the rock to which he had been fastened was inserted in the ring instead of a gem.
The iron finger-ring is not, like the lugos-crown, expressly referred back to Æschylus; the same signification, however, attaches to both, and it is not probable,
Thus the dignity of man, of whom Prometheus may be regarded as the representative, is fully vindicated, when, instead of rebelling against the restraints of law, he joyfully accepts them, and finds his true liberty in obedience; thenceforth the crown, the token of submission, is transformed into an honourable adornment, and the iron ring becomes the symbol of a holy consecration.*
Thus we may imagine was brought about the reconciliation of the powers whose antagonism formed the subject of the “Prometheus Bound." We cannot but admire the marvellous art with which the poet, while making his personages the representatives of certain abstract principles, at the same time endows them with life and sharply-defined individuality. This impression of reality is heightened in Prometheus by the allusion of the Chorus to his marriage with their sister Hesione. The chorus of colossal Titans, delivered at length from their mighty toils, and assisting at the deliverance of Prometheus, seems to me one of the grandest conceptions that ever entered a poet's mind. It harmonizes with the Æschylean conception of Zeus, as head of the Olympian hierarchy, reigning supreme in the domain of nature and of mind.
In concluding this very inadequate study of a great subject, I will allude, in a few words, to the theory propounded by Professor Kuhn, with reference to the Pramantha
, the instrument used for kindling fire. The root mand
, or manth
, implies rotatory motion, and the word manthami
, used to denote the process of fire-kindling, acquired the secondary sense of snatching away; hence we find another word of the same stock, pramatha
, signifying theft.
The word manthami
passed into the Greek language, and became the verb manthanô
, to learn; that is to say, to appropriate knowledge; whence prometheia
, foreknowledge, forethought. Prometheus, the fire-bringer, is the Pramantha
personified, and finds his prototype in the Aryan Matarisvan, a divine or semi-divine personage, closely associated with Agni, the fire-god of the Vedas. We have thus another curious instance of the common elements which may be detected in the Vedic and Hellenic mythology, while the development of the Promethean myth affords an instructive illustration of the mode in which words, originally having reference to natural phenomena, gradually became invested with new and more spiritual significance when transplanted to the soil of Hellas.
Die Herabkunft des Feuers und des Göttertranks," may be found in Kelly's "Indo-European Tradition and Folk-lore," from which the above notice is abridged.
πρό, μῆτις—forethought.
Thy plight, Prometheus, is my monitor.
ὑψίκρημνον, of which the poet had heard. The Arabs still roam up to the base of this little mountain. No Greek, in Æschylus's day, knew the geography of Courdistân; so it was natural to include the whole of the wonderful "Asiatic Switzerland " in Caucasos.
E'en he the fore-ordain'd cannot escape.
This not to learn were better than to learn.
̉Αξενος, or inhospitable;" afterwards changed to Euxeinos, or hospitable.
Nay, hold not forth a boon and straight withdraw it.
πόντου φλοι̑σβονof our poet.
So let him then! all is by me foreseen.
διακναιόμενονa word is lost. I suggest—
μυρίοις μόχθοις διακναιόμενον (κἀυθαιρετοῖς).
τῶν Διὸς γεννημάτων. Every one feels that the poet
τῶνδ᾽ ὁσιογεννημάτων,
μοῖραι [μακραίωνες] λεχέων. . .
ἢ σόφος, ἢ σόφος ἦν, | ὃς. . .
ἐμοὶ δ᾽, ὅποτε μὲν ὁμαλὸς, ὁ γάμος ἄφοβος·(στρ.)
οὐδὲ δέδια, μὴ θεῶν του
κρεισσόνων ἔρως ἄφυκτ᾽
ὄμματα προσδρακῇ με.
ἀπόλεμος ὅδε γ᾽ ὁ πόλεμος, ἄπορα πόριμος·(αντ.)
οὐδ᾽ ἔχω τίς ἂν γενοίμαν·
τὰν Διὸς γὰρ οὐχ ὁρῶ
μῆτιν ὅπα φύγοιμ' ἄν.
F. W. N.