Aeschylus' Prometheus Bound and the Seven Against Thebes

by Aeschylus

Aeschylus' Prometheus Bound and the Seven Against Thebes by Aeschylus INTRODUCTION. �schylus, the first of the great Grecian writers of tragedy, was born at Eleusis, in 525 B.C. He was the son of Euphorion, who was probably a wealthy owner of rich vineyards. The poet's early employment was to watch the grapes and protect them from the ravages of men and other animals, and it is said that this occupation led to the development of his dramatic genius. It is more easy to believe that it was responsible for the development of certain other less admirable qualities of the poet. His first appearance as a tragic writer was in 499 B.C., and in 484 B.C. he won a prize in the tragic contests. He took part in the battle of Marathon, in 490 B.C., and also fought in the battle of Salamis, in 480 B.C. He visited Sicily twice, and probably spent some time in that country, as the use of many Sicilian words in his later plays would indicate. There is a curious story related as to his death, which took place at Gela in 456 B.C. It is said that an eagle, mistaking his bald head for a stone, dropped a tortoise upon it in order to break its shell, and that the blow quite killed �schylus. Too much reliance should not be placed upon this story. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.

Genres: Classics, Plays, Drama, Mythology, Fiction, Ebooks

78 pages, Paperback

First published April 2, 1897

About the author

Greek Αισχύλος , Esquilo in Spanish, Eschyle in French, Eschilo in Italian, Эсхил in Russian.

Aeschylus (c. 525/524 BC – c. 456 BC) was an ancient Greek tragedian often described as the father of tragedy. Academic knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus.
Only seven of Aeschylus's estimated 70 to 90 plays have survived. There is a long-standing debate regarding the authorship of one of them, Prometheus Bound, with some scholars arguing that it may be the work of his son Euphorion. Fragments from other plays have survived in quotations, and more continue to be discovered on Egyptian papyri. These fragments often give further insights into Aeschylus' work. He was likely the first dramatist to present plays as a trilogy. His Oresteia is the only extant ancient example. At least one of his plays was influenced by the Persians' second invasion of Greece (480–479 BC). This work, The Persians, is one of very few classical Greek tragedies concerned with contemporary events, and the only one extant. The significance of the war with Persia was so great to Aeschylus and the Greeks that his epitaph commemorates his participation in the Greek victory at Marathon while making no mention of his success as a playwright.

Reviews

[Tony · Rating 4 out of 5]

Bitchin'

[Joseph Carrabis · Rating 3 out of 5]

One of two Aeschylean works I read this month to learn how storycrafting has changed over the millennia. I read that Prometheus Bound and... was the first time Dialogue was intentionally and formally used, meaning it was the first time it appeared as characters talking to each other rather than a conversation between characters being narrated by the orator, and wanted to pick up any techniques I could find.
What appears immediately is the dialogue, while dialogue, is still being orated. There's little differentiation between characters' verbal styles and little to no attribution. I wondered if the orator used different voices or presented themselves to the audience from different angles, perhaps used their hands to indicate who was talking when.
In any case, interesting to see how it was done and recognize how it's changed.

[Erin]

Well, I'm glad I didn't have to read this for a class. Dry and boring; I paid minimal attention. Was reminded throughout of that quote from Amadeus about the characters being so lofty they sound as if they [poop] marble. The prose in this translation was . . . turgid.

I thought it would be a fun way to get through my to-read pile by starting with the oldest titles and moving forward, but. I may give up that idea pretty quickly. Like now-ish.

[Genesis · Rating 3 out of 5]

The footnotes in this book were astonishingly boring, only giving translation explanations.

[Brandt · Rating 3 out of 5]

The three-star rating was mostly for Prometheus Bound [Chained]. Although there are important insights in the Seven Against Thebes,” the storyline lacked a connection for me.

In the introduction of Prometheus Chained, the translator makes a statement that is hard to improve on. This play is “The sublimest poem and simplest tragedy of antiquity”. To this, I would mostly agree; adding the predicate of Western in front of “antiquity”.

The fascination, for me, began with seeing Prometheus as only partially mortal, meaning above humankind; yet, still a part of it. This led me to consider the introduction where it is noted that:

“Prometheus being bound and left alone, bemoans his fate and relates to the chorus of nymphs the base ingratitude of Jove, who through his counsels having overwhelmed the aged Saturn beneath the murky abyss of Tartarus, now rewards his ally with indignities because he had compassion upon mortals.”

This led me to question the deep understanding of the Ancient Greeks of the division between right and wrong; good and bad. It seems superfluous. However, there is a great body of literature devoted to the idea of arête [translated usually as virtue] in Ancient Greece. This small statement casts some doubt on the genealogical roots of ethical considerations; if it is translated correctly.

Another interesting part of Prometheus Chained is the parallel to Socratic Wisdom. For example, Ocean says,

“I see Prometheus, and to thee, subtle as thou art, I wish to give the best counsel. Know Thyself…”

To be sure, this is one of the Delphic Maxims; notwithstanding, it is also a part of the Socratic grounding for ethical living. Moreover, Ocean reminds Prometheus that,

“…’[T]is of the highest advantage for one that is wise not to seem wise”.

Again, this is reminiscent of the Apology of Socrates.

From Seven against Thebes, I was only able to collect one important statement. This statement was mostly pertaining to a philosophical political position; nevertheless, it is an important aspect of looking at the state of the “State,” or the “Affairs of State”:

“…and the state at different times sanctions different maxims of justice.”

I understand that quote to be a truism of all States, past and present. This is a preliminary problem in any political exposition and if it is correct – at least I think – that the inquiry begins in the definition of Justice.

[Chris · Rating 2 out of 5]

If the translation is any indication, Aeschylus' Greek was painfully turgid yet, in substance, thin. Of the two plays included, Prometheus Bound was the more palatable and informative, in that it presents a fuller picture of the Promethean myth. Nonetheless it is entirely devoid of action and overladen with dialogue--and that without imparting the wisdom or providing the entertainment of many other ancient plays.

Seven Against Thebes's premise had potential which, again, was not realized. The "Chorus" was annoyingly shrill and the warriors wrangled words, not swords. The play coasted from set-up to denouement without so much as a climax to slow its passage.

I've come to prefer to see plays performed, or at least read them aloud with a group; most just don't seem to translate into an enjoyable solitary reading experience for me. However, I'm not sure even live treatment could redeem these two.

[Ajay]

Only read Prometheus Bound. Found the second title a little boring after a fee pages.

PB was decent but a bit short. Wouldn't mind reading a little more into the history behind Prometheus. Sounds like an interesting character!

[Holly]

read Prometheus Bound only, Great Books translation.

[Fluttershy · Rating 4 out of 5]

In this edition, read only Prometheus Bound. Read Seven Against Thebes in a different translation.