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For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought.

The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly [28] suggests that his treatment of time flows directly out of his belief in divine justice.

But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will.

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two ways of describing the same event.

For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail.

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom states that "Freud called Oedipus an 'immoral play,' since the gods ordained incest and parricide.

Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods" [ Karl-Martin Dietz states that in contrast to Hesiod's, in Aeschylus' oeuvre, Prometheus stands for the "Ascent of humanity from primitive beginnings to the present level of civilization.

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.

As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities.

Epimetheus sets to work but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world.

Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind. For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society — and these virtues are the highest gift finally bestowed on men in equal measure.

In his dialogue titled Protagoras , Plato contrasts Prometheus with his dull-witted brother Epimetheus , "Afterthinker".

As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts. It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship.

Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.

Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar.

For the Panathenaic festival , arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos , the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.

According to Pausanias 2nd century AD , the torch relay, called lampadedromia or lampadephoria , was first instituted at Athens in honor of Prometheus.

By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena. The wreaths worn symbolized the chains of Prometheus.

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor.

The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BCE. He also sometimes appears in depictions of Athena's birth from Zeus' forehead.

A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BCE. The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BCE.

In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird assumed to be the eagle with Hercules approaching from behind shooting his arrows at it.

The most significant detail added to the myth found in, e. According to these sources, Prometheus fashioned humans out of clay. Although perhaps made explicit in the Prometheia , later authors such as Hyginus , the Bibliotheca , and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis.

She is consequently married off to the mortal Peleus , and bears him a son greater than the father — Achilles , Greek hero of the Trojan War.

Pseudo-Apollodorus moreover clarifies a cryptic statement —29 made by Hermes in Prometheus Bound , identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.

Other minor details attached to the myth include: Zahhak , an evil figure in Iranian mythology , also ends up eternally chained on a mountainside — though the rest of his career is dissimilar to that of Prometheus.

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world see creation of man from clay , theft of fire , and references for eternal punishment.

It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio, [52] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in many sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity.

Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen in representation of the theological trinity in making a benediction to the new man.

Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity.

This can be found upon a sarcophagus of the Church at Mas d'Aire [54] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli Teramo [55] where the Lord sits on a throne and models the body of Adam, exactly like Prometheus.

In Georgian mythology, Amirani is a culture hero who challenged the chief god and, like Prometheus, was chained on the Caucasian mountains where birds would eat his organs.

This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.

The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [ Any world is a valid world if it's alive.

The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself. Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus.

Of the four symbols of suffering associated with Jesus after his trial in Jerusalem i the crown of thorns, ii the scourge of whips, iii the nailing to the Cross, and iv the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.

The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven. It remains a continuing debate among scholars of comparative religion and the literary reception [61] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives.

In the Book of Job , significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth.

With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus.

The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday.

The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades.

Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman — , the Scintillarium Poetarum , or Poetarius.

Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio.

Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus.

In his book written in —77 titled Quaestiones Quinque de Mente , Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth.

As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes.

It is after having stolen one beam of the celestial light [ After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the Titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike.

Among the most famous examples is that of Piero di Cosimo from about presently on display at the museums of Munich and Strasburg see Inset.

Raggio summarizes the Munich version [66] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and, on the other, Mercury fastening him to a tree.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.

This drawing is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello.

Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished.

For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus.

The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis.

Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The myth of Prometheus has been a favorite theme of Western art and literature in the post- renaissance and post- Enlightenment tradition and, occasionally, in works produced outside the West.

For the Romantic era , Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus — church, monarch, and patriarch.

The Romantics drew comparisons between Prometheus and the spirit of the French Revolution , Christ , the Satan of John Milton 's Paradise Lost , and the divinely inspired poet or artist.

In Prometheus Unbound , a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus under the Latin name Jupiter , but instead supplants him in a triumph of the human heart and intellect over tyrannical religion.

Lord Byron 's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.

Prometheus is a poem by Johann Wolfgang von Goethe , in which a character based on the mythic Prometheus addresses God as Zeus in a romantic and misotheist tone of accusation and defiance.

The poem was written between and It was first published fifteen years later in It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume 6 of Goethe's poems in his Collected Works in a section of Vermischte Gedichte assorted poems , shortly following the Harzreise im Winter.

It is immediately followed by "Ganymed" , and the two poems are written as informing each other according to Goethe's plan in their actual writing.

Prometheus was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God and who angrily defies him and asserts himself.

Details might be scarce at the moment, but consider this your one-stop shop which will be updated as new info arrives for cast, plot rumours and potential spoilers on the new Alien movie.

Covenant review — Ridley Scott's monster has evolved into something beautiful. Because who doesn't want a Facehugger under their tree, the first Alien: Covenant trailer dropped on Christmas Day after a couple of tantalising teasers — and it's bloomin' terrifying, as you'd expect.

Soundtracked by the haunting strains of Aurora's 'Nature Boy' cover, the crew of the Covenant look like they're going to be up against it. And there are some familiar foes involved The first poster has arrived giving us a look at a slightly terrifying and grossly slimy Xenomorph with only the word RUN and the release date the new release date that is - more on this later.

This early poster seems to be setting out Alien: Covenant 's stall early - it's going to feel like an Alien movie and it's going to be freakin' scary.

Scott, who kick-started the Alien franchise way back in , is directing Alien: Covenant following 's The Martian.

Prometheus marked Scott's first sci-fi since 's Blade Runner - now he can't get enough of the genre. Prometheus was a great experience for me," he told Empire.

On the great director's 79th birthday December 1 in case you're shopping for presents a picture was revealed of Sir Ridley on set of Covenant with none other than the Space Jockey appearing behind him.

This was the dead alien discovered by the crew of Ripley's Sigourney Weaver ship the Nostromo in the first Alien film, who also reappeared in Prometheus.

By the end of Prometheus most of the cast had bitten the dust in spectacular fashion Charlize Theron, meet giant space donut , but two stars made it through to the end, namely Michael Fassbender's David and Noomi Rapace's Elizabeth Shaw.

Initially the film's official plot synopsis suggested that Dr Elizabeth Shaw wouldn't be returning.

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