The Prometheus trilogy

  title={The Prometheus trilogy},
  author={Martin Litchfield West},
  journal={The Journal of Hellenic Studies},
  pages={130 - 148}
  • M. West
  • Published 1 November 1979
  • Philosophy
  • The Journal of Hellenic Studies
The evidence against the Aeschylean authorship of the Prometheus is now overwhelming; or so it appears to me, considering the question without preconception and in that hebdomad of life in which, according to Solon, περὶ πἀντα καταρτύεται νὀος ἀνδρὀς. Those who still maintain that the play is by Aeschylus may probably be divided into three categories: those who have not read Mark Griffith's recent book on the subject; those who are incapable of unlearning anything they grew up believing, at any… 

The Dramatic Structure of Agamemnon

In later antiquity it was universally held that Aeschylus was the most given, of the three fifth century Athenian tragic poets, to lavish spectacular display. This view rested on three foundations:

Aristophanes and the Prometheus Bound

It has been acknowledged ever since H. T. Becker's dissertation on Aeschylus in Greek comedy that Aristophanes' plays can provide us with a terminus ante quern for the composition of the Prometheus

Io's World: intimations of theodicy in Prometheus Bound*

  • S. White
  • History
    The Journal of Hellenic Studies
  • 2001
Abstract The conflict between Prometheus and Zeus has long dominated critical discussion of the play and diverted attention from the only mortal to appear onstage. Prometheus is widely applauded as

Post-Promethean Man and the Justice of Zeus

After Athena announces his acquittal in the trial of the Eumenides, Orestes offers thanks to the three gods who have driven him from the house into the city to restore him once again to his house —

Divine Guilt in Aischylos

  • T. Gantz
  • Psychology
    The Classical Quarterly
  • 1981
Any attempt to grapple with the issue of divine behaviour towards men in Aischylos or any other Greek thinker must begin with the question of expectations: what do the gods expect from men, and what,

Prometheus Bound and Sophocles’ Inachos: New Perspectives

Abstract The paper consists of three chapters. In the first, Soph. Inachos fr. 269c.16–24 is presented as the earliest testimony to the authenticity of Prometheus Bound (PV). The verses declare that

Iliad and Aethiopis on the Stage: Aeschylus and Son

  • M. West
  • History
    The Classical Quarterly
  • 2000
Aeschylus, according to a famous report, described his tragedies as ‘cuts from Homer's great banquets’. The anecdote has the ring of truth, particularly as ‘Homer’ here must include the Epic Cycle,


concepts which spread from the late fifth century on throughout the Greek world. A stray remark (Schol. Ar. Peace 835, Suda s.v. Si0upa/x/3oSiSaaK-aAoi) that he also wrote comedies is of doubtful

Titanic resistance: Immobility and use of space in Ronconi's production of Aeschylus' Prometheus Bound

Aeschylus' Prometheus Bound is an exemplary case study for the use of theatrical space in ancient drama. The static presence of Prometheus throughout the play affects the perception of space at

Una aproximación a la sintaxis espacial de Suplicantes de Esquilo

The particular link that the leading chorus and the rest of the characters maintain with the theatrical space reveals the remarkable coherence between text and spectacle in the composition of the


Lifting in early Greek Architecture

  • J. Coulton
  • History
    The Journal of Hellenic Studies
  • 1974
In the standard handbooks on the techniques of Greek architecture, the problem of lifting heavy architectural members is considered mainly in terms of the various cranes and hoists based on compound