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Prometheus Bound & Prometheus Unbound
Includes the following works:
Prometheus Bound - Traditionally attributed to Aeschylus, this ancient Greek tragedy retells the myth of Prometheus, a Titan who was punished by the god Zeus for giving fire to mankind.
Prometheus UnBound - A four-act play by Percy Bysshe Shelley first published in 1820, concerned with the torments of the Greek mythological figure Prometheus and his suffering at the hands of Zeus. It is inspired by Aeschylus' Prometheus Bound and concerns Prometheus' release from captivity.
Source: Wikipedia
Prometheus Bound - Traditionally attributed to Aeschylus, this ancient Greek tragedy retells the myth of Prometheus, a Titan who was punished by the god Zeus for giving fire to mankind.
Prometheus UnBound - A four-act play by Percy Bysshe Shelley first published in 1820, concerned with the torments of the Greek mythological figure Prometheus and his suffering at the hands of Zeus. It is inspired by Aeschylus' Prometheus Bound and concerns Prometheus' release from captivity.
Source: Wikipedia
161 pages, Hardcover
First published January 1, 1820
5 people are currently reading
137 people want to read
About the author
Aeschylus
1,821 books1,082 followersGreek
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.
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.
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Displaying 1 - 8 of 8 reviews
March 26, 2022
I'm only rating Prometheus Bound here, which is one of my favourite Greek tragedies.
I've chosen not the rate Prometheus Unbound, as I'm afraid I was less than impressed with Shelley's work. I'll probably even skip it in future re-reads. While I recognise Shelley's efforts in trying to restore one of the lost sequels of the Prometheia trilogy (Prometheus Unbound and Prometheus the Fire-Bringer complete it), I do think he missed the essence of the Prometheia.
Shelley tried too hard to turn it into a moral discussion, while Prometheus Bound was more about Prometheus' eternal suffering at the hands of a tyrannical Zeus. Part of the appeal of the Aesychylus' play is that it's one of the few that paints Zeus completely as the villain of the story. Usually it's less black and white in the myths with Zeus being portrayed as both harsh and fair, depending on the myth. Shelley, on the other hand, seemed more focused on bringing forth his own morals to the audience, which I believe worsened what could've been a solid restoration of the lost play.
I've chosen not the rate Prometheus Unbound, as I'm afraid I was less than impressed with Shelley's work. I'll probably even skip it in future re-reads. While I recognise Shelley's efforts in trying to restore one of the lost sequels of the Prometheia trilogy (Prometheus Unbound and Prometheus the Fire-Bringer complete it), I do think he missed the essence of the Prometheia.
Shelley tried too hard to turn it into a moral discussion, while Prometheus Bound was more about Prometheus' eternal suffering at the hands of a tyrannical Zeus. Part of the appeal of the Aesychylus' play is that it's one of the few that paints Zeus completely as the villain of the story. Usually it's less black and white in the myths with Zeus being portrayed as both harsh and fair, depending on the myth. Shelley, on the other hand, seemed more focused on bringing forth his own morals to the audience, which I believe worsened what could've been a solid restoration of the lost play.
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August 5, 2025Prometheus Bound: excellent! Exactly what I wanted out of the Prometheus myth. It’s elegantly written with enough gravitas to give it that sense of a grand and ancient tale that I want out of a piece of mythology.
Prometheus Unbound: another romantic poetry punch in the face. It’s dense and difficult. It does build upon the story of Prometheus Bound, but it’s way more work to get through. Think this would be much easier and more rewarding a second time through with a sparknotes summary in hand.
Prometheus Unbound: another romantic poetry punch in the face. It’s dense and difficult. It does build upon the story of Prometheus Bound, but it’s way more work to get through. Think this would be much easier and more rewarding a second time through with a sparknotes summary in hand.
February 22, 2021
What should one do in the face of injustice and suffering? How should one conduct himself when one is undergoing suffering, and what is the best way to overtake a tyrant?
These are the questions asked in Prometheus Bound. In this story, Prometheus steals fire and gives them to the humans to make them create art beyond art and other inventions, Zeus doesn't like this so he punished Prometheus for him to not die. Prometheus later undergoes great suffering, depressing and existential thoughts like: "I dared to stand against him and I saved mankind from being broken to pieces and sent down to Hell. For this, I tell you, I am bowed in sufferings painful to feel and pitiful to loo upon,: (p.12) Prometheus says these line on page 12; I dared to stand against him and saved mankind. Prometheus took it upon himself to save mankind from a tyrannical ruler and give humans a chance to live a life that would be better for them in the future, not with fire, then before, without fire.
On page 26 Io asks Prometheus: "What more must I suffer?". When a person is suffering, they ask themselves 1. Why am I suffering 2. How much more should I endure 3. Can I endure for longer and is it worth it and 4. Is there a God giving me suffering, if so why, have I done something wrong?
I think the best way to go through suffering is to endure suffering and to know that suffering is not eternal and one can overcome their own struggles if one sets out to do so. This is a bit simplistic, and some people might complicate the matter more than what needs complicating, but I believe this to be the most beneficial way in overcoming suffering.
Prometheus Unbound is a bit underwhelming but it is still good on its own, just not as good as Prometheus Bound.
These are the questions asked in Prometheus Bound. In this story, Prometheus steals fire and gives them to the humans to make them create art beyond art and other inventions, Zeus doesn't like this so he punished Prometheus for him to not die. Prometheus later undergoes great suffering, depressing and existential thoughts like: "I dared to stand against him and I saved mankind from being broken to pieces and sent down to Hell. For this, I tell you, I am bowed in sufferings painful to feel and pitiful to loo upon,: (p.12) Prometheus says these line on page 12; I dared to stand against him and saved mankind. Prometheus took it upon himself to save mankind from a tyrannical ruler and give humans a chance to live a life that would be better for them in the future, not with fire, then before, without fire.
On page 26 Io asks Prometheus: "What more must I suffer?". When a person is suffering, they ask themselves 1. Why am I suffering 2. How much more should I endure 3. Can I endure for longer and is it worth it and 4. Is there a God giving me suffering, if so why, have I done something wrong?
I think the best way to go through suffering is to endure suffering and to know that suffering is not eternal and one can overcome their own struggles if one sets out to do so. This is a bit simplistic, and some people might complicate the matter more than what needs complicating, but I believe this to be the most beneficial way in overcoming suffering.
Prometheus Unbound is a bit underwhelming but it is still good on its own, just not as good as Prometheus Bound.
June 28, 2021
Liked the original a lot more than Shelley's addition, both in terms of content and also in terms of how readable it was. I'm sure part of that credit goes to the translator for the Aeschylus but I think it's hilarious [and entirely on brand for Shelley] when a play written several thousand years ago is more succinct and understandable than something written a few hundred years ago. Also the version of Prometheus Unbound that I read had an introduction from Shelley where he says that he thinks Prometheus is a better character than Milton's Lucifer because Prometheus isn't a dick [paraphrasing obviously] and I'm just like gonna have to agree to disagree there lol. Anyway, would probably give Bound 4 stars and Unbound 2 stars so I'll just meet in the middle at 3 for the rating here. Would definitely recommend the Aeschylus for anyone who is interested but IMO you can just skip the Shelley.
March 3, 2020
I loved the Aeschylus; the Shelley not so much. The illustrations in this version are interesting, but not essential.
December 15, 2014
I have always greatly admired Shelley, though primarily through anthologies of his shorter works with the occasional larger piece interposed. Having learned of his Prometheus Unbound, I was on a mission to find it – a much more difficult task than I had at first supposed. Nearly all editions were of scholarly print and as the business often goes, out of print.
My luck changed with the Pagan Press edition. It was well worth the wait. It is a gem in that not only do you get the unabridged tragedy by Shelley, but you also have Shelley’s own translation of the original Prometheus Bound by Aeschylus. Here is not the place to get into the murky realm of interpretive theory, but needless to say Shelley’s translation is spellbinding. He is a master craftsman of the highest order. His translation practically rings as you speak it, with the weight of the words synergized by the unabashed modern forms that he employs. Delectable!
Now what to say for Prometheus Unbound…nothing but the word masterpiece can suffice. I do take Shelley at his word when he states that he is not writing a political piece here. I take this as a response to Milton’s Paradise Lose – though one which takes the theological question down to a proto-ontological one. His poetics for one strongly insert the structural hierarchy of the Miltonion conception of the heavens. Yet he changes Prometheus’ disposition towards Mercury from one of indifference as in Aeschylus to one of complicity in Unbound. This to me plays the old adage that the victor rights the history. God and the angels in Paradise Lost are not holy in and of themselves, but only so by means of authority (the reason for Satan’s fall); they become accomplices to the ‘crimes’ of Satan’s accusations. In so far as the final power/tyranny struggle is played out in Shelley we find the overthrow of said ruler for nothing but an empty chair as well as a caveat from Demogorgon that what has been achieved by man through the help of the gods can be lost again through their lesser natures – with none to blame but themselves.
The greatest difference though I found between Aeschylus and Shelley (aside from Shelley’s characteristically lush prose) is his daring. Prometheus Bound, as in most Greek tragedy, is very concise and with a low number of characters. This of course being for 1 performance and 2 the natural progression of the language. Nevertheless Shelley composes a piece with a panoply of various elements. So much so that Prometheus really only plays a significant role in Act I. However, his depth of poetic genius left nothing untouched. He is not afraid to go to facile arrangements between the spirits dialogues to heavily complex meters for the longer discourses. He has such a dexterity that he is able to make you feel the darkness of Demogorgon’s speech and the hubris of Jove. Even the fleeting act of the two fauns casually observing the outside world, what would be a trivial insertion, becomes an element of beauty in the voices of those minor characters and adds that much more depth to the transitions happening within the world.
I only love Percy Bysshe Shelley all the more.
My luck changed with the Pagan Press edition. It was well worth the wait. It is a gem in that not only do you get the unabridged tragedy by Shelley, but you also have Shelley’s own translation of the original Prometheus Bound by Aeschylus. Here is not the place to get into the murky realm of interpretive theory, but needless to say Shelley’s translation is spellbinding. He is a master craftsman of the highest order. His translation practically rings as you speak it, with the weight of the words synergized by the unabashed modern forms that he employs. Delectable!
Now what to say for Prometheus Unbound…nothing but the word masterpiece can suffice. I do take Shelley at his word when he states that he is not writing a political piece here. I take this as a response to Milton’s Paradise Lose – though one which takes the theological question down to a proto-ontological one. His poetics for one strongly insert the structural hierarchy of the Miltonion conception of the heavens. Yet he changes Prometheus’ disposition towards Mercury from one of indifference as in Aeschylus to one of complicity in Unbound. This to me plays the old adage that the victor rights the history. God and the angels in Paradise Lost are not holy in and of themselves, but only so by means of authority (the reason for Satan’s fall); they become accomplices to the ‘crimes’ of Satan’s accusations. In so far as the final power/tyranny struggle is played out in Shelley we find the overthrow of said ruler for nothing but an empty chair as well as a caveat from Demogorgon that what has been achieved by man through the help of the gods can be lost again through their lesser natures – with none to blame but themselves.
The greatest difference though I found between Aeschylus and Shelley (aside from Shelley’s characteristically lush prose) is his daring. Prometheus Bound, as in most Greek tragedy, is very concise and with a low number of characters. This of course being for 1 performance and 2 the natural progression of the language. Nevertheless Shelley composes a piece with a panoply of various elements. So much so that Prometheus really only plays a significant role in Act I. However, his depth of poetic genius left nothing untouched. He is not afraid to go to facile arrangements between the spirits dialogues to heavily complex meters for the longer discourses. He has such a dexterity that he is able to make you feel the darkness of Demogorgon’s speech and the hubris of Jove. Even the fleeting act of the two fauns casually observing the outside world, what would be a trivial insertion, becomes an element of beauty in the voices of those minor characters and adds that much more depth to the transitions happening within the world.
I only love Percy Bysshe Shelley all the more.
September 19, 2016
Hubris the Greek metaphor for the reason behind pathos is the essence of the Greek epic. Prometheus was a lyrical tragedy akin to King James version of Genesis . As provocative as Eve tempts Adam with the metaphorical Apple of good and evil , Prometheus grants the gift of fire to spark the age of Enlightenment -Hence Hubris or pathos This awakening sets off a polytheistic war -Knowledge , reason and analysis were the lines separating Olympian gods and the warriors. This notion of bound as a means of punishment was very much examined in Christian theology-As Adam and Eve were cast out of the garden of Eden.
Zeus bound Prometheus and cast him into the darkness....Until....SAHNBCT2018
Zeus bound Prometheus and cast him into the darkness....Until....SAHNBCT2018
August 17, 2012
A very nice edition in a red slip case. Unfortunately my slip case was destroyed in a flood, but I saved the book itself.
Displaying 1 - 8 of 8 reviews