Aeschylus, Prometheus Bound 609-612 (Full text on Scaife Viewer)

“I will tell you everything clearly that you need to learn,
Without interweaving riddles, in a direct speech,
The right way to open one’s mouth to friends.
You see Prometheus, the one who gave mortals fire.”

λέξω τορῶς σοι πᾶν ὅπερ χρήζεις μαθεῖν,
οὐκ ἐμπλέκων αἰνίγματ᾿, ἀλλ᾿ ἁπλῷ λόγῳ,
ὥσπερ δίκαιον πρὸς φίλους οἴγειν στόμα.
πυρὸς βροτοῖς δοτῆρ᾿ ὁρᾷς Προμηθέα.

our poster from 2 years ago

Aeschylus, Prometheus Bound 144-151

“I see you, Prometheus. Fear falls like a mist
Over my eyes full of tears
As I witness you bound to this rock
By these unbreakable offensive chains.
There are new leaders ruling Olympos,
Zeus rules without sense over new-cut laws.
He renders unknown what stood out before.”

λεύσσω, Προμηθεῦ· φοβερὰ δ᾿ ἐμοῖσιν ὄσσοις
ὀμίχλα προσῇξε πλήρης
δακρύων σὸν δέμας εἰσιδούσᾳ
πέτρᾳ προσαυαινόμενον
ταῖσδ᾿ ἀδαμαντοδέτοισι λύμαις.
νέοι γὰρ οἰακονόμοι κρατοῦσ᾿ Ὀλύμπου,
νεοχμοῖς δὲ δὴ νόμοις Ζεὺς ἀθέτως κρατύνει·
τὰ πρὶν δὲ πελώρια νῦν ἀϊστοῖ.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Aeschylus, Prometheus Bound 178-187

“…you are bold and bowing
To nothing despite these terrible pains—
And you are too free with your mouth!
A sharp fear pricks at my thoughts
And I worry over your fate,
Where will you ever go to find and end to these toils?
For Kronos’ son has unchangeable ways
And a heart never to be persuaded.”

σὺ μὲν θρασύς τε καὶ πικραῖς
δύαισιν οὐδὲν ἐπιχαλᾷς,
ἄγαν δ᾿ ἐλευθεροστομεῖς.
ἐμᾶς δὲ φρένας ἠρέθισε διάτορος φόβος,
δέδια δ᾿ ἀμφὶ σαῖς τύχαις,
ποῖ ποτε τῶνδε πόνων χρή σε τέρμα κέλσαντ᾿
ἐσιδεῖν· ἀκίχητα γὰρ ἤθεα καὶ κέαρ
ἀπαράμυθον ἔχει Κρόνου παῖς.

This week we return to Aeschylus Prometheus Bound, a play said to have been part of a trilogy which included the now lost Prometheus Unbound and Prometheus Fire-Bearer. The play as been long attributed to Aeschylus as either late or early in his life based on its style, while for the past two centuries there have been questions based on the content (is this play too hard on Zeus?) and the form (based on uses of meter and language). The play has been attributed to Aeschylus’ son Euphorion and has been dated as early as the 480s and as late as 430.

The play’s use of myth and its exploration of justice and rather problematic Zeus makes it difficult to contextualize in Athens whether it is by Aeschylus or another. The Zeus of Prometheus is a tyrant and its eponymous character his apostate: the play’s tension comes from the interplay between his knowledge and the audience’s and the way his motivations are revealed through his conversations with characters like Okeanos, Io, and Hermes. Indeed, there is so much unclear about this play, that any given performance can radically change what we think about it. And this play hinges on our changing responses to Prometheus and his cherished knowledge.

Aeschylus, Prometheus Bound 263-267

“It is simple when someone is out of trouble’s way
To advise and criticize someone who is doing badly.
I knew all of these things. All of them.
I willingly, willfully, made my mistake—I will not deny it.
By helping people I created troubles for myself.”

λαφρόν, ὅστις πημάτων ἔξω πόδα
ἔχει, παραινεῖν νουθετεῖν τε τὸν κακῶς
πράσσοντ᾿. ἐγὼ δὲ ταῦθ᾿ ἅπαντ᾿ ἠπιστάμην.
ἑκὼν ἑκὼν ἥμαρτον, οὐκ ἀρνήσομαι·
θνητοῖς ἀρήγων αὐτὸς ηὑρόμην πόνους.

 

Aeschylus, Prometheus Bound 447-450

“At first, though they looked, they saw nothing,
While they listened, they did not hear, but they lived
Mixing everything up, like people in dreams…”

οἳ πρῶτα μὲν βλέποντες ἔβλεπον μάτην,
κλύοντες οὐκ ἤκουον, ἀλλ᾿ ὀνειράτων
ἀλίγκιοι μορφαῖσι τὸν μακρὸν βίον
ἔφυρον εἰκῇ πάντα…

Actors

Direction: Paul O’Mahony

Posters: John Koelle

Technical, Moral, Administrative Support: Lanah Koelle, Allie Mabry, Janet Ozsolak, Helene Emeriaud, Sarah Scott, Keith DeStone

391

“Prometheus, your sufferings are my teacher”

ἡ σή, Προμηθεῦ, ξυμφορὰ διδάσκαλος.

Euripides, Andromache 368-9 (Full text on Scaife Viewer)

“Understand this well: whatever thing someone happens to desire
That becomes for them a greater thing than taking Troy.”

εὖ δ᾿ ἴσθ᾿, ὅτου τις τυγχάνει χρείαν ἔχων,
τοῦτ᾿ ἔσθ᾿ ἑκάστῳ μεῖζον ἢ Τροίαν ἑλεῖν.

Euripides, Andromache 368-9

“Before, even though I was buried in sorrows
Hope always led me to this child who, if saved
Might provide some kind of defense or aid.
But once my husband married that Spartan Hermione
He has spurned my slave’s bed and I
Have been battered down by her evil tortures.”

καὶ πρὶν μὲν ἐν κακοῖσι κειμένην ὅμως
ἐλπίς μ᾿ ἀεὶ προσῆγε σωθέντος τέκνου
ἀλκήν τιν᾿ εὑρεῖν κἀπικούρησιν κακῶν·
ἐπεὶ δὲ τὴν Λάκαιναν Ἑρμιόνην γαμεῖ
τοὐμὸν παρώσας δεσπότης δοῦλον λέχος,
κακοῖς πρὸς αὐτῆς σχετλίοις ἐλαύνομαι.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Euripides, Andromache 954-6

“You’ve laid into your kindred with your tongue too much!
Such things are forgivable for you now, but still
Women must work to cover up women’s afflictions!”

ἄγαν ἐφῆκας γλῶσσαν ἐς τὸ σύμφυτον.
συγγνωστὰ μέν νυν σοὶ τάδ᾿, ἀλλ᾿ ὅμως χρεὼν
κοσμεῖν γυναῖκας τὰς γυναικείας νόσους.

This week we turn to Euripides’ Andromache, a play that returns us to the experiences of the enslaved women of Priam’s household, like his Hecuba and Trojan Women. In this play, we witness the dual sufferings of Andromache and Menelaos’ daughter Hermione. The former is the enslaved concubine of Achilles’ son, Neoptolemos and the latter is his wife. Hermione, however, is barren while Andromache has borne a son. This play returns us to themes of child killing revenge, legitimacy and the sufferings of women.

It may also have deep political resonance: This play’s date of performance is unknown, with scholars placing it as early as 428 at the end of the Periklean plague or as late as 417 BCE. Its treatment of women, children, and the offspring of slaves may reflect on the use of Athenian power during its empire and, perhaps, may comment on the Mytilenean revolt: when an Allied city tried to rebel from Athenian power and was voted to have all its men executed and women and children enslaved after its surrender. While this decision was reversed, it bared the nature of Athenian rule and foreshadows the demise of Melos 10 years later.

Euripides, Andromache 263-267

“Ah, you give me a bitter lottery and choice
For my life. Should I win, I am ruined
And if I lose I am unluckier still.”

οἴμοι, πικρὰν κλήρωσιν αἵρεσίν τέ μοι
βίου καθίστης· καὶ λαχοῦσά γ᾿ ἀθλία
καὶ μὴ λαχοῦσα δυστυχὴς καθίσταμαι.

Scenes (from the this translation)

 

Euripides, Andromache 846-850

“Oh, my fate!
Where is fire’s flame dear to me?
Where can I throw myself from rocks
Either into the see or a mountain’s forest,
So I can die and the dead can care for me?”

οἴμοι πότμου.
ποῦ μοι πυρὸς φίλα φλόξ
ποῦ δ᾿ ἐκ πέτρας ἀερθῶ,
<ἢ> κατὰ πόντον ἢ καθ᾿ ὕλαν ὀρέων,
ἵνα θανοῦσα νερτέροισιν μέλω;

Cast and Crew

Andromache – Tamieka Chavis

Peleus – Michael Lumsden

Hermione – Evelyn Miller

Menelaus – Brian Nelson Jr

Orestes – Paul O’Mahony

Chorus – Sara Valentine

Thetis – Noree Victoria

Special Guest:Katerina Ladianou

Dramaturgical assistance: Emma Pauly

Direction: Paul O’Mahony

Posters: John Koelle

Technical, Moral, Administrative Support: Lanah Koelle, Allie Mabry, Janet Ozsolak, Helene Emeriaud, Sarah Scott, Keith DeStone

Upcoming Readings (Go here for the project page)

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

Aeschylus, Prometheus Bound June 30th

Euripides, Andromache 744-746

“I just let your words roll off of me:
You’re just a walking shadow who has a voice,
Incapable of doing anything other than speaking alone.”

τοὺς σοὺς δὲ μύθους ῥᾳδίως ἐγὼ φέρω·
σκιὰ γὰρ ἀντίστοιχος ὣς φωνὴν ἔχεις,
ἀδύνατος οὐδὲν ἄλλο πλὴν λέγειν μόνον.

 

Aeschylus, Prometheus Bound 609-612 (Full text on Scaife Viewer)

“I will tell you everything clearly that you need to learn,
Without interweaving riddles, in a direct speech,
The right way to open one’s mouth to friends.
You see Prometheus, the one who gave mortals fire.”

λέξω τορῶς σοι πᾶν ὅπερ χρήζεις μαθεῖν,
οὐκ ἐμπλέκων αἰνίγματ᾿, ἀλλ᾿ ἁπλῷ λόγῳ,
ὥσπερ δίκαιον πρὸς φίλους οἴγειν στόμα.
πυρὸς βροτοῖς δοτῆρ᾿ ὁρᾷς Προμηθέα.

Aeschylus, Prometheus Bound 144-151

“I see you, Prometheus. Fear falls like a mist
Over my eyes full of tears
As I witness you bound to this rock
By these unbreakable offensive chains.
There are new leaders ruling Olympos,
Zeus rules without sense over new-cut laws.
He renders unknown what stood out before.”

λεύσσω, Προμηθεῦ· φοβερὰ δ᾿ ἐμοῖσιν ὄσσοις
ὀμίχλα προσῇξε πλήρης
δακρύων σὸν δέμας εἰσιδούσᾳ
πέτρᾳ προσαυαινόμενον
ταῖσδ᾿ ἀδαμαντοδέτοισι λύμαις.
νέοι γὰρ οἰακονόμοι κρατοῦσ᾿ Ὀλύμπου,
νεοχμοῖς δὲ δὴ νόμοις Ζεὺς ἀθέτως κρατύνει·
τὰ πρὶν δὲ πελώρια νῦν ἀϊστοῖ.

The Center for Hellenic Studies , the Kosmos Society and Out of Chaos Theatre has been presenting scenes from Greek tragedy on the ‘small screen’ with discussion and interpretation during our time of isolation and social distancing. As Paul O’Mahony, whose idea this whole thing was said in an earlier blog post, Since we are “unable to explore the outside world, we have no option but to explore further the inner one.”

Each week we select scenes from a play, actors and experts from around the world, and put them all together for 90 minutes or so to see what will happen. This process is therapeutic for us; and it helps us think about how tragedy may have had similar functions in the ancient world as well.

Aeschylus, Prometheus Bound 178-187

“…you are bold and bowing
To nothing despite these terrible pains—
And you are too free with your mouth!
A sharp fear pricks at my thoughts
And I worry over your fate,
Where will you ever go to find and end to these toils?
For Kronos’ son has unchangeable ways
And a heart never to be persuaded.”

σὺ μὲν θρασύς τε καὶ πικραῖς
δύαισιν οὐδὲν ἐπιχαλᾷς,
ἄγαν δ᾿ ἐλευθεροστομεῖς.
ἐμᾶς δὲ φρένας ἠρέθισε διάτορος φόβος,
δέδια δ᾿ ἀμφὶ σαῖς τύχαις,
ποῖ ποτε τῶνδε πόνων χρή σε τέρμα κέλσαντ᾿
ἐσιδεῖν· ἀκίχητα γὰρ ἤθεα καὶ κέαρ
ἀπαράμυθον ἔχει Κρόνου παῖς.

This week we turn to Aeschylus Prometheus Bound, a play said to have been part of a trilogy which included the now lost Prometheus Unbound and Prometheus Fire-Bearer. The play as been long attributed to Aeschylus as either late or early in his life based on its style, while for the past two centuries there have been questions based on the content (is this play too hard on Zeus?) and the form (based on uses of meter and language). The play has been attributed to Aeschylus’ son Euphorion and has been dated as early as the 480s and as late as 430.

The play’s use of myth and its exploration of justice and rather problematic Zeus makes it difficult to contextualize in Athens whether it is by Aeschylus or another. The Zeus of Prometheus is a tyrant and its eponymous character his apostate: the play’s tension comes from the interplay between his knowledge and the audience’s and the way his motivations are revealed through his conversations with characters like Okeanos, Io, and Hermes. Indeed, there is so much unclear about this play, that any given performance can radically change what we think about it. And this play hinges on our changing responses to Prometheus and his cherished knowledge.

Aeschylus, Prometheus Bound 263-267

“It is simple when someone is out of trouble’s way
To advise and criticize someone who is doing badly.
I knew all of these things. All of them.
I willingly, willfully, made my mistake—I will not deny it.
By helping people I created troubles for myself.”

λαφρόν, ὅστις πημάτων ἔξω πόδα
ἔχει, παραινεῖν νουθετεῖν τε τὸν κακῶς
πράσσοντ᾿. ἐγὼ δὲ ταῦθ᾿ ἅπαντ᾿ ἠπιστάμην.
ἑκὼν ἑκὼν ἥμαρτον, οὐκ ἀρνήσομαι·
θνητοῖς ἀρήγων αὐτὸς ηὑρόμην πόνους.

Scenes (from the Elizabeth Barrett Browning translation)

 

Aeschylus, Prometheus Bound 447-450

“At first, though they looked, they saw nothing,
While they listened, they did not hear, but they lived
Mixing everything up, like people in dreams…”

οἳ πρῶτα μὲν βλέποντες ἔβλεπον μάτην,
κλύοντες οὐκ ἤκουον, ἀλλ᾿ ὀνειράτων
ἀλίγκιοι μορφαῖσι τὸν μακρὸν βίον
ἔφυρον εἰκῇ πάντα…

Actors

Kareem Badr
Sarah-Marie Curry
Tim Delap
Ronan Melomo
Evelyn Miller
Paul O’Mahony

Special Guest: Joshua Billings

Dramaturgical assistance: Emma Pauly

Direction: Paul O’Mahony

Posters: John Koelle

Technical, Moral, Administrative Support: Lanah Koelle, Allie Mabry, Janet Ozsolak, Helene Emeriaud, Sarah Scott, Keith DeStone

Upcoming Readings (Go here for the project page)

 

Euripides, Ion,  June 17th

Euripides, Hecuba June 24th

391

“Prometheus, your sufferings are my teacher”

ἡ σή, Προμηθεῦ, ξυμφορὰ διδάσκαλος.