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, which would hardly have been possible after the fifth century; and there is an obvious source from which Athenaeus might have taken the story, the ’Eπιδημαι of Ion of Chios, which he cites in three other places. This work had the character of a personal memoir describing notable Athenian statesmen, (...) poets, and philosophers whom Ion had known. The emphasis was on their personalities as revealed in their public speeches and private conversation. One of Athenaeus’ quotations from it is about Sophocles, and we know from other evidence that as a young man Ion had met Aeschylus too. The anecdote would have been perfectly in place in such a book. (shrink)

The word Eὐμεν⋯δες occurs six times in our texts of Greek tragedy (four times in Eur.Or., twice in Soph.O.C.) and once as a play title (Aesch.Eum.). This may make ‘Eumenides in Greek tragedy’ sound like a restricted subject, but it is one that has seldom been discussed as a whole, and scholars have tended to consider each of the three plays in question in the light of unargued assumptions about the other two, and about the nature and affinities of Eumenides (...) in general. I shall begin with some introductory remarks on cults, since not all the information is readily available in reference books, and then discuss the three plays in turn, starting for convenience with theOrestes. (shrink)

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, if anything, may men expect in return from the gods? A. W. H. Adkins has I think demonstrated clearly that in Homer at least the defining barrier between mortal and immortal is one of degree, not kind; the gods are gods not because of moral excellences (...) or all-encompassing wisdom, but simply by virtue of their greater power. This power, and the capacity to defend it, is the essence of their τιμή, which they guard as jealously as any mortal γαθός. What is expected of men, therefore, is a healthy respect for divine τιμή, and an avoidance of any action, however innocent, which might seem to lessen divine status. Thus when Hermes in the first book of the Odyssey tells Aigisthos not to kill Agamemnon or to take his wife, he does so qua god, not moral adviser, and Aigisthos' transgression lies foremost in his rejection of that command. In the same way Hesiod's Prometheus offends against the prerogatives and τιμή of Zeus, and is appropriately punished; that he meant well is irrelevant to Hesiod, nor is there any interest in his rehabilitation. Examples in the lyric poets are by the nature of the genre less abundant, but we may certainly note Stesichoros 223 PMG, where Tyndareos' accidental slight of Aphrodite draws down the anger of the goddess on his daughters. Similar too is the fate of the daughters of Proitos, whose boast in Bakchylides 11 that their father is wealthier than Hera brings about their subsequent madness. (shrink)

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 Bound. The evidence is clearly presented by Becker and shows that there are a large number of echoes, particularly in the Knights and later in the Birds. Of these latter the most interesting occurs at Birds 1547, a line spoken by Prometheus himself, μισ δ' πατντας τω θεō ς (...) ōσθα ς which is certainly meant to parody PV 975, πλΏ λγ τōς πντας χθα ρω θεōς a line also spoken by Prometheus. It makes explicit what is surely implicit in all Aristophanic imitation, that what we have here is not just a play but a particular context that is so well known that the reference is meant to be picked up not just by the fictional ‘you’ to whom it is addressed but by the audience, too; in short we may infer that the line of the Prometheus Bound was already a classic quotation. (shrink)

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 humanity's saviour and Zeus condemned as an oppressive tyrant, but the fate of the maiden Io is largely discounted. Her encounter with Prometheus, however, is the longest and most complex episode in the play, and it provides a very different perspective on events. The elaborate forecast of her journeys delivered by Prometheus (...) deploys the ‘discourse of barbarism’ to picture a primitive world ravaged by savage violence and hostile monsters. The lands through which Io is to travel are devoid of the civil and religious institutions of the classical Greek polis and oikos. Yet the episode also foretells how this barbaric world will evolve under the aegis of Zeus. Argive Io, as ‘wife’ of Zeus, will found a ‘new family’ of mortals who will introduce and champion the norms of Greek civic culture in his and her name alike. Prophecy, allusion and foreshadowing thus reveal the Zeus of this play to be not the harsh and destructive despot imagined by most today, but the benevolent source and ultimate arbiter of justice for both gods and humanity. (shrink)