Linda Moulton-Howe brings forth intriguing testimony from a former military truck driver who witnessed direct energy weapons testing in Somalia. Also audio statements from Ted Connor, a homeland security insider an ancient race of Light Beings from the “Oltissis” civilization – a consciousness that honors all life – from a limited edition book “Ancient Greek Gods and Lore Revisited”; this book on Greek Mythology was subsequently confiscated by Homeland Security in the name of Homeland Security. Why would the gov’t consider a book on Greek myth classified material?!? Linda covers dramatic and compelling information on direct weapons technology, along with information on the deliberate cover-up of devastating Dolphin die-off in Peru in the 10,000’s in Peru linked to acoustical trauma consistent from what appears to be Navy sonar testing, oil company operations or undersea explosions from volcanic seismic activity; although forensic evidence points to the fact internal injuries appear to be consistent with sonar activity from military testing or seismic exploration by oil companies. Also “The Man Who Plants Trees” on the urgent matter of why the oldest “Methuselah” trees and their forests all over the world are in a state of collapse and what you can do to help offset the imbalance. More below Published on Feb 16, 2013. Investigative reporter Linda Moulton Howe discussed ET artifacts & dragonfly drone technology, a dolphin die-off in Peru, and the crisis of trees dying all over the planet.
In March 2012, she learned from “Ted Connors,” (a Homeland Security subcontractor in Montgomery, Alabama who witnessed a dragonfly-shaped drone in 2007– see previous recap) that a new subatomic science called Attotechnology had been linked to the Palo Alto CARET project’s back-engineering of ET technologies. Over two segments, she interviewed “Sam Jones” who served in the U.S. Army in Mogadishu, Somalia, in 1993-1994, and was witness to an astonishing weapon test that was described as “Atto.” Jones described a kind of directed energy weapon that could blow a hole in cement from 10 miles away, and was said to be capable of shooting a target “through the Earth.” She also played an audio statement from Connors, who’d been visited by NSA and Homeland Security, over his interest in an obscure book that mentioned “Oltissis.” He believes the govt. Agents are concerned because the “Oltissians” may plan to return to our planet.
Since January 2012 and ongoing into May, an estimated 1,000 to 3,000 dolphins and some porpoises have washed up dead on beaches off of Peru, for 100 miles. Linda spoke with dolphin documentary filmmaker, and director of BlueVoice.org, Hardy Jones, who learned that there is forensic evidence that the inner ear bones of the dolphins and porpoises have been broken. That means acoustical shock from loud explosive sounds under the water. Further, the internal organs show bleeding and other signs of too-rapid-rise to the surface, indicating that the air-breathing marine mammals panicked deep down and rushed to the surface for air, causing damage to their lungs and internal organs.
While the deaths may be associated with seismic exploration done by oil companies, the Peruvian government has been reluctant to name or investigate oil and gas, fishing, military or other commercial interests that might be responsible. In her last report, she interviewed Jim Robbins, author of The Man Who Planted Trees, which chronicles the efforts of Michigan tree farmer David Milarch, who has used tissue culture and grafting, cloning 52 of 827 living giant trees with the idea those trees were tough enough to survive centuries of different climates and a variety of disease and insect attacks. From Canada to Colorado, trees in the high country have been dying out at an ever-increasing rate.
Robbins suggested that a hotter, drier climate in the area had increased insect populations that were damaging or killing old trees. Biography: Linda Moulton Howe is a graduate of Stanford University with a Masters Degree in Communication. She has devoted her documentary film, television, radio, writing and reporting career to productions concerning science, medicine and the environment. Howe has received local, national and international awards, including three regional Emmys, a national Emmy nomination and a Station Peabody award for medical programming.
Linda’s documentaries have included A Strange Harvest and Strange Harvests 1993, which explored the worldwide animal mutilation mystery. Another film, A Prairie Dawn, focused on astronaut training in Denver.
She has also produced documentaries in Ethiopia and Mexico for UNICEF about child survival efforts and for Turner Broadcasting in Atlanta about environmental challenges. In addition to television, Linda produces, reports and edits the award-winning science, environment and earth mysteries news website, Earthfiles.com. In 2003, Earthfiles received an Award for Standard of Excellence presented by the Internet’s WebAward Association. Earthfiles also received the 2001 Encyclopaedia Britannica Award for Journalistic Excellence. Linda also reports science, environment and earth mysteries news for Clear Channel’s Premiere Radio Networks and Unknowncountry.com. In 2005, she traveled to Amsterdam, Hawaii, and several other U.
Conferences to speak about her investigative journalism. In 2004, Linda was on-camera TV reporter for The History Channel’s documentary investigation of an unusual August 2004 cow death in Farnam, Nebraska. In November 2009, Linda was videotaped in Roswell, New Mexico, to provide document research background for a 1940s American policy of denial in the interest of national security about spacecraft and non-human body retrievals for a 2010 History Channel TV series, Ancient Aliens. In 2010, Linda was honored with the 2010 Courage In Journalism Award at the National Press Club in Washington, D. C., by the Paradigm Research Group’s X Conference. She has traveled in Venezuela, Peru, Brazil, England, Norway, France, Switzerland, The Netherlands, Yugoslavia, Turkey, Ethiopia, Kenya, Egypt, Australia, Japan, Canada, Mexico, the Yucatan and Puerto Rico for research and productions.
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There are conflicting stories about the beginnings of human life in Greek mythology. The 8th century BCE Greek poet is credited with writing (or writing down) the creation story called the.
This tale describes how humans fell getting further and further away from an ideal state (like paradise) and closer and closer to the toil and trouble of the world we live in. Mankind was created and destroyed repeatedly in mythological time, perhaps in an effort to get things right—at least for creator gods who were dissatisfied with their almost godlike, almost immortal human descendants, who had no reason to worship the gods.
Prometheus depicted in a sculpture by, 1762 In, Prometheus (;: Προμηθεύς, pronounced, meaning 'forethought') is a, and figure who is credited with the, and who defies the gods by, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind. The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art., king of the, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an, the emblem of Zeus, was sent to feed on his, which would then grow back overnight to be eaten again the next day. (In ancient Greece, the liver was often thought to be the seat of human emotions.) In some stories, Prometheus is freed at last by the. In another of his myths, Prometheus establishes the form of practiced in. Evidence of a to Prometheus himself is not widespread.
He was a focus of religious activity mainly at, where he was linked to and, other Greek deities of creative skills and technology. In the, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching. In particular, he was regarded in the as embodying the lone genius whose efforts to improve human existence could also result in tragedy:, for instance, gave The Modern Prometheus as the subtitle to her novel (1818). Contents. Etymology The etymology of the theonym prometheus is debated.
The classical view is that it signifies 'forethought,' as that of his brother denotes 'afterthought'. It has been theorized that it derives from the that also produces the pra math, 'to steal,' hence pramathyu-s, 'thief', with 'Prometheus', the thief of fire. The of fire's theft by is an analog to the Greek account. Pramantha was the tool used to create fire. Myths and legends Oldest legends The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the, or the cosmological struggle between the Greek gods and their parents, the Titans. Prometheus, himself a Titan, managed to avoid being in the direct confrontational cosmic battle between Zeus and the other against and the other Titans.
Prometheus therefore survived the struggle in which the offending Titans were eternally banished by Zeus to the chthonic depths of, only to survive to confront Zeus on his own terms in subsequent climactic struggles. The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras. Hesiod's Theogony and Works of the Days Theogony The Prometheus myth first appeared in the late 8th-century BCE epic poet 's. He was a son of the by, one of the.
He was brother to, and. Hesiod, in Theogony, introduces Prometheus as a lowly challenger to 's omniscience and omnipotence. In the , a sacrificial meal marking the 'settling of accounts' between mortals and immortals, Prometheus played a trick against Zeus.
He placed two offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in 'glistening fat' (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices.
Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus. Prometheus, however, stole fire back in a and restored it to humanity. This further enraged Zeus, who sent the first woman to live with humanity (, not explicitly mentioned). The woman, a 'shy maiden', was fashioned by out of clay and Athena helped to adorn her properly. Hesiod writes, 'From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no in hateful poverty, but only in wealth'.
Prometheus Brings Fire. Prometheus brings fire to mankind as told by Hesiod, with its having been hidden as revenge for the trick at Mecone. Prometheus is chained to a rock in the for eternity, where his liver is eaten daily by an eagle, only to be by night, due to his immortality. The eagle is a symbol of Zeus himself. Years later, the Greek hero slays the eagle and frees Prometheus from his torment. Works and Days Hesiod revisits the story of Prometheus and the theft of fire in. In it the poet expands upon Zeus's reaction to Prometheus's deception.
Not only does Zeus withhold fire from humanity, but 'the means of life' as well. Had Prometheus not provoked Zeus's wrath, 'you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste'. Hesiod also adds more information to Theogony's story of the first woman, a maiden crafted from earth and water by Hephaestus now explicitly called Pandora (' all gifts').
Zeus in this case gets the help of Athena, Aphrodite, Hermes, the and the. After Prometheus steals the fire, Zeus sends Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepts this 'gift' from the gods. From which were released mischief and sorrow, plague and diseases. Pandora shuts the lid of the jar too late to contain all the evil plights that escaped but Hope is left trapped in the jar because Zeus forces Pandora to seal it up before Hope can escape. Interpretation Angelo Casanova, professor of Greek literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic -figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in. As an opponent of Zeus he was an analogue of the and, like them, was punished.
As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated is interpreted by Casanova as a post-Hesiodic interpolation. According to the German classicist, in Hesiod's scriptures, Prometheus represents the 'descent of mankind from the communion with the gods into the present troublesome life.'
Homer and the Homeric Hymns The banishment of the warring Titans by the Olympians to the chthonic depths of was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the 'subterranean.' The passages appear in the Iliad (XIV 279) and also in the Homeric hymn to Apollo (335). The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633–34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome.
This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, 'Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus.'
In a similar fashion, the origin of the naming of the Titans as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert) and titis, (retribution) usually rendered as 'retribution meted out to the exertion of the Titans.' Prometheus was not one of the Titans warring with Zeus, but his association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and the Olympian gods. Pindar and the Nemean Odes The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar.
In the sixth Nemean Ode, Pindar states: 'There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered power/holds us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever.' Although this duality is strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) 'how the gods and mortal men sprang from one source.' The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans. Pythagoras and the Pythagorean Doctrine In order to understand the Prometheus myth in its most general context, the Late Roman author states in his book titled De die natali that, 'Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal.' By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania.
Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having 'two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons – not evil spirits but beings intermediate between God and man – occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East.'
Sage Of Ancient Lore
Athenian tradition The two major authors to have an influence on the development of the myths and legends surrounding the Titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime. Aeschylus and the ancient literary tradition , perhaps the most famous treatment of the myth to be found among the, is traditionally attributed to the 5th-century BCE Greek tragedian. At the center of the drama are the results of Prometheus' theft of fire and his current punishment. The playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition. Before his theft of fire, Prometheus played a decisive role in the, securing victory for Zeus and the other Olympians.
Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humanity fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humanity seems to have been saving them from complete destruction.
In an apparent twist on the myth of the so-called Five found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him. Heracles freeing Prometheus from his torment by the eagle ( cup, c. 500 BCE) Moreover, Aeschylus anachronistically and artificially injects, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story.
Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother, who in the play is identified with (Earth), of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play,. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, or Prometheus Pyrphoros, a lost tragedy by Aeschylus.
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Prometheus Bound also includes two mythic innovations of omission. The first is the absence of 's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): 'Prometheus caused blind hopes to live in the hearts of men.' Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.
The four tragedies of Prometheus attributed to Aeschylus, most of which are lost to the passages of time into antiquity, are Prometheus Bound ( Prometheus Desmotes), Prometheus Unbound ( Lyomenos), Prometheus the Fire Bringer ( Pyrphoros), and Prometheus the Fire Kindler ( Pyrkaeus). The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch. Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition. Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.
As Bloom states, 'Much critical attention has been paid to the question of theodicy in Aeschylus. 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 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.' Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: 'The text defines their being. 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'. 'I sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex.' 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.' Plato and philosophy 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. Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus. 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 and Hephaistos and gives it to mankind.' Raggio then goes on to point out Plato's distinction of creative power ( techne) which is presented as superior to merely natural instincts ( physis). 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.'
The ancients by way of Plato believed that the name Prometheus derived from the Greek pro- (before) + manthano (intelligence) and the - eus, thus meaning 'Forethinker'. In his dialogue titled Protagoras, contrasts Prometheus with his dull-witted brother, 'Afterthinker'. In Plato's dialogue, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.
Athenian religious dedication and observance 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 and seems to have been limited. Writing in the 2nd century AD, the satirist points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen. Heracles freeing Prometheus, relief from the Temple of Aphrodite at Athens was the exception.
The altar of Prometheus in the grove of the was the point of origin for several significant processions and other events regularly observed on the. For the, 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, the district inhabited by and other artisans who regarded Prometheus and Hephaestus as patrons. The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the to conclude the festival. These footraces took the form of in which teams of runners passed off a flaming torch.
According to (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 also in honor of Hephaestus and Athena.
Prometheus' association with fire is the key to his religious significance and to the alignment with Athena and Hephaestus that was specific to Athens and its 'unique degree of cultic emphasis' on honoring technology. The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.
Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both and claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of had a cult statue that was supposed to honor Prometheus for having created the human race there. Aesthetic tradition in Athenian art 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. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian of the 5th century BCE. 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. In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus-inspired manner of influence, again with an eagle and with Hercules approaching from the side.
Other authors. Prometheus watches Athena endow his creation with reason (painting by, 1877) Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BCE (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., and was the central role of Prometheus in the creation of the human race.
According to these sources, Prometheus fashioned humans out of clay. Although perhaps made explicit in the Prometheia, later authors such as, the, and would confirm that Prometheus warned Zeus not to marry the sea nymph.
She is consequently married off to the mortal, and bears him a son greater than the father –, Greek hero of the. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur as the one who would take on Prometheus' suffering and die in his place.
Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of, thus explaining how the goddess sprang forth from the forehead of Zeus. Other minor details attached to the myth include: the duration of Prometheus' torment; the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, (found in Ovid and ); and Prometheus' marginal role in the myth of and the (found in Apollonius of Rhodes and ). 'Variants of legends containing the Prometheus motif are widespread in the ' region, reports Hunt, who gave 10 stories related to Prometheus from ethno-linguistic groups in the region., an evil figure in, also ends up eternally chained on a mountainside – though the rest of his career is dissimilar to that of Prometheus. Late Roman antiquity The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world (see, 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, '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.' This Neoplatonism of late Roman antiquity was especially stressed by Tertullian who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus. 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 as well, and in an even more direct comparison to what Raggio refers to as 'a coursely carved relief from Campli (Teramo) (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus.' Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus. In mythology, 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. This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler. 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. Moyers asked Campbell the question in the following words, 'In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves.' To which Campbell's well-known response was that, 'But in doing that, you save the world.
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.
No, no! 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.' For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus. 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. For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, 'Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven.' This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods. It remains a continuing debate among scholars of comparative religion and the literary reception 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, 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. Writing in of the fourth and fifth century, the Latin commentator Marcus Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of, the Latin equivalent of Greek promētheia ( ἀπὸ τής πρόμηθείας).
Anecdotally, the Roman (c.15BCE – c.50CE) attributes to a simple for, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia. Middle Ages Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by, 'The text of Fulgentius, as well as that of (Marcus) Servius. are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus.
Both were used for the more lengthy and elaborate compendium by the English scholar (1157–1217), the Scintillarium Poetarum, or Poetarius.' The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the of. 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.' With this, Boccaccio shows himself moving from the medieval sources with a shift of accent towards the attitude of the Renaissance humanists.
Using a similar interpretation to that of Boccaccio, in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of. In his book written in 1476–77 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 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. that the soul feels as if fastened by chains and. only death can release her bonds and carry her to the source of all knowledge.' This somberness of attitude in Ficino's text would be further developed later by ' Liber de Sapiente of 1509 which presented a mix of both scholastic and ideas. Renaissance. Mythological narrative of Prometheus by (1515) 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 from about 1510 presently on display at the museums of Munich and Strasburg (see Inset).
Raggio summarizes the Munich version 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.' All the details are evidently borrowed from 's Genealogiae. The same reference to the Genealogiae can be cited as the source for the drawing by presently located in the Pierpont Morgan Library in New York City. In the drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. 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.
Post-Renaissance. See also: The myth of Prometheus has been a favorite theme of and literature in the post- and post- tradition and, occasionally, in works produced outside the. Post-Renaissance literary arts For the, 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, the of 's, and the divinely inspired poet or artist. Prometheus is the lyrical 'I' who speaks in 's poem (written c.
1772–74, published 1789), addressing God (as Zeus) in accusation and defiance. In (1820), a four-act lyrical drama, 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. '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. 's 1818 novel is subtitled 'The Modern Prometheus', in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge. Goethe's poems. Spoken (in German) (2:06 minutes, 1 ) Problems playing this file? Is a poem by, in which a character based on the mythic Prometheus addresses God (as ) in a romantic and tone of accusation and defiance. The poem was written between 1772 and 1774.
It was first published fifteen years later in 1789. 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 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. It is immediately followed by, and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) 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., by direct contrast, is the boyish self who is both adored and seduced by God.
As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition. The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase ' Da ich ein Kind war.' ('When I was a child'): the use of Da is distinctive, and with it Goethe directly applies the translation of 's,: ' Da ich ein Kind war, da redete ich wie ein Kind.' ('When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things'). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.
In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version. As Kerenyi states, 'Goethe's Prometheus had Zeus for father and a goddess for mother.
With this change from the traditional lineage the poet distinguished his hero from the race of the Titans.' For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.
Ancient Greek Gods And Lore Revisited Pdf
Percy Bysshe Shelley published his four-act lyrical drama titled in 1820. His version was written in response to the version of myth as presented by Aeschylus and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available. The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry 'culminates in 'Prometheus'.
The poem provides a complete statement of Shelley's vision.' Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959. Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, 'Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved.' Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of 'common sense', (ii) The Christian orthodox, (iii) The school of 'wit', (iv) Moralists, of most varieties, (v) The school of 'classic' form, and (vi) The Precisionists, or concretists. Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation.
Ancient Greek Gods And Romans
This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth. To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion. For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism. Frankenstein; or, the Modern Prometheus , written by Mary Shelley when she was 18, was published in 1818, two years before Percy Shelley's above mentioned play. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the Titans, transferred and made contemporary by Shelley for British audiences of her time.
The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with to later versions featuring. Twentieth century.
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