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The extract from the Literary History, appended to the Life of the poet in the Medicean and many other manuscripts, says that “some of Aeschylus’ plays, as those entitled Prometheus (oi Promêtheis), dealt only with gods.”
Aeschylus, Agamemnon GUARD The gods relieve my watch: that's all I ask. Year-long I've haunched here on this palace roof, year-long been the all-fours watch-dog of the Atreids, learning by rote the slow dance of the stars, spectator of the brilliance in black skies that brings to men their winters and their suns:
The love affairs which Phanocles recounts, being homoerotic, are biologically generative, but inspire poetic creations: Orpheus does not recommend heterosexual (10). Pederasty and heterosexual love are not incompatible in Greek culture, so pointedly antagonistic response to Hesiod.
22 gru 2004 · The Agamemnon is not, like Aeschylus’ Suppliant Women, a statue half-hewn out of the rock. It is a real play, showing clash of character and situation, suspense and movement, psychological depth and subtlety. Yet it still remains something more than a play. Its atmosphere is not quite of this world.
The ancient Greek god Zagreus appears throughout the corpus of Classical literature, yet his importance is seldom acknowledged. This paper brings together the most significant references to him in the literature and tracks the changes and development.
In Greek mythology, Prometheus was a Titan, a descendant of the original gods, Gaia and Ouranos (Earth and Heaven). The Titans were defeated in a battle with Zeus, who fought against his own father, Cronos, imprisoned him deep in the earth, and became the new ruling power in heaven.
In this chapter I examine a poem by Callimachus and its legacy in Graeco-Roman poetry. Callimachus was a prolific Hellenistic author of poetry as well as prose.
