Prometheus is known for his intelligence and as a champion of mankind. The punishment of Prometheus as a Prometheus clay of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art.
Zeusking of the Olympian godssentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eaglethe emblem of Zeus, was sent to feed on his liverwhich would then grow back to be eaten again the next day.
In ancient Greece, the liver was often thought to be the seat of human emotions. In another myth, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion.
Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athenswhere he was linked to Athena and Hephaestusother Greek deities of creative skills and technology.
In the Western classical traditionPrometheus became a figure who represented human Prometheus clay, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelleyfor instance, gave The Modern Prometheus as the subtitle her novel Frankenstein The etymology of the theonym prometheus is debated.
The classical view is that it signifies "forethought," as that of his brother Epimetheus denotes "afterthought". Pramantha was the tool used to create fire. The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachyor the cosmological struggle between the Greek gods and their parents, the Titans. 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 Prometheus clay 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
Prometheus clay to be credited with the creation of humans and all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.
He was a son of the Titan Iapetus by Clymeneone of the Oceanids. He was brother to MenoetiusAtlasand Epimetheus. Hesiod, in Theogonyintroduces Prometheus as a lowly challenger to Zeus 's omniscience and omnipotence. In the trick at Mekone —a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus. He placed two sacrificial offerings before the Olympian: 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 "Prometheus clay." In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus. This further enraged Zeus, who sent the first woman to live with humanity Pandoranot explicitly mentioned. The woman, a "shy maiden", was fashioned by Hephaestus out of clay and Athena helped to adorn her properly — Hesiod writes, "From her is the race of women and female kind: Prometheus is chained to a rock in the Caucasus for eternity, where his liver is eaten daily by an eagle,  only to be regenerated by night, due to his immortality.
The eagle is a symbol of Zeus himself. Years later, Greek hero Heracles Hercules slays the eagle and frees Prometheus from his torment Prometheus clay Hesiod revisits the story of Prometheus and the theft of fire in Works and Days 42— 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 Prometheus clay by ox "Prometheus clay" sturdy mule would run to waste" 44— 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 " After Prometheus steals the fire, Zeus sends Pandora in retaliation.
Despite Prometheus' warning, Epimetheus accepts this "gift" from the gods Pandora carried a jar with her from which were released mischief and sorrow, plague and diseases 94— 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 96— Angelo Casanova,  professor of Greek literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster -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 Enuma Elish.
As an opponent of Zeus he was an analogue of the Titans 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 Karl-Martin Dietzin Hesiod's scriptures, Prometheus represents the "descent of mankind from the communion with the "Prometheus clay" into the present troublesome life. The banishment of the warring Titans by the Olympians to the chthonic depths of Tartarus was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioior, the "subterranean.
They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus. The duality of the gods and of humans standing Prometheus clay 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: In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus 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.
Okellos, in his cosmology, Prometheus clay delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmosand 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 Prometheus clay occupy a middle position in the air, the realm between 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 Prometheus clay and the Near East. The two major authors to have an influence on the development of the myths and legends surrounding Prometheus clay Titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato.
The two wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Prometheus clay tragedy, while for Plato this centered on "Prometheus clay" philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime. Prometheus Boundperhaps the most famous treatment of the myth to be found among the Greek tragediesis traditionally attributed to the 5th-century BCE Greek tragedian Aeschylus.
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 Titanomachysecuring 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 Prometheus clay giving humanity fire, Prometheus claims
Prometheus clay have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for Prometheus clay seems to have been saving them from complete destruction.
In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days wherein Cronus and, later, Zeus created and destroyed five successive races of humanityPrometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him. Moreover, Aeschylus anachronistically and artificially injects Ioanother 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 Themiswho in the play is identified with Gaia Earthof a potential 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, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphorosa lost tragedy by Aeschylus.
Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora 's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope Prometheus clay 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.
For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been Prometheus clay 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
Prometheus clay 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. 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 Prometheus clay levels of causation, the supernatural and the human, are co-existent and simultaneous, two ways of describing the same event. For Prometheus clay 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" [ Karl-Martin Dietz
Prometheus clay that in contrast to Hesiod's, in Aeschylus' oeuvre, Prometheus stands for the "Ascent of humanity
Prometheus clay primitive beginnings to the present level of civilization.
Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Prometheus clay attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth. 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 Prometheus clay Athena and Hephaistos and gives it to mankind. 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.