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24 results

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  • 11 - Space, Place and the Metallurgical Imagination of the Prometheus Trilogy

  • from Part III - Plays
  • Edited by David Braund, University of Exeter, Edith Hall, King's College London, Rosie Wyles, University of Kent, Canterbury
  • Book:
    Ancient Theatre and Performance Culture Around the Black Sea
    Published online:
    12 November 2019
    Print publication:
    28 November 2019, pp 225-251

  • Summary

    This chapter takes as its springboard the cognitive stimuli of the Prometheus opening scene, both the visual and aural experience of metal pounding on metal and the heavily symbolic space of Prometheus’ shackling, and explores their meaning more widely in relation to each other, to the entire play and to the trilogy as a whole. It examines the possibility that the evocation of metalworking through sight and sound and the choice of spaces in the Prometheus Bound and in its trilogy are suggestive of the importance of metallurgy and metalworking in the Athenian imagination in relation to the areas surrounding the Black Sea. As will be argued, the Black Sea was perceived by the Greeks as an area rich in mineral ores and even richer in the knowledge of the wondrous art of metallurgy. In light of the deep symbolism that the collective imagination had attached to metallurgy for millennia, and especially to the significance of metal in the creation of the order of the cosmos, the choice of spectacle and spaces in the Prometheus trilogy offers further evidence of the way the Black Sea was imagined by fifth-century Greeks. This, in turn, may contribute to better understandings of the play’s meaning and, possibly, to the lost trilogy’s meaning as a whole.

  • INTERIORITY, THE ‘DEEP EARTH’ AND THE SPATIAL SYMBOLISM OF DARIUS' APPARITION IN THE PERSIANS OF AESCHYLUS

  • Emmanuela Bakola
  • Journal:
    The Cambridge Classical Journal / Volume 60 / 30 April 2014
    Published online by Cambridge University Press:
    19 August 2014, pp. 1-36
    Print publication:
    30 April 2014

  • This article demonstrates that the spatial category of depth is crucial for understanding Aeschylus' Persians. Underground spaces are often symbolically represented in Greek drama not only on a vertical axis but also by the interior of the stage-building (skene). By investigating the connections between ‘interiority’ and ‘depth’, this article argues that the most economical and effective reconstruction of Darius' apparition is to suppose that he emerged from the interior of the skene, whose existence at this date is often disputed. The article furthermore analyses the multifaceted concept of the earth in the Persians, to suggest new ways in which underground, ground and interior spaces can be connected holistically to other spatial and natural imagery.

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