In the Aeschylean Prometheus Bound the problem of the stage action is one of the most important ones. Prometheus' obligatory total passivity from the very beginning requires a closer examination of the drama's structure. Instead of concrete physical movements there are ideological questions put forward: what is the meaning of opposition-revolution against the absolute power? What can be our relation like with the opposite positions (Prometheus + Zeus)? Examining these questions the reader gets knowledge of each characters' answers to the main conflict: how to define our place in a given + divine or human + order? In this respect the role of the Prometheus Bound' Chorus is surprising, even exceptional in the history of Greek tragedy.
Avery, Harry C.: Dramatic Devices in Aeschylus Persians. AJPh85 (1964) 173-184.
Avery, Harry C.: Dramatic Devices in Aeschylus Persians. AJPh85 (1964) 173-184.)| false