In fifth-century Athens, citizens actively participated in the justice system. That was important context for Athenians’ experiences of tragic drama.
The interactions of Prometheus, the Oceanides, and Oceanus in Prometheus Bound should be staged with sensitivity to communicative standpoints.
Io and Inachos, while gods, have quite human characters in Prometheus Bound.
In the ancient world, literary elites disparaged popular, pay-to-hear traveling story-tellers known as rhapsodes and circulatores.
Prometheus’s encounters with Io and the Oceanides includes parody of sensational story-seeking.
In the classical Athenian tragedy Prometheus Bound, the ironsmith Hephaistos addresses Prometheus second-personally as kin and friend.
The young Percy Bysshe Shelley followed John Frank Newton in interpreting Prometheus’s theft of fire as bringing to man the great plague of meat-eating.
Tragedies attributed to Aeschylus were scarcely known in England before Prometheus Bound in 1773 became the first such printed in English translation.
A Greek phrase in a letter from Percy Bysshe Shelley prompted Mary Godwin (later Mary Wollstonecraft Shelley) to make a few days’ effort to learn Greek.
Beatrice’s step-mother Lucretia loves her. Beatrice’s biological father Count Cenci hates her. That relational configuration reverses usual reality.