Greek drama (Tragedy) -- History and criticism; Mythology, Greek, in literature
Concerning the date, we know that the play was written after 475 B.C.,
the year in which occurred that eruption of Etna described by Prometheus
(vv. 363-72). Further, it is usually regarded as later than the _Seven_
owing to the increased preponderance of dialogue over lyrics. Also, the
supposition that three actors are required has led some scholars to
believe that the _Prometheus_ belongs to the period when Sophocles had
introduced a third actor, and so to place it in the last part of the
poet’s life.[226] The static nature of the drama might seem to forbid
such a view, but possibly it formed the centre of the trilogy, the most
likely place for an equilibrium of the tragic forces. And the theological
basis of the whole series is so profound, that an approximation in
date to the _Oresteia_ is not unreasonable. On the whole, then, the
_Prometheus_ may be conjecturally assigned to about the year 465 B.C.
As for the division of the parts among the actors, we find in the opening
scene three[227] persons engaged, Prometheus, Hephæstus, and Cratos
(“Strength”). Prometheus, however, does not utter a word until his
tormentors have retired, and it has been held that only two actors are
needed here (as in the rest of the work). On this view, Prometheus would
be represented by a lay-figure, either Hephæstus or Cratos would return
unseen, delivering the later speeches of Prometheus from behind the
figure, through a mouth-piece in the head. But as there was no curtain
in the theatre, it would be necessary for the executioners to carry the
lay-figure forth in view of the audience before the action began. The
true objection to this is not its absurdity; an audience will tolerate
much awkwardness in stage-management, if only it is accustomed to such
conventions. But it would scarcely have harmed the play if the poet had
dispensed with Cratos; the actor thus disengaged could have impersonated
Prometheus from the beginning. That Æschylus saw this possibility
cannot be doubted; therefore he did not feel bound to use a lay-figure;
therefore he did not, and we must assume that he employed three actors.
Public-domain text, read in full here on John Shaqi.
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