Kansas University Weekly.
319
Eitgragy.
A Comparison of Aeschylus' "Prometheus Bound" with Shelley's "Prometheus Unbound."
We know upon the testimony of Mrs. Shelley that Shelley while engaged in the composition of "Prometheus Unbound," was a close student of the Greek tragedians and that he was, by the sublime majesty of Aeschylus, "filled with wonder and delight." He read the Greek language with ease and became deeply imbued with the Hellenic spirit as other poems than "Prometheus" attest. The character of the rebellious Titan was especially attractive to Shelley as he was himself a child of the Revolution and was forever "kicking against the goads" of custom and convention. He was pleased to regard Prometheus as a fitting symbol of that revolutionary spirit which he so much desired to see prevail in the world.
In his treatment of the subject Shelley was deeply influenced by Aeschylus, not so much in his thought as in the general literary form and spirit. There is no shadow of plagiarism, but there is visible that unconscious imitation which a great literary genius compels from those who read him. In his preface Shelley duly acknowledges this influence but expressly disclaims either the intention or desire to be Aeschylean in his effort. He intended no restoration of Aeschylus' lost drama "Prometheus Unbound" for, says Shelley,—"I was averse from a catastrophe so feeble as that of reconciling the Champion with the Oppressor of Mankind." Let us without further preface, proceed to the direct comparison of the two dramas, looking at them first from the point of view of literary form and dramatic structure, and afterward from the standpoint of dramatic materials and the moral problem toward the solution of which the action tends.
In both dramas the lyrical element abounds. This feature Shelley makes much more prominent than Aeschylus and the lyrical parts in "Prometheus Unbound" enter more intimately into the
structure of the drama than in "Prometheus Bound". Shelley has done well to call his production a lyrical drama for indeed the lyrics constitute its strongest and most beautiful parts. There is in "Prometheus Unbound" a marvelous variety of verse forms—thirty-six distinct forms in the lyrics alone. It is in this poem that Shelley has demonstrated his right to be considered one of the greatest of English lyrists. In the drama of Aeschylus there is but little variety in the verse. This fact, so far from being a defect is rather a perfection, for we must consider that the chorus in Aeschylus takes no part in the action but is simply a spectator. Its emotions are called forth as the action proceeds upon the stage and inasmuch as all the action is upon the same plane of sentiment, centering about the suffering of Prometheus and the cruelty of Zeus, we can not expect upon the part of the chorus a varied expression of emotion. Hence the verse forms are somewhat monotonous. Aeschylus has in this regard shown artistic genius.
The chorus in Aeschylus' drama is of the regular Greek type and does not depart from its usual functions. In Shelley, on the contrary, the chorus parts are sustained by a great variety of actors. The Oceanides, Panthea and Ione are the principal chorus characters but in addition to these there are choruses of spirits, echoes, fauns and fairies. Moreover, the chorus characters frequently enter into and further the action. They seem to regard themselves as vitally related to the protagonist and to regard their destiny as bound up in his. They are not mere sympathizers nor mediators. They are either his allies or as in the case of the furies, his tormentors. Note how the chorus characters help on the action; Panthea with messages from Prometheus goes in quest of Asia, her sister. She finds her waiting in a beauteous Indian vale and, having delivered the message, Panthea and Asia, together