This week Jeff and Dave wrap up their 3-parter on Aeschylus' famous play. When Io mooves onto the scene, her first impulse is to show compassion for the shackled Promy, even though she herself is writhing in gadfly-induced agony. Why? To seek an answer, we take a long look at the thesis of Stephen White, namely that the play subtly reinforces ancient Greek gender roles: women are to be complaisant and domestic (something Io has transgressed), while men's ingenuity ought not threaten the social order (as Prometheus has done). But is this a persuasive way to look at the plot, or even helpful? What does the play mean, and can Bernad Knox shed any light on that question? Stick around, and we'll get it all sorted.
Ad Navseam Episode 14: Cicero Falls at Formiae - A Date which will Live in Infamy
Ad Navseam Episode 13: Buried in Books - Cicero and Cato in a Tusculan Villa
Ad Navseam Episode 12: Theogony and the Ecstasy - The Archaic Greek Poet Hesiod, Part 2
Ad Navseam Episode 11: Workin' for a Livin' - The Archaic Greek Poet Hesiod, Part 1
Ad Navseam Episode 10: Necropolis Now! The Martyrdom and Tomb of St. Peter
Ad Navseam Episode 9: A Fisherman, a Farmer, and a Shepherd Walk into a Painting… - Ovid and Brueghel’s Fall of Icarus
Ad Navseam Episode 8: Avid for Ovid, or What's Love Got to Do with It?
Ad Navseam Episode 7: Troy, the Movie - More Bods than Gods
Ad Navseam Episode 6: SCHLIEMANN!
Ad Navseam Episode 5: History and the Trojan War
Ad Navseam Episode 4: Homer's Iliad, Part 3
Ad Navseam Episode 3: Homer's Iliad, Part 2
Ad Navseam Episode 2: Homer's Iliad, Part 1
Ad Navseam Episode 1: Classics as a Way of Life
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