what was the name of the first battleship commissioned by the united states government

The United States Navy began the construction of battleships with USS Texas in 1892, but the first battleship under that designation would be USS Indiana. Texas and USS Maine,[a] commissioned three years later, were part of the New Navy program of the late 19th century, a proposal by then Secretary of the Navy William H. Hunt to match Europe's navies that ignited a years-long debate that was suddenly settled in Hunt's favor when the Brazilian Empire commissioned the battleship Riachuelo.[1][2][3][4] In 1890, Alfred Thayer Mahan's book The Influence of Sea Power upon History was published and significantly influenced future naval policy - as an indirect of its influence on Secretary Benjamin F. Tracy, the Navy Act of June 30, 1890 [5] authorized the construction of "three sea-going, coast-line battle ships" which became the Indiana-class. The Navy Act of July 19, 1892 authorized construction of a fourth "sea-going, coast-line battle ship", which became USS Iowa.[6] Despite much later claims that these were to be purely defensive and were authorized as "coastal defense ships", they were almost immediately used for offensive operations in the Spanish American War.[7][8] By the start of the 20th century, the United States Navy had in service or under construction the three Illinois-class and two Kearsarge-class battleships, making the United States the world's 5th strongest power at sea from a nation that had been 12th in 1870.[9]

List of battleships of the United States Navy

Except for Kearsarge, named by an act of Congress, all U.S. Navy battleships have been named for states, and each of the 48 contiguous states has had at least one battleship named for it except Montana; two battleships were authorized to be named Montana but both were cancelled before construction started. Alaska and Hawaii did not become states until 1959, after the end of battleship building, but the battlecruiser, or "Large Cruiser," USS Alaska was built during World War II and her sister, USS Hawaii, was begun but never completed. The pre-dreadnoughts USS Zrinyi (formerly the Austrian SMS Zrínyi), USS Radetzky (formerly the Austrian SMS Radetzky), and USS Ostfriesland (formerly the German SMS Ostfriesland), taken as prizes of war after World War I, were commissioned in the US Navy, but were not assigned hull classification symbols.

No American battleship has ever been lost at sea, though four were sunk during the attack on Pearl Harbor. Of these, only USS Arizona (BB-39) and USS Oklahoma (BB-37) were permanently destroyed as a result of enemy action. Several other battleships have been sunk as targets, and USS Utah (BB-31), demilitarized and converted into a target and training ship, was permanently destroyed at Pearl Harbor. The hulk of Oklahoma was salvaged and was lost at sea while being towed to the mainland for scrapping. Two American-built pre-dreadnought battleships, USS Mississippi (BB-23) and her sister USS Idaho (BB-24), were sunk in 1941 by German bombers during their WWII invasion of Greece. The ships had been sold to Greece in 1914, becoming Kilkis and Lemnos respectively.

Maine and Texas were part of the "New Navy" program of the 1880s. They, and BB-1 to BB-4 were authorized as "coast defense battleships". The next group, BB-5 Kearsarge through BB-25 New Hampshire, followed general global pre-dreadnought design characteristics and entered service between 1900 and 1909. The definitive American predreadnought was the penultimate class of the type, the Connecticut-class, sporting the usual four-gun array of 12" weapons, a very heavy intermediate and secondary battery, and a moderate tertiary battery. They were good sea boats and heavily armed and armored for their type. The final American pre-dreadnought class, the Mississippi-class second-class battleships, were a poorly thought out experiment in increasing numbers regardless of quality, and the USN quickly wished to replace them, doing so in 1914, selling them to Greece to pay for a new super-dreadnought USS Idaho (BB-42).

The dreadnoughts, BB-26 South Carolina through BB-35 Texas, commissioned between 1910 and 1914, uniformly possessed twin turrets, introduced the superimposed turret arrangement that would later become standard on all battleships, and had relatively heavy armor and moderate speed (19–21 knots). Five of the ten ships favored the more mature vertical triple expansion (VTE) propulsion over fuel-inefficient but faster direct-drive turbines. The ships possessed 8 (South Carolina-class), 10 (Delaware and Florida) or 12 (Wyoming-class) 12" guns, or 10 (New York-class) 14" guns. The dreadnoughts gave good service, the last two classes surviving through World War II before being scrapped. However, they had some faults that were never worked out, and the midships turrets in the ten and twelve-gun ships were located near boilers and high-pressure steam lines, a factor that made refrigeration very difficult and problematic in hot climates. One of their number, Texas (BB-35), is the last remaining American battleship of the pre–World War II era and the only remaining dreadnought in the world.

Next came the twelve Standards, beginning with BB-36 Nevada. The last ship commissioned was BB-48 West Virginia (BB-49 through 54 were also Standards, but were never commissioned, and scrapped under the Washington Naval Treaty), commissioned over the period 1914 to 1920. Oklahoma (BB-37) was the last American battleship commissioned with triple expansion machinery; all the other Standards used either geared steam turbines (Nevada, the Pennsylvania-class, Idaho and Mississippi) or turbo-electric propulsion (New Mexico, Tennessee through West Virginia). The Standards were a group of ships with four turrets, oil fuel, a 21-knot top speed, a 700-yard tactical diameter at top speed, and heavy armor distributed on the "All or Nothing" principle. Armament was fairly consistent, starting with ten 14" guns in the Nevada-class, twelve in the Pennsylvania, New Mexico and Tennessee classes, and eight 16" guns in the Colorado-class.

After the 1930s "builders holiday," the USN commissioned ten more battleships of an entirely new style, the so-called fast battleship. These ships began with BB-55 North Carolina and the last ship laid down was BB-66 Kentucky (the last completed ship was BB-64 Wisconsin). These ships were a nearly clean break from previous American design practices. All ten ships were built to a Panamax design (technically post-Panamax, as they exceeded normal Panamax beam by two feet, but they were still able to transit the canal). They were fast battleships, and could travel with the aircraft carriers at cruising speed (their speed was not intended for that role, but rather so they could run down and destroy enemy battlecruisers). They possessed almost completely homogeneous main armament (nine 16" guns in each ship, the sole difference being an increase in length from 45 to 50 calibers with the Iowa-class vessels), very high speed relative to other American designs (28 knots in the North Carolina and South Dakota classes, 33 in the Iowa-class), and moderate armor. The North Carolina-class was of particular concern, as their protection was rated as only "adequate" against the 16" superheavy weapon. They had been designed with, and armored against, a battery of three quadruple 14" guns, then changed to triple 16" guns after the escalator clause in the Second London Naval Treaty had been triggered. Secondary in these ships was almost homogeneous as well: Except for South Dakota, configured as a flagship, the other nine ships of this group sported a uniform 20-gun 5" secondary battery (South Dakota deleted two 5" mounts to make room for flag facilities). Visually, the World War II ships are distinguished by their triple-turret arrangement and the massive columnar mast that dominates their superstructure. The last ship, Wisconsin (BB-64), commissioned in 1944 (Wisconsin was approved last; however, Missouri (BB-63) was commissioned 3 months later, due to delays from additional aircraft carrier construction). Missouri (BB-63), famous for being the ship on which the Japanese instrument of surrender was signed, was the last battleship in the world to be decommissioned on 31 March 1992. Seven of these ten ships are still in existence. South Dakota, Washington and Indiana were scrapped, but the remainder are now museum ships. There was intended to be another class of five of these ships, the Montana-class (BB-67 Montana through BB-71 Louisiana), but they were cancelled before being laid down in favor of a greater number of aircraft carriers. The Montana-class ships would have been built to a 60,000-ton post-Panamax design, and carried a greater number of guns (12x 16") and heavier armor than the other ships; otherwise they would have been homogeneous with the rest of the World War II battleships.

In October 2006, the last battleships, (USSÂ Iowa and USS Wisconsin), were stricken from the Naval Registry.

The acquisition of modern, European-built warships by Argentina, Brazil, and Chile had alarmed the United States, but the straw that broke the camel's back was Brazil's commissioning of the battleship Riachuelo, which suddenly made the Brazilian Navy the strongest in the Americas. Congressman Hilary A. Herbert, chairman of the House Naval Affairs Committee, said of the situation, "if all this old navy of ours were drawn up in battle array in mid-ocean and confronted by the Riachuelo it is doubtful whether a single vessel bearing the American flag would get into port." Facing the possibility of enemy ironclads operating in American coastal waters, the Naval Consulting Board began planning a pair of ironclads of their own, which would be able to use all major American naval bases and have a minimum speed of 17 knots (31 km/h; 20 mph). The first of these two would be USS Texas, 308 feet 10 inches (94.1 m) long, sporting an armor belt 12 inches (305 mm) thick, displacing 6,316 long tons (6,417 t), sailing at a top speed of 17.8 knots (33.0 km/h; 20.5 mph), and armed with two 12 in (305 mm) 35 caliber and six 6 in (152 mm) 30 caliber guns.[10]

Texas was authorized by Congress on 3 August 1886, but construction lagged until she was laid down on 1 June 1889. She was launched in the presence of the granddaughter of Sam Houston on 28 June 1892, and commissioned on 15 August 1895.[11] Texas's early service revealed a number of structural issues, which was addressed via some reinforcement of various parts of the ship,[12] and she ran aground near Newport, Rhode Island in September 1896.[13]This in turn revealed even more faults with Texas, as massive flooding easily disabled her in the shallow waters where she ran aground.[14] After repairs, she joined the North Atlantic Squadron, briefly leaving for a Gulf Coast visit to Galveston and New Orleans that saw her beached on a mud bank off Galveston, an event whose aftermath gave Texas her nickname, "Old Hoodoo."[15][16] After repairs, she returned to the North Atlantic Squadron and her patrols of the Eastern Seaboard. In the Spring of 1898, Texas's near-sister ship USS Maine (ACR-1) (the other of the two original coastal defense ships) was destroyed by an internal explosion in Havana's harbor, and the United States went to war with the Spanish Empire. An American fleet including Texas was ready and waiting at Key West, and was part of the Flying Squadron in its engagements with Spanish fortifications on the Cuban coast. She saw real surface fleet combat on 3 July at the Battle of Santiago de Cuba alongside USS Iowa, USS Gloucester, and USS Indiana against the fleet of Pascual Cervera y Topete as it tried to escape the American fleet and emerged with only light damage.[11][17] After the war, Texas was decommissioned and refitted on two occasions before finally be declared obsolete in 1911 and permanently decommissioned and converted into a target ship in the same year.[18][19] On 15 February 1911, Texas was christen San Marcos to free the name up for the dreadnought USS Texas (BB-35),[11] and was then sunk in the waters of Tangier Sound by USS New Hampshire's guns. The remains of the San Marcos continued to be used for gunnery practice after her sinking until January 1959,[20] when vast quantities of explosives were used to bury her remains.[21]


who averaged the most home runs per season

Babe Ruth was the first batter to average fewer than nine at-bats per home run over a season, hitting his 54 home runs of the 1920 season in 457 at-bats; an average of 8.463.  Seventy-eight years later, Mark McGwire became the first batter to average fewer than eight AB/HR, hitting his 70 home runs of the 1998 season in 509 at-bats (an average of 7.2714).  In 2001, Barry Bonds became the first batter to average fewer than seven AB/HR, setting the Major League record by hitting his 73 home runs of the 2001 season in 476 at-bats for an average of 6.5205.

At bats per home run

In baseball statistics, at bats per home run (AB/HR) is a way to measure how frequently a batter hits a home run. It is determined by dividing the number of at bats by the number of home runs hit.  Mark McGwire possesses the MLB record for this statistic with a career ratio of 10.61 at bats per home run and Babe Ruth is second, with 11.76 at bats per home run. Kyle Schwarber has the best current career ratio with 13.82 at bats per home run. Giancarlo Stanton, with 14.33 at bats per home run, was the previous leader among active players.[1]

Totals are current through the end of the 2016 season, minimum 3000 plate appearances.[1]

Single-season statistics are current through the end of the 2013 season. Active players in bold.[2]

Ruth, McGwire and Bonds are the only batters in history to average nine or fewer AB/HR over a season, having done so nine times:


name of bird that ate prometheus's liver

The punishment of Prometheus as a consequence of the theft is a major theme of his mythology, and is a popular subject of both ancient and modern art. Zeus, king of the Olympian gods, sentenced the Titan to eternal torment for his transgression. The immortal Prometheus was bound to a rock, where each day an eagle, the emblem of Zeus, was sent to feed on his liver, which would then grow back overnight to be eaten again the next day. (In ancient Greece, the liver was often thought to be the seat of human emotions).[3] In some stories, Prometheus is freed at last by the hero Heracles (Hercules).

Prometheus

In Greek mythology, Prometheus (/prəˈmiːθiːəs/; Greek: Προμηθεύς, pronounced [promɛːtʰeús], meaning "forethought")[1] is a Titan, culture hero, and trickster figure who is credited with the creation of man from clay, and who defies the gods by stealing fire and giving it to humanity, an act that enabled progress and civilization. Prometheus is known for his intelligence and as a champion of mankind.[2]

In another of his myths, Prometheus establishes the form of animal sacrifice practiced in ancient Greek religion. Evidence of a cult to Prometheus himself is not widespread. He was a focus of religious activity mainly at Athens, where he was linked to Athena and Hephaestus, other Greek deities of creative skills and technology.[4]

In the Western classical tradition, Prometheus became a figure who represented human striving, particularly the quest for scientific knowledge, and the risk of overreaching or unintended consequences. In particular, he was regarded in the Romantic era as embodying the lone genius whose efforts to improve human existence could also result in tragedy: Mary Shelley, for instance, gave The Modern Prometheus as the subtitle to her novel Frankenstein (1818).

The etymology of the theonym prometheus is debated. The classical view is that it signifies "forethought," as that of his brother Epimetheus denotes "afterthought".[5] It has been theorized that it derives from the Proto-Indo-European root that also produces the Vedic pra math, "to steal," hence pramathyu-s, "thief", cognate with "Prometheus", the thief of fire. The Vedic myth of fire's theft by Mātariśvan is an analog to the Greek account. Pramantha was the tool used to create fire.[6]

The four most ancient sources for understanding the origin of the Prometheus myths and legends all rely on the images represented in the Titanomachy, or the cosmological struggle between the Greek gods and their parents, the Titans.[7] Prometheus, himself a Titan, managed to avoid being in the direct confrontational cosmic battle between Zeus and the other Olympians against Cronus and the other Titans.[8] Prometheus therefore survived the struggle in which the offending Titans were eternally banished by Zeus to the chthonic depths of Tartarus, only to survive to confront Zeus on his own terms in subsequent climactic struggles.

The greater Titanomachia depicts an overarching metaphor of the struggle between generations, between parents and their children, symbolic of the generation of parents needing to eventually give ground to the growing needs, vitality, and responsibilities of the new generation for the perpetuation of society and survival interests of the human race as a whole. Prometheus and his struggle would be of vast merit to human society as well in this mythology as he was to be credited with the creation of humans and therefore all of humanity as well. The four most ancient historical sources for the Prometheus myth are Hesiod, Homer, Pindar, and Pythagoras.

The Prometheus myth first appeared in the late 8th-century BCE Greek epic poet Hesiod's Theogony (507â€“616). He was a son of the Titan Iapetus by Clymene, one of the Oceanids. He was brother to Menoetius, Atlas, and Epimetheus. Hesiod, in Theogony, introduces Prometheus as a lowly challenger to Zeus's omniscience and omnipotence.

In the trick at Mekone (535–544), a sacrificial meal marking the "settling of accounts" between mortals and immortals, Prometheus played a trick against Zeus. He placed two sacrificial offerings before the Olympian: a selection of beef hidden inside an ox's stomach (nourishment hidden inside a displeasing exterior), and the bull's bones wrapped completely in "glistening fat" (something inedible hidden inside a pleasing exterior). Zeus chose the latter, setting a precedent for future sacrifices (556–557). Henceforth, humans would keep that meat for themselves and burn the bones wrapped in fat as an offering to the gods. This angered Zeus, who hid fire from humans in retribution. In this version of the myth, the use of fire was already known to humans, but withdrawn by Zeus.[9] Prometheus, however, stole fire back in a giant fennel-stalk and restored it to humanity (565–566). This further enraged Zeus, who sent the first woman to live with humanity (Pandora, not explicitly mentioned). The woman, a "shy maiden", was fashioned by Hephaestus out of clay and Athena helped to adorn her properly (571–574). Hesiod writes, "From her is the race of women and female kind: of her is the deadly race and tribe of women who live amongst mortal men to their great trouble, no helpmeets in hateful poverty, but only in wealth" (590–594).

Prometheus is chained to a rock in the Caucasus for eternity, where his liver is eaten daily by an eagle,[10] only to be regenerated by night, due to his immortality. The eagle is a symbol of Zeus himself. Years later, the Greek hero Heracles (Hercules) slays the eagle and frees Prometheus from his torment (520â€“528).

Hesiod revisits the story of Prometheus and the theft of fire in Works and Days (42–105). In it the poet expands upon Zeus's reaction to Prometheus's deception. Not only does Zeus withhold fire from humanity, but "the means of life" as well (42). Had Prometheus not provoked Zeus's wrath, "you would easily do work enough in a day to supply you for a full year even without working; soon would you put away your rudder over the smoke, and the fields worked by ox and sturdy mule would run to waste" (44–47).

Hesiod also adds more information to Theogony's story of the first woman, a maiden crafted from earth and water by Hephaestus now explicitly called Pandora ("all gifts") (82). Zeus in this case gets the help of Athena, Aphrodite, Hermes, the Graces and the Hours (59–76). After Prometheus steals the fire, Zeus sends Pandora in retaliation. Despite Prometheus' warning, Epimetheus accepts this "gift" from the gods (89). Pandora carried a jar with her from which were released mischief and sorrow, plague and diseases (94–100). Pandora shuts the lid of the jar too late to contain all the evil plights that escaped but Hope is left trapped in the jar because Zeus forces Pandora to seal it up before Hope can escape (96–99).

Angelo Casanova,[11] professor of Greek literature at the University of Florence, finds in Prometheus a reflection of an ancient, pre-Hesiodic trickster-figure, who served to account for the mixture of good and bad in human life, and whose fashioning of humanity from clay was an Eastern motif familiar in Enuma Elish. As an opponent of Zeus he was an analogue of the Titans and, like them, was punished. As an advocate for humanity he gains semi-divine status at Athens, where the episode in Theogony in which he is liberated[12] is interpreted by Casanova as a post-Hesiodic interpolation.[13]

According to the German classicist Karl-Martin Dietz, in Hesiod's scriptures, Prometheus represents the "descent of mankind from the communion with the gods into the present troublesome life."[14]

The banishment of the warring Titans by the Olympians to the chthonic depths of Tartarus was documented as early as Homer's Iliad and the Odyssey where they are also identified as the hypotartarioi, or, the "subterranean." The passages appear in the Iliad (XIV 279)[15] and also in the Homeric hymn to Apollo (335).[16] The particular forms of violence associated especially with the Titans are those of hybristes and atasthalie as further found in the Iliad (XIII 633â€“34). They are used by Homer to designate an unlimited, violent insolence among the warring Titans which only Zeus was able to ultimately overcome. This text finds direct parallel in Hesiod's reading in the Theogony (209) and in Homer's own Odyssey (XIX 406). In the words of Kerenyi, "Autolykos, the grandfather, is introduced in order that he may give his grandson the name of Odysseus."[17] In a similar fashion, the origin of the naming of the Titans as a group has been disputed with some voicing a preference for reading it as a combination of titainein (to exert) and titis, (retribution) usually rendered as "retribution meted out to the exertion of the Titans."[18] Prometheus was not one of the Titans warring with Zeus, but his association with them by lineage is a recurrent theme in each of his subsequent confrontations with Zeus and the Olympian gods.[8]

The duality of the gods and of humans standing as polar opposites is also clearly identified in the earliest traditions of Greek mythology and its legends by Pindar. In the sixth Nemean Ode, Pindar states: "There is one/race of men, one race of gods; both have breath/of life from a single mother. But sundered power/holds us divided, so that one side is nothing, while on the other the brazen sky is established/a sure citadel forever."[19] Although this duality is strikingly apparent in Pindar, it also has paradoxical elements where Pindar actually comes quite close to Hesiod who before him had said in his Works and Days (108) "how the gods and mortal men sprang from one source."[20] The understanding of Prometheus and his role in the creation of humans and the theft of fire for their benefit is therefore distinctly adapted within this distinguishable source for understanding the role of Prometheus within the mythology of the interaction of the Gods with humans.

In order to understand the Prometheus myth in its most general context, the Late Roman author Censorinus states in his book titled De die natali that, "Pythagoras of Samos, Okellos of Lukania, Archytas of Tarentum, and in general all Pythagoreans were the authors and proponents of the opinion that the human race was eternal."[21] By this they held that Prometheus's creation of humans was the creation of humanity for eternity. This Pythagorean view is further confirmed in the book On the Cosmos written by the Pythagorean Okellos of Lukania. Okellos, in his cosmology, further delineates the three realms of the cosmos as all contained within an overarching order called the diakosmesis which is also the world order kosmos, and which also must be eternal. The three realms were delineated by Okellos as having "two poles, man on earth, the gods in heaven. Merely for the sake of symmetry, as it were, the daemons – not evil spirits but beings intermediate between God and man – occupy a middle position in the air, the realm between heaven and earth. They were not a product of Greek mythology, but of the belief in daemons that had sprung up in various parts of the Mediterranean world and the Near East."[22]

The two major authors to have an influence on the development of the myths and legends surrounding the Titan Prometheus during the Socratic era of greater Athens were Aeschylus and Plato. The two men wrote in highly distinctive forms of expression which for Aeschylus centered on his mastery of the literary form of Greek tragedy, while for Plato this centered on the philosophical expression of his thought in the form of the various dialogues he had written and recorded during his lifetime.

Prometheus Bound, perhaps the most famous treatment of the myth to be found among the Greek tragedies, is traditionally attributed to the 5th-century BCE Greek tragedian Aeschylus.[23] At the center of the drama are the results of Prometheus' theft of fire and his current punishment by Zeus. The playwright's dependence on the Hesiodic source material is clear, though Prometheus Bound also includes a number of changes to the received tradition.[24]

Before his theft of fire, Prometheus played a decisive role in the Titanomachy, securing victory for Zeus and the other Olympians. Zeus's torture of Prometheus thus becomes a particularly harsh betrayal. The scope and character of Prometheus' transgressions against Zeus are also widened. In addition to giving humanity fire, Prometheus claims to have taught them the arts of civilization, such as writing, mathematics, agriculture, medicine, and science. The Titan's greatest benefaction for humanity seems to have been saving them from complete destruction. In an apparent twist on the myth of the so-called Five Ages of Man found in Hesiod's Works and Days (wherein Cronus and, later, Zeus created and destroyed five successive races of humanity), Prometheus asserts that Zeus had wanted to obliterate the human race, but that he somehow stopped him.[citation needed]

Moreover, Aeschylus anachronistically and artificially injects Io, another victim of Zeus's violence and ancestor of Heracles, into Prometheus' story. Finally, just as Aeschylus gave Prometheus a key role in bringing Zeus to power, he also attributed to him secret knowledge that could lead to Zeus's downfall: Prometheus had been told by his mother Themis, who in the play is identified with Gaia (Earth), of a potential marriage that would produce a son who would overthrow Zeus. Fragmentary evidence indicates that Heracles, as in Hesiod, frees the Titan in the trilogy's second play, Prometheus Unbound. It is apparently not until Prometheus reveals this secret of Zeus's potential downfall that the two reconcile in the final play, Prometheus the Fire-Bringer or Prometheus Pyrphoros, a lost tragedy by Aeschylus.

Prometheus Bound also includes two mythic innovations of omission. The first is the absence of Pandora's story in connection with Prometheus' own. Instead, Aeschylus includes this one oblique allusion to Pandora and her jar that contained Hope (252): "[Prometheus] caused blind hopes to live in the hearts of men." Second, Aeschylus makes no mention of the sacrifice-trick played against Zeus in the Theogony.[23] The four tragedies of Prometheus attributed to Aeschylus, most of which are lost to the passages of time into antiquity, are Prometheus Bound (Prometheus Desmotes), Prometheus Unbound (Lyomenos), Prometheus the Fire Bringer (Pyrphoros), and Prometheus the Fire Kindler (Pyrkaeus).

The larger scope of Aeschylus as a dramatist revisiting the myth of Prometheus in the age of Athenian prominence has been discussed by William Lynch.[25] Lynch's general thesis concerns the rise of humanist and secular tendencies in Athenian culture and society which required the growth and expansion of the mythological and religious tradition as acquired from the most ancient sources of the myth stemming from Hesiod. For Lynch, modern scholarship is hampered by not having the full trilogy of Prometheus by Aeschylus, the last two parts of which have been lost to antiquity. Significantly, Lynch further comments that although the Prometheus trilogy is not available, that the Orestia trilogy by Aeschylus remains available and may be assumed to provide significant insight into the overall structural intentions which may be ascribed to the Prometheus trilogy by Aeschylus as an author of significant consistency and exemplary dramatic erudition.[26]

Harold Bloom, in his research guide for Aeschylus, has summarized some of the critical attention that has been applied to Aeschylus concerning his general philosophical import in Athens.[27] As Bloom states, "Much critical attention has been paid to the question of theodicy in Aeschylus. For generations, scholars warred incessantly over 'the justice of Zeus,' unintentionally blurring it with a monotheism imported from Judeo-Christian thought. The playwright undoubtedly had religious concerns; for instance, Jacqueline de Romilly[28] suggests that his treatment of time flows directly out of his belief in divine justice. But it would be an error to think of Aeschylus as sermonizing. His Zeus does not arrive at decisions which he then enacts in the mortal world; rather, human events are themselves an enactment of divine will."[29]

According to Thomas Rosenmeyer regarding the religious import of Aeschylus, "In Aeschylus, as in Homer, the two levels of causation, the supernatural and the human, are co-existent and simultaneous, two ways of describing the same event." Rosenmeyer insists that ascribing portrayed characters in Aeschylus should not conclude them to be either victims or agents of theological or religious activity too quickly. As Rosenmeyer states: "[T]he text defines their being. For a critic to construct an Aeschylean theology would be as quixotic as designing a typology of Aeschylean man. The needs of the drama prevail."[30]

In a rare comparison of Prometheus in Aeschylus with Oedipus in Sophocles, Harold Bloom states that "Freud called Oedipus an 'immoral play,' since the gods ordained incest and parricide. Oedipus therefore participates in our universal unconscious sense of guilt, but on this reading so do the gods" [...] "I sometimes wish that Freud had turned to Aeschylus instead, and given us the Prometheus complex rather than the Oedipus complex."[31]

Karl-Martin Dietz states that in contrast to Hesiod's, in Aeschylus' oeuvre, Prometheus stands for the "Ascent of humanity from primitive beginnings to the present level of civilization."[14]

Olga Raggio in her study "The Myth of Prometheus" for the Courtauld Institute attributes Plato in the Protagoras as an important contributor to the early development of the Prometheus myth.[32] Raggio indicates that many of the more challenging and dramatic assertions which Aeschylean tragedy explores are absent from Plato's writings about Prometheus.[33]

As summarized by Raggio, "After the gods have moulded men and other living creatures with a mixture of clay and fire, the two brothers Epimetheus and Prometheus are called to complete the task and distribute among the newly born creatures all sorts of natural qualities. Epimetheus sets to work but, being unwise, distributes all the gifts of nature among the animals, leaving men naked and unprotected, unable to defend themselves and to survive in a hostile world. Prometheus then steals the fire of creative power from the workshop of Athena and Hephaistos and gives it to mankind." Raggio then goes on to point out Plato's distinction of creative power (techne) which is presented as superior to merely natural instincts (physis).

For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilized society â€“ and these virtues are the highest gift finally bestowed on men in equal measure."[34] The ancients by way of Plato believed that the name Prometheus derived from the Greek prefix pro- (before) + manthano (intelligence) and the agent suffix -eus, thus meaning "Forethinker".

In his dialogue titled Protagoras, Plato contrasts Prometheus with his dull-witted brother Epimetheus, "Afterthinker".[35][36] In Plato's dialogue Protagoras, Protagoras asserts that the gods created humans and all the other animals, but it was left to Prometheus and his brother Epimetheus to give defining attributes to each. As no physical traits were left when the pair came to humans, Prometheus decided to give them fire and other civilizing arts.[37]

It is understandable that since Prometheus was considered a Titan and not one of the Olympian gods that there would be an absence of evidence, with the exception of Athens, for the direct religious devotion to his worship. Despite his importance to the myths and imaginative literature of ancient Greece, the religious cult of Prometheus during the Archaic and Classical periods seems to have been limited.[38] Writing in the 2nd century AD, the satirist Lucian points out that while temples to the major Olympians were everywhere, none to Prometheus is to be seen.[39]

Athens was the exception. The altar of Prometheus in the grove of the Academy was the point of origin for several significant processions and other events regularly observed on the Athenian calendar. For the Panathenaic festival, arguably the most important civic festival at Athens, a torch race began at the altar, which was located outside the sacred boundary of the city, and passed through the Kerameikos, the district inhabited by potters and other artisans who regarded Prometheus and Hephaestus as patrons.[40] The race then traveled to the heart of the city, where it kindled the sacrificial fire on the altar of Athena on the Acropolis to conclude the festival.[41] These footraces took the form of relays in which teams of runners passed off a flaming torch. According to Pausanias (2nd century AD), the torch relay, called lampadedromia or lampadephoria, was first instituted at Athens in honor of Prometheus.[42]

By the Classical period, the races were run by ephebes also in honor of Hephaestus and Athena.[43] Prometheus' association with fire is the key to his religious significance[38] and to the alignment with Athena and Hephaestus that was specific to Athens and its "unique degree of cultic emphasis" on honoring technology.[44] The festival of Prometheus was the Prometheia. The wreaths worn symbolized the chains of Prometheus.[45]

Pausanias recorded a few other religious sites in Greece devoted to Prometheus. Both Argos and Opous claimed to be Prometheus' final resting place, each erecting a tomb in his honor. The Greek city of Panopeus had a cult statue that was supposed to honor Prometheus for having created the human race there.[37]

Prometheus' torment by the eagle and his rescue by Heracles were popular subjects in vase paintings of the 6th to 4th centuries BCE. He also sometimes appears in depictions of Athena's birth from Zeus' forehead. There was a relief sculpture of Prometheus with Pandora on the base of Athena's cult statue in the Athenian Parthenon of the 5th century BCE. A similar rendering is also found at the great altar of Zeus at Pergamon from the second century BCE.

The event of the release of Prometheus from captivity was frequently revisited on Attic and Etruscan vases between the sixth and fifth centuries BCE. In the depiction on display at the Museum of Karlsruhe and in Berlin, the depiction is that of Prometheus confronted by a menacing large bird (assumed to be the eagle) with Hercules approaching from behind shooting his arrows at it.[46] In the fourth century this imagery was modified to depicting Prometheus bound in a cruciform manner, possibly reflecting an Aeschylus-inspired manner of influence, again with an eagle and with Hercules approaching from the side.[47]

Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BCE (Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid[48] was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay.

Although perhaps made explicit in the Prometheia, later authors such as Hyginus, the Bibliotheca, and Quintus of Smyrna would confirm that Prometheus warned Zeus not to marry the sea nymph Thetis. She is consequently married off to the mortal Peleus, and bears him a son greater than the father – Achilles, Greek hero of the Trojan War. Pseudo-Apollodorus moreover clarifies a cryptic statement (1026–29) made by Hermes in Prometheus Bound, identifying the centaur Chiron as the one who would take on Prometheus' suffering and die in his place.[37] Reflecting a myth attested in Greek vase paintings from the Classical period, Pseudo-Apollodorus places the Titan (armed with an axe) at the birth of Athena, thus explaining how the goddess sprang forth from the forehead of Zeus.[37]

Other minor details attached to the myth include: the duration of Prometheus' torment;[49][50] the origin of the eagle that ate the Titan's liver (found in Pseudo-Apollodorus and Hyginus); Pandora's marriage to Epimetheus (found in Pseudo-Apollodorus); myths surrounding the life of Prometheus' son, Deucalion (found in Ovid and Apollonius of Rhodes); and Prometheus' marginal role in the myth of Jason and the Argonauts (found in Apollonius of Rhodes and Valerius Flaccus).[37]

"Variants of legends containing the Prometheus motif are widespread in the Caucasus" region, reports Hunt,[51] who gave 10 stories related to Prometheus from ethno-linguistic groups in the region.

Zahhak, an evil figure in Iranian mythology, also ends up eternally chained on a mountainside â€“ though the rest of his career is dissimilar to that of Prometheus.

The three most prominent aspects of the Prometheus myth have parallels within the beliefs of many cultures throughout the world (see creation of man from clay, theft of fire, and references for eternal punishment). It is the first of these three which has drawn attention to parallels with the biblical creation account related in the religious symbolism expressed in the book of Genesis.

As stated by Olga Raggio,[52] "The Prometheus myth of creation as a visual symbol of the Neoplatonic concept of human nature, illustrated in (many) sarcophagi, was evidently a contradiction of the Christian teaching of the unique and simultaneous act of creation by the Trinity." This Neoplatonism of late Roman antiquity was especially stressed by Tertullian[53] who recognized both difference and similarity of the biblical deity with the mythological figure of Prometheus.

The imagery of Prometheus and the creation of man used for the purposes of the representation of the creation of Adam in biblical symbolism is also a recurrent theme in the artistic expression of late Roman antiquity. Of the relatively rare expressions found of the creation of Adam in those centuries of late Roman antiquity, one can single out the so-called "Dogma sarcophagus" of the Lateran Museum where three figures are seen (in representation of the theological trinity) in making a benediction to the new man. Another example is found where the prototype of Prometheus is also recognizable in the early Christian era of late Roman antiquity. This can be found upon a sarcophagus of the Church at Mas d'Aire[54] as well, and in an even more direct comparison to what Raggio refers to as "a coursely carved relief from Campli (Teramo)[55] (where) the Lord sits on a throne and models the body of Adam, exactly like Prometheus." Still another such similarity is found in the example found on a Hellenistic relief presently in the Louvre in which the Lord gives life to Eve through the imposition of his two fingers on her eyes recalling the same gesture found in earlier representations of Prometheus.[56]

In Georgian mythology, Amirani is a culture hero who challenged the chief god and, like Prometheus, was chained on the Caucasian mountains where birds would eat his organs. This aspect of the myth had a significant influence on the Greek imagination. It is recognizable from a Greek gem roughly dated to the time of the Hesiod poems, which show Prometheus with hands bound behind his body and crouching before a bird with long wings.[57] This same image would also be used later in the Rome of the Augustan age as documented by Furtwangler.[58]

In the often cited and highly publicized interview between Joseph Campbell and Bill Moyers on Public Television, the author of The Hero with a Thousand Faces presented his view on the comparison of Prometheus and Jesus.[59] Moyers asked Campbell the question in the following words, "In this sense, unlike heroes such as Prometheus or Jesus, we're not going on our journey to save the world but to save ourselves." To which Campbell's well-known response was that, "But in doing that, you save the world. The influence of a vital person vitalizes, there's no doubt about it. The world without spirit is a wasteland. People have the notion of saving the world by shifting things around, changing the rules [...] No, no! Any world is a valid world if it's alive. The thing to do is to bring life to it, and the only way to do that is to find in your own case where the life is and become alive yourself." For Campbell, Jesus mortally suffered on the Cross while Prometheus eternally suffered while chained to a rock, and each of them received punishment for the gift which they bestowed to humankind, for Jesus this was the gift of propitiation from Heaven, and, for Prometheus this was the gift of fire from Olympus.[59]

Significantly, Campbell is also clear to indicate the limits of applying the metaphors of his methodology in his book The Hero with a Thousand Faces too closely in assessing the comparison of Prometheus and Jesus. Of the four symbols of suffering associated with Jesus after his trial in Jerusalem (i) the crown of thorns, (ii) the scourge of whips, (iii) the nailing to the Cross, and (iv) the spearing of his side, it is only this last one which bears some resemblance to the eternal suffering of Prometheus' daily torment of an eagle devouring a replenishing organ, his liver, from his side.[60] For Campbell, the striking contrast between the New Testament narratives and the Greek mythological narratives remains at the limiting level of the cataclysmic eternal struggle of the eschatological New Testament narratives occurring only at the very end of the biblical narratives in the Apocalypse of John (12:7) where, "Michael and his angels fought against the dragon. The dragon and his angels fought back, but they were defeated, and there was no longer any place for them in heaven." This eschatological and apocalyptic setting of a Last Judgement is in precise contrast to the Titanomachia of Hesiod which serves its distinct service to Greek mythology as its Prolegomenon, bracketing all subsequent mythology, including the creation of humanity, as coming after the cosmological struggle between the Titans and the Olympian gods.[59]

It remains a continuing debate among scholars of comparative religion and the literary reception[61] of mythological and religious subject matter as to whether the typology of suffering and torment represented in the Prometheus myth finds its more representative comparisons with the narratives of the Hebrew scriptures or with the New Testament narratives. In the Book of Job, significant comparisons can be drawn between the sustained suffering of Job in comparison to that of eternal suffering and torment represented in the Prometheus myth. With Job, the suffering is at the acquiescence of heaven and at the will of the demonic, while in Prometheus the suffering is directly linked to Zeus as the ruler of Olympus. The comparison of the suffering of Jesus after his sentencing in Jerusalem is limited to the three days, from Thursday to Saturday, and leading to the culminating narratives corresponding to Easter Sunday. The symbolic import for comparative religion would maintain that suffering related to justified conduct is redeemed in both the Hebrew scriptures and the New Testament narratives, while in Prometheus there remains the image of a non-forgiving deity, Zeus, who nonetheless requires reverence.[59]

Writing in late antiquity of the fourth and fifth century, the Latin commentator Marcus Servius Honoratus explained that Prometheus was so named because he was a man of great foresight (vir prudentissimus), possessing the abstract quality of providentia, the Latin equivalent of Greek promētheia (ἀπὸ τής πρόμηθείας).[62] Anecdotally, the Roman fabulist Phaedrus (c.15BCE – c.50CE) attributes to Aesop a simple etiology for homosexuality, in Prometheus' getting drunk while creating the first humans and misapplying the genitalia.[63]

Perhaps the most influential book of the Middle Ages upon the reception of the Prometheus myth was the mythological handbook of Fulgentius Placiades. As stated by Raggio,[64] "The text of Fulgentius, as well as that of (Marcus) Servius [...] are the main sources of the mythological handbooks written in the ninth century by the anonymous Mythographus Primus and Mythographus Secundus. Both were used for the more lengthy and elaborate compendium by the English scholar Alexander Neckman (1157â€“1217), the Scintillarium Poetarum, or Poetarius."[64] The purpose of his books was to distinguish allegorical interpretation from the historical interpretation of the Prometheus myth. Continuing in this same tradition of the allegorical interpretation of the Prometheus myth, along with the historical interpretation of the Middle Ages, is the Genealogiae of Giovanni Boccaccio. Boccaccio follows these two levels of interpretation and distinguishes between two separate versions of the Prometheus myth. For Boccaccio, Prometheus is placed "In the heavens where all is clarity and truth, [Prometheus] steals, so to speak, a ray of the divine wisdom from God himself, source of all Science, supreme Light of every man."[65] With this, Boccaccio shows himself moving from the medieval sources with a shift of accent towards the attitude of the Renaissance humanists.

Using a similar interpretation to that of Boccaccio, Marsilio Ficino in the fifteenth century updated the philosophical and more somber reception of the Prometheus myth not seen since the time of Plotinus. In his book written in 1476â€“77 titled Quaestiones Quinque de Mente, Ficino indicates his preference for reading the Prometheus myth as an image of the human soul seeking to obtain supreme truth. As Olga Raggio summarizes Ficino's text, "The torture of Prometheus is the torment brought by reason itself to man, who is made by it many times more unhappy than the brutes. It is after having stolen one beam of the celestial light [...] that the soul feels as if fastened by chains and [...] only death can release her bonds and carry her to the source of all knowledge."[65] This somberness of attitude in Ficino's text would be further developed later by Charles de Bouelles' Liber de Sapiente of 1509 which presented a mix of both scholastic and Neoplatonic ideas.

After the writings of both Boccaccio and Ficino in the late Middle Ages about Prometheus, interest in the Titan shifted considerably in the direction of becoming subject matter for painters and sculptors alike. Among the most famous examples is that of Piero di Cosimo from about 1510 presently on display at the museums of Munich and Strasburg (see Inset). Raggio summarizes the Munich version[66] as follows; "The Munich panel represents the dispute between Epimetheus and Prometheus, the handsome triumphant statue of the new man, modeled by Prometheus, his ascension to the sky under the guidance of Minerva; the Strasburg panel shows in the distance Prometheus lighting his torch at the wheels of the Sun, and in the foreground on one side, Prometheus applying his torch to the heart of the statue and, on the other, Mercury fastening him to a tree." All the details are evidently borrowed from Boccaccio's Genealogiae.

The same reference to the Genealogiae can be cited as the source for the drawing by Parmigianino presently located in the Pierpont Morgan Library in New York City.[67] In the drawing, a very noble rendering of Prometheus is presented which evokes the memory of Michelangelo's works portraying Jehovah. This drawing is perhaps one of the most intense examples of the visualization of the myth of Prometheus from the Renaissance period.

Writing in the late British Renaissance, William Shakespeare uses the Promethean allusion in the famous death scene of Desdemona in his tragedy of Othello. Othello in contemplating the death of Desdemona asserts plainly that he cannot restore the "Promethean heat" to her body once it has been extinguished. For Shakespeare, the allusion is clearly to the interpretation of the fire from the heat as the bestowing of life to the creation of man from clay by Prometheus after it was stolen from Olympus. The analogy bears direct resemblance to the biblical narrative of the creation of life in Adam through the bestowed breathing of the creator in Genesis. Shakespeare's symbolic reference to the "heat" associated with Prometheus's fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans.

The myth of Prometheus has been a favorite theme of Western art and literature in the post-renaissance and post-Enlightenment tradition and, occasionally, in works produced outside the West.

For the Romantic era, Prometheus was the rebel who resisted all forms of institutional tyranny epitomized by Zeus – church, monarch, and patriarch. The Romantics drew comparisons between Prometheus and the spirit of the French Revolution, Christ, the Satan of John Milton's Paradise Lost, and the divinely inspired poet or artist. Prometheus is the lyrical "I" who speaks in Goethe's Sturm und Drang poem "Prometheus" (written c. 1772–74, published 1789), addressing God (as Zeus) in misotheist accusation and defiance. In Prometheus Unbound (1820), a four-act lyrical drama, Percy Bysshe Shelley rewrites the lost play of Aeschylus so that Prometheus does not submit to Zeus (under the Latin name Jupiter), but instead supplants him in a triumph of the human heart and intellect over tyrannical religion. Lord Byron's poem "Prometheus" also portrays the Titan as unrepentant. As documented by Olga Raggio, other leading figures among the great Romantics included Byron, Longfellow and Nietzsche as well.[68] Mary Shelley's 1818 novel Frankenstein is subtitled "The Modern Prometheus", in reference to the novel's themes of the over-reaching of modern humanity into dangerous areas of knowledge.

Prometheus is a poem by Johann Wolfgang von Goethe, in which a character based on the mythic Prometheus addresses God (as Zeus) in a romantic and misotheist tone of accusation and defiance. The poem was written between 1772 and 1774. It was first published fifteen years later in 1789. It is an important work as it represents one of the first encounters of the Prometheus myth with the literary Romantic movement identified with Goethe and with the Sturm und Drang movement.

The poem has appeared in Volume 6 of Goethe's poems (in his Collected Works) in a section of Vermischte Gedichte (assorted poems), shortly following the Harzreise im Winter. It is immediately followed by "Ganymed", and the two poems are written as informing each other according to Goethe's plan in their actual writing. Prometheus (1774) was originally planned as a drama but never completed by Goethe, though the poem is inspired by it. Prometheus is the creative and rebellious spirit rejected by God and who angrily defies him and asserts himself. Ganymede, by direct contrast, is the boyish self who is both adored and seduced by God. As a high Romantic poet and a humanist poet, Goethe presents both identities as contrasting aspects of the Romantic human condition.

The poem offers direct biblical connotations for the Prometheus myth which was unseen in any of the ancient Greek poets dealing with the Prometheus myth in either drama, tragedy, or philosophy. The intentional use of the German phrase "Da ich ein Kind war..." ("When I was a child"): the use of Da is distinctive, and with it Goethe directly applies the Lutheran translation of Saint Paul's First Epistle to the Corinthians, 13:11: "Da ich ein Kind war, da redete ich wie ein Kind..." ("When I was a child, I spake as a child, I understood as a child, I thought as a child: but when I became a man, I put away childish things"). Goethe's Prometheus is significant for the contrast it evokes with the biblical text of the Corinthians rather than for its similarities.

In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerenyi states the key contrast between Goethe's version of Prometheus with the ancient Greek version.[69] As Kerenyi states, "Goethe's Prometheus had Zeus for father and a goddess for mother. With this change from the traditional lineage the poet distinguished his hero from the race of the Titans." For Goethe, the metaphorical comparison of Prometheus to the image of the Son from the New Testament narratives was of central importance, with the figure of Zeus in Goethe's reading being metaphorically matched directly to the image of the Father from the New Testament narratives.

Percy Shelley published his four-act lyrical drama titled Prometheus Unbound in 1820. His version was written in response to the version of myth as presented by Aeschylus and is oriented to the high British Idealism and high British Romanticism prevailing in Shelley's own time. Shelley, as the author himself discusses, admits the debt of his version of the myth to Aeschylus and the Greek poetic tradition which he assumes is familiar to readers of his own lyrical drama. For example, it is necessary to understand and have knowledge of the reason for Prometheus's punishment if the reader is to form an understanding of whether the exoneration portrayed by Shelley in his version of the Prometheus myth is justified or unjustified. The quote of Shelley's own words describing the extent of his indebtedness to Aeschylus has been published in numerous sources publicly available.

The literary critic Harold Bloom in his book Shelley's Mythmaking expresses his high expectation of Shelley in the tradition of mythopoeic poetry. For Bloom, Percy Shelley's relationship to the tradition of mythology in poetry "culminates in 'Prometheus'. The poem provides a complete statement of Shelley's vision."[70] Bloom devotes two full chapters in this book to Shelley's lyrical drama Prometheus Unbound which was among the first books Bloom had ever written, originally published in 1959.[71] Following his 1959 book, Bloom edited an anthology of critical opinions on Shelley for Chelsea House Publishers where he concisely stated his opinion as, "Shelley is the unacknowledged ancestor of Wallace Stevens' conception of poetry as the Supreme Fiction, and Prometheus Unbound is the most capable imagining, outside of Blake and Wordsworth, that the Romantic quest for a Supreme Fiction has achieved."[72]

Within the pages of his Introduction to the Chelsea House edition on Percy Shelley, Harold Bloom also identifies the six major schools of criticism opposing Shelley's idealized mythologizing version of the Prometheus myth. In sequence, the opposing schools to Shelley are given as: (i) The school of "common sense", (ii) The Christian orthodox, (iii) The school of "wit", (iv) Moralists, of most varieties, (v) The school of "classic" form, and (vi) The Precisionists, or concretists.[73] Although Bloom is least interested in the first two schools, the second one on the Christian orthodox has special bearing on the reception of the Prometheus myth during late Roman antiquity and the synthesis of the New Testament canon. The Greek origins of the Prometheus myth have already discussed the Titanomachia as placing the cosmic struggle of Olympus at some point in time preceding the creation of humanity, while in the New Testament synthesis there was a strong assimilation of the prophetic tradition of the Hebrew prophets and their strongly eschatological orientation. This contrast placed a strong emphasis within the ancient Greek consciousness as to the moral and ontological acceptance of the mythology of the Titanomachia as an accomplished mythological history, whereas for the synthesis of the New Testament narratives this placed religious consciousness within the community at the level of an anticipated eschaton not yet accomplished. Neither of these would guide Percy Shelley in his poetic retelling and reintegration of the Prometheus myth.[74]

To the Socratic Greeks, one important aspect of the discussion of religion would correspond to the philosophical discussion of 'becoming' with respect to the New Testament syncretism rather than the ontological discussion of 'being' which was more prominent in the ancient Greek experience of mythologically oriented cult and religion.[75] For Percy Shelley, both of these reading were to be substantially discounted in preference to his own concerns for promoting his own version of an idealized consciousness of a society guided by the precepts of High British Romanticism and High British Idealism.[76]

Frankenstein; or, the Modern Prometheus, written by Mary Shelley when she was 18, was published in 1818, two years before Percy Shelley's above mentioned play. It has endured as one of the most frequently revisited literary themes in twentieth century film and popular reception with few rivals for its sheer popularity among even established literary works of art. The primary theme is a parallel to the aspect of the Prometheus myth which concentrates on the creation of man by the Titans, transferred and made contemporary by Shelley for British audiences of her time. The subject is that of the creation of life by a scientist, thus bestowing life through the application and technology of medical science rather than by the natural acts of reproduction. The short novel has been adapted into many films and productions ranging from the early versions with Boris Karloff to later versions featuring Kenneth Branagh.

Franz Kafka wrote a short piece on Prometheus, outlining what he saw as his perspective on four aspects of his myth:

According to the first, he was clamped to a rock in the Caucasus for betraying the secrets of the gods to men, and the gods sent eagles to feed on his liver, which was perpetually renewed. According to the second, Prometheus, goaded by the pain of the tearing beaks, pressed himself deeper and deeper into the rock until he became one with it. According to the third, his treachery was forgotten in the course of thousands of years, forgotten by the gods, the eagles, forgotten by himself. According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.There remains the inexplicable mass of rock. The legend tried to explain the inexplicable. As it came out of a substratum of truth it had in turn to end in the inexplicable.[77]

This short piece by Kafka concerning his interest in Prometheus was supplemented by two other mythological pieces written by him. As stated by Reiner Stach, "Kafka's world was mythical in nature, with Old Testament and Jewish legends providing the templates. It was only logical (even if Kafka did not state it openly) that he would try his hand at the canon of antiquity, reinterpreting it and incorporating it into his own imagination in the form of allusions, as in 'The Silence of the Sirens,' 'Prometheus,' and 'Poseidon.'"[78] Among contemporary poets, the British poet Ted Hughes wrote a 1973 collection of poems titled Prometheus on His Crag. The Nepali poet Laxmi Prasad Devkota (d. 1949) also wrote an epic titled Prometheus (प्रमीथस).

In his 1952 book, Lucifer and Prometheus, Zvi Werblowsky presented the speculatively derived Jungian construction of the character of Satan in Milton's celebrated poem Paradise Lost. Werblowsky applied his own Jungian style of interpretation to appropriate parts of the Prometheus myth for the purpose of interpreting Milton. A reprint of his book in the 1990s by Routledge Press included an introduction to the book by Carl Jung. Some Gnostics have been associated with identifying the theft of fire from heaven as embodied by the fall of Lucifer "the Light Bearer".[79]

Ayn Rand cited the Prometheus myth in Anthem, The Fountainhead, and Atlas Shrugged, using the mythological character as a metaphor for creative people rebelling against the confines of modern society.

The artificial chemical element promethium is named after Prometheus.

Works of classical music, opera, and ballet directly or indirectly inspired by the myth of Prometheus have included renderings by some of the major composers of both the nineteenth and twentieth centuries. In this tradition, the orchestral representation of the myth has received the most sustained attention of composers. These have included the symphonic poem by Franz Liszt titled Prometheus from 1850, among his other Symphonic Poems (No. 5, S.99).[80] Alexander Scriabin composed Prometheus: Poem of Fire, Opus 60 (1910),[81] also for orchestra.[82] In the same year Gabriel Fauré composed his three-act opera Prométhée (1910).[83] Charles-Valentin Alkan composed his Grande sonate 'Les quatre âges' (1847), with the 4th movement entitled "Prométhée enchaîné" (Prometheus Bound).[84] Beethoven composed the score to a ballet version of the myth titled The Creatures of Prometheus (1801).[85]

An adaptation of Goethe's poetic version of the myth was composed by Hugo Wolf, Prometheus (Bedecke deinen Himmel, Zeus, 1889), as part of his Goethe-lieder for voice and piano,[86] later transcribed for orchestra and voice.[87] An opera of the myth was composed by Carl Orff titled Prometheus (1968),[88][89] using Aeschylus' Greek language Prometheia.[90]

The 2012 science fiction fantasy film titled Prometheus by Ridley Scott is associated with the myth largely through the coincidence of name.[91] Of the three principal mythological themes associated with the myth of the titan Prometheus – the eternal punishment, the theft of fire, and the creation of man – the film seems to be at least partially concerned only with the last theme. In the film, one of the wealthy lead characters in the future spends vast sums of money in order to locate the extraterrestrials who, he believes, were responsible for the creation of man. His hope is that if he finds his "creators", they will be able to somehow extend his life. In this belief, he is disappointed.


who did lady gaga write a million reasons about

"Million Reasons" is written in the key of C major with a tempo of approximately 64 beats per minute, and is accompanied by piano and guitar. Her vocals span from G3 to E5 in the song, which in common time, follows a progression of C–Am–F–G, with a chorus of F–C–Am–G.[20] During the song's chorus, Gaga croons "You're giving me a million reasons to let you go / You're giving me a million reasons to quit the show".[21] Its discussion of heartbreak and hope, as described by International Business Times's Nicholas Mojica, was guaranteed to "resonate with [the] listeners" of the record.[22] Bustle's Amy Roberts theorized that like most of the songs from Joanne, "Million Reasons" had extra hidden depth in its lyrics and predicted it to be about Gaga's separated boyfriend Taylor Kinney. The phrase "quit the show" was described as a metaphor by Roberts about Gaga feeling dejected about her life, with the second verses confirming this. Both romantic heartbreak as catalyst and religious faith of the singer were represented as different sides of the lyrics. Roberts concluded by saying that "[t]hough the song may seem extremely fraught with sadness, confusion and heartache, its main message appears to be a pretty positive one".[23]

Million Reasons

"Million Reasons" is a song recorded by American singer Lady Gaga for her fifth studio album, Joanne (2016). Initially released as a promotional single, it was released to radio stations on November 8, 2016, as the album's second single. The track was written by Gaga, Hillary Lindsey and Mark Ronson, and produced by Ronson, Gaga and BloodPop. It grew organically from the conversations that Lindsey and Gaga were having one day, with the title phrase lifted from the singer's musings about the men in her life.

The track is a pop song with country influences, backed by guitar and piano. It lyrically delves on "heartbreak and hope" during a relationship, as well as Gaga's religious faith during the chorus, ultimately making it a positive message song. Critically appreciated for its simple production and lyrics, "Million Reasons" reached the top 10 of the charts in Hungary, Slovakia, Switzerland, the United States, and Venezuela as well as the top 20 in Canada, Italy, and Scotland.

The music video was directed by Ruth Hogben and Andrea Gelardin, and it continues from where the video for previous single, "Perfect Illusion", had ended. It shows Gaga singing in a white studio, and also her in a desert breaking down and finally being rescued by her friends. In order to promote "Million Reasons", the singer performed it at multiple avenues, including the Dive Bar Tour (2016), on multiple television appearances, and also included it in her set list at the Super Bowl LI halftime show and the 2017 Coachella Valley Music and Arts Festival. Cover versions of the song were recorded by singer Kelsea Ballerini, and by Grateful Dead's Bob Weir and Phish's Trey Anastasio.

Following the release of lead single "Perfect Illusion" on September 9, 2016, Gaga announced the Dive Bar Tour, a promotional concert series where the singer performed at various dive bars in the United States.[1] However, the venues for the concert series remained undisclosed to have a more intimate approach.[2] The campaign was sponsored by Bud Light, and premiered on October 5, 2016. Simultaneously, a live broadcast of the event was streamed on Bud Light's official Facebook page.[3] On October 2, 2016, several publications claimed that during the first show of the tour, a new song titled "Million Reasons" would be performed, in addition to "Perfect Illusion".[4][5]

During the Dive Bar Tour, Gaga recalled that she and Lindsey were seated in couches and having a back-and-forth conversation with guitar and piano. The singer asked questions about the men in her life, including her father and boyfriends, wondering why they would give her million reasons to leave them, but all she wanted was to have one reason to stay.[6] Lindsey, who previously had experiences in writing country songs in Nashville, was identified by Interscope as a potential collaborator on Joanne.[7] The label's A&R Aaron Bay-Schuck, who had heard the initial Joanne material, introduced Gaga and Lindsey. They bonded over drinks and Gaga also played initial demos of some of the tracks she had written.[8] Lindsey remembered that Gaga's personal experiences and stories resulted in many ideas for songs. "Million Reasons" was similarly picked from their conversations, including the title phrase. It was a straightforward songwriting session according to Lindsey, with Gaga using an old school typewriter.[7]

"Million Reasons" was made available as a promotional digital download to those who pre-ordered Joanne through iTunes on October 6, 2016.[9] However, following the song's commercial surge when Gaga appeared on the Carpool Karaoke segment of The Late Late Show with James Corden, "Million Reasons" was selected as the second single from Joanne.[10] It was released to American contemporary hit radio stations on November 8, 2016.[11]

Gaga co-wrote and co-produced "Million Reasons" alongside Mark Ronson, while musicians Hillary Lindsey and BloodPop provided additional songwriting and production, respectively. The track was recorded and mixed at Shangri-La and Gypsy Palace Studios in Malibu, California as well as Electric Lady Studios in New York by Joshua Blair, Joe Visciano and Brandon Bost. The mastering was performed at Sterling Sound Studios by Tom Coyne and Randy Merrill.[12] Instrumentation for the song included piano by Gaga, guitars by Lindsey and Ronson. BloodPop did the additional instrumentation including keyboards, rhythm track, string programming for GenPop.[12]

According to Emily Mackay of NME, "Million Reasons" serves as a "potent, sky-clutching reminder of Gaga's way with a bare-bone ballad".[13] Idolator's Patrick Bowman agreed and described it as a "country-tinged [...] quiet ballad" while Stephen L. Betts from Rolling Stone called it a pop song which had a country music appeal, similar to singer Beyoncé's "Daddy Lessons".[14][15] Michael Cragg from The Guardian found this reminiscent of Carrie Underwood's characteristic style, which he called country balladry.[16] Lyndsey Parker from Yahoo! Music joked that it was obviously written by country music artists.[17] In the composition, the singer's vocals are layered among "faintly strummed guitars" and varying degrees of percussion.[18] The singer spoke regarding the genre of the single:

"Million Reasons" is a country song mixed with funk and rock 'n' roll. You would never imagine it would sound that way... the feeling underneath the record is it's almost got like a little bit of a hip-hop feeling. But at the same time, it's not a hip-hop song. It's kind of like I just had no boundaries making music — and neither do any of the other people we were working with. It was kind of like what feels right, what hits the best, what’s going to get everybody in their stomach and their heart.[19]

Upon release, the song received generally positive reviews. Cady Lang, writing for Time appreciated the touching quality of the recording's nature, which she described as heartbreaking.[24] Craig Jenkins of Vulture compared its potential appeal to "Daddy Lessons" also and felt they both shared a "big left-field bid for country-radio airplay".[18] Mojica ranked "Million Reasons" at number six on his list of the best songs from Joanne; he acclaimed its lyrics and noted the contributions made by Lindsey.[22]

The staff at Idolator selected "Million Reasons" to review as part of their 'Rated & Reviewed' column series. Robbie Daw from the publication congratulated the singer for creating a "super-produced" country version of her 2011 single "You and I". Rachel Sonis agreed and claimed that it is simple and sweet, awarding it 8.5/10. However, both Carl Williott and Mike Wass were disappointed, with the latter claiming: "this era is shaping up to be even worse than I imagined." It ultimately received an average score of 6.1/10 from the writers.[25] Similarly, Bowman from the same website called it one of Joanne's "more forgettable tracks".[14] Although The Atlantic's Spencer Kornhaber found it to be a "sturdily crafted" single, he found Gaga to be neglectful of the song's details and claimed that American singer Taylor Swift could excel exceptionally better at the same craft.[26]

Billboard ranked "Million Reasons" at number 35 on their "100 Best Pop Songs of 2016" list. Rena Gross from the magazine said that "traffic-stopping vocal delivery perfectly encapsulates our longing for the impossible".[27] Gary Trust from the publication wrote an article titled "With 'Million Reasons,' Is Lady Gaga Bringing Back 'The Vocalist Era'?" where he interviewed radio programmers and theorized that the track "is reminding radio, and fans, of Gaga's talents, beyond her trademark quirky costumes and persona". The programmers also commented that the traditional nature of the track was also suited with current American radio.[28]

Following its original announcement as Joanne's first promotional single, "Million Reasons" entered several record charts. In the United States, it debuted at number 76 on the Billboard Hot 100, becoming her 24th career entry and second from Joanne. It later reached number 57 on the Hot 100.[29] Its entry was accompanied by sales of 15,000 digital downloads, which allowed it to enter the Digital Songs component chart at number 38.[30] The song debuted at number 38 on the Mainstream Top 40 chart for the week ending December 13, 2016.[31] The same week, after Gaga's performance at the 2016 Victoria's Secret Fashion Show, "Million Reasons" reached a new peak of number 52 on the Hot 100. The placement was aided by sales of 44,000 digital downloads (up 144%), which enabled it to jump from number 34 to number six on the Digital Songs, becoming her 16th top-10 song on the chart.[32] It has been streamed 24.4 million times in the country.[33]

Following Gaga's Super Bowl LI halftime show performance, "Million Reasons" re-entered the Hot 100 at number four, equaling the record for the highest re-entry in the chart's history. The placement was aided by the song reaching number one on the Digital Songs Chart with sales of 149,000 copies (up by 1,334%), 7.6 million US streams and 15 million in radio airplay. "Million Reasons" became Gaga's 14th top-10 release in the country, and her first single to achieve that since "Applause" (2013). It was also her fifth number one on the Digital Songs chart since "Born This Way", which held the top position in 2011.[34] "Million Reasons" debuted on the Radio Songs chart at number 36 with 32 million audience impressions,[35][36] and has reached a peak of number 24 on the chart.[37] It also achieved peaks of numbers 17 and 5 on the Mainstream Top 40 and Adult Top 40 charts respectively.[38][39] The top-ten placement in the Adult Top 40 chart was her first since "Applause" also reached the same peak in 2013.[28] "Million Reasons" has been certified Platinum by the Recording Industry Association of America (RIAA),[40] and sold one million digital copies in the US as of June 2017.[41]

The song debuted at number 48 in the United Kingdom and peaked at number 11 in Scotland, in charts compiled and published by the Official Charts Company.[42][43] Following Gaga's performance of the song in The X Factor, "Million Reasons" re-entered the UK Singles Chart at number 60, with sales of 10,396 copies.[44] It further climbed up the charts the next week, aided by the performance on Alan Carr and its music video. The track moved from number 60 to number 39, with sales of 15,943 units, reaching a new peak on the UK Singles Chart and becoming Gaga's 18th top 40 single.[45] In France, it debuted at number 107 according to the SNEP, and was the ninth highest entry for the week of October 8, 2016. The following week, it peaked at number 29 and became the chart's highest moving entry, jumping a total of 76 positions.[46] Elsewhere, it peaked at number 34 in Australia and number seven in Switzerland, becoming her highest peak in the latter since "Applause" in 2013. [47][48]

The music video for "Million Reasons" was directed by Ruth Hogben and Andrea Gelardin, who had also helmed the video for the previous single, "Perfect Illusion".[49] Gaga announced that the music video for "Million Reasons" would be a continuation of that for "Perfect Illusion". It was released on December 14, 2016, afternoon on MTV followed by a worldwide release to Vevo shortly afterwards. The singer also released a 16-second teaser showing her laying across the desert floor from the ending of "Perfect Illusion" during sunset, as black SUVs approach her from afar.[50] After that her crew comes out of the SUVs and takes her to a video shoot where she prepares to sing "Million Reasons". As she starts getting ready, the singer notices a small box with a bow atop it on her desk. The video then intercuts to a number of flashbacksâ€”Gaga singing in a white studio while playing the guitar, getting rescued by her friends from the desert and Gaga breaking down in tears. Finally Gaga opens the box which reveals the inside content to be a rosary with a note saying "Love you, sis".[51]

Ian David Monroe from V found the video to be "in stark contrast" with that of the one for "Perfect Illusion", and noticed that it did not portray a "traditional love narrative", rather made the video about Gaga's own team. Monroe theorized that with the recent reveal by Gaga that she suffered from Posttraumatic stress disorder (PTSD) in an open letter, the continued theme between the videos made sense. He added: "As she described in the essay, Gaga was traumatized by the lack of care with which she was handled in her earlier career, forced to tour even though she was in pain, which is perhaps represented by the 'Perfect Illusion' video where she is literally thrown into a crowd. The video for 'Million Reasons', then, shows how her team—her family—picked her up again, and helped her heal in creating the new record."[49] Brian Joseph from Spin found the video's portrayal of Gaga as "emotionally transparent" and added that the video was in line with the "emotionally vulnerable themes running throughout [Joanne]".[52] Julianne Shepherd from Jezebel compared Gaga's looks in the video to that of singer Stevie Nicks, "with a filmic play on the rock-and-roll mythos, attaching imagery of everyday backstage tour preparation to a song of loneliness and isolation, life on the road forever breaking its practitioners."[53]

Evan Ross Katz from Mic described the video as a "highly spiritual journey" like the singer's previous endeavors.[54] Justin Harp from Digital Spy described the clip as "breathtaking" and "poignant", adding that it "highlights the theme of loss and ultimately redemption" as enamored in the song.[55] Bustle's Shannon Carlin felt that the "emotional" video "will make fans and non-fans look at her differently. She's no longer the outrageous pop star who shows up to award shows in a meat dress. She's now a woman who is finding herself through her music". Carlin compared the video to that of singer Christina Aguilera's 2002 single "Beautiful", which had similar emotional and empowerment visuals, and finally added: "Like Aguilera, Gaga is giving you a sense of who she is by stripping back all that pomp and circumstance of her early years and giving fans something raw. Both of these videos are bittersweet celebrations that show sometimes pain is necessary to push yourself further. That uncertainty is a powerful motivator, which will help you take a chance."[56]

"Million Reasons" was performed live for the first time on the Dive Bar Tour, on October 5, 2016.[57] The performance occurred at a Nashville bar where she was joined by Lindsey. Her rendition was considered as "heartfelt" by Brittany Spanos of Rolling Stone.[21] She performed "A-Yo" and "Million Reasons" on Saturday Night Live on October 22, 2016. A toned down performance for the latter had the singer sitting at the piano belting out the song, backed by vocals from Lindsey.[58] Paste's Chris White called Gaga an "incredible performer and vocalist" based on the performances, adding that the singer "understands the stagecraft of playing live music on [the SNL stage]".[59] An isolated mic feed from the performances was also highly praised for Gaga's vocal prowess.[60][61] Following week after the performance, Gaga headed over to Japan to promote Joanne where she performed the track on the show SMAP×SMAP, sitting inside a giant lotus flower.[62]

At the American Music Awards of 2016 she sang "Million Reasons" while playing a guitar, with the set resembling a camp ground.[63] It received unanimous praise with Hilton Dresden from Out calling it a "heart-wrenching" rendition,[64] while The Huffington Post's Cole Delbyck described it as "stirring" and "emotional".[65] Billboard listed it as the third best performance of the night describing it as "resounding".[66] A few days later Gaga visited the Ali Forney LGBT community centre and performed an acoustic version of "Million Reasons", seated atop a piano wearing a T-shirt that read "Be Brave".[67] The next performance of the song happened at the 2016 Victoria's Secret Fashion Show in Paris. Prior to the actual performance onstage, Gaga sang the track backstage with some of the models from the show.[68] For the performance Gaga wore a black dress with fish-tail train, printed with red roses, high neck and long sleeves. According to Bethan Holt of The Daily Telegraph, the look was a contrast to the scarce dressed models who walked past her waving.[69] Delbyck wrote in The Huffington Post that Gaga sounded "off" during the performance, and noted her "awkward" interaction with the models. He also opined that songs from Joanne were not the best selection for a Victoria's Secret show.[70] Gaga was also a surprise performer at the 2016 Airbnb Open Spotlight, where she performed the song with Lindsey.[71]

The singer began her UK promotion of Joanne with a surprise intimate gig at London's Shepherd's Bush Westfield shopping center, performing "Million Reasons" on piano.[72][73] On December 4, 2016, she performed the song on the semi-final of the 13th season of The X Factor, at Fountain Studios in Wembley Park. She emerged from within the smoke and belted the track, later throwing her hat towards the audience and ripping off her leather jacket.[74] Two days later, she performed the track at the 2016 Royal Variety Performance, attended by Charles, Prince of Wales and Camilla, Duchess of Cornwall, as well as on Alan Carr's Happy Hour.[75][76]

On February 5, 2017, Gaga was the headliner of the Super Bowl LI halftime show and "Million Reasons" was part of the set list.[77] The singer sat down at her piano inquiring about the audience and started belting the track. At the end she stepped in-between the audience and ended the song by hugging a woman. Tracy Gilchrist from The Advocate commended Gaga and found that the lyrics referred to the country's, following Donald Trump's presidential election.[78] During her set at the 2017 Coachella Valley Music and Arts Festival, Gaga performed the Andrelli remix of "Million Reasons".[79] The song serves as the encore to the ongoing Joanne World Tour, where Gaga returns on stage wearing the pink Joanne hat, a glittery robe coat and Giuseppe Zanotti shoes.[80][81] She starts playing the song on the piano, later standing on top of it.[82]

Country singer Kelsea Ballerini recorded an unplugged version of "Million Reasons" and uploaded on her Instagram account with the caption, "Gaga over this new Gaga, and as always, bowing down to Hillary Lindsey writing the best songs".[15] Billboard theorized that it was recorded in Ballerini's dressing room.[83] Isis Briones from Vogue praised the cover saying that Ballerini "stripped the track all the way down with just a guitar in hand and delivered an incredibly moving performance in just a few seconds. Not only will you want to replay this clip, but her voice on the song will get you to see in a completely different light."[84] The Voice contestant Christian Cuevas performed a cover of the song during the eleventh season of the show. The performance was appreciated with the judges complimenting it for creating an "incredible moment" for the show. Gaga also tweeted her approval of Cuevas' singing prowess.[85]

A collaborative cover version of the track was performed by Grateful Dead's Bob Weir and Phish's Trey Anastasio during the Wanee Music Festival in Florida. The duo played it on acoustic guitar, while alternating the leading and harmony vocals among themselves. Ryan Reed from Rolling Stone described the cover version as a "satisfyingly earthier angle on Gaga's Joanne ballad".[86]

Digital download – remix[87][88]

Credits adapted from Joanne liner notes.[12]

*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone