Prometheus Bound enjoyed a measure of popularity in antiquity. Aeschylus was very popular in Athens decades after his death, as Aristophanes' The Frogs (405 BC) makes clear. Allusions to the play are evident in his The Birds of 414 BC, and in the tragedian Euripides' fragmentary Andromeda, dated to 412 BC. If Aeschylean authorship is assumed, then these allusions several decades after the play's first performance speak to the enduring popularity of Prometheus Bound. Moreover, a performance of the play itself (rather than a depiction of the generic myth) appears on fragments of a Greek vase dated ca. 370-360 BC.
In the early 19th century, the Romantic writers came to identify with the defiant Prometheus. Johann Wolfgang von Goethe wrote a poem on the theme, as did Lord Byron. Percy Bysshe Shelley wrote a play, Prometheus Unbound, which used some of the materials of the play as a vehicle for Shelley's own vision.
There are two definitions of aporia included in the Oxford English Dictionary: the adjective, “aporetic” defined as “to be at a loss,” “impassable,” and “inclined to doubt, or to raise objections”; and the noun “aporia,”defined as the “state of the aporetic” and “a perplexity or difficulty.” The two early textual uses refer to aporia's rhetorical application.
Aporia, in its rhetorical usage, is a feigned expression of doubt which is often followed by the expression of a conclusive thought. This conclusive thought, as often used in Plato's early dialogues. In its modern usage, primarily used by post-structuralists, aporia has addressed its philosophical application. It is defined more as a specific moment in philosophical thought, rather than a rhetorical expression, where in thought an individual reaches an impasse, or a point of doubt and indecision. Jacques Derrida has used the term to “indicate a point of undecidability, which locates the site at which the text most obviously undermines its own rhetorical structure, dismantles, or or deconstructs itself.”
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In Greek mythology, Hectōr (Ἕκτωρ, "holding fast"), or Hektōr, is a Trojan prince and the greatest fighter for Troy in the Trojan War. As the first-born son of King Priam and Queen Hecuba, a descendant of Dardanus, who lived under Mount Ida, and of Tros, the founder of Troy, he was a prince of the royal house and the heir apparent to his father's throne. He was married to Andromache, with whom he had an infant son, Astyanax. He acts as leader of the Trojans and their allies in the defence of Troy, killing 31 Greek fighters in all. In the European Middle Ages, Hector figures as one of the Nine Worthies noted by Jacques de Longuyon, known not only for his courage but also for his noble and courtly nature. Indeed Homer places Hector as the very noblest of all the heroes in the Iliad: he is both peace-loving and brave, thoughtful as well as bold, a good son, husband and father, and without darker motives. When the Trojans are disputing whether the omens are favourable, he retorts: "One omen is best: defending the fatherland" (this is the motto of the Greek Armed Forces to this day).
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Aporia (Ancient Greek: ἀπορία: impasse; lack of resources; puzzlement; doubt; confusion)
denotes, in philosophy, a philosophical puzzle or state of puzzlement, and, in rhetoric, a rhetorically useful expression of doubt. It is a real or simulated expression of doubt or perplexity.