I thought I had first read this in 2007, and I remembered not understanding or appreciating it. As I read it this time, I became quickly sure that I hadn't finished it the first time through. I was ready this time. The same thing happened with Prometheus Unbound that happened with The Revolt of Islam (also by Shelley): I tried reading it once, gave it up as no good, and came back to it later to find I had been completely wrong. Shelley is quickly becoming one of my favorite poets. ( )

So there are a lot of ways to look at Shelley's Prometheus Unbound: as a continuation of Aeschylus's Prometheus Bound, as its own closet drama, or as a framework for Shelley to write poetry on nature and classical mythology. Unfortunately, in my opinion Prometheus Unbound fails no matter which of the three ways you look at it, and I'm actually left scratching my head at how badly Shelley messed up considering that he was handed such an interesting subject on a silver platter.

Aeschylus's Prometheus Bound is a work with amazing potential, the only surviving play in a trilogy that functions as a fascinating introduction to the Prometheus myth. Both Prometheus and Zeus are established as characters with depth, and their conflict is both nuanced and dramatic. It's impossible to say whether the potential of Prometheus Bound was fulfilled by Aeschylus's later plays, but I know for certain that said potential wasn't realized by Shelley. Instead of the fully developed characters of Prometheus Bound Shelley takes Prometheus and makes him a one-dimensional martyr, reassigning the pride that was evident in the Aeschylus version of Prometheus to Zeus. Shelley's Prometheus has no flaws of any consequence, instead he's just a name that undergoes unjust suffering and whose eventual release heralds a new age of peace and prosperity. He's the prophesied chosen one, a role which apparently Shelley doesn't think requires any further characterization. Zeus is also far less interesting here than in Prometheus Bound, as Shelley has made Zeus into a pure tyrant, with no reference to his recent rise to power and subsequent shift in behavior that made him an interesting character when crafted by Aeschylus, despite the fact that Zeus never appeared onstage in Prometheus Bound. Even minor characters like Mercury are made less compelling by Shelley than the ancient source material he had to draw inspiration from. While Prometheus Bound was the beginning of what promised to be a play of both emotional and potentially moral complexity, Shelley's play is one of black-and-white morality and one-dimensional characters. Compared to Prometheus Bound, Prometheus Unbound is banal and unimpressive.

Looking at Prometheus Unbound independent of Prometheus Unbound it still fails to excite. Shelley wrote this as a closet drama, meaning it was not intended to actually be performed, and I have to say that's an excellent decision because I can't imagine any way to stage and perform this play that wouldn't be mind-numbingly boring. All the flat characters only communicate through page long speeches, the actual action of the play occurs solely in the first act and the first few pages of the third, and the fourth act is so superfluous that Shelley didn't even originally include it as part of the play but instead tacked it on later. The ancient tragedians knew how to get to the point, and even more contemporary playwrights to Shelley like Shakespeare knew the art of merging their exquisite language with dramatic and compelling plots. There is no evidence in Prometheus Unbound that Shelley possessed that ability, and the story of Prometheus isn't one that precludes dramatic tension by any means. Shelley's four act play rambles on, brushing the key events out of the way as quickly as possible so as to fit in more passages of Earth and Asia and the Moon and other "characters" either despairing over the fate of Prometheus and the current state of the world, or in the second half of the play praising the changes that have occurred and the new state of things. Jupiter (Zeus) literally appears for all of three pages. The Moon gets more lines than Jupiter does. In sum Prometheus Unbound, even if you aren't comparing it to other plays, is a poorly structured work that fails to be at all compelling, instead continually going off on tangents and focusing on minor occurrences while giving very little attention to major ones.

These failings are why I believe Prometheus Unbound should really be considered a framework for Shelley's poetry instead of as a drama of any sort, closet or otherwise. Seriously, even if Shelley was a complete fool he probably could have written a play with better structure than this if crafting an interesting play was his goal. Instead, if his intention was to use the classical framework established by Aeschylus as a jumping off point for his poetry, then the structure of the play and the characters he chose to focus on makes far more sense. Unfortunately, while more understandable, Prometheus Unbound isn't very good when considered as a poetry framework either. Shelley can write great poetry, no question, the go-to example that almost everyone is familiar with being Ozymandias, and other efforts by Shelley (some included with Prometheus Unbound when it was first published) are also impressive. In Prometheus Unbound there is little of Shelley's best on display when it comes to poetry. For every character's speech that works well as a poem there are a dozen that seem mediocre poetry at best- and I'm probably being generous, as most lines don't even seem to meet the threshold of poetry but merely read as prolix prose. Additionally, reading over a hundred pages of Shelley's second tier poems stapled together isn't the format to appreciate his poetic talents. Especially when the fourth act rolls around and the story has already been completely resolved, the poetic dialogue of the various characters is distinctly underwhelming, more tedious than anything else. There is good Shelley poetry out there, but Prometheus Unbound does not showcase his best work, largely giving us overwritten and unimpressive speeches instead .

Shelley set out to not only complete Aeschylus's play, but to surpass it. Instead, he stripped Prometheus Bound of all its most interesting elements and wrote a bland play that serves more as a funnel for some of Shelley's more mediocre poetry than it does a compelling drama. Where Aeschylus wrote complex characters Shelley gives us mere archetypes of the martyr and the tyrant, not that they even receive much attention. Instead Shelley has the play focus on different nature entities talking amongst themselves, or praising the new dawn brought about by the overthrow of Jupiter, all in the form of some of Shelley's most lackluster poetry (for the most part indistinguishable from too-flowery prose). Based on statements he made to his wife before his death Shelley was actually happy with how Prometheus Unbound turned out. For my part, I can't imagine how Shelley could believe for one second that this mess of a closet drama belonged alongside the works of the great tragedians of antiquity. ( )

I'm eh.