Abstract
The Promethean vision of Shelley and Al. Philippides springs from the same Greek source, Aeschylus and Hesiod, but, along the way, undergoes modifications, according to the face and likeness of each poet, in part, because the poets, putting on the coat and the Promethean mask, and play differently, depending on the interior of each one, rebelling – however, in unison, against any external and internal authority or oppression, by borrowing the Promethean howl, to which they give different valences. Shelley's tragic poem preserves the Greek heritage, the legend itself, to a point, for Shelley's verses are not a genealogical presentation but clothe themselves in self-consciousness and tragedy, in the four acts of the poem that deserve its title as a masterpiece. Shelley reserves a personal and imaginative view of human nature: „The images I have used will be found in many illustrations, and have been drawn from the processes of the human mind (...)” (our translation) of the fatality of life and destiny to which mortals are subjected to.
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