The myth of the seventh son of a seven son is still alive today, and has been used variously in films, literature, and music. In an age when superstition is frowned upon by many, our fascination with the number seven and the folklore regarding the seventh son of a seventh son still continues, and will probably persist into the future.

According to the fourth, everyone grew weary of the meaningless affair. The gods grew weary, the eagles grew weary, the wound closed wearily.

The Beast Player: Elin is the product of a forbidden union between an Ahlyo woman and a non-Ahlyo man. The stigma is so intense that the results of such unions are called Akun Meh Chai, meaning "devil-bitten child". Nancy Drew (2019) The series's big twist is Nancy is actually the daughter of Ryan Hudson and Lucy Sable, teenage lovers whose romance was destroyed by Ryan's classist father. Some two dozen other Greek and Roman authors retold and further embellished the Prometheus myth from as early as the 5th century BC ( Diodorus, Herodorus) into the 4th century AD. The most significant detail added to the myth found in, e.g., Sappho, Aesop and Ovid [61] was the central role of Prometheus in the creation of the human race. According to these sources, Prometheus fashioned humans out of clay. Raggio then goes on to point out Plato's distinction of creative power ( techne), which is presented as superior to merely natural instincts ( physis).

The Longman Anthology of British Literature: Volume 2A: The Romantics and Their Contemporaries. United States: Pearson Education, Inc. 2006. p.704. ISBN 0-321-33394-2. 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' fire is to the association of the gift of fire to the mythological gift or theological gift of life to humans. 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. For Plato, only the virtues of "reverence and justice can provide for the maintenance of a civilised society – and these virtues are the highest gift finally bestowed on men in equal measure." [41] 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".Scott, A. O. (October 21, 2023). "Are Fears of A.I. and Nuclear Apocalypse Keeping You Up? Blame Prometheus. - How an ancient Greek myth explains our terrifying modern reality". The New York Times. Archived from the original on October 21, 2023 . Retrieved October 21, 2023. His murderers hide his body under a pile of rubble, returning at night to move the body outside the city, where they bury it in a shallow grave marked with a sprig of acacia. As the Master is missed the next day, Solomon sends out a group of fellowcraft masons to search for him. The loose acacia is accidentally discovered, and the body exhumed to be given a decent burial. The hiding place of the "three ruffians" is also discovered, and they are brought to justice. Solomon informs his workforce that the secret word of a master mason is now lost. He replaces it with a substitute word which is considered a secret by Masons. In 1 Kings 7:13–14, Hiram is described as the son of a widow from the tribe of Naphtali who was the son of a Tyrian bronze worker, sent for by Solomon to cast the bronze furnishings and ornate decorations for the new temple. From this reference, Freemasons often refer to Hiram (with the added Abiff) as "the widow's son." Hiram cast these bronzes in clay ground in the plain of the Jordan between Succoth and Zarethan/Zeredathah (1 Kings 7:46-47). In his book titled Prometheus: Archetypal Image of Human Existence, C. Kerényi states the key contrast between Goethe's version of Prometheus with the ancient Greek version. [84] As Kerényi 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. Rudolf Wagner-Régeny composed the Prometheus (opera) in 1959. Another work inspired by the myth, Prometeo (Prometheus), was composed by Luigi Nono between 1981 and 1984 and can be considered a sequence of nine cantatas. The libretto in Italian was written by Massimo Cacciari, and selects from texts by such varied authors as Aeschylus, Walter Benjamin and Rainer Maria Rilke and presents the different versions of the myth of Prometheus without telling any version literally.