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Words related to Demogorgon

(Greek mythology) a mysterious and terrifying deity of the underworld

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at the end of Prometheus Unbound, where Demogorgon acknowledges the
essay, Demogorgon appeals to the enduring power of gradualist progress
spell" Demogorgon refers to at the end of Prometheus Unbound.
62) of Jupiter, the somewhat obscure Demogorgon is the son of Zeus/Jupiter's union with Thetis who will overthrow his father, an event that occurs at the end of Act III.
For if Demogorgon as discerned in his cave is a metaphysical principle that has neither "form nor outline," in order to act within time he is posited as Jove's son.
Selecting the second chariot, Asia is transported to her marriage with Prometheus, while Demogorgon "ascends" with the dreadful spirit to the scene of his apocalyptic overthrow of Jove.
Asia, in Act II of Shelley's lyric drama, inhales "oracular vapors" at the pinnacle of the mountains, which sends her on a trip to the cave of Demogorgon, ultimately to be swept away by the Spirit of the Hour's chariot, but not before she expectorates a genetic history of gods and humans that explains how she got there in the first place.
Hither the sound has borne us--to the realm Of Demogorgon, and the mighty portal, Like a Volcano's meteor-breathing chasm, Whence the oracular vapor is hurled up Which lonely men drink wandering in their youth And call truth, virtue, love, genius or joy-- That maddening wine of life, whose dregs they drain To deep intoxication, and uplift Like Maenads who cry loud, Evoe
By the time of Prometheus Unbound's "people-monster" Demogorgon, Shelley also, and this is Duffy's crucial point, has unchained unavoidable revolutionary violence, while freeing sublimity from the rock of faith.
My argument concerns Prometheus and Asia, whose questions to Demogorgon in Act 2 work against the Shelleyan grain of the drama and its preface by implicating Prometheus in the evil done to the world.
My reading begins near the midpoint of the drama, with Asia's meeting with Demogorgon in Act 2, in an effort to resist the dramatic propulsion that begins and ends, as one of the speakers of the play intones, in Prometheus.
In the concluding stanzas of the added fourth act, Demogorgon is interpreting Shelley's original three-act drama as a moral allegory.
Asia asks Demogorgon in Prometheus Unbound, having entered its cave of pure potentiality, which Panthea figures (as close to disfigurement as possible) as "a mighty Darkness / Filling the seat of power" (itself an "empty throne") where
Demogorgon, who is pure potentiality, thus accurately replies:
Even in Prometheus Unbound, tyranny is "conquered" not directly by Love/Asia but by the dark protean figure of Demogorgon, who, like Beatrice, takes upon himself the burden of incarnating revolutionary violence.