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Essays on Hercules
Essay on the characterisation of heroes
An essay about heroes
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In the myths “The Ceryneian Hind”, “The Eurymanthian Boar”, “The Mares of Diomedes”, and “Hippolyte's Belt”, the reader can use the symbols of Hercule’s bow and arrow, the Mares, the belt, and the cattle, and the archetype of the hero to demonstrate that because of man’s hunger for more power, the innocent are abused or even killed. The deer seen in this poster is the creature from “The Ceryneian Hind”, which is a labor that has been assigned to Hercules, son of Zeus. To become immortal, Hercules must complete 12 labors that are near impossible to complete. The Hind is a special female deer who is capable of running “faster than an arrow in flight”, according to the myth. To make the task more dangerous, this animal happens to be the treasured pet of the goddess of the hunt, Artemis. After a full year of chasing this creature, Hercules finally manages to catch her by stunning her with his bow and arrow. To avoid conflict, he spoke with Artemis , “that he had been forced into this …show more content…
The fierce giant Diomedes kept four carnivorous stallions, and, as stated in the myth, “fed them an unnatural diet of human flesh, from unwitting travellers to the region.” Hercules brought a group of his followers to aid in the task, leaving behind a juvenile, named Abderos, to watch over the mares while the others went ahead to annihilate the enemies. After the group returned, Hercules was devastated to “find only pieces of his dear friend remained.” Hercules, yet again, caused the death of a close friend by trying to be the hero. Hercules is definitely the archetype of the hero. A hero’s core desire is to prove their worth by completing daring deeds, and that is exactly what Hercules is doing by doing his 12 labours. The mares represent both death and tragedy, since they ate Abderos, leaving Hercules in a feeling of desolation. Once again, the loss of a valued companion did not deter his hunger for more
This late perspective of life shows how Cephalus represents a very religiously concerned character. From this, he derives his definition of justice so that it suits himself and satisfies the gods. At this point he is very focused on what the gods think of him because he mentions the fear of, "being in debt to some god," (7).
As one of the most well known ancient Roman love poets, Ovid has demonstrated bountiful talents within his writing. When reading myths from his book titled Metamorphoses, you gain an enlightening insight of how he viewed mythology. To Ovid, love was the origin of everything. Therefore, it should not come as a surprise that most of his poems relate to the theme of love. However, not all poets are the same and every re-telling of a myth has its own unique perspective. In this paper I will compare and contrast the myth of Medea in Euripides Medea and Ovid’s Metamorphoses Book 7. I will then explain how Ovid’s approach to love and loss correlate to his general approach to myth as a whole. I will support my belief with evidence from Ovid’s Metamorphoses Book 14.
In contrast with Beowulf’s concrete depictions of good versus evil, The Odyssey focuses more on the gray areas of punishment and revenge. A main theme throughout the poe...
Medea and Agaue, the tragic heroes of Euripides’ Medea and Bacchae, represent similar ideas. For both plays, the plot focuses on those two characters’ attainment of vengeance, so that their desire for a form of retribution is the primary driving force behind the plays’ conflicts. In each case, the revenges taken by Medea and Agaue are the results of their acting on their most basic, instinctual emotions without the self-control given by a more reasoned nature. Accordingly, the women and their pursuit of revenge become representative of the emotional side of human thinking. The characters that Medea and Agaue eventually destroy, Jason and Pentheus, support and represent reason, civilization, and ambition. As these male characters against which Medea and Agaue take their revenge hold purely civilized and unemotional values, they become the opposite of their play’s women. Thus, the conflict in each play becomes less specific. Instead, both plays seen together become a more generalized reflection on the natural opposition of logic and emotion, and the tragic results of their imbalance.
I admit right at the start of this exegesis that my focus will inevitably spiral into a strange sort of hybrid beast: a colligation of the topics pertaining to the authority and identity of mythological beings from Ovid’s Metamorphoses. In honor of the English language’s unique ability to employ paronomastic devices, I will endeavor to transmogrify one topic into the other and thereby allow the notions of both authority and identity (through Ovid’s mythological structure) to exist in a state of unadulterated symbiosis. Indeed, I am fully inclined to argue that the identity of an individual is often yoked to the amount of authority placed over that person’s life. Identity is largely molded through networks of interactions, and authority maintains the boundaries of such interactions. As a result, I would argue that both topics depend on each other in much the same way a developing child relies on the connection to the mother for survival. The tales of Archne and Narcissus aptly demonstrate these connections between the notions of authority and identity. Therefore, starting first with the alteration of identity and subsequently dealing with the distribution of authority, I will demonstrate how each tale inevitably exudes each respective topic.
If nothing else, this essay has proven the synthesis of Aristotelian and unconventional tragic elements, through the use of the tragic hero, the three unities and the support of a cathartic response from the audience. Also though, with disregard to many Aristotelian rules, to create perhaps not a dramatic success by Aristotle?s ideals, but undoubtedly an effective and challenging text which is Medea.
Hercules was adventurous manly because of what he was sentenced to do. Hercules was driven mad by the goddess Hera, and in frenzy he killed his own children. To atone for his crime he was sentenced to perform a series of tasks or labors for his cousin Eurytheus, the king of Mycenae.
Medieval literature is known for its use of allegory. In fact, while reading medieval texts such as Boccaccio’s The Decameron and Dante’s La Vita Nuova, it is important for readers to analyze the people, places, things, and pivotal events carefully—they have significance—a metaphorical meaning. In addition, allegory and long narratives serve as the building blocks for medieval texts; the primary purpose of the tales is to tell a story. The stories often revolve around life lessons, as well as religious virtues. Throughout the course of this paper, readers will get the opportunity to learn how Boccaccio and Dante use the image of the eaten heart as an allegorical representation of the body of Christ. The analysis of the texts will be completed
When most think of violence, they think of wars and killing, but there are more types of violence than just this. Mythology by Edith Hamilton is one of the main resources used for this paper. Theological means of or pertaining to supreme deities (gods and goddesses). This book is a collection of Greek and Roman myths. It goes through many major tales like the Trojan War, the story of Agamemnon, and the Judgment of Paris. There are many kinds of violence in all these myths, the three I have chosen to focus on are physical violence, theological violence (violence between the Gods), and emotional violence.
If we give ourselves up to a full sympathy with the hero, there is no question that the Oedipus Rex fulfills the function of a tragedy, and arouses fear and pity in the highest degree. But the modern reader, coming to the classic drama not entirely for the purpose of enjoyment, will not always surrender himself to the emotional effect. He is apt to worry about Greek fatalism and the justice of the downfall of Oedipus, and, finding no satisfactory solution for these intellectual difficulties, loses half the pleasure that the drama was intended to produce. Perhaps we trouble ourselves too much concerning the Greek notions of fate in human life. We are inclined to regard them with a lively antiquarian interest, as if they were something remote and peculiar; yet in reality the essential difference between these notions and the more familiar ideas of a later time is so slight that it need not concern the naive and sympathetic reader. After all, the fundamental aim of the poet is not to teach us about these matters. but to construct a tragedy which shall completely fulfill its proper function. Nevertheless, for the student of literature who feels bound to solve the twofold problem, How is the tragedy of Oedipus to be reconciled with a rational conception of life? and How does Oedipus himself comply with the Aristotelian requirements for a tragic hero? there is a simple answer in the ethical teaching of the great philosopher in whose eyes the Oedipus Rex appears to have been well-nigh a perfect tragedy. In other words, let us compare the ideal of the Ethics with the ideal of the Poetics.
Since it is the presence of allegorical figures--abstractions--in the epic to which some critics object, it is necessary here to discuss both allegory and epic form. Allegory, according to William Flint Thrall and Addison Hibbard, is defined as "an extended metaphor in which objects and persons in a narrative . . . are equated with meanings that lie outside [it]," uses characters that "are usually personifications of abstract qualities, the action and the setting representative of the relationships among these abstractions. Allegory attempts to evoke a dual interest, one in the events, characters, and setting presented, and the other in the ideas they are intended to convey or the significance they bear" (7-8).
Now in Comoria was a great and marvelous power, which held sway over all the Cor, over the nations and the seas. But in the last days of a haughty king, Comoria began to regard the gods of war, growing insolent and began to exceed the arts of metals, the art of the sea, for only Comoria built the great warships that plowed the Gallian Sea. They mastered the horses, and built gold war chariots, and archers, and the sword, and armors, the hundred men spearmen lines, the art of siege towers, that could scale the walls of great cities, and the ram, that destroyed the doors of any gate. So Comoria ruled with the spirit of fear, that vexed the whole of the peaceful nations of Cor, and in the end, the dark priests brought the goddess Ashra, Dero, her husband, Com and Coom, the twin sons, and the Three Daughters, the worship of obscene gods, to prey on the fears of men. But later there occurred THE FINAL disregard for the gods of Cor, and in one night the Citadel, the house of the gods was made desolate by the Priest of
Cambridge: Cambridge University Press. Schein, Seth L. The Mortal Hero: An Introduction to Homer's Iliad. Berkeley: University of California Press, 1984. Segal, Charles.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
• Agamemnon and Menelaus are likened to “vultures robbed of their young, the agony sends them frenzied” where Helen equates to their “young.” The vult...