<i>Heracles</i>and Euripidean Tragedy

Papadopoulou, Thalia

doi:10.1017/cbo9780511482342

Cited by 42 publications

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“…As has been said(Papadopoulou 2005, 151, Ieranò 2016, the manner in which Heracles' weapons are presented at this moment suggests that the hero has fought like a hoplite.46 Curiously, in Sophocles' Ajax it seems that cowardice means not dying. In fact, likewise for Megara at the beginning of Heracles, cowardice means not accepting death.…”

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The Rhetoric of Weapons in Euripides’ Heracles

Reguero

2019

Mnemosyne

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Euripides’ Heracles includes an agon scene between Lycus and Amphitryon in which great prominence is attached to the value of the bow as opposed to that of the spear. According to some scholars, this debate about the weapons is not appropriate and it even seems to destroy the dramatic illusion. This paper, however, analyzes the role of bows and spears in the tragedy and it shows how weapons are used to make the transformation of the hero in the play visible.

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“…On the character of Athena in Euripides' Heracles, cf. Carrière 1972, Papadopoulou 2005 AsGeorge 1994, 155, states, in contrast to Heracles, Theseus does not arrive alone, but he is a hoplite who arrives with some other hoplites.…”

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The Rhetoric of Weapons in Euripides’ Heracles

Reguero

2019

Mnemosyne

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“…C'est aussi le cas, très fréquemment, du sommeil dans l'Iliade. 13 Pour ce qui concerne Héraclès, voir e. g PAPADOPOULOU, 2005,. p. 121 et STAFFORD, 2012 …”

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Héraclès et les Scythes dans la mémoire des Grecs de la mer Noire. Quelques réflexions sur Hdt. IV 8-10

Valletta¹

2021

HIS

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Parmi les différents récits au sujet des origines du peuple des Scythes (Hdt. IV, 5-15), Hérodote nous présente aussi celui retenu par les Grecs de la mer Noire (ch. 8-10). Ce morceau tout entier du texte d'Hérodote s'avère plutôt intéressant, pas tant dans le but d'établir une espèce de descendance d'un archétype unique de mythes et/ou de personnages qui sont devenus ensuite l'expression de patrimoines identitaires de peuples différents, que pour réfléchir sur l'existence d'éléments culturels-détenus par des peuples ayant vécu et se déplaçant dans les régions qui entouraient le bassin de la mer Méditerranée, y compris la mer Noire-qui étaient partagés par ces mêmes peuples que les caractéristiques environnementales avaient vraisemblablement mis en contact. Si, en effet, le récit de la naissance du peuple scythe retenu par les Scythes eux-mêmes offre des éléments (e. g. le nom du premier roi des Scythes, Colaxaïs) qui permettent, par exemple, d'établir quelque lien entre la civilisation des Scythes et celle des Spartiates de l'époque archaïque (le cheval « colaxéen » mentionné dans Alcm. fr. 3, 59 Calame), le récit retenu par les Grecs de la mer Noire (ch. 8-10), qui a comme protagoniste Héraclès, semble quant à lui mettre en évidence des éléments (e. g. l'arc, l'union avec une créature surhumaine) 1 J'aimerais remercier vivement François de Polignac de m'avoir invité à réfléchir encore sur certains passages de mon texte et à les préciser davantage. Je reste en tout cas le seul responsable de son contenu. Je remercie aussi les éditeurs du volume d'avoir voulu accueillir cette étude dans leur recueil et de m'avoir fait des suggestions utiles en vue de sa publication. 2 Post Doc researcher: École Pratique des Hautes Études, Section des Sciences Religieuses.

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“…The ambivalent image of the bow in Euripides' Heracles has recently been shown to confirm the expression of the ambivalent nature of Heracles himself. 14 In Euripides' Iphigenia in Tauris, the image evoked of Iphigenia's weaving during the recognition scene and her proficiency at it foreshadow her ability to contrive a viable escape plan. 15 Hecuba in Euripides' Hecuba is characterized in part through agricultural imagery which emphasizes her identity as a mother, the prime motivating factor in her avenging the death of her son.…”

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THE PRINCESS'S GRUESOME DEATH AND MEDEA 1079

Torrance

2007

The Class. Q.

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Much has been made, over the centuries, of the duality of Medea's nature in Euripides' eponymous play. Among the ancients, Galen and others saw the conflict of passion and reason in Medea through a Platonist filter. Recently, Helene Foley has stressed a gendered conflict, and analysed 'Medea's self-division within the context of gender relations developed in the play as a whole'. 1 Whether or not the division is to be understood through Platonic exegesis or through perceived patterns of gendered ideology, 2 there is no doubt that Euripides is very much concerned with revealing the internal struggle between two forces in the great monologue of his Medea (1021-80). The focus of treatments of Medea's duality is (understandably) her monologue, the final outcome of which is often viewed as Medea's passion or thumos decisively conquering her rational plans or bouleumata. The crucial line in question, (1079), is not unproblematic in itself. This line and, indeed, whole sections of this speech have been deleted by some editors because of the problems they raise. 3 Others have regarded the lines as genuinely Euripidean and sought to retain all or most of the speech, addressing problem areas. 4 There are essentially two ways of interpreting 1079, the crux of the issue being how to understand in the line. The reading 'my vengeful passion is stronger than my plans' was adopted by Platonists who used the line to illustrate the Platonic theory of the tripartite soul, which is divided into rational and irrational parts, 'with

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Heraclesand Euripidean Tragedy

Cited by 42 publications

References 138 publications

The Rhetoric of Weapons in Euripides’ Heracles

The Rhetoric of Weapons in Euripides’ Heracles

Héraclès et les Scythes dans la mémoire des Grecs de la mer Noire. Quelques réflexions sur Hdt. IV 8-10

THE PRINCESS'S GRUESOME DEATH AND MEDEA 1079

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