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An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles

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An Analysis of Heracles As a Tragic Hero in the Trachiniae and the Heracles The Suffering Heracles: An Analysis of Heracles as a Tragic Hero in The Trachiniae and the Heracles by Daniel Rom Thesis presented for the Master’s Degree in Ancient Cultures in the Faculty of Arts and Social Sciences, at Stellenbosch University Supervisor: Prof. Annemaré Kotzé March 2016 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. March 2016 Copyright © 2016 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract This thesis is an examination of the portrayals of the Ancient Greek mythological hero Heracles in two fifth century BCE tragic plays: The Trachiniae by Sophocles, and the Heracles by Euripides. Based on existing research that was examined, this thesis echoes the claim made by several sources that there is a conceptual link between both these plays in terms of how they treat Heracles as a character on stage. Fundamentally, this claim is that these two plays portray Heracles as a suffering, tragic figure in a way that other theatre portrayals of him up until the fifth century BCE had failed to do in such a notable manner. This thesis links this claim with a another point raised in modern scholarship: specifically, that Heracles‟ character and development as a mythical hero in the Ancient Greek world had given him a distinct position as a demi-god, and this in turn affected how he was approached as a character on stage. Heracles‟ potential as a suffering, tragic hero on stage was largely unacknowledged by Greek playwrights before and during the early fifth century BCE. The ultimate reason for this, as this thesis claims, is that Heracles‟ involvement in tragedy, unlike the other mythical heroes of Greece, would remain affected by his distinctive, complicated nature as a demi-god, until the time when The Trachiniae and the Heracles would be written. This thesis also demonstrates exactly why these two plays are so important for understanding the nuanced character of Heracles. Where this thesis expands upon these existing theories is to organise them in a cohesive, systemic order, where the links between these claims, and also the links between Greek heroes, Greek tragedy and Heracles, are firmly established. This thesis first examines in brief the origin and nature of Ancient Greek heroes as a whole. This is done in Chapter 2, following the Introduction. At this stage, a link is already established between Greek heroes and the tragic element. Heracles is then described, and the ways in which he differs from other heroes is explored, with specific focus placed on his demi-god status as being a defining element of him. An overview of how Heracles was conceived and placed within Greek society up until the fifth century BCE is also undertaken at this point. Chapter 3 proceeds to examine the world of the tragic theatre, the essential elements of tragedy, and Heracles‟ place on stage up until the time of The Trachiniae and the Heracles. Chapter 4 is an in-depth study of both of these plays, in order Stellenbosch University https://scholar.sun.ac.za to see what aspects of The Trachiniae and the Heracles develop the characterisation of Heracles, specifically as a tragic suffering hero. Chapter 5 contains the conclusions reached by this thesis: that Heracles‟ complexity as a mythical figure owes a great deal to his conception as both man and god in different contexts for the Greeks, and that in this way; he remains one of the only true demi-gods of the Ancient Greek world. Furthermore, this thesis concludes that The Trachiniae and the Heracles are exceptional, not because they force tragedy upon Heracles without cause, but because they precisely explore this important element of his character, and rather than simplify the issue, they draw it out to its logical, tragic conclusion. And in return, we are able to gain a deeper appreciation for the figure of Heracles in this role, that of The Suffering Heracles. Stellenbosch University https://scholar.sun.ac.za Acknowledgements I would like to thank my supervisor, Prof Annemaré Kotzé, for her vast experience, extensive patience and continual support during the time of researching and formulating this thesis. The entire process was enormously educational on multiple levels, and much of my own personal enjoyment of this topic was expanded upon only thanks to her direction and guidance. I would also like to thank Mrs Fiona Rom for her help as a proof-reader. Stellenbosch University https://scholar.sun.ac.za Contents Chapter One: Introduction ........................................................................................................... 1 Chapter Two: Heracles as a Greek Hero ..................................................................................... 6 2.1. Greek Heroism ................................................................................................................ 6 2.2. Characteristics of the Typical Greek Hero ................................................................. 11 2.3. The Tragic Hero ............................................................................................................ 16 2.4. Heracles Used for Political Purposes ........................................................................... 20 2.5. Heracles as an All-Encompassing Hero and a Praiseworthy Ideal .......................... 27 2.6. Heracles as Demi-God .................................................................................................. 37 Chapter Three: Greek Tragic Theatre and Heracles ............................................................... 42 3.1. Interaction between Audience, Play, and Writer ....................................................... 42 3.2. Tragic Subject Matter in Greek Theatre .................................................................... 47 3.3. Heracles as a Theatre Theme Prior to The Trachiniae and the Heracles ................. 51 Chapter Four: Analysing the Plays ............................................................................................ 55 4.1. Introduction to the Plays .............................................................................................. 55 4.2. Sophocles’ The Trachiniae ............................................................................................ 58 4.2.1. Overview ................................................................................................................... 58 4.2.2. The Atypical Portrayal of Heracles ......................................................................... 63 4.2.3. The Suffering Heracles ............................................................................................ 67 4.3. Euripides’ Heracles ....................................................................................................... 85 4.3.1. Overview ................................................................................................................... 85 4.3.2. The Atypical Portrayal of Heracles ......................................................................... 89 4.3.3. The Suffering Heracles ............................................................................................ 95 Chapter Five: Conclusion .......................................................................................................... 112 Referenced Works ...................................................................................................................... 115 6.1. Primary Texts .............................................................................................................. 115 Stellenbosch University https://scholar.sun.ac.za 6.2. Secondary Texts .......................................................................................................... 115 Stellenbosch University https://scholar.sun.ac.za Chapter One: Introduction The term “hero” is one that conjures up powerful connotations, for it is a concept that has been understood in one form or another by humans since the earliest periods of civilisation. But while nearly every culture that has ever existed provides us with examples of heroes and heroism, it is a fallacy to assume that the details and implications behind this term are consistent across cultures. On a surface level, a hero may seem to be the same from one distinct culture to another, but upon deeper investigation a culture‟s conception of a hero can tell us as much about that culture specifically as any artwork or piece of literature would. As Kerenyi (1959: 2) succinctly puts it, “They [Greek heroes] were not always distinguished, not even, for instance, by heroism; that is why English „hero‟ is not a satisfactory rendering of Greek heros, although it must be used for want of a better word.”1 Within the context of the Ancient Greeks, which is the society that contributed the term “hero” to the English language, there was a nuanced and specific understanding of what constituted a hero and what could be called heroism. For the Ancient Greeks, the heroes had already come and gone, they had come before and done great deeds and they had all eventually died (with, perhaps, one notable exception).
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