DOCSLIB.ORG

Parthenon East Metope XI: Herakles and the Gigantomachy

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Parthenon East Metope XI: Herakles and the Gigantomachy Fairfield University DigitalCommons@Fairfield Visual & Performing Arts Faculty Publications Visual & Performing Arts Department 1-1996 Parthenon East Metope XI: Herakles and the Gigantomachy Katherine Schwab Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts- facultypubs Originally appears in American Journal of Archaeology. Copyright 1996 Archaeological Institute of America. Peer Reviewed Repository Citation Schwab, Katherine, "Parthenon East Metope XI: Herakles and the Gigantomachy" (1996). Visual & Performing Arts Faculty Publications. 5. https://digitalcommons.fairfield.edu/visualandperformingarts-facultypubs/5 Published Citation Schwab, Katherine. 1996. "Parthenon East Metope XI: Herakles and the Gigantomachy." AJA 100(1):81-90. This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Parthenon East Metope XI: Herakles and the Gigantomachy KATHERINE A. SCHWAB Abstract tected, even though all of the metopes are extant, Parthenon East Metope XI, one of two metopes with since their state of preservation is poor, having three in the has been one of the figures composition, suffered considerable damage when the temple was most problematic in the east series. C. Praschniker,in converted to a church in the Early Christian era.3 his study of the east metopes in 1928, was the first to The of in each 1.21 m propose Heraklesas the centralfigure. Subsequent schol- groups figures composition, ars have challenged this identification, suggesting in- in height and carved in high relief, were chopped stead Apollo, Ares, or Hephaistos. A comparison with and gouged from the surface. This deliberate destruc- of the on vases of the representations Gigantomachy tion has left a complex and sometimes enigmatic fifth Herakles for the central century B.C.supports fig- surface with contour lines some ure in East An examination of casts of the partially defining XI. plaster of the metope in Basel and in Athens provides evidence to figures. reconstruct the figure equipped with a large bow in Praschniker's thorough knowledge of published his outstretched left hand and the position of his right vases of the time, and his use of vase painting ico- foot. The new evidence for the and attributes pose nography for comparative purposes, enabled him further supports the identification of the central figure to offer reconstruction drawings for each composi- as Herakles. Correlations to another three-figure com- tion that have served as the fundamental for position in the east metopes, as well as placement on images the facade and alignment with the ground plan of the the east metopes ever since. E. Brommer's systematic temple, underscore the important role given to Hera- description, interpretation, and photographic doc- kles in this representation of the battle of the gods umentation have become essential as the corrosive and giants.* effects of air pollution have increasingly eroded ex- tant sculptural details. The first major study of the Parthenon east met- The continuing debate concerning the middle opes, including the reconstruction of the composi- figure in East XI has prompted my renewed study tions and the identification of the figures and their of the composition (fig. 1). In a careful examination interpretation, was conducted by C. Praschniker in of the casts in Basel and Athens I have found the 1928.1 A. Michaelis had already established the upper half of a bow in the top right-hand corner theme of the 14 east metopes as the battle of the of the metope, which one can see mostly concealed gods and giants, after recognizing Dionysos accom- by the shadow from the triglyph in the Basel pub- panied by a snake attacking a fleeing figure in East lication.4 I have also found the right foot of the cen- II.2 It is remarkable that any theme could be de- tral figure. * An earlier version of this paper was presented at the for generous access to the Skulpturhalleand for their com- 94th Annual Meeting of the Archaeological Institute of ments on early stages of my drawingsand interpretations. America in New Orleans, December 1992 (AJA97 [1993] My thanks are also due to R. Davidson and the anonymous 310, abstract).Funding was provided by Fairfield Univer- AJAreviewers for their helpful criticisms and suggestions. sity to support my research in Athens and Basel. In Athens The following abbreviations have been used: I wish to thank the Ephor of the Acropolis, Peter Kalligas, Berger E. Berger, Dokumentation zu den Meto- for permission to study the plaster casts of the east met- pen des Parthenon. Studien der Skulp- opes in the Center for the Acropolis at Athens. I also wish turhalle Basel (Mainz 1986). to thank Alexander Mantis, Curator of Antiquities of the Brommer E Brommer, Die Metopen des Parthe- Acropolis Museum, for his generous assistance in arrang- non (Mainz 1967). ing for me to study the casts, and for his comments and Praschniker C. Praschniker, Parthenonstudien observationsin numerous discussions concerning the casts (Vienna 1928). 1 of the east metopes. I thank Aileen Ajootian, Robert Praschniker. His study includes the north and east Bridges, Evelyn Harrison, Caroline Houser, and Christina metopes of the Parthenon. Salowey for discussing my research at various stages and 2 A. Michaelis, Der Parthenon (Leipzig 1870-1871) 143. offering helpful observations, suggestions, and encourage- 3 The temple was converted to a Christian church dur- ment. I also thank Manolis Korres for discussing with me ing the reign of the emperor Justinian, and it is at this his discoveries in the composition of East Metope XIV. time that most figures in the metopes were damaged. In Basel I wish to thank Ernst Berger and MargotSchmidt 4 Berger pl. 64. 81 American Journal of Archaeology 100 (1996) 81-90 82 KATHERINE A. SCHWAB [AJA 100 Fig. 1. Cast of metope East XI, Basel, Skulpturhalle. (Berger pl. 64, Photo D. Widmer) METHOD thanks to M. Korres, who found evidence for the pres- My study of Parthenon East Metope XI, the most ence of four, not two, horses pulling the chariot of problematic metope of the east series, has been based Helios above Okeanos in East XIV.6 The outermost on plaster casts and a comparison of the Giganto- horse would have projected beyond the metope floor, machy in the compositions from the east metopes thus giving us a spectacular quadriga prominently with those on vases of the fifth century B.C. From displayed at the right end of the series. Such a dis- these results and a synthesis of the drawings pub- covery makes it more than likely that the other com- lished by Praschniker and the photographs published positions were potentially as complex in the arrange- by Brommer, I have developed a drawing system, ment of dueling figures and chariot groups. The using Praschniker's line drawing as the basis, that addition of bronze attachments, particularly wea- attempts to show where the carved surface is pre- ponry, and paint for details such as hair, eyes, lips, served with a sharp black contour and added shad- drapery, and the possibility of red for the background ing to suggest volume (fig. 2). Where the contour is plane all would have contributed to a dynamic bat- not extant or is at best merely suggested, light shad- tle between the Olympian gods and the Earth-born ing is used. The resulting drawing is intended to give giants on the east facade of the Parthenon. one a greater sense of the three-dimensionality of Most of Praschniker's identifications for the figures the original composition than one perhaps sees in in the east metopes have been accepted by scholars Praschniker's drawing of the metope composition in subsequent studies. Some of these identifications (fig. 3). The new drawing provides an opportunity have been challenged, however, including the most to incorporate details visible in Brommer's photo- badly damaged figure in metope East XI, the central graphs, E. Berger's publication of the Basel casts, and figure. Unlike the majority of compositions in the my discoveries and observations from studying the east series, East XI has three figures instead of two. casts in Basel and Athens.5 Only one other metope has three figures, East IV, The complexity of the original composition in at to which we will return. Praschniker associated Her- least some of the east metopes is now indicated, akles with the central figure in East XI, accompa- 5 See G.B. Waywell'sreview of Berger in Gnomon60 6M. Korres, "Acropole, travaux de restauration du (1988) 57-60. Parthenon,"BCH 115 (1991) 839. 1996] PARTHENON EAST METOPE XI 83 Fig. 2. Drawing of metope East XI. (K.A. Schwab) nied by Eros at left, another archer, in the defeat of a falling giant at right.7 Brommer disagreed with Praschniker, preferring instead to see the mortal hero in East IX as the fleeing figure at left rather than a giant, while proposing Apollo as the principal figure in East XI.8 Herakles, however, never appears in a defensive posture during the Gigantomachy on vases where he is clearly recognizable. Instead, he is consistently shown as an aggressive archer fighting alongside the Olympians. Placing Herakles in East IX as the fleeing figure is most doubtful.
Load more

Recommended publications
  • Iconographical Studies on Nike in 5Th Century BC
    Fairfield University DigitalCommons@Fairfield Visual & Performing Arts Faculty Publications Visual & Performing Arts Department 4-2003 Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne Katherine Schwab Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/visualandperformingarts- facultypubs Originally appears in American Journal of Archaeology. Copyright 2003 Archaeological Institute of America. Peer Reviewed Repository Citation Schwab, Katherine, "Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature by Cornelia Thöne" (2003). Visual & Performing Arts Faculty Publications. 4. https://digitalcommons.fairfield.edu/visualandperformingarts-facultypubs/4 Published Citation Schwab, Katherine. 2003. Review of Iconographical Studies on Nike in 5th Century B.C.: Investigations of Her Functions and Nature, by Cornelia Thöne. AJA 107(2):310-311. This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. 310 BOOK REVIEWS [AJA 107 In fact, much of the focus of this book is on material chaic period to the end of the fifth century B.C., from a that, for typological or geographical reasons, often re- more restricted and formulaic representation to one with ceives limited attention in handbooks.
    [Show full text]
  • Ancient Greek Vessels Pattern and Image
    ANCIENT GREEK VESSELS PATTERN AND IMAGE 1 ACKNOWLEDGMENTS It is my pleasure to acknowledge the many individuals who helped make this exhibition possible. As the first collaboration between The Trout Gallery at Dickinson College and Bryn Mawr and Wilson Colleges, we hope that this exhibition sets a precedent of excellence and substance for future collaborations of this sort. At Wilson College, Robert K. Dickson, Associate Professor of Fine Art and Leigh Rupinski, College Archivist, enthusiasti- cally supported loaning the ancient Cypriot vessels seen here from the Barron Blewett Hunnicutt Classics ANCIENT Gallery/Collection. Emily Stanton, an Art History Major, Wilson ’15, prepared all of the vessels for our initial selection and compiled all existing documentation on them. At Bryn Mawr, Brian Wallace, Curator and Academic Liaison for Art and Artifacts, went out of his way to accommodate our request to borrow several ancient Greek GREEK VESSELS vessels at the same time that they were organizing their own exhibition of works from the same collection. Marianne Weldon, Collections Manager for Special Collections, deserves special thanks for not only preparing PATTERN AND IMAGE the objects for us to study and select, but also for providing images, procuring new images, seeing to the docu- mentation and transport of the works from Bryn Mawr to Carlisle, and for assisting with the installation. She has been meticulous in overseeing all issues related to the loan and exhibition, for which we are grateful. At The Trout Gallery, Phil Earenfight, Director and Associate Professor of Art History, has supported every idea and With works from the initiative that we have proposed with enthusiasm and financial assistance, without which this exhibition would not have materialized.
    [Show full text]
  • Excerpt from Euripides' Herakles
    Excerpt from Euripides’ Herakles (lines 1189-1426) The action up until now: The goddess Hera has sent Madness upon Herakles. Madness has driven Herakles to kill his wife and his children. He mistook them for his enemies, being under the influence of Madness. Herakles is just coming out of the frenzied state he was in, and beginning to realise what he has done. He is contemplating suicide. Suddenly, Theseus of Athens appears on the scene. After a discussion with Herakles’ father Amphitryon, Theseus learns what has happened. At this moment, Herakles is lying in among his dead family members, ashamed of his actions, not wanting Theseus to see his face. I have included some lines here of the discussion between Theseus and Amphitryon, that will lead into the essential discussion between Herakles and Theseus. Theseus What do you mean? What has he done? Amphitryon Slain them in a wild fit of frenzy with arrows dipped in the venom of the hundred-headed hydra. Theseus This is Hera's work; but who lies there among the dead, old man? Amphitryon My son, my own enduring son, that marched with gods to Phlegra's plain, there to battle with giants and slay them, warrior that he was. Theseus Ah, ah! whose fortune was ever so cursed as his? Amphitryon Never will you find another mortal that has suffered more or been driven harder. Theseus Why does he veil his head, poor wretch, in his robe? Amphitryon He is ashamed to meet your eye; his kinsman's kind intent and his children's blood make him abashed.
    [Show full text]
  • The Victory of Kallimachos Harrison, Evelyn B Greek, Roman and Byzantine Studies; Spring 1971; 12, 1; Proquest Pg
    The Victory of Kallimachos Harrison, Evelyn B Greek, Roman and Byzantine Studies; Spring 1971; 12, 1; ProQuest pg. 5 The Victory of Kallimachos Evelyn B. Harrison HE FRAGMENTARY EPIGRAM from the Athenian Acropolis! record­ Ting a dedication to Athena by Kallimachos of Aphidna and apparently referring to his service at Marathon has been dis­ cussed and tentatively restored in various ways, but no complete restoration has found general agreement. Meiggs and Lewis, in A Selection of Greek Historical Inscriptions nO.18, print a conservative text, restoring only the first two verses completely and quoting in foot­ notes the supplements of Shefton and Ed. Fraenkel for the last three verses.2 Raubitschek, in a general discussion of Greek inscriptions as historical documents, also prints a text without the most controver­ sial restorations.3 Both still accept, however, the restoration which refers to the offering as "messenger of the immortals" and believe that the column on which the inscription was carved supported one of the winged female figures of which several examples have been lIG 12 609. Most recently, R. Meiggs and D. M. Lewis, A Selection of Greek Historical In­ scriptions (Oxford 1969). Add to their bibliography A. E. Raubitschek, Gymnasium 72 (1965) 512. The long article by B. B. Shefton, BSA 45 (1950) 14D--64, is the most informative about the stone, since it includes photographs and full discussion of difficult letters as well as a great deal of background material. 1 am grateful to Ronald Stroud for making me a good squeeze of the inscription and to Helen Besi for the drawings, unusually difficult to make because of the concave surface in which the letters are engraved.
    [Show full text]
  • Herakles Iconography on Tyrrhenian Amphorae
    HERAKLES ICONOGRAPHY ON TYRRHENIAN AMPHORAE _____________________________________________ A Thesis presented to the Faculty of the Graduate School University of Missouri-Columbia _____________________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts ______________________________________________ by MEGAN LYNNE THOMSEN Dr. Susan Langdon, Thesis Supervisor DECEMBER 2005 ACKNOWLEDGEMENTS I would like to thank my thesis advisor, Dr. Susan Langdon, and the other members of my committee, Dr. Marcus Rautman and Dr. David Schenker, for their help during this process. Also, thanks must be given to my family and friends who were a constant support and listening ear this past year. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS………………………………………………………………ii LIST OF ILLUSTRATIONS……………………………………………………………..v Chapter 1. TYRRHENIAN AMPHORAE—A BRIEF STUDY…..……………………....1 Early Studies Characteristics of Decoration on Tyrrhenian Amphorae Attribution Studies: Identifying Painters and Workshops Market Considerations Recent Scholarship The Present Study 2. HERAKLES ON TYRRHENIAN AMPHORAE………………………….…30 Herakles in Vase-Painting Herakles and the Amazons Herakles, Nessos and Deianeira Other Myths of Herakles Etruscan Imitators and Contemporary Vase-Painting 3. HERAKLES AND THE FUNERARY CONTEXT………………………..…48 Herakles in Etruria Etruscan Concepts of Death and the Underworld Etruscan Funerary Banquets and Games 4. CONCLUSION………………………………………………………………..67 iii APPENDIX: Herakles Myths on Tyrrhenian Amphorae……………………………...…72 BIBLIOGRAPHY………………………………………………………………………..77 ILLUSTRATIONS………………………………………………………………………82 iv LIST OF ILLUSTRATIONS Figure Page 1. Tyrrhenian Amphora by Guglielmi Painter. Bloomington, IUAM 73.6. Herakles fights Nessos (Side A), Four youths on horseback (Side B). Photos taken by Megan Thomsen 82 2. Tyrrhenian Amphora (Beazley #310039) by Fallow Deer Painter. Munich, Antikensammlungen 1428. Photo CVA, MUNICH, MUSEUM ANTIKER KLEINKUNST 7, PL. 322.3 83 3. Tyrrhenian Amphora (Beazley #310045) by Timiades Painter (name vase).
    [Show full text]
  • The Titanic Origin of Humans: the Melian Nymphs and Zagreus Velvet Yates
    The Titanic Origin of Humans: The Melian Nymphs and Zagreus Velvet Yates HE FIRST PART of this paper examines a minor mystery in Hesiod’s Theogony, centering around the Melian Nymphs, Tin order to assess the suggestions, both ancient and modern, that the Melian Nymphs were the mothers of the human race. The second part examines the afterlife of Hesiod’s Melian Nymphs over a thousand years later, in the allegorizing myths of late Neoplatonism, in order to suggest that the Hesiodic myth in which the Melian Nymphs primarily figure, namely the castration of Ouranos, has close similarities to a central Neoplatonic myth, that of Zagreus. Both myths depict a “Titanic” act of destruction and separation which leads to the birth of the human race. Both myths furthermore seek to account for a divine element which human nature retains from its origins. The Melian Nymphs in Hesiod ˜ssai går =ayãmiggew ép°ssuyen aflmatÒessai, pãsaw d°jato Ga›a: periplom°nou d' §niautoË ge¤nat' ÉErinËw te krateråw megãlouw te G¤gantaw, teÊxesi lampom°nouw, dol¤x' ¶gxea xers‹n ¶xontaw, NÊmfaw y' ìw Mel¤aw kal°ous' §p' épe¤rona ga›an. Gaia took in all the bloody drops that spattered off, and as the seasons of the year turned round she bore the potent Furies and the Giants, immense, dazzling in their armor, holding long spears in their hands, and then she bore the Melian Nymphs on the boundless earth.1 1 Theog. 183–187. Translations of Hesiod adapted from A. Athanassakis, Hesiod: Theogony, Works and Days, Shield (Baltimore 1983).
    [Show full text]
  • Tammuz Pan and Christ Otes on a Typical Case of Myth-Transference
    TA MMU! PA N A N D C H R IST O TE S O N A T! PIC AL C AS E O F M! TH - TR ANS FE R E NC E AND DE VE L O PME NT B! WILFR E D H SC HO FF . TO G E THE R WIT H A BR IE F IL L USTR ATE D A R TIC L E O N “ PA N T H E R U STIC ” B! PAU L C AR US “ " ' u n wr a p n on m s on u cou n r , s n p r n u n n , 191 2 CHIC AGO THE O PE N CO URT PUBLISHING CO MPAN! 19 12 THE FA N F PRAXIT L U O E ES. a n t Fr ticpiccc o The O pen C ourt. TH E O PE N C O U RT A MO N TH L! MA GA! IN E Devoted to th e Sci en ce of Religion. th e Relig ion of Science. and t he Exten si on of th e Religi on Periiu nen t Idea . M R 1 12 . V XX . P 6 6 O L. VI o S T B ( N . E E E , 9 NO 7 Cepyricht by The O pen Court Publishing Gumm y, TA MM ! A A D HRI T U , P N N C S . NO TES O N A T! PIC AL C ASE O F M! TH-TRANSFERENC E AND L DEVE O PMENT. W D H H FF.
    [Show full text]
  • The Underworld Krater from Altamura
    The Underworld Krater from Altamura The Underworld krater was found in 1847 in Altamura in 1 7 Persephone and Hades Herakles and Kerberos ITALY southeastern Italy. The ancient name of the town is unknown, Hades, ruler of the Underworld, was the brother of Zeus (king of the gods) and Poseidon (god of The most terrifying of Herakles’s twelve labors was to kidnap the guard dog of the Underworld. APULIA Naples but by the fourth century bc it was one of the largest fortified Altamura the sea). He abducted Persephone, daughter of the goddess Demeter, to be his wife and queen. For anyone who attempted to leave the realm of the dead without permission, Kerberos (Latin, Taranto (Taras) m settlements in the region. There is little information about Although Hades eventually agreed to release Persephone, he had tricked her into eating the seeds Cerberus) was a threatening opponent. The poet Hesiod (active about 700 BC) described the e d i t e r of a pomegranate, and so she was required to descend to the Underworld for part of each year. “bronze-voiced” dog as having fifty heads; later texts and depictions give it two or three. r a what else was deposited with the krater, but its scale suggests n e a n Here Persephone sits beside Hades in their palace. s e a that it came from the tomb of a prominent individual whose community had the resources to create and transport such a 2 9 substantial vessel. 2 The Children of Herakles and Megara 8 Woman Riding a Hippocamp Map of southern Italy marking key locations mentioned in this gallery The inhabitants of southeastern Italy—collectively known as The Herakleidai (children of Herakles) and their mother, Megara, are identified by the Greek The young woman riding a creature that is part horse, part fish is a puzzling presence in the Apulians—buried their dead with assemblages of pottery and other goods, and large vessels inscriptions above their heads.
    [Show full text]
  • Aspects of the Demeter/Persephone Myth in Modern Fiction
    Aspects of the Demeter/Persephone myth in modern fiction Janet Catherine Mary Kay Thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy (Ancient Cultures) at the University of Stellenbosch Supervisor: Dr Sjarlene Thom December 2006 I, the undersigned, hereby declare that the work contained in this thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature: ………………………… Date: ……………… 2 THE DEMETER/PERSEPHONE MYTH IN MODERN FICTION TABLE OF CONTENTS PAGE 1. Introduction: The Demeter/Persephone Myth in Modern Fiction 4 1.1 Theories for Interpreting the Myth 7 2. The Demeter/Persephone Myth 13 2.1 Synopsis of the Demeter/Persephone Myth 13 2.2 Commentary on the Demeter/Persephone Myth 16 2.3 Interpretations of the Demeter/Persephone Myth, Based on Various 27 Theories 3. A Fantasy Novel for Teenagers: Treasure at the Heart of the Tanglewood 38 by Meredith Ann Pierce 3.1 Brown Hannah – Winter 40 3.2 Green Hannah – Spring 54 3.3 Golden Hannah – Summer 60 3.4 Russet Hannah – Autumn 67 4. Two Modern Novels for Adults 72 4.1 The novel: Chocolat by Joanne Harris 73 4.2 The novel: House of Women by Lynn Freed 90 5. Conclusion 108 5.1 Comparative Analysis of Identified Motifs in the Myth 110 References 145 3 CHAPTER 1 INTRODUCTION The question that this thesis aims to examine is how the motifs of the myth of Demeter and Persephone have been perpetuated in three modern works of fiction, which are Treasure at the Heart of the Tanglewood by Meredith Ann Pierce, Chocolat by Joanne Harris and House of Women by Lynn Freed.
    [Show full text]
  • Folktale Types and Motifs in Greek Heroic Myth Review P.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic Quest
    Mon Feb 13: Heracles/Hercules and the Greek world Ch. 15, pp. 361-397 Folktale types and motifs in Greek heroic myth review p.11 Morphology of the Folktale, Vladimir Propp 1928 Heroic quest NAME: Hera-kleos = (Gk) glory of Hera (his persecutor) >p.395 Roman name: Hercules divine heritage and birth: Alcmena +Zeus -> Heracles pp.362-5 + Amphitryo -> Iphicles Zeus impersonates Amphityron: "disguised as her husband he enjoyed the bed of Alcmena" “Alcmena, having submitted to a god and the best of mankind, in Thebes of the seven gates gave birth to a pair of twin brothers – brothers, but by no means alike in thought or in vigor of spirit. The one was by far the weaker, the other a much better man, terrible, mighty in battle, Heracles, the hero unconquered. Him she bore in submission to Cronus’ cloud-ruling son, the other, by name Iphicles, to Amphitryon, powerful lancer. Of different sires she conceived them, the one of a human father, the other of Zeus, son of Cronus, the ruler of all the gods” pseudo-Hesiod, Shield of Heracles Hera tries to block birth of twin sons (one per father) Eurystheus born on same day (Hera heard Zeus swear that a great ruler would be born that day, so she speeded up Eurystheus' birth) (Zeus threw her out of heaven when he realized what she had done) marvellous infancy: vs. Hera’s serpents Hera, Heracles and the origin of the MIlky Way Alienation: Madness of Heracles & Atonement pp.367,370 • murders wife Megara and children (agency of Hera) Euripides, Heracles verdict of Delphic oracle: must serve his cousin Eurystheus, king of Mycenae -> must perform 12 Labors (‘contests’) for Eurystheus -> immortality as reward The Twelve Labors pp.370ff.
    [Show full text]
  • Fantastic Four Compendium
    MA4 6889 Advanced Game Official Accessory The FANTASTIC FOUR™ Compendium by David E. Martin All Marvel characters and the distinctive likenesses thereof The names of characters used herein are fictitious and do are trademarks of the Marvel Entertainment Group, Inc. not refer to any person living or dead. Any descriptions MARVEL SUPER HEROES and MARVEL SUPER VILLAINS including similarities to persons living or dead are merely co- are trademarks of the Marvel Entertainment Group, Inc. incidental. PRODUCTS OF YOUR IMAGINATION and the ©Copyright 1987 Marvel Entertainment Group, Inc. All TSR logo are trademarks owned by TSR, Inc. Game Design Rights Reserved. Printed in USA. PDF version 1.0, 2000. ©1987 TSR, Inc. All Rights Reserved. Table of Contents Introduction . 2 A Brief History of the FANTASTIC FOUR . 2 The Fantastic Four . 3 Friends of the FF. 11 Races and Organizations . 25 Fiends and Foes . 38 Travel Guide . 76 Vehicles . 93 “From The Beginning Comes the End!” — A Fantastic Four Adventure . 96 Index. 102 This book is protected under the copyright laws of the United States of America. Any reproduction or other unauthorized use of the material or artwork contained herein is prohibited without the express written consent of TSR, Inc., and Marvel Entertainment Group, Inc. Distributed to the book trade in the United States by Random House, Inc., and in Canada by Random House of Canada, Ltd. Distributed to the toy and hobby trade by regional distributors. All characters appearing in this gamebook and the distinctive likenesses thereof are trademarks of the Marvel Entertainment Group, Inc. MARVEL SUPER HEROES and MARVEL SUPER VILLAINS are trademarks of the Marvel Entertainment Group, Inc.
    [Show full text]
  • Nagy Commentary on Euripides, Herakles
    Informal Commentary on Euripides, Herakles by Gregory Nagy 97 The idea of returning from Hades implies a return from death 109f The mourning swan... Cf. the theme of the swansong. Cf. 692ff. 113 “The phantom of a dream”: cf. skias onar in Pindar Pythian 8. 131f “their father’s spirit flashing from their eyes”: beautiful rendition! 145f Herakles’ hoped-for return from Hades is equated with a return from death, with resurrection; see 297, where this theme becomes even more overt; also 427ff. 150 Herakles as the aristos man: not that he is regularly described in this drama as the best of all humans, not only of the “Greeks” (also at 183, 209). See also the note on 1306. 160 The description of the bow as “a coward’s weapon” is relevant to the Odysseus theme in the Odyssey 203 sôzein to sôma ‘save the body’... This expression seems traditional: if so, it may support the argument of some linguists that sôma ‘body’ is derived from sôzô ‘save’. By metonymy, the process of saving may extend to the organism that is destined to be saved. 270 The use of kleos in the wording of the chorus seems to refer to the name of Herakles; similarly in the wording of Megara at 288 and 290. Compare the notes on 1334 and 1369. 297 See at 145f above. Cf. the theme of Herakles’ wrestling with Thanatos in Euripides Alcestis. 342ff Note the god-hero antagonism as expressed by Amphitryon. His claim that he was superior to Zeus in aretê brings out the meaning of ‘striving’ in aretê (as a nomen actionis derived from arnumai; cf.
    [Show full text]