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Through recent human history, there have been many plays in different aspects of literature. In Greek Mythology, the myth of Heracles can be inspected as to whether he is a hero or a murderer. One Greek writer, Euripides, writes about the tragic story of Heracles. It is a story about tragedy, madness, humanization of a hero and psychological natures. The story explores the interplay between if Heracles is sane or insane, and how he falls from all his glory and emerges from the dark, ember ashes as a changed, humble man through the phenomenon of friendship. In my opinion, Heracles is an innocent being and his body is used by an external spirit to deliver an evil onto himself.
Madness is a fundamental part of Greek tragedy that creates and intense, disturbing drama. In the case of Heracles, he is brought down at the height of his glory. He is a man that achieves his success through his own abilities. He is a hero that is strong, willful and lusts for experience. Even in his early childhood, he expressed traits of great hero where he destroys a snake in his childhood, he is very athletic, he hunts a lion at the age of eighteen, Furthermore, his labors represent brute strength where he deals with lions, carnivorous horses, and raging bulls. Also, Heracles has a twin brother, Iphicles, who is very much opposite to him. Iphicles, is set out to become a king and live in a dignified manner, while Heracles is made into a slave. This shows that Heracles had a troubles childhood where he wasn't treated to a normal, conditional family. however, Heracles is also pig-headed and directly challenged the gods sometime. Even though he has super-human strength, he is no match for the divine. Heracles brings much misery to the life around him, wh...
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...ader does not see Heracles himself acting out of madness, but rather hears his action from a secondary character.
Briefly speaking, Heracles is a sane man that is plagued by madness and has his innocence ruined. Heracles himself cause his ruin because of the ruin he has cause so many other people. His personality makes him his own worst enemy which leads to his demise. However, he still possesses qualities of a model son, good friend, and a caring and protective father. Furthermore, the Goddess of madness also protest again the deed that is to be done upon Heracles, showing that even the most mysterious, far-fetched character in this Myth supports the noble Hero.
Works Cited
Arrowsmith., William. Euripides Heracles. Chicago: University of Chicago, 1956. Print.
Powell, Barry B. Classical Myth: International Edition. S.l.: Pearson Education (Us), 2011. Print.
Hephaestus, was one of the twelve Greek Gods, the lame God of blacksmiths, sculptors, metallurgy, fire, and volcanos. He is symbolised with a hammer, anvil, or a pair of tongs. As stated in Homer’s epics, the Iliad and the Odyssey, he is the son of Zeus, the king of gods, and Hera, the goddess of women and marriage. Contradicting that, according to Hesiod Hera had Hephaestus alone; because she was jealous that Zeus bred Aphrodite by himself. Hera reportedly after Hephaestus was born threw him off Mount. Olympus because he was ugly, when he fell Hephaestus broke both his legs, leaving him crippled. He fell into the ocean and was brought up by Thetis and Eurynome, the goddesses of the sea. Hephaestus never forgave Hera. As revenge he fashioned
The main reason that Hera hated Heracles is because he was the illegitimate son of her husband Zeus. Hera usually would show hatred for woman that Zeus had slept with, but in this case her hatred was for son of the woman. The hatred of Hera is also ironic because Heracles’ names even means “Glory of Hera”, but with Hera’s h...
...ely ponder the ideas presented because they would believe the speaker to be a lunatic. Shakespeare's sheer erudition would go unnoticed and underappreciated if Hamlet was undoubtedly mad.
A consideration of the madness of the hero Hamlet within the Shakespearean drama of the same name, shows that his feigned madness sometimes borders on real madness, but probably only coincidentally.
Considered by Aristotle as the perfect example of tragedy, Sophocles’ Oedipus the King is an Athenian play that follows the undoing of a Theban king by the name of Oedipus. The play presents a question Oedipus himself cannot answer: is it the man’s actions or is it the gods’ decisions that control the man’s destiny? Perhaps the answer is both man and god, but it is the man’s imperfections that determine what fate the gods will give him. While there is no direct proof that gods control everything in a man, from his dreams to his choices, Oedipus still proves that no matter how renowned a man is, that man’s weaknesses will determine his success or his failure. Oedipus fits the convention of a tragic hero as he is a man of high estate who suffers
In Greek society, the role of women was considered to be insignificant compared to the Greek men. The women had very few rights, no room to voice personal opinions, and a very bleak future with few options for a better life. According to Moses Hades, professor of Greek studies, women in ancient Greek plays are known to be the main characters and take the role of the villain, victim, or the heroine. In Euripides’ play Medea, Medea, the main character, plays all these roles. She represents the heroine by helping her husband secure the Golden Fleece prior to their marriage, and then portrays the victim by being betrayed by her husband, and finally the villain by murdering her loved ones. Therefore, Euripides follows the standard format for a Greek tragedy.
The Trial is also used to purify the hero and help him atone for evils. This is seen clearly in the Hercules legend of Greek mythology. The jealous goddess Hera uses her power to make Hercules insane and in his madness he slaughters his own children. He then journeys to Delphi and consults the oracle which tells him that he must serve for ten years as his cousin Eurytheus' servant and must perform ten labors. Through his labors he is able to atone for his past evil deeds and regain the favor of the gods (D'Aulaire 132-146).
The first type of madness is that of “[an] seer’s inspiration coming from Apollo” (265b), for whom like “the prophetess at Delphi, no less, and the priestess at Dodona,” are able to guide the cities, like Sibyl, through divine prophecies “[onto] the right track in respect to the future” (244a-b). The second type of divine madness, [the] mystical initiation ascribed to Dionysus,” symbolizes wisdom and retribution, or justice. Plato further emphasizes wisdom and justice in his play Bacchae, in which he represents Dionysus as the personification of retribution, or justice, in, juxtapose to Pentheus, whom personifies traditions. Pentheus, due to his lack of wisdom, failed to not only see the divinity of Dionysus, and distinguish between what is reality and illusionary, but his death also symbolized the act of justice for underrepresented citizens, particularly for women that held no political power or representation in the state. The third classification of divine madness, “a poetic madness coming from the Muses,” depicts how madness can inspire the people it processes by educating them on “[the glorifications of the] myriad deeds of those in the past” (245a). Once processed with madness, Socrates emphasized how their works often eclipse the poetry of the sane, underlining how the poetry of the sane
Problems With Heracles When we talk about something that is problematic, it is usually to do with time. Tales passed through time are often adapted for the societies to which they are being told. This could be in terms of added moral value or just generally adapted to suit the tastes of different cultures. Romans changed the name Heracles to ‘Hercules’ and altered some of his adventures, whereas in Greek the name ‘Heracles’ is often translated to mean ‘glory of Hera’. This could be due to her attempts to destroy him backfiring on her and leading to his glorification by the ancient Greeks.
The quickest take over of madness is exhibited in Hamlet’s love interest, Ophelia. The most important example of madness is shown in Hamlet after his meeting with the Ghost and his plot for revenge upon his uncle. The most unexpected example of madness is in Laertes who in a fit of rage loses all gentleman like qualities and almost upsets the kingdom. All of these characters add up to the idea that to lose someone a person cares about dearly, ultimately ends in losing one’s composure and going mad. If we take away anything from Shakespeare’s play, it should be that each of us should think over our decisions prior to making them to insure we don’t have the same fate as the characters stated
One might think of a tragedy being a terrible and destructible event in one’s life that causes great pain and may contain great loss. One particular play written by William Shakespeare – one of the most well known poets in history, happens to be a tragedy-filled story. Othello, the Moor of Venice, set during the captivating renaissance era portrays a character named Othello who reveals characteristics of a tragic hero. The brilliant philosopher Aristotle from the fourth century B.C. developed his own definition and idea of what a tragic hero is. Eric Engle, author of “Aristotle, Law and Justice: The Tragic Hero,” said, Due to Aristotle’s influence, his tragic flaw has distorted western thought ever since its conception” (Engle). “The enquiry of whether Othello is a true tragic hero is debatable. Aristotle’s definition of a tragic hero was a protagonist who is socially superior to others, but then has a downfall due to a “tragic flaw,” typically caused by the character’s solitary weakness. Due to Aristotle’s definition of a tragic hero, Othello possesses the qualities from his definition that fulfill the role of being a tragic hero.
Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which challenge its standing with relevance to Aristotle's guidelines, and the judgment of Medea as a dramatic success within the tragic genre.
In William Shakespeare’s Hamlet, one of the most evident and important themes is the theme of madness. The theme is apparent throughout the play, mainly through the actions and thoughts of Hamlet, Ophelia, and Laertes. Madness is defined as the quality or condition of mental illness or derangement (being insane). Madness is at the center of the conflicts and problems of the play and is conveyed through Shakespeare’s elaborate use of manipulation and parallels between Hamlet, Ophelia, and Laertes to contribute to Hamlet’s tragic character.
Before the twentieth century plays were mainly written as either a tragedy or comedy. In a tragic play the tragic hero will often do something that will eventually destroy him. In the book Oedipus the King, Oedipus is the tragic hero. In this tragic play the main character, which is portrayed as Oedipus, will do a good deed that will in turn make him a hero. This hero will reach his height of pride in the story, and in the end the action, which he had committed earlier, will return and destroy this man who was once called a hero.
The time period of Greek theater’s popularity was a very influential time in our world’s history. Without knowing what Greek theater was all about, how can someone expect to truly understand a tragic play and the history it comes with? The history behind the character of Oedipus, in the play Oedipus the King, is very complicated. His intricate past dealing with prophecies, family members, and murder is the main focus of the story. There are many characteristics that complete Aristotle’s definition of a tragic hero; these being the presence of hamartia and peripeteia, a sense of self-awareness, the audience’s pity for the character, and the hero is of noble birth.