Killing Hercules

This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel’s Hercules that was set in the context of the ‘war on terror’, the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors – of state and of the household – so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?

This book offers an entirely new reception history of the myth of Hercules and his wife/killer Deianira. The book poses, and attempts to answer, two important and related questions. First, why have artists across two millennia felt compelled to revisit this particular myth to express anxieties about violence at both a global and domestic level? Secondly, from the moment that Sophocles disrupted a myth about the definitive exemplar of masculinity and martial prowess and turned it into a story about domestic abuse, through to a 2014 production of Handel’s Hercules that was set in the context of the ‘war on terror’, the reception history of this myth has been one of discontinuity and conflict; how and why does each culture reinvent this narrative to address its own concerns and discontents, and how does each generation speak to, qualify or annihilate the certainties of its predecessors in order to understand, contain or exonerate the aggression with which their governors – of state and of the household – so often enforce their authority, and the violence to which their nations, and their homes, are perennially vulnerable?

Introduce young readers to the ancient Greek and Roman explanations for how and why things happen and how mythology influences us today.

Following their quest for the Golden Fleece, tragedy strikes the Argonauts when Jason is slain by pirates. Blaming himself for his friend's death, Hercules embarks on a perilous mission to rescue Jason's soul from the underworld. But the realm of the dead holds many challenges for Hercules and his companions.

Myths were stories that told why nature behaved as it did and how people were made. Few myths have endured like the myth of Hercules. Half man and half god, Hercules was the strongest person who ever lived. He fought scary creatures with incredble power and won. Yet he was never strong enough to overcome his own anger. The story of Hercules is the story of love lost and battles won.

Greek mythology’s mightiest hero faces the world’s most fearsome beasts, monsters, and demons Hercules, the son of Zeus and a mortal woman, was the greatest of the Greek heroes and the strongest man on earth. Three times as big as his fully mortal twin, and imbued with extraordinary courage and ingenuity, Hercules began his remarkable feats while still in the cradle. Zeus’s wife, the goddess Hera, jealously schemed to kill Hercules, but the resourceful half-man, half-god escaped her traps and accomplished seemingly impossible tasks. Renowned mythologist Bernard Evslin recounts the famous twelve labors of Hercules, as the warrior tries to break Hera’s curse by facing down the Nemean Lion, killing the many-headed Hydra, outwitting the giant Anteus, and more.

Hercules is a tragedy of great theatrical, poetic, and cultural value. Written probably at the intersection of the principates of Claudius and Nero, it addresses central issues of early imperial Rome, even as it speaks profoundly to our times. Among its concerns are violence and madness; imperatives of family and self; Rome, identity and place; the nature of virtue; the longing for immortality; the theatre of rage; and the empire of death. The play is dramatically innovative, spectacular, and arresting: from its fiery, monumental god-prologue (the only one in Senecan tragedy), through meditative soliloquies, impassioned speeches, trenchant dialogue, a failed wooing scene with an impressive after-life in Tudor drama, a stunning entrance for Hercules and his captured hellhound, Theseus' ecphrastic narrative of the hero's infernal 'labour', to a familicidal madness scene and an emotionally turbulent, non-violent finale, in which the instinct for self-punitive suicide is thwarted by the claims of kinship and the acceptance of intolerable suffering. The whole is bound together by some of Seneca's most affective choral lyrics, as intellectually engaging as they are emotionally potent. Hercules is A. J. Boyle's sixth, full-scale edition for OUP of a play by or attributed to Seneca. It offers a comprehensive introduction, newly edited Latin text, English verse translation designed for both performance and academic study, and a detailed exegetic, analytic, and interpretative commentary. The aim has been to elucidate the text dramatically as well as philologically, and to locate the play firmly in its contemporary historical and theatrical context and the ensuing literary and dramatic tradition. As such, its substantial influence on European drama from the sixteenth to the twenty-first centuries is given emphasis throughout; this and the accessibility of the commentary to Latinless readers make the edition particularly useful to scholars and students not only of classics, but also of comparative literature and drama, and to anyone interested in the cultural dynamics of literary reception and the interplay between theatre and history.

In ancient Greece, the queen of gods hates Hercules so she makes him a slave to a terrible king. Together they send him to fight twelve of the neastiest monsters in the world. If he fails, he will die. Greek myth told in comic book format.