451:, as seen in its characters, events, and themes. Characters in the play stand on opposite ends of one another in terms of ideology and characteristics, creating a dichotomy between them. One example is found in Megara and Amphitryon. When confronted with their deaths and the deaths of Heracles's sons, the two have very different reactions. Megara accepts the fact that she and her children are going to die. Amphitryon, however, continues to hope that his son Heracles will return to save them. Together Megara and Amphitryon form a dichotomy of hope and defeat. Another example of a dichotomy between two characters is between Heracles himself and Lykos. Heracles is known as the most courageous man in Greece; and Lykos accuses him of cowardice. Yet Lykos is attempting to execute Megara and her children out of fear of something they might do. The actions of Heracles and Lykos show that they stand on opposite sides of the spectrum, with Heracles standing with courage and Lykos with cowardice. Furthermore, a dichotomy resides within Heracles. In his returning from the Underworld with Theseus Heracles saves his friend and creates life. In his murdering of his own family after being driven insane, Heracles completes the dichotomy by bringing about death. Finally, there is the theme of the gods' existence and the dichotomy of belief in the characters in the play. After killing his family, Heracles exclaims that the gods do not exist, while others, especially Theseus, argue the opposite. All of these dichotomies come together to create a play that is used more to ask and generate questions and all reflect the current concerns about the belief systems in play during our playwright's time.
474:: In Heracles, Euripides' focus is on Heracles and his moral character. In the play Heracles holds himself to a higher ethical standard than he does the gods. This is shown when Heracles believes that the gods, if they exist, do no wrong. Though driven mad by them, he accepts all blame for the awful act of killing his family. Madness agrees that what the gods have done is wrong, but Heracles does not hold the gods to blame for what happens. Theseus then attempts to reason with Heracles stating that no mortal man can stain what is divine (line 1231) and that Hera is to blame (lines 1312–1313). Theseus even says "how dare you then, mortal that you are, to protest your fate, when the gods do not?" (lines 1320–1321). Theseus attempts to absolve Heracles of any responsibility and to place all fault on the divine. Heracles refuses to agree and holds himself accountable. Heracles goes so far as to say, "ah, all this has no bearing on my grief; but I do not believe that gods commit adultery, or bind each other in chains. I never did believe it; I never shall; nor that one god is tyrant of the rest. If god is truly god, he is perfect, lacking nothing. These are poets' wretched lies" (lines 1340–1346). He believes that the gods are perfect and can do no wrong, so this horrible act that they cause him to fulfill is his own fault not theirs. He is the one that is to blame, almost like a caregiver taking responsibility for the actions of their charge.
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murdered by
Heracles himself after being cursed by the living embodiment of Madness, sent by Hera. Euripides foregrounds this event, placing it chronologically during the time of Heracles' labors for Eurystheus and makes it the focus of his play. Euripides plays with the traditional chronology because, in its essence, the play challenges the theology of his day. In fifth century Athens there was a theological revolution with intellectuals questioning, challenging, and rewriting the traditional view of the gods. With his play Euripides adds to this debate, mainly through the voice of his main character. After Herakles murders his family, he questions, in a conversation with Theseus, the true nature of the gods and their existence, while at the same time contemplating suicide. This scene not only sheds light on Heracles' angst but also reflects Euripides'. By toying with the traditional plot-line of Herakles' life, Euripides also questions traditional theological beliefs. For the context of Euripides and Greek intellectual thought of his day, see E.R. Dodds,
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Heracles does in the play. The play shows the story of how
Heracles suffers the ignominy of killing his family. As is typical of an ancient Greek tragedy, the gods have a large hand in it. Hera hates Heracles because he is a living reminder of her husband's infidelity. Because of this she is cruel to him. She could bring about Herakles' death but instead she wants him to suffer. She sends Madness to drive Heracles to murder his wife and progeny. Madness herself sees the irrationality and senselessness in Hera's vengeance. The story, it seems, does an odd job of explaining the faith that the mainstream culture has. Heracles does not believe but has been to Hades and has seen the dog Cerberus and the dead souls of others. Despite evidence of the divine, he chooses to believe, much as Socrates does also, that the gods, as they are commonly believed to be, do not exist. This point of view may reflect the playwright's own. Even if it does not, it does reflect a viewpoint of Euripides' own time that is asking for more from the morality of its religion.
457:: Euripides' Heracles is a play which is open to many different interpretations. Perhaps the greatest theme within the play is that of hope. Hope plays a central role from the play's start until its end. At the start the family of Heracles is in danger of being killed by Lykos and is without the protection of Heracles who is engaged in serving Eurystheus and completing his labors. The salvation of the family rests upon Heracles coming to rescue them. Megara refuses to accept this threat and although she has the children dressed in robes of death, she still holds out hope for Herakles' arrival. Hope is also what gets Heracles through his 12 acts; furthermore hope is offered to him by Theseus so as to help Heracles get through the pain and suffering he experiences from having mistakenly killed his wife and children. Hope drives this piece of work; giving all those within it the ability to push forward no matter the dreadful circumstances.
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it
Heracles realizes that he is not completely sure that he himself believes his father, Zeus, is real. This doubt causes a lack of identity for him and may be a root cause of his angry and dangerous side. Even though it is Hera that sends Madness to inflict Heracles, it may also be that he is not emotionally sound or stable and this is what causes him to murder his wife and children. This dark and dangerous side of him contrasts with his positive and constructive side that makes the world better by ridding it of monsters. That he does such awful things and is still forgiven reflects a balance that is achieved between his opposing sides. Heracles murders his family and he saves lives. The play in its dichotomous halves shows the inexorable reality of the existence of destructive and constructive forces in its principal hero, Heracles.
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someone guilty of kindred bloodshed. Heracles, not easily comforted, says he can be welcome to no man; it would be better for him to die by suicide. Theseus offers him hospitality in Athens and half his wealth. He argues that even the gods commit evil acts, such as forbidden marriages, yet continue to live on
Olympus and face out their crimes. Why shouldn't Heracles? Heracles vehemently denies this line of argument: such stories of the gods, he says, are merely the inventions of poets. A deity, if really such, can have no desires. Finally convinced that it would be cowardly to die by suicide, he resolves to go to Athens with Theseus. The law forbids him to remain in Thebes or even attend the funeral of his wife and children. He asks his father to bury his dead, and, leaning on Theseus, leaves.
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means that
Heracles himself does not exist because Zeus is his father. It also renders inexplicable his supernatural strength to complete tasks that mere mortals cannot, such as the 12 labors for Eurystheus. This paradox creates both a problem in the plot of the story, as well as a problem with the identity and existence of Euripides' main character. By having Heracles boldly deny the existence of the gods as the Greeks know them, Euripides may be offering his own atheistic beliefs. During his time, the religion of polytheism is still widely accepted though there is an intellectual strain questioning the validity and reliability of everything. By penning this play, Euripides joins this intellectual debate and casts doubt on the divine.
366:, are unable to help. Lycus comes to ask how long they are going to try to prolong their lives by clinging to the altar. He claims that Heracles has been killed in Hades and will never help them. He justifies the proposed slaughter, claiming that Heracles' children will attempt to avenge their grandfather, Creon, by killing Lycus when they grow up. He depreciates the deeds of Heracles, calling him a coward for using a bow instead of a spear. Amphitryon, point by point, argues the other side and asks permission for them to go into exile. Lycus declares that he is through with words and orders his men to bring logs, stack them around the altar, and burn the suppliants alive.
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is a tragedy that, while having many attributes of a classic mythological tale, proposes a sequence of events that goes against the chronology of the traditional story's design. In the typical chronology it is only after
Heracles saves his family from the death threat against them that they are later
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In myth opposites are often at work. Apollo brings plague, but he also heals; Artemis hunts but also protects animals. Hermes causes chaos by his trickery and also brings about refinement through his invention of the lyre. So is the same the case for
Heracles in Euripides' play of the same name. In
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Megara refuses to be burned alive: that is a coward's death. She has given up hope for
Heracles' return and gets permission from Lycus to dress the children in robes of death to face their executioners. The old men of the Chorus have stoutly defended Heracles' family, but, because of their age, can
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Theseus, king of Athens, whom
Heracles had freed from Hades, arrives; he has heard that Lycus had overthrown Creon and desires to help overthrow Lycus. When he hears what Heracles has done, he asks him to uncover his head. Friendship, Theseus says, is greater than any fear he has of pollution from
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Megara returns with the children, dressed for death. She tells of the kingdoms
Heracles had planned to give each of them and of the brides she intended them to marry. As Amphitryon laments the futility of the life he has lived, Megara catches sight of Heracles approaching. When Heracles hears the
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Euripides plays with the characterization of his main character, Heracles, and his identity. In lines 1263-1265 and lines 1341-1345 Heracles talks about how Zeus cannot be his father and about how the gods cannot exist because, if they do exist, they must be perfect. If this in fact is true, it
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asks more questions than it answers. Nowhere is this more apparent than in the topic of faith. During Euripides' time, though most Greeks, like Euripides' Theseus, would have been believers, there is a strain of thinkers who questioned traditional religion and the existence of the gods, much as
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Lycus returns and, impatient at finding only Amphitryon ready, storms into the palace to get the others. He is met inside by Heracles, and killed. The Chorus sing a joyful song of celebration, but it is interrupted by the appearance of Iris and Madness, hovering over the house.
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struck him and he fell asleep. The palace doors are opened to reveal Heracles, now asleep and tied to a pillar, surrounded by the bodies of his wife and children. When he wakes up, Amphitryon tells him what he has done; in his shame he wants to die by suicide.
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story of Creon's overthrow and Lycus' plan to kill Megara and the children, he resolves upon revenge. He tells them the reason for his long absence is that in addition to bringing Cerberus back from Hades and imprisoning him, he also brought back
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595:(2015: Oxford), argues that despite the non-traditional thought present in his plays, Euripides is not trying to undermine traditional religion.
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unlawfully and is about to kill Amphitryon, and—because
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1938:Laßt uns sorgen, laßt uns wachen, BWV 213
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673:Grief Lessons: Four Plays by Euripides
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2062:Hercules and the Conquest of Atlantis
684:Anne Carson's Obsession with Herakles
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208:for one of his labours, his father
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447:is a tragedy full of instances of
323:outlines the ancestral history of
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270:– Usurper of the throne of Thebes
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2673:
2668:
2663:
2658:
2653:
2643:
2642:
2636:
2635:
2633:
2632:
2625:
2623:Hercules' Club
2620:
2615:
2610:
2609:(2019 musical)
2602:
2597:
2591:
2589:
2585:
2584:
2582:
2581:
2573:
2565:
2557:
2549:
2541:
2533:
2524:
2522:
2518:
2517:
2515:
2514:
2509:
2504:
2499:
2493:
2491:
2485:
2484:
2482:
2481:
2473:
2465:
2461:Young Hercules
2457:
2456:
2455:
2440:
2439:
2438:
2430:
2422:
2414:
2406:
2390:
2389:
2388:
2380:
2372:
2357:
2349:
2347:
2343:
2342:
2339:
2338:
2336:
2335:
2327:
2319:
2311:
2302:
2300:
2299:Animated films
2296:
2295:
2293:
2292:
2284:
2276:
2268:
2260:
2252:
2244:
2236:
2228:
2220:
2211:
2209:
2206:American films
2203:
2202:
2200:
2199:
2191:
2182:
2180:
2177:Other European
2174:
2173:
2171:
2170:
2162:
2154:
2146:
2138:
2130:
2122:
2114:
2106:
2098:
2090:
2082:
2074:
2066:
2058:
2050:
2042:
2034:
2025:
2023:
2022:Italian series
2016:
2010:
2009:
2007:
2006:
1998:
1990:
1982:
1974:
1966:
1958:
1950:
1942:
1934:
1926:
1918:
1910:
1901:
1899:
1895:
1894:
1892:
1891:
1884:
1877:
1869:
1861:
1853:
1845:
1837:
1831:
1823:
1815:
1807:
1799:
1791:
1783:
1775:
1767:
1759:
1751:
1743:
1735:
1727:
1719:
1718:(c. 1520–1525)
1711:
1710:(c. 1500–1510)
1703:
1695:
1687:
1679:
1671:
1663:
1657:
1649:
1641:
1632:
1630:
1626:
1625:
1622:
1621:
1619:
1618:
1613:
1605:
1603:
1599:
1598:
1596:
1595:
1588:
1581:
1574:
1566:
1564:
1560:
1559:
1557:
1556:
1549:
1542:
1535:
1529:
1527:
1520:
1516:
1515:
1513:
1512:
1507:
1502:
1497:
1492:
1486:
1484:
1480:
1479:
1477:
1476:
1470:
1452:
1446:
1439:
1437:
1433:
1432:
1430:
1429:
1426:
1423:
1420:
1414:
1411:
1410:
1400:
1398:
1397:
1390:
1383:
1375:
1366:
1365:
1363:
1362:
1350:
1337:
1334:
1333:
1331:
1330:
1325:
1319:
1317:
1313:
1312:
1310:
1309:
1302:
1295:
1288:
1281:
1274:
1267:
1260:
1253:
1246:
1238:
1229:
1227:
1223:
1222:
1220:
1219:
1214:
1209:
1204:
1199:
1194:
1188:
1183:
1178:
1172:
1166:
1157:
1151:
1146:
1141:
1135:
1130:
1125:
1119:
1114:
1104:
1099:
1094:
1089:
1084:
1078:
1076:
1072:
1071:
1066:
1064:
1063:
1056:
1049:
1041:
1032:
1031:
1029:
1028:
1021:
1014:
1007:
1000:
993:
986:
979:
972:
965:
958:
951:
944:
937:
929:
927:
921:
920:
918:
917:
910:
903:
896:
889:
882:
875:
868:
861:
854:
847:
840:
837:The Suppliants
833:
826:
819:
812:
805:
798:
791:
783:
781:
777:
776:
770:
768:
767:
760:
753:
745:
739:
738:
719:
694:
691:
688:
687:
676:
665:
649:
640:
630:Brook Holmes,
623:
611:
597:
589:Mary Lefkowitz
580:
579:
577:
574:
573:
572:
564:
558:
552:
546:
545:, 1997 - verse
540:
534:
533:, 1956 - verse
528:
527:, 1937 - verse
522:
521:, 1912 - verse
516:
505:
502:
500:, July 1929).
426:
423:
308:
305:
304:
303:
297:
291:
288:
283:
277:
271:
265:
259:
251:
248:
154:
153:
147:
143:
142:
137:
133:
132:
127:
123:
122:
117:
113:
112:
81:
77:
76:
71:
67:
66:
61:
57:
56:
50:
42:
41:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2683:
2672:
2669:
2667:
2664:
2662:
2659:
2657:
2654:
2652:
2649:
2648:
2646:
2631:
2630:
2626:
2624:
2621:
2619:
2616:
2614:
2611:
2608:
2607:
2603:
2601:
2598:
2596:
2593:
2592:
2590:
2586:
2579:
2578:
2574:
2571:
2570:
2566:
2563:
2562:
2558:
2555:
2554:
2550:
2547:
2546:
2542:
2539:
2538:
2534:
2531:
2530:
2526:
2525:
2523:
2519:
2513:
2510:
2508:
2505:
2503:
2500:
2498:
2495:
2494:
2492:
2490:
2486:
2479:
2478:
2474:
2471:
2470:
2466:
2463:
2462:
2458:
2453:
2449:
2448:
2446:
2445:
2441:
2436:
2435:
2431:
2428:
2427:
2423:
2420:
2419:
2415:
2412:
2411:
2407:
2404:
2403:
2399:
2398:
2396:
2395:
2391:
2386:
2385:
2381:
2378:
2377:
2373:
2370:
2369:
2365:
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2363:
2362:
2358:
2356:
2355:
2351:
2350:
2348:
2344:
2333:
2332:
2328:
2325:
2324:
2320:
2317:
2316:
2312:
2309:
2308:
2304:
2303:
2301:
2297:
2290:
2289:
2285:
2282:
2281:
2277:
2274:
2273:
2269:
2266:
2265:
2261:
2258:
2257:
2253:
2250:
2249:
2245:
2242:
2241:
2237:
2234:
2233:
2229:
2226:
2225:
2221:
2218:
2217:
2213:
2212:
2210:
2204:
2197:
2196:
2192:
2189:
2188:
2184:
2183:
2181:
2175:
2168:
2167:
2163:
2160:
2159:
2155:
2152:
2151:
2147:
2144:
2143:
2139:
2136:
2135:
2131:
2128:
2127:
2123:
2120:
2119:
2115:
2112:
2111:
2107:
2104:
2103:
2099:
2096:
2095:
2091:
2088:
2087:
2083:
2080:
2079:
2075:
2072:
2071:
2067:
2064:
2063:
2059:
2056:
2055:
2051:
2048:
2047:
2043:
2040:
2039:
2035:
2032:
2031:
2027:
2026:
2024:
2020:
2017:
2015:
2011:
2004:
2003:
1999:
1996:
1995:
1991:
1988:
1987:
1983:
1980:
1979:
1975:
1972:
1971:
1967:
1964:
1963:
1959:
1956:
1955:
1951:
1948:
1947:
1943:
1940:
1939:
1935:
1932:
1931:
1927:
1924:
1923:
1919:
1916:
1915:
1911:
1908:
1907:
1906:Ercole amante
1903:
1902:
1900:
1896:
1890:
1889:
1885:
1883:
1882:
1878:
1875:
1874:
1870:
1867:
1866:
1862:
1859:
1858:
1854:
1851:
1850:
1846:
1843:
1842:
1838:
1835:
1832:
1829:
1828:
1824:
1821:
1820:
1816:
1813:
1812:
1808:
1805:
1804:
1800:
1797:
1796:
1792:
1789:
1788:
1784:
1781:
1780:
1776:
1773:
1772:
1768:
1765:
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1760:
1757:
1756:
1752:
1749:
1748:
1744:
1741:
1740:
1736:
1733:
1732:
1728:
1725:
1724:
1720:
1717:
1716:
1712:
1709:
1708:
1704:
1701:
1700:
1696:
1693:
1692:
1688:
1685:
1684:
1680:
1677:
1676:
1672:
1669:
1668:
1664:
1661:
1658:
1655:
1654:
1650:
1647:
1646:
1642:
1639:
1638:
1634:
1633:
1631:
1627:
1617:
1614:
1612:
1611:
1607:
1606:
1604:
1600:
1594:
1593:
1589:
1587:
1586:
1582:
1580:
1579:
1575:
1573:
1572:
1568:
1567:
1565:
1561:
1555:
1554:
1550:
1548:
1547:
1543:
1541:
1540:
1536:
1534:
1531:
1530:
1528:
1524:
1521:
1517:
1511:
1508:
1506:
1503:
1501:
1498:
1496:
1493:
1491:
1488:
1487:
1485:
1481:
1474:
1471:
1468:
1464:
1460:
1456:
1453:
1450:
1447:
1444:
1441:
1440:
1438:
1434:
1427:
1424:
1421:
1419:
1416:
1415:
1412:
1407:
1403:
1396:
1391:
1389:
1384:
1382:
1377:
1376:
1373:
1361:
1360:
1356:
1351:
1349:
1348:
1339:
1338:
1335:
1329:
1326:
1324:
1321:
1320:
1318:
1314:
1308:
1307:
1303:
1301:
1300:
1296:
1294:
1293:
1289:
1287:
1286:
1282:
1280:
1279:
1275:
1273:
1272:
1268:
1266:
1265:
1261:
1259:
1258:
1254:
1252:
1251:
1247:
1245:
1243:
1239:
1237:
1235:
1231:
1230:
1228:
1226:In literature
1224:
1218:
1215:
1213:
1210:
1208:
1205:
1203:
1200:
1198:
1195:
1192:
1189:
1187:
1184:
1182:
1179:
1176:
1173:
1170:
1167:
1165:
1161:
1158:
1155:
1152:
1150:
1147:
1145:
1142:
1140:(second rule)
1139:
1136:
1134:
1131:
1129:
1126:
1123:
1120:
1118:
1115:
1112:
1108:
1105:
1103:
1100:
1098:
1095:
1093:
1090:
1088:
1085:
1083:
1080:
1079:
1077:
1073:
1069:
1062:
1057:
1055:
1050:
1048:
1043:
1042:
1039:
1027:
1026:
1022:
1020:
1019:
1015:
1013:
1012:
1008:
1006:
1005:
1001:
999:
998:
994:
992:
991:
987:
985:
984:
980:
978:
977:
973:
971:
970:
966:
964:
963:
959:
957:
956:
952:
950:
949:
945:
943:
942:
938:
936:
935:
931:
930:
928:
922:
916:
915:
911:
909:
908:
904:
902:
901:
897:
895:
894:
890:
888:
887:
883:
881:
880:
876:
874:
873:
869:
867:
866:
862:
860:
859:
855:
853:
852:
848:
846:
845:
841:
839:
838:
834:
832:
831:
827:
825:
824:
820:
818:
817:
813:
811:
810:
806:
804:
803:
799:
797:
796:
792:
790:
789:
785:
784:
782:
778:
774:
766:
761:
759:
754:
752:
747:
746:
743:
736:
732:
728:
724:
720:
717:
716:0-413-71640-6
713:
709:
705:
701:
697:
696:
692:
685:
680:
677:
674:
669:
666:
662:
658:
653:
650:
644:
641:
637:
633:
627:
624:
620:
615:
612:
608:
607:
601:
598:
594:
590:
585:
582:
575:
571:
568:
565:
563:
559:
556:
553:
550:
547:
544:
541:
538:
535:
532:
529:
526:
523:
520:
519:Arthur S. Way
517:
515:
511:
508:
507:
503:
501:
499:
495:
490:
487:: Euripides'
486:
482:
479:
475:
473:
469:
466:
462:
458:
456:
452:
450:
446:
442:
438:
435:
431:
424:
422:
418:
415:
411:
402:
398:
396:
391:
387:
385:
381:
375:
373:
367:
365:
361:
356:
354:
350:
346:
342:
338:
334:
330:
326:
322:
318:
314:
307:Plot synopsis
306:
301:
298:
295:
292:
289:
287:
284:
281:
278:
275:
272:
269:
266:
263:
260:
257:
254:
253:
249:
247:
245:
241:
240:
235:
231:
227:
223:
219:
215:
211:
207:
203:
199:
195:
192:
188:
187:
182:
180:
174:
166:
165:Ancient Greek
162:
161:
152:
148:
144:
141:
138:
134:
131:
130:Ancient Greek
128:
124:
121:
118:
114:
111:
107:
103:
99:
95:
89:
85:
82:
78:
75:
72:
68:
65:
62:
58:
54:
48:
43:
38:
33:
19:
2627:
2604:
2575:
2567:
2559:
2551:
2543:
2535:
2527:
2475:
2467:
2459:
2442:
2432:
2424:
2416:
2408:
2400:
2392:
2382:
2374:
2366:
2359:
2352:
2329:
2321:
2313:
2305:
2286:
2278:
2270:
2262:
2254:
2246:
2238:
2230:
2222:
2214:
2193:
2185:
2164:
2156:
2148:
2140:
2132:
2124:
2116:
2108:
2100:
2092:
2084:
2076:
2068:
2060:
2052:
2044:
2036:
2028:
2000:
1992:
1984:
1976:
1968:
1960:
1952:
1944:
1936:
1928:
1920:
1912:
1904:
1886:
1879:
1871:
1863:
1855:
1847:
1839:
1825:
1817:
1809:
1801:
1793:
1785:
1777:
1769:
1761:
1753:
1745:
1737:
1729:
1721:
1713:
1705:
1697:
1689:
1681:
1673:
1665:
1662:(c. 150–256)
1651:
1643:
1635:
1608:
1590:
1583:
1576:
1570:
1569:
1551:
1544:
1537:
1352:
1340:
1304:
1297:
1290:
1283:
1276:
1269:
1262:
1256:
1255:
1248:
1241:
1233:
1207:Damasichthon
1023:
1016:
1009:
1002:
995:
988:
981:
974:
967:
960:
953:
946:
939:
932:
912:
905:
898:
891:
884:
877:
870:
863:
856:
850:
849:
842:
835:
828:
821:
814:
807:
800:
793:
786:
780:Extant plays
722:
707:
699:
679:
668:
660:
656:
652:
643:
635:
631:
626:
618:
614:
604:
600:
592:
584:
504:Translations
497:
493:
488:
484:
483:
477:
476:
471:
470:
464:
463:In the play
460:
459:
455:Hope (Ἐλπίς)
454:
453:
444:
440:
439:
433:
429:
428:
419:
407:
392:
388:
376:
368:
357:
317:genealogical
315:filled with
310:
237:
185:
184:
176:
172:
159:
158:
157:
2208:live-action
2179:live-action
1876:(2006–2008)
1830:(1732–1734)
1742:(1575–1580)
1553:L'Atlàntida
1473:Heracleidae
1306:La Thébaïde
1285:Oedipus Rex
1250:The Bacchae
1236:(Sophocles)
1011:Philoctetes
976:Cresphontes
969:Bellerophon
555:Anne Carson
449:dichotomies
443:Euripides'
234:personified
2645:Categories
2346:Television
1519:Literature
1475:(children)
1186:Thersander
823:Andromache
816:Hippolytus
693:References
549:Tom Sleigh
478:Opposites:
441:Dichotomy:
410:Eurystheus
321:Amphitryon
256:Amphitryon
250:Characters
210:Amphitryon
84:Amphitryon
80:Characters
60:Written by
34:by Seneca.
2272:Immortals
1994:Atlántida
1822:(c. 1660)
1694:(c. 1475)
1686:(c. 1470)
1678:(c. 1460)
1197:Tisamenus
1177:(usurper)
1160:Polynices
1102:Polydorus
1018:Theristai
983:Hypsipyle
962:Archelaus
948:Andromeda
773:Euripides
771:Plays by
727:Euripides
704:Euripides
562:full text
514:full text
465:Heracles,
461:Identity:
430:Ambiguity
282:– Madness
198:Euripides
64:Euripides
2606:Hercules
2537:Hercules
2477:Atlantis
2469:Hercules
2454:" (1999)
2315:Hercules
2307:Hercules
2288:Hercules
2248:Hercules
2187:Herakles
2030:Hercules
1986:Déjanire
1946:Hercules
1656:(c. 125)
1571:Herakles
1463:Deianira
1451:(mother)
1445:(father)
1406:Heracles
1402:Hercules
1257:Herakles
1242:Antigone
1234:Antigone
1202:Autesion
1191:Peneleos
1181:Laodamas
1175:Lycus II
1164:Eteocles
1117:Labdacus
1097:Pentheus
1082:Calydnus
1025:Thyestes
1004:Phaethon
997:Peliades
955:Antigone
924:Lost and
851:Herakles
795:Alcestis
708:Plays: V
700:Herakles
661:Herakles
657:Herakles
489:Heracles
485:Theology
445:Heracles
434:Heracles
349:Cerberus
325:Heracles
319:detail,
313:prologue
286:Heracles
206:Cerberus
202:Heracles
191:Athenian
189:) is an
186:Heracles
160:Herakles
106:Heracles
40:Herakles
2447:(1998)
2397:(1995)
1469:(wives)
1459:Omphale
1449:Alcmene
1425:Hercule
1271:Oedipus
1217:Xanthos
1212:Ptolemy
1149:Oedipus
1122:Lycus I
1111:Lycus I
1107:Nycteus
990:Oedipus
900:Bacchae
893:Orestes
844:Electra
788:Cyclops
380:Theseus
372:labours
364:old men
294:Theseus
230:Madness
212:, wife
194:tragedy
146:Setting
140:Tragedy
110:Theseus
102:Madness
2580:(2008)
2572:(2007)
2564:(2000)
2556:(1997)
2548:(1997)
2540:(1984)
2532:(1983)
2489:Comics
2480:(2013)
2464:(1998)
2437:(1994)
2429:(1994)
2421:(1994)
2413:(1994)
2405:(1994)
2387:(1962)
2379:(1962)
2371:(1961)
2334:(1998)
2326:(1998)
2318:(1997)
2310:(1995)
2291:(2014)
2283:(2014)
2275:(2011)
2267:(2000)
2259:(1985)
2251:(1983)
2243:(1970)
2235:(1963)
2227:(1962)
2219:(1933)
2198:(1964)
2190:(1962)
2169:(1965)
2161:(1965)
2153:(1964)
2145:(1964)
2137:(1964)
2129:(1964)
2121:(1964)
2113:(1964)
2105:(1963)
2097:(1963)
2089:(1962)
2081:(1961)
2073:(1961)
2065:(1961)
2057:(1960)
2049:(1960)
2041:(1959)
2033:(1957)
2005:(2010)
1997:(1962)
1989:(1911)
1981:(1871)
1973:(1761)
1965:(1750)
1957:(1747)
1949:(1744)
1941:(1733)
1933:(1727)
1930:Admeto
1925:(1723)
1917:(1693)
1914:Alcide
1909:(1662)
1868:(1981)
1860:(1947)
1852:(1909)
1844:(1884)
1836:(1783)
1814:(1638)
1806:(1637)
1798:(1636)
1790:(1634)
1782:(1634)
1774:(1634)
1766:(1634)
1758:(1603)
1750:(1596)
1734:(1534)
1726:(1531)
1702:(1500)
1483:Events
1465:, and
1455:Megara
1436:Family
1428:Alcide
1422:Ercole
1418:Hercle
1323:Thebes
1092:Cadmus
1087:Ogyges
914:Rhesus
830:Hecuba
733:
714:
551:, 2000
425:Themes
414:Athena
384:Athens
360:Chorus
337:Megara
333:Thebes
327:' and
300:Chorus
262:Megara
218:Thebes
214:Megara
151:Thebes
120:Athens
88:Megara
70:Chorus
53:Asteas
2588:Other
2521:Games
2014:Films
1898:Opera
1670:(216)
1602:Other
1563:Plays
1526:Poems
1264:Iliad
1169:Creon
1154:Creon
1144:Creon
1138:Laius
1128:Laius
1075:Kings
879:Helen
802:Medea
725:. By
706:. In
702:. By
576:Notes
345:Hades
341:Creon
329:Lycus
311:In a
280:Lyssa
268:Lycus
222:Lycus
136:Genre
94:Lycus
1467:Hebe
1443:Zeus
1162:and
731:ISBN
712:ISBN
395:Hera
358:The
353:Zeus
274:Iris
228:and
226:Iris
98:Iris
1629:Art
872:Ion
220:by
196:by
2647::
1461:,
1457:,
591:,
374:.
246:.
171:,
167::
2450:"
1408:)
1404:(
1394:e
1387:t
1380:v
1060:e
1053:t
1046:v
764:e
757:t
750:v
737:.
718:.
634:(
496:(
232:(
163:(
20:)
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