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By: (Author) Richard Rowland
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Each chapter of this book offers a detailed account of the ways in which different cultures – the ancient Greek democracy, imperial Rome, early Christianity, the emergent vernacular cultures of late medieval and early modern Europe, the Enlightenment – have re-evaluated the story of Hercules and his wife and killer Deianira, in the light of their own attempts to come to terms with the phenomena of military and domestic violence. The study combines the close examination of texts, translations and visual images, but it is also about performance: it begins with Sophocles interrogating the cult of Hercules’ heroism and deification in his Trachiniae, and ends with Martin Crimp’s reworking of that play in 2004.
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?
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