##akle Fighting Geryon : Herakles Fighting The Nemean Lion

When he chopped off Grendels head, he carried it from the ocean with ease, but it took four men to lift the monster’s head and carry it back to Herot. This strength is a key trait of Beowulf's heroism. Like Beowulf, Gilgamesh possessed great physical strength unmatched by any man. He also had insurmountable courage. Gilgamesh fought numerous battles that were considered impossible to win. Gilgamesh first destroys an evil monster known as Humbaba. Humbaba is feared by all who enter his cedar forest. Gilgamesh arrives and kills Humbaba with a sword given to him by the god Shamash. After killing Humbaba the goddess Ishtar sends The Bull of Heaven to destroy Gilgamesh. After the bull killed many of the townspeople Gilgamesh grabbed it by its tail and stabbed it in the back of its head. On his final quest for everlasting life Gilgamesh is attacked by a pack of lions. He takes an axe in one hand and a sword in the other and kills many of the lions, sending the rest fleeing in fear. Gilgamesh’s strength and courage is much like that of Beowulf.

This version of the 12 Labors of Herakles was written down around the 1st to the 2nd century CE by Pseudo-Apollodorus. The myth of Herakles is originally a Greek myth that would have been orally performed before being written down in many different languages throughout its long history. Herakles within the myth is a Demi-God that was the illegitimate child of the chief Greek god Zeus and Alkmene. This mortal half allows for the hero to me relatable to the common person, while the divine half gives the hero his mythical status.

This was a naval battle between about 370 greek ships from various city states, and about 1200 Persians. The Greeks were led by their commander, Themistocles. The Persians were once again led by Xerxes. The Greeks lined their ships up between two river banks at a narrow point. The Persians charged ahead, but the Greeks were ready. The Persians got too bunched up at the blockade and were soon defeated. This is similar to what happened at the Battle of Thermopylae. We know this happened because we have a knife with a wood handle and an iron blade that was used in the battle. This battle proves yet again that numbers mean little when your opponent has a good

Since the days of mythological origin to the origin of pop culture, various mythological stories have been adopted and presented to newer generations. Some of these presented adaptations of mythological stories have significantly been modified in order to be deemed entertaining by audiences in a pop culture generation. Thus, my study will seek to compare mythological hero's during their time to how they have been depicted in modern day. Moreover, my study will analyze the similarities and differences between the Greek hero Heracles and his replica character, Hercules, depicted in Disney's adaptation of this myth. Although there are few similarities between the two versions, the differences between Heracles and Disney's Hercules are

Greek mythology played a large role in Greek artistic styles and functions. In the case of this study, the mythological god Apollo is the subject of the artistic works of the votive known as the “Mantiklos Apollo” and the statue of “Apollo” that was found in Pireaus. These figures show a natural progression in style and technique. They are important because they represent the sacred beliefs and superstitions of their respective cultures and time periods.

Discovered in 1790 on Hadrian's Villa in Tivoli, Italy, Lansdowne Heracles is an iconic structure that has withstood the test of time. It is the statue of Greek hero Hercules (known as Herakles by the Greeks), and he is best known the Twelve Labours he carried out for King Euryntheus of Argos. Ancient artists usually portrayed Hercules as wearing or holding associated with these achievements, and this is why in The J. Paul Getty Museum the Lansdowne Heracles is shown holding a club and a lion’s skin, which was his first labour for the King. Another feature prominent in Lansdowne Heracles is that Hercules is always shown as being nude, and this is because historically in Greece, male nudity was considered the highest form of beauty. This is the reason most Greek statues are nude.

They both agreed on how he had his heroic parts, and his non-heroic parts. His heroic parts were that "As part of his Twelve Labors, Heracles killed monstrous creatures (the Nemean lion, the Hydra, and the Stymphalian birds) and captured dangerous animals (the Erymanthian boar, the Cretan bull, and man-eating horses). He even brought the hound Cerberus up from the underworld in a symbolic conquest of death itself (abcclio.com)." His non-heroic deeds were that "Heracles committed many outrages against relatives, friends, and innocent strangers when he was unable to control his passions, and he was also prone to gluttony and other excesses that were not considered admirable in Greek society (abcclio.com)." In Stephanie Budin's article she wrote about how he struggled keeping his emotions stable. She talked about how he sometimes had outrages, and went very violent towards people. She also talks about his heroic deeds as well. Emma Stafford, on the other hand, talks about how the story of Heracles developed over time and how his heroism has also changed over time. In conclusion, even though Stephanie Budin and Emma Stafford had different viewpoints on why Heracles was a hero, they still agree that he was a heroic person for Ancient

The Stamnos vase of Hercules and the Nemean lion depicts the Greek Hero Herakles first labor, the battle with the Nemean Lion. The twelve labors were a form of punishment for killing his wife and children in

Herakles is a hero in the Greek mythology. He was born the illegitimate son of

Details that can’t be depicted by silhouette alone are incised, a technique the Corinthians developed (Neer, 2012). Each warrior is obscured by their disproportionately large shield, only the head, feet and a spear are visible. The details of each head follow the same pattern, although not identical. Each has an incised eye, that sits to the right of a crescent line. This detail doesn’t make it obvious which way the soldiers’ face, although since the artist has only shown one eye they must be in profile. The feet are depicted by two painted ‘L’ shaped lines, as if facing right. If this is the way the figures are supposed to be viewed, then their spears point towards the ground. This gives the effect that they are not actively engaged or about to engage in a fight. All the shields are detailed with two roughly incised circles, one for the outline and another smaller one inside. Every second shield has the same incised emblem, while the others are

For instance, the “Warrior” sculpture portrayal a Greek Olympic warrior of a time period in which it could have been important as a representation of the Olympics since it was on its “way from the Greek mainland to Rome, where the Greek statuary was much admired and copied”. In addition, this “Warrior” is a symbolic power due its physical strength which he had to use for the constant fights to achieve its recognition of warrior. However, the head of “Alexander the Great” demonstrate a different power which is more authoritative by the fact of his noble position of king. The image of “Alexander the Great” can represent nobility and a position of leadership by only projecting its head such as a symbolic manner to identify his great power as a conqueror and authority of Greece. However, for the sculpture of “Alexander the Great” it can be distinguished that it is not necessary to use a human figure as a force or power, therefore by showing their head was acceptable to demonstrate his authority and power beyond the physical attributes such as the “Warrior”

When it snorted a third time, the earth cracked open and Enkidu fell in, up to his waist, he jumped out and grabbed the Bull’s horns, it spat its slobber into his face, it lifted its tail and spewed dung all over him” (Mitchell 137). The mass destruction caused by Ishtar demonstrates that her power is greater than the warriors’ and equal or greater than that of one of the strongest men of the story. Using the Bull of Heaven, Ishtar nearly defeats Enkidu, who is the equal of Gilgamesh, both described as large and strong men, a phallic symbol of power. Although Ishtar does not kill Gilgamesh with the Bull of Heaven, Enkidu is spat on and covered in dung, which is very humiliating, and as Gilgamesh’s equal, this action is equivalent to humiliating Gilgamesh. For a woman to humiliate the greatest phallic symbols in the epic demonstrates that the women of “Gilgamesh” are not the weaker gender.

A Black Figure Amphora attributed to the Antimenes painter (Museum of Fine Arts, Houston) of c. 520 B.C. portrays a composite view of mythological scene between the fight of Theseus slaying a Minotaur, an anthropomorphic figure based on a half human, half bull creature that “devoured young Athenians.” According to the description of the work, “the monster lived in a labyrinth which was designed by a clever inventor Daedulus” who is standing on the left side, next to the Minotaur. Another viewer, on the right side, next to Theseus, is the Princess Ariadne “who helped Theseus escape the maze by following a ball of thread.” In reverse to that, the divine hero, Hercules is driving a chariot while holding a spear, facing him is a woman with curly

The arc of the arms and shoulders prepared to launch the discus, and that of his abdomen bending to give strength to its motion are juxtaposed perfectly, so as to bring unshaken harmony to the thrower’s body, even in the middle of performing this physically taxing motion. As for the choice to depict the athlete as nude, this had to be expected for the era of the statue’s creation; ancient Greek society frequently employed the use of nudity in such depictions of physical activities, as a way of celebrating the potential of human body, as well as to serve as a model for younger (in this case, male) Greek citizens becoming men. Furthermore, it was common practice for Greek athletes to train in the nude, for less hindrance in the activity itself, but also so that your technique or muscle groups could be more finely critiqued and developed. In this way, Myron has captured the beauty of training the human body, and the potential for what commitment to honing one’s skills could bring. Such a standard to reach for provided a valuable motivation for young Greek men, and in tandem with the epics of Homer three centuries prior to the statue’s creation, the Discus Thrower served to inspire many generations of glory-hungry Greeks eager to meet the peak of their potential through conditioning. For all they knew, any one of them might be the next to be immortalized in marble.

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her