The ambiguous nature of Haemon's actions, its "transgendered" character (to borrow Wohl's phrase), and its productive comparison with the equally ambiguous suicide of Deianeira
, therefore, indicate the potential to read multiple and simultaneously discordant gender identities.
Firstly, in Crimp's play Amelia consciously sends the General the pillow into which she carefully inserts a glass tube containing the poisonous chemical, while Sophocles's Deianeira
remains "the unwitting executor of the Gods' intentions" (Ginman 2004: 113).
The demonic (supernatural and metamorphic) ironies in the deaths of Herakles and Deianeira
are supreme emblems of the investment of the gods of Hellas in the primal poeisis, the formation of Aphrodite from the passionate violence of the divine marital bed, a radical displacement and subsuming of the father.
However, The Judgement of Paris admired by Antonio de Beatis likely remained in the Nassau palace, together with Bosch's triptych and Hercules and Deianeira
194), but does not feature in extant narrative until the early lines of Sophocles' Trachiniae, when Deianeira
describes her courtship by Acheloos and how she came to be the wife of Herakles:
Here they will discover how faithful-wife Penelope, homicidal Clytemnestra(s), manslaughtering Deianeira
, matricidal Electra, infanticidal Medea, vengeful Hecuba, suicidal Alcestis and lovingly deceptive Helen helped Greek men to explore characteristics they feared in themselves, and to ask such fundamental questions as "whether public and private morality can operate on the same terms.
The sarcasm in 'evils no greater' can be compared with Hyllus's sarcasm in dismissing Deianeira
exhibits an immediately sympathetic and three -- dimensional character, Heracles scarcely comes into human focus, in many ways resembling the archaic world of monsters whose conquest he reckons among his greatest achievements.
According to one story, Dionysus, the great god of wine, was the real father of Deianeira
Lines 23-25 shift the focus to Deianeira
and her reaction to the news that Heracles has returned with Iole.
1206), while the first stasimon of Sophocles' Trachiniae, this within an ode celebrating the invincible power of Aphrodite, imagines the wrestling bout between Heracles and Achelous, the rivals for possession of Deianeira
who forms the third figure present at this freshly triangulated agon, in language clearly evocative of a homoerotic sexual encounter.
Followers of the Gorgon Painter who have identifiable styles--such as Sophilos, the Deianeira
Painter, and the Istanbul Painter (28)--may be ruled out, as the burden of details do not add up to any one of their individual mature styles.