Author Edouard Cour revisits one of the greatest Greek myths by painting the often-heroic Herakles as, well . . . somewhat of a jerk. Crude and stubborn at times, in little glimpses we meet a man--half-human, after all--with a psychology more complex than he appears, entangled in guilt over the ghosts who have haunted him since childhood. A mournful sadness seizes him as he crosses the fleeting silhouettes of a woman and her three children. "Friends or foe, all those who cross his path end up stiff and worm food," comments Linos, the ghost of his childhood music teacher. Brimming with pathos and dark humor, this portrait of Herakles is a graphic whirlwind leaving little respite and often revealing beautiful surprises.

There is more material available on Herakles than any other Greek god or hero. His story has many more episodes than those of other heroes, concerning his life and death as well as his battles with myriad monsters and other opponents. In literature, he appears in our earliest Greek epic and lyric poetry, is reinvented for the tragic and comic stage, and later finds his way into such unlikely areas as philosophical writing and love poetry. In art, his exploits are amongst the earliest identifiable mythological scenes, and his easily-recognisable figure with lionskin and club was a familiar sight throughout antiquity in sculpture, vase-painting and other media. He was held up as an ancestor and role-model for both Greek and Roman rulers, and widely worshipped as a god, his unusual status as a hero-god being reinforced by the story of his apotheosis. Often referred to by his Roman name Hercules, he has continued to fascinate writers and artists right up to the present day. In Herakles, Emma Stafford has successfully tackled the ‘Herculean task’ of surveying both the ancient sources and the extensive modern scholarship in order to present a hugely accessible account of this important mythical figure. Covering both Greek and Roman material, the book highlights areas of consensus and dissent, indicating avenues for further study on both details and broader issues. Easy to read, Herakles is perfectly suited to students of classics and related disciplines, and of interest to anyone looking for an insight into ancient Greece’s most popular hero.

Herakles and Hercules: two names for a figure of pervasive appeal in Antiquity. He was a hero of myth and a god with cult associations. He was ancestor of Macedonian kings, patron of Carthaginian generals and of Roman emperors, and a role model for Stoic philosophers. As a performer of the famous labours, wanderer, liberator, madman and murderer of kin, Herakles-Hercules has retained his fascination down to the present. The eleven new studies in this volume explore why this figure appealed so widely in Antiquity. They examine his role in ancient myth and philosophy, drama and art, as well as in politics and propaganda, warfare and religion.

Herakles was one of the greatest of all Greek heroes, and his exploits have been celebrated in paintings, songs, poetry, and sculpture. This one-of-a-kind account of the great mythological hero includes a helpful map and a pronunciation guide for those sometimes hard-to-pronounce classical names. Full color.

The story of Atlas and Heracles Atlas knows how it feels to carry the weight of the world; but why, he asks himself, does it have to be carried at all? In Weight — visionary and inventive, yet completely believable and relevant to the questions we ask ourselves every day — Winterson’s skill in turning the familiar on its head to show us a different truth is put to stunning effect. When I was asked to choose a myth to write about, I realized I had chosen already. The story of Atlas holding up the world was in my mind before the telephone call had ended. If the call had not come, perhaps I would never have written the story, but when the call did come, that story was waiting to be written. Rewritten. The recurring language motif of Weight is “I want to tell the story again.” My work is full of Cover Versions. I like to take stories we think we know and record them differently. In the retelling comes a new emphasis or bias, and the new arrangement of the key elements demands that fresh material be injected into the existing text. Weight moves far away from the simple story of Atlas’s punishment and his temporary relief when Hercules takes the world off his shoulders. I wanted to explore loneliness, isolation, responsibility, burden, and freedom too, because my version has a very particular end not found elsewhere. —from Jeanette Winterson’s Foreword to Weight