Hercules

By T. H. M. Gellar-Goad | January 24, 2015

Greek Myth is one of the standbys of Classics general-education courses at colleges and universities across the United States.  These courses often have high enrollments and are populated by students with little prior knowledge about the ancient Mediterranean world who are taking the course to fulfill a degree requirement.  They may take Myth because of a lifelong interest in the stories (or because they’ve read the Percy Jackson series), they may be inspired to major in Classics by the course, or they may never read or think about Graeco-Roman culture after the term ends.

A common way of teaching the Myth survey course is like a panorama, a wide-angle shot that tries to fit in as much content as possible from a high-altitude perspective.  I took a different approach in my fall 2013 Greek Myth course at Wake Forest University — a closeup, zooming in on one specific ancient myth-cycle in elaborate detail.  Rather than try to cover Graeco-Roman mythology from Chaos to Romulus, encountering tidbits of art and literature from Homer to Ovid, my course focused on just one mythic figure, and students studied every major visual and textual treatment of that figure that survives from the ancient world.

The myth-cycle I selected was Herakles/Hercules.

By T. H. M. Gellar-Goad | January 24, 2015

In last month’s column, I offered an overview of the Greek myth of the Titanomachy, the war between the Olympian gods (Zeus, Hera, and all the rest) and the earlier generation, the Titans; and I discussed some recent media telling of the escape of the Titans from their underworld prison and a second Titanomachy: in Disney’s 1997 Hercules, in the 1998 straight-to-video Hercules and Xena animated movie, in the 2012 movie Wrath of the Titans (sequel to the remake of Clash of the Titans), in the 2013 movie Percy Jackson: Sea of Monsters, in the 2011 movie Immortals, and in the video game series God of War.

Today I finish the journey by exploring the ramifications of these stories and their thematic material.

There’s a pattern to these stories.  In all of them, the Titans are reawakened and they are opposed by a half-god protagonist: Perseus, Hercules, Percy, Theseus, Kratos (sort of).  In each, the protagonist has a history of family loss.  Perseus in Wrath of the Titans is a widower.  The Disney Hercules is estranged from his birth parents, while the Kevin Sorbo version lost his wife and children to a fireball sent by Hera.  Percy Jackson feels abandoned by his father Poseidon.  Theseus in Immortals endures the death of his mother during the film.  Kratos accidentally killed his family and is killed by his own father.  Most of the protagonists are soldiers — Percy Jackson, for instance, is a teenager at a “camp” filled with what are essentially child/teen demigod soldiers.  The Titans themselves are generally either monstrous or demonic in appearance, in contrast to the ancient Greek depictions of them as essentially anthropomorphic (as in the vase painting to the right).​

So what’s the meaning behind all these modern Titanomachies?  The surface explanation — that gods fighting gods makes for cool action scenes — isn’t all there is to it.

By T. H. M. Gellar-Goad | January 24, 2015

Why has the Titanomachy been so fascinating a subject for movies, TV, and video games in recent years?

Francisco de Goya, Saturno devorando a su hijo (1819–1823)In Greek myth, the Titans were the gods who ruled the cosmos in the generation before the ascent of the Olympians (Zeus, Hera, Poseidon, Hades, and the like).  The king of the Titans, Kronos, came to power by castrating his father Ouranos and held onto that power — in view of a prophecy that his son would overthrow him — by swallowing each of his children at birth.  But his wife, Rhea, replaced baby Zeus with a rock and hid him on the island of Crete until he grew strong enough to force Kronos to regurgitate his siblings, whom he then led in battle against Kronos and kin.  This battle, the war of the Olympians against the Titans, is called the Titanomachy, and can be considered the first war of Greek myth.  It takes up a full fifth of (what survives of) Hesiod’s Theogony, a poem about the birth of the gods (old-timey translation here), with a vivid description of the effects of Zeus’ prodigious use of the thunderbolt:

The land boiled, and every stream of Ocean, and the uncultivated sea.  The hot blast surrounded the earthborn Titans, unspeakable fire approached the bright sky, and the gleaming bright light of the thunderbolt and lightning blinded their eyes, though they were strong.  [Theogony lines 695–699, translation mine]

The Titanomachy ends with a victory for Zeus and the Olympians, thanks to the strongarm help of the hundred-handed monster-children of Mother Earth, who imprison the Titans in Tartarus, the deepest part of the underworld.

So much for the myth.  There are a number of treatments of the Titans in modern popular media.  And in almost every single one, the story is not the Titanomachy itself, but rather the reawakening or escape of the Titans from their prison, and the commencement or threat of a second war between Titans and Olympians.  It seems to me that this basic storyline, and the set of other plot elements that seem intrinsically associated with it, touch on a number of social/political anxieties in America today, as I’ll talk about in next month's column.  [Mega spoilers starting in the next paragraph!]

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