Criticism
Like many of Euripides' tragedies, Herakles consists of two parts. Having been raised to the height of triumph when he kills Lycus, Herakles is then driven to the depths of despair by Madness. There is no real connection between the two parts, and for this reason, the play is often criticized for lack of unity.
Courage, endurance and nobility are the themes of this play. Megara in the first half of the play and Herakles in the second are innocent victims of powerful, authoritative forces they cannot defeat. The spiteful, irrational nature of Hera's jealous plot against Herakles can be seen to mirror Euripides' notion of an indifferent world ruled by chance. Herakles' reactions also carry a message for men to rely on themselves, not on the hope of divine authority and wisdom—that the concept of moral goodness operates in humanity alone. Herakles must learn to recognise and live with the fact that violence and madness are part of his nature and only he has the right to forgive what he has done.
Read more about this topic: Herakles (Euripides)
Famous quotes containing the word criticism:
“Parents sometimes feel that if they don’t criticize their child, their child will never learn. Criticism doesn’t make people want to change; it makes them defensive.”
—Laurence Steinberg (20th century)
“I am opposed to writing about the private lives of living authors and psychoanalyzing them while they are alive. Criticism is getting all mixed up with a combination of the Junior F.B.I.- men, discards from Freud and Jung and a sort of Columnist peep- hole and missing laundry list school.... Every young English professor sees gold in them dirty sheets now. Imagine what they can do with the soiled sheets of four legal beds by the same writer and you can see why their tongues are slavering.”
—Ernest Hemingway (1899–1961)
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)