Herakles and Omphale

Abstract

The lack of representations in the archaic period is not surprising, but its absence on vases and in the plastic arts of the fifth century is very significant. Except for its appearance in literature, especially in comedies, it was completely ignored until Hellenistic and Roman times when it degenerated into a romantic burlesque. Pfuhl 1 implies that prior to the Roman period when the painter represented Herakles as a clumsy, helpless sot, the hero was regarded as too much of a tragic figure to be used as the subject of ridicule in art. Certainly his legendary connection with Omphale was current in Attica long before Hellenistic times,2 as the comic poets amply testify.3 In fifth century Athens there was no exclusively tragic character, least of all Herakles, who could not be moulded by the dramatist to play another type of role,4 although, in general, heroes fitted much more appropriately into tragedy than divinities. In general, Pfuhl's statement is correct as far as Attica is concerned, and the exception in literature, as we shall see, has a very good reason. The non-Attic sculptor before Alexander the Great has given us little of the comic in the career of Herakles, unless we stretch the point by citing the experience of Herakles with the Kerkopes.5 Likewise the vase painter, except for a caricature,6 has treated his labors and sufferings in a serious vein;7 we must, of course, admit that the Caeretan hydria, which portrays Herakles raising havoc with Busiris and his attendants, is an outstanding example, from our viewpoint, of a humorous treatment,8 but in Attica the vase painter seems to have held himself aloof from such an inter-