Among the events of his later life are the boiling of the ram by Medeia,[[1298]] and the subsequent destruction of the aged Pelias[[1299]]; the renewal of Jason’s own youth[[1300]]; the death of his wife Glauke by Medeia’s agency[[1301]]; and the latter’s slaughter of her children,[[1302]] with her pursuit by Jason.[[1303]] Medeia also appears in another connection at Theseus’ leave-taking of his father Aigeus,[[1304]] and among the Athenian tribal heroes on the vase by Meidias.[[1305]] Though not necessarily connected with Jason, the funeral games held after the death of Pelias[[1306]] must also find mention here. Scenes therefrom are represented on more than one vase—such as the chariot-race conducted by Kastor and others in the presence of three judges (Pheres, Akastos, and Argeos), and the wrestling of Peleus and Hippalkimos.[[1307]] On another Zetes is victorious over Kalais in the foot-race.[[1308]]
The Theban Legend
The “tale of Thebes” falls into various episodes, more or less connected, especially those which relate to the story of Oedipus and his line.[[1309]] Conspicuous as founder of the city is the Phoenician Kadmos, whose encounter with the dragon is depicted on vases of various periods. On some he receives from Athena the stone with which he is to slay the monster[[1310]]; on others he is seen approaching the fountain of Ares, where he was to meet it[[1311]]; and, lastly, we have the actual slaying of the dragon,[[1312]] sometimes in the presence of Harmonia and various deities and personified figures, including Thebes. After the slaying of the dragon Kadmos sacrifices to Athena Onka.[[1313]] The completion of the story is seen in his marriage with Harmonia.[[1314]] A rarer subject is the punishment of Dirke by her brothers Amphion and Zethos, who tied her to a wild bull[[1315]]; while a later episode of the story is the pursuit of her sister Antiope by her lover Phokos.[[1316]]
The story of the Oidipodia is introduced by the subject of Laios (the father) carrying off the young Chrysippos.[[1317]] Then we have the exposure of the infant Oedipus and his discovery by the shepherd Euphorbos.[[1318]] Of later events in the life of Oedipus, the only one that attained to any popularity is the slaying of the Sphinx. The actual deed only occurs once,[[1319]] and the usual “type” is that of Oedipus (usually a young man) standing before the Sphinx, which is seated on a rock or column.[[1320]] It is not always to be identified with certainty.[[1321]] In one instance Oedipus is represented with Teiresias[[1322]]; in another with persons named Sikon and Kalliope—a subject hitherto unexplained.[[1323]] We need only make passing reference here to a vase supposed to represent the tomb of Oedipus, inscribed with a couplet of verses, at which stand two youths.[[1324]]
Before continuing the story of the house of Oedipus, we must digress to that of Amphiaraos, the warrior-seer, whose departure from his wife Eriphyle to the Theban War is a favourite subject on vases.[[1325]] It becomes, in fact, a “type” adopted in ordinary scenes.[[1326]] We also find on the reverse of one of the vases with this subject the departure of another warrior, perhaps intended for the hero’s son Alkmaion, or for Adrastos.[[1327]] On an early vase Amphiaraos is seen bringing home Eriphyle in his chariot. The names of his horses, Thoas and Dion, are given.[[1328]] A curious subject is that of the hero in the bosom of his family, with his wife Eriphyle suckling her son Alkmaion, and a maiden spinning.[[1329]] His death is represented on one B.F. vase[[1330]]; on another his slaying of Eriphyle.[[1331]] Another event is the death of the child Archemoros, caused by a serpent.[[1332]] A fine late vase in Naples depicts the prothesis or laying out of his body by his mother Eurydike and others.[[1333]] The subsequent fight of Tydeus and Lykourgos, interrupted by Adrastos, also occurs,[[1334]] and the reception of the fugitive Tydeus by Adrastos.[[1335]] Tydeus appears once more as the slayer of Ismene[[1336]]; but according to another version she and her sister Antigone are attacked by Laodamas when the Epigoni return to Thebes many years later.[[1337]] We can only point to one possible representation of the combat of Eteokles and Polyneikes on vases,[[1338]] though it is common enough, e.g. in Etruscan art; but there is at least one representation of Antigone being brought before Kreon after the burial of her brother,[[1339]] which also forms a burlesque subject on the comic stage.[[1340]]
The Trojan Cycle
We now come to the story of the Trojan War, linked with which are the events which led up to it and those which immediately followed upon it—such as the Judgment of Paris on the one hand, and the stories of Odysseus and Orestes on the other. These events are so numerous that they require careful classification. They may be divided into three main sections: (1) Ante-Homerica, including the events that led to the war and those that took place during the first nine years of it; (2) Homerica, or the events of the Iliad; (3) Post-Homerica, or the stories of the death of Achilles, the fall of Troy, the Odyssey and other Νοστοί, and the Oresteia. The literary authorities for these events, on the lines of which our classification follows, are discussed elsewhere (p. [4] ff.).
In spite of the warning of Horace that in writing of the story of Troy it is not necessary to begin ab ovo, it is impossible here to avoid reference to the earliest event which bears at all on the subject—namely, the birth of Helen from the egg, which was the result of Zeus’ amour with Nemesis. The subject is referred to on several vases, the moment chosen being that when the egg is found by Leda.[[1341]] Her husband Tyndareus and her other offspring, Klytaemnestra and the Twin Brethren, are usually present. There is one undoubted instance of the nuptials of Helen and Menelaos.[[1342]]
The first event, however, which can be regarded as having a direct effect on the outbreak of the war is the marriage of Peleus and Thetis, at which the apple of discord was flung by Eris among the goddesses, and which brought about the birth of the hero of the war, Achilles. In ancient art, especially on vases,[[1343]] Peleus is depicted forcibly capturing Thetis from the company of her sister Nereids, while she tries to elude him by assuming various shapes, all conventionally indicated in the vase-paintings. Some vases represent the approach of Peleus and his pursuit of Thetis,[[1344]] the majority the actual struggle (Fig. [128]),[[1345]] and one or two the announcement of the issue to Nereus and the company of Nereids (who are named).[[1346]]
The next stage is the introduction of Thetis to the Centaur Cheiron by Peleus.[[1347]] Then we have the celebration of their nuptials, with the assembling of the gods, as described by Catullus, and vividly, if quaintly, depicted on the François vase,[[1348]] followed in due course by Peleus bringing the young Achilles to be educated by Cheiron,[[1349]] and his subsequent sojourn in Skyros.[[1350]] There is one possible representation of the seething of Achilles in the caldron to secure his immortality.[[1351]]