Index Rerum
‘H’ = Heracles at the Crossroads
Aesop’s fables
81–2
Alchemy, in painting of P
157
Allegory, in H
xvii
in P
141 n1
Ambivalence, in H
12, 95
American politics, reflected in cartoons of H
117–8
Ancient world
has few or no visual depictions of H
137
literature and art in on P
142
Animals in visual depictions of P
Aphrodite’s ram
174
Athena’s owl
163, 194, 196
Hera’s peacock
154, 163, 192–3
Paris’ shepherd’s dog
163
Assimilation of H and P
154
Virtue = Athena/ Pleasure = Aphrodite
126
British politics, reflected in cartoons
of H
119
of P
194–5, 196–7
Cards attribute of Pleasure in H
65
Catholic > < Protestant antithesis reflected
In H
97 n0, 116
Choice, centrality of in H and P
7 n5
evasion of simple dichotomy,
in Benjamin
77–8
in Lessing
183
in Ovid
5–6
rejection of ‘either/or’ dichotomy in H
6 n5
Demonic / numinous being captured: Silenus
109
Distaff, symbol of female virtue
36 n85
Dream vision
H as
34–43
P as
147, 150
Ease/ Sloth and Fame equivalent to Pleasure and Virtue in Lowth and Shenstone’s poems
92
‘P’ = Judgement of Paris
Ecphrasis
165 n22
Eighteenth century England: apogee of H in literature
90–1
Elizabethan England, and H
87–8
and P
180–1
Emblem books, depict H
85–6
‘Everyman’, H as
85, 129
Feet, bare, attribute of personifications in H
19, 24
Feminism and P
142
Flowers in Pleasure’s hair (P)
119
French politics, reflected in Punch cartoons of P
193–4
Gardens, associated with H
Eighteenth century landscape
68–70
Vauxhall
112–3
Gender variation in H
14 and n31
in P
196–7
German politics, reflected in cartoons of H
117, 119 n7
‘Hermetic’ nature of H: its detachment from rest of hero’s career
129–30
Iconology/Iconography distinction
132 n42
Left and Right symbolism in H
117–9
Mask = Deceit in H
13
May the First: significance of in P
146
Medieval literature, lacks mention of
H 84
‘Medievalisation’ of P
In art
150–53
In literature
145–50
nudity in
152
P, as hunter in both
145
Paris, as effeminate in both
147, 170, 176
Mirror of Princes (speculum principis), H as
In art
7 n9, 32–4
In music
72, 74
Moralising, use of
In H
47
In P
150 n11
Music, associated with Pleasure/ Vice in H
7 n8, 22 n50, 82–3
Nudity
152, 167
Nudity In P
152–3
In depictions of P, Athena usually reluctant to disrobe
154
but ‘exhibitionistic’ in late painting by Rubens
163 n15
Nuns, lesbian
115–6
Pastoral in P
186
Personal circumstances of artist/ author determine treatment of H or P
17 n37, 27–8, 163 and n15
Philosophical aspects of H
xi
Position of Heracles in H in art
between personifications
19
at distance from personifications
19
Pubic hair in P
174
Putti in P
163 n16
‘Pythagorean Y’ in H
30, 46 n125, 53
Reaction against moralising H
74, 97
‘Reception’ defined
ix
Reconciliation of Virtue and Pleasure
105–117
Reliefs re H and P from ancient world
154 n2, 163 n0
Road imagery
117–9, 128 n22
Roman de Troie
145
Roman politics
and H
42
and P
43
Salaciousness in P
167
Satyr-play
and H
102
and P
191 n1
Ship of Fools (Narrenschiff, Stultifera Navis)
34–5
Signposts in H
117–9
Stony upward path in H
22 n49, 33 n77, 36
Temple of Virtue on hill in H
7, 10, 59
Thorns, symbolism of in H
30 n71, 36–7
Translation, appropriate of Arete and Kakia in H
4
Triumphal entry (joyeuse entrée)
57 n167, 155 n3
Woodcuts of H
36
Youth of hero in H (ephebeia)
129 n27