6) He is introduced in Book 4 bearing a shield depicting the Danaids killing their husbands/cousins, connecting him with the poem's theme of fratricide.
Disturbingly Hippomedon bears the image of the Danaids on his shield at 4.
The image of the Danaids is the only allusion in the Thebaid to any family connection with Adrastus.
31 only if a reference to it is read into the symbolism of either the Danaid group, or the images on the temple doors.
Though it is now certain that the temple stood on the south-western slope of the Palatine, the location of the portico of the Danaids and any detail regarding the artworks that adorned the temple, are shrouded in uncertainty.
At his own expense the artist supplied turntables for Danaid
and The Death Of Athens, so that they could be spun around and admired from all angles.
Ion on the point of killing his mother, after she has tried to kill him, in Ion; Aerope in Cresphontes trying to kill her sleeping son as that son's supposed murderer); or mistakes which cause actual disaster, subsequently recognized and lamented (Oedipus the King, Trachiniae, Hippolytus, Bacchae); or where suffering is doubled in its impact by being combined with blasphemy (Cassandra stripping off and trampling the prophetic insignia in Agamemnon; her `wedding song' in Troades; the dragging of the Danaids
from the altars in Aeschylus' Suppliant Women; the opening scenes of Heracles).
Putnam, `Virgil's Danaid Ecphrasis', ICS 19 (1994), 171-89, who, however, takes the ecphrasis ultimately to imply a fairly clear-cut condemnation of Aeneas (and Augustus).
54), 178) points out that Turnus' supplication of Aeneas can also be linked with the Danaid myth, in which supplication is an important motif.
The play is the first of a trilogy that told the myth of the murder on their wedding night of all but one of the young men by the Danaid
Here his admirers continue in his tradition of considering the text, interpretation and cultural context of Greek tragedy with such topics as the entry of tragedy into a celebration culture, the quality of "cragginess," the elements of the King and Demos in Aeschylus, tragic persons in existing fragments and as a whole piece, critical responses from the seventeenth to the nineteenth centuries, drama and enactment, the Danaid
Trilogy, paradoxes of the Ajax, the death of Oedipus and what happens next, stars and heroines in Euripedes's Helen and an instance of his "modernism" in Orestes 1-3, the first lines of Euripedes's Archleus, Orestes as revenant, rape and consent, the social function of tragedy, and medical analogies in Aristotle.