Editing Andromeda (mythology)

{{Short description|Aethiopian princess in Greek mythology}}
{{Redirect|Perseus and Andromeda}}
{{good article}}
{{Infobox deity
| type        = Greek
| name        = Andromeda
| image       = Perseus Andromeda MAN Napoli Inv8998.jpg
| caption     = Perseus freeing Andromeda after killing Cetus, 1st century AD fresco from the Casa Dei Dioscuri, [[Pompeii]]
| parents     = [[Cepheus, King of Aethiopia|Cepheus]] and [[Cassiopeia (Queen of Ethiopia)|Cassiopeia]]
| consort     = [[Perseus]]
| children    = 
| birthplace  = 
| birth_place = [[Aethiopia]]
| offspring   = [[Perses (son of Andromeda and Perseus)|Perses]], [[Heleus]], [[Alcaeus (mythology)|Alcaeus]], [[Sthenelus (son of Perseus)|Sthenelus]], [[Electryon]], [[Mestor]], [[Gorgophone (daughter of Perseus)|Gorgophone]], [[Autochthe]]
| god_of      = Princess of [[Aethiopia]]
}}

In [[Greek mythology]], '''Andromeda''' ({{IPAc-en|æ|n|ˈ|d|r|ɒ|m|ɪ|d|ə}}; {{langx|grc|Ἀνδρομέδα|Androméda}} or {{langx|grc|Ἀνδρομέδη|Andromédē|label=none}}) is the daughter of [[Cepheus (father of Andromeda)|Cepheus]], the king of [[Aethiopia]], and his wife, [[Cassiopeia (mother of Andromeda)|Cassiopeia]]. When Cassiopeia boasts that she (or Andromeda) is more beautiful than the [[Nereids]], [[Poseidon]] sends the [[sea monster]] [[Cetus (mythology)|Cetus]] to ravage the coast of Aethiopia as [[divine punishment]]. Queen [[Cassiopeia (mother of Andromeda)|Cassiopeia]] understands that chaining Andromeda to a rock as a [[human sacrifice]] is what will appease Poseidon. [[Perseus]] finds her as he is coming back from his quest to decapitate [[Medusa]], and brings her back to Greece to marry her and let her reign as his queen. With the head of Medusa, Perseus [[Petrifaction in mythology and fiction|petrifies]] Cetus to stop it from terrorizing the coast any longer. 
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As a subject, Andromeda has been popular in art since [[classical antiquity]]; rescued by a [[Greek hero cult|Greek hero]], Andromeda's narration is considered the forerunner to the "[[princess and dragon]]" [[Motif (narrative)|motif]]. From the [[Renaissance]], interest revived in the original story, typically as derived from [[Ovid]]'s ''[[Metamorphoses]]''. The story has appeared many times in such diverse media as plays, poetry, novels, operas, classical and popular music, film, and paintings. A significant part of the northern sky contains several [[constellation]]s named after the story's figures; in particular, the constellation [[Andromeda (constellation)|Andromeda]] is named after her.
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The Andromeda tradition, from classical antiquity onwards, has incorporated elements of other stories, including [[Saint George and the Dragon]], introducing a horse for the hero, and the tale of [[Pegasus]], [[Bellerophon]]'s [[winged horse]].<ref name="Whatley 2004"/> [[Ludovico Ariosto]]'s [[epic poem]] {{lang|it|[[Orlando Furioso]]}}, which tells a similar story, has introduced further confusion.<ref name="National Gallery"/> Patricia Yaker Ekall has critized the tradition of depicting the princess of Aethiopia as a [[white woman|white]]; noting few artists have chosen to portray her as [[dark-skinned]], despite Ovid's account of her.<ref name="Ekall 2021"/> Others have stated that Perseus's liberation of Andromeda was a popular choice of subject among male artists, reinforcing a narrative of [[male supremacy|male superiority]] with its powerful male hero and its endangered female in [[Physical restraint|bo]][[Physical restraint|ndage]].<ref name="Munich 1989"/><ref name="Knutson 1992"/>
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== Etymology ==

The name is Greek ({{langx|grc|Ἀνδρομέδα|Androméda|label=none}}), perhaps meaning 'mindful of her husband': from the noun {{langx|grc|[[wikt:ἀνήρ|ἀνήρ, ἀνδρός]]|anḗr, andrós|label=none}} 'man'; and either the verb {{langx|grc|μέδεσθαι|medesthai|label=none}} 'to be mindful of', from {{langx|grc|[[wikt:μέδω|μέδω]]|médō|label=none}}, 'to protect, rule over', or the verb {{langx|grc|μήδομαι|mḗdomai|label=none}} 'to deliberate, contrive, decide'. These verbs are related to {{langx|grc|μήδεια|mḗdeia|label=none}} 'plans, cunning', the likely origin of the name of [[Medea]], the [[Goetia|sorceress]].<ref name="OEtymDict">{{cite web |title=Andromeda |url=https://www.etymonline.com/word/andromeda |website=Online Etymology Dictionary |access-date=3 January 2023}}</ref>

== Classical mythology ==

=== Central story ===

In [[Greek mythology]], Andromeda is the daughter of [[Cepheus, King of Aethiopia|Cepheus]] and [[Cassiopeia (Queen of Aethiopia)|Cassiopeia]], king and queen of the kingdom of [[A<!--not a typo-->ethiopia]]. Her mother Cassiopeia foolishly boasts that she is more beautiful than the [[Nereids]],<ref>Both ''[[Catasterismi]]'' 16 (Hard 2015, p. 19) and ''[[De astronomia]]'' [https://topostext.org/work/207#2.10.1 2.10] cite [[Sophocles]]' lost play ''Andromeda'' as their source for this. According to [[Gaius Julius Hyginus|Hyginus]], ''Fabulae'' [https://topostext.org/work/206#64 64] Cassiopeia boasts of her daughter Andromeda's beauty rather than of her own.</ref> a display of [[hubris]] by a human that is unacceptable to the gods. To punish the queen for her arrogance, [[Poseidon]] floods the kingdom's coast and sends a [[sea monster]] named [[Cetus (mythology)|Cetus]] to ravage its inhabitants. In desperation, King Cepheus consults the [[oracle]] of [[Amun|Ammon]], who announces that no respite can be found until the king [[human sacrifice|sacrifice]]s his daughter, Andromeda, to the monster. She is thus stripped naked and chained to a rock in [[Jaffa]] by the sea to await her death. [[Perseus]] is just then flying near the coast of Aethiopia on his [[winged sandals]] or on Pegasus the winged horse, having slain the [[Gorgon]] [[Medusa]] and carrying her severed head, which instantly [[Petrifaction in mythology and fiction|petrifies]] any who look at it. Upon seeing Andromeda bound to the rock, Perseus falls in love with her, and he secures Cepheus's promise of her hand in marriage if he can save her. Perseus kills the monster with the Medusa's head, saving Andromeda. Preparations are then made for their marriage, in spite of her having been previously promised to her uncle, [[Phineus (son of Belus)|Phineus]]. At the wedding, a quarrel between the rivals ends when Perseus shows Medusa's head to Phineus and his allies, turning them to stone.<ref>{{cite book |last1=Grant |first1=Michael |last2=Hazel |first2=John |title=Who's Who in Classical Mythology |publisher=Oxford University Press |orig-date=1973 |year=1993 |page=31 |isbn=978-0-19-521030-9}}</ref><ref>{{cite book |last=Kerenyi |first=Carl |author-link=Károly Kerényi |title=The Heroes of the Greeks |date=1997 |publisher=[[Thames & Hudson]] |isbn=0-500-27049-X |pages=52–53}}</ref><ref>Hard 2004, pp. [https://books.google.com/books?id=r1Y3xZWVlnIC&pg=PA240 240], [https://books.google.com/books?id=r1Y3xZWVlnIC&pg=PA242 242]; Apollodorus, [[Bibliotheca (Pseudo-Apollodorus)|''Library'']] [http://data.perseus.org/citations/urn:cts:greekLit:tlg0548.tlg001.perseus-eng1:2.4.3 2.4.3]; [[Ovid]], ''[[Metamorphoses (poem)|Metamorphoses]]'' [http://data.perseus.org/citations/urn:cts:latinLit:phi0959.phi006.perseus-eng1:4.604-4.705 4.663&ndash;5.235]; [[Marcus Manilius]], ''[[Astronomica (Manilius)|Astronomica]]'', [https://www.loebclassics.com/view/manilius-astronomica/1977/pb_LCL469.345.xml 5.538&ndash;618 (pp. 344&ndash;51)].</ref>

Andromeda follows her husband to his native island of [[Serifos|Seriphos]], where he rescues his mother, [[Danaë]] from her unwanted wedding to the King of that island.<ref>Hard 2004, [https://books.google.com/books?id=r1Y3xZWVlnIC&pg=PA242 p. 242]; Apollodorus, [[Bibliotheca (Pseudo-Apollodorus)|''Library'']], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0548.tlg001.perseus-eng1:2.4.3 2.4.3].</ref> They next go to [[Argos, Peloponnese|Argos]], where Perseus is the rightful heir to the throne. However, after accidentally killing his grandfather [[Acrisius]], the king of Argos, Perseus chooses to become king of neighboring [[Tiryns]] instead.<ref>Apollodorus, [[Bibliotheca (Pseudo-Apollodorus)|''Library'']], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0548.tlg001.perseus-eng1:2.4.4 2.4.4].</ref> The mythographer [[Bibliotheca (Pseudo-Apollodorus)|Apollodorus]] states that Perseus and Andromeda have six sons: [[Perses (son of Andromeda and Perseus)|Perses]], [[Alcaeus (mythology)|Alcaeus]], [[Heleus]], [[Mestor]], [[Sthenelus (son of Andromeda and Perseus)|Sthenelus]], [[Electryon]], and a daughter, [[Gorgophone (Perseid)|Gorgophone]]. Their descendants rule [[Mycenae]] from Electryon down to [[Eurystheus]], after whom [[Atreus]] attains the kingdom. The Greek hero [[Heracles]] is also a descendant, as his mother [[Alcmene]] is the daughter of Electryon.<ref>Hard 2004, [https://books.google.com/books?id=r1Y3xZWVlnIC&pg=PA243 p. 243–244]; Apollodorus, [[Bibliotheca (Pseudo-Apollodorus)|''Library'']], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0548.tlg001.perseus-eng1:2.4.5 2.4.5]. The [[Hesiod]]ic ''[[Catalogue of Women]]'' ([https://www.loebclassics.com/view/hesiod-other_fragments/2018/pb_LCL503.347.xml fr. 241 Most, pp. 346–349]) likely listed their children as Alcaeus, Sthenelus and Electryon (Hard 2004, [https://books.google.com/books?id=r1Y3xZWVlnIC&pg=PA634 p. 634 n. 113 to p. 243]), while [[Herodorus]] (''[[FGrHist]]'' 31 F15) adds [[Mestor]] to these three.</ref>

According to the ''[[Catasterismi]]'', Andromeda is placed in the sky by [[Athena]] as the [[Andromeda (constellation)|constellation Andromeda]], in a pose with her limbs outstretched, similar to when she was chained to the rock, in commemoration of Perseus' bravery in fighting the sea monster.<ref>Smith, [https://www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.04.0104:entry=andromeda-bio-1 s.v. Andromeda]; ''[[Catasterismi]]'' 17 (Hard 2015, p. 18); see also [[Gaius Julius Hyginus|Hyginus]], ''[[De astronomia]]'' [https://topostext.org/work/207#2.11.1 2.11.1]. The ''Catasterismi'' cites [[Euripides]]' lost play ''[[Andromeda (play)|Andromeda]]'' as the source of this account.</ref>

=== In classical art ===

The myth of Andromeda was represented in the [[Ancient Greek art|art of ancient Greece]] and [[Roman art|of Rome]] in media including [[red-figure pottery]] such as [[pelike]] jars,<ref>{{cite journal |last=Vermeule |first=Cornelius |title=Department of Classical Art Annual Report for the Year 1963 |journal=Museum of Fine Arts, Boston |volume=88 |year=1963 |pages=33–43 |jstor=43481008}}</ref> [[fresco]]es,<ref name="Small 1999"/> and [[mosaic]]s.<ref>{{cite journal |last1=Beeson |first1=A. J. |title=Perseus and Andromeda as lovers. A mosaic panel from Brading and its origins |journal=Mosaic |date=1986 |issue=17 |pages=13–19}}</ref> Depictions range from straightforward representations of scenes from the myth, such as of Andromeda being tied up for sacrifice, to more ambiguous portrayals with different events depicted in the same painting, as at the [[Villa of Agrippa Postumus|Roman villa in Boscotrecase]], where Perseus is shown twice, space standing in for time.<ref name="Small 1999">{{cite journal |last=Small |first=Jocelyn Penny |title=Time in Space: Narrative in Classical Art |journal=The Art Bulletin |volume=81 |issue=4 |date=December 1999 |pages=562–575 |doi=10.2307/3051334 |jstor=3051334}}</ref> Favoured scenes changed with time: until the 4th century BC, Perseus was shown decapitating Medusa, while after that, and in Roman portrayals, he was shown rescuing Andromeda.<ref>{{cite journal |last=Karoglou |first=Kiki |title=Dangerous Beauty: Medusa in Classical Art |date=2018 |publisher=Metropolitan Museum of Art |journal=Museum of Art Bulletin |volume=73 |issue=3 |page=11 |isbn=978-1-58839-642-6 |url=https://books.google.com/books?id=_SZKDwAAQBAJ&pg=11}}</ref>

<gallery class="center" mode="nolines" widths="180px" heights="180px">
File:Corinthian amphora, Andromeda, Perseus, Cetus, 575-550 BC, Berlin F 1652, 141650.jpg|Perseus defends Andromeda from the monster Cetus by pelting it with stones. [[Corinthia]]n [[amphora]], 575–550 BC
File:Cratere a volute con la liberazione di Andromeda, inv. 19.M325-1.6 - Marta -Mitomania (9).jpg|Andromeda being tied for sacrifice. [[Apulian]] [[Red-figure pottery|red-figure vase]], {{c.|430–420 BC}}
File:Perseus and Andromeda MAN Napoli Inv8995.jpg|Perseus holds up [[Medusa]]'s head so Andromeda may safely see its reflection in the pool below. [[Fresco]], 1st century AD, [[Pompeii]]
File:Persée et Andromède, Boscotrecase, Italie.jpg|Roman wall painting of Perseus and Andromeda from [[Boscotrecase]], late 1st century BC 
File:Gaziantep Zeugma Museum Andromeda mosaic 4170.jpg|Detail of Andromeda mosaic from 'House of Poseidon' in [[Zeugma (Commagene)|Zeugma]], Turkey, 2nd–3rd century AD
</gallery>

=== Variants ===

There are several variants of the legend. In [[Gaius Julius Hyginus|Hyginus]]'s account, Perseus does not ask for Andromeda's hand in marriage before saving her, and when he afterwards intends to keep her for his wife, both her father Cepheus and her uncle Phineas plot against him, and Perseus resorts to using Medusa's head to turn them to stone.<ref>[[Gaius Julius Hyginus|Hyginus]], ''Fabulae'', [https://topostext.org/work/206#64 64].</ref> In contrast, Ovid states that Perseus kills Cetus with his magical sword, even though he also carries Medusa's head, which could easily turn the monster to stone (and Perseus does use Medusa's head for this purpose in other situations). The earliest straightforward account of Perseus using Medusa's head against Cetus, however, is from the later 2nd-century AD [[Satire|satirist]] [[Lucian]].<ref>[[Lucian]], ''The Hall'' [https://www.loebclassics.com/view/lucian-hall/1913/pb_LCL014.201.xml 22 (pp. 200, 201)].</ref>

The 12th-century [[Byzantine]] writer [[John Tzetzes]] says that Cetus swallows Perseus, who kills the monster by hacking his way out with his sword.<ref>[[Tzetzes]] on [[Lycophron]], [https://archive.org/details/isaakioukaiiann00mlgoog/page/819/mode/2up?view=theater 836 (pp. 820&ndash;1)].</ref> [[Conon (mythographer)|Conon]] places the story in Joppa (Iope or [[Jaffa]], on the coast of modern [[Israel]]), and makes Andromeda's uncles Phineus and Phoinix rivals for her hand in marriage; her father Cepheus contrives to have Phoinix abduct her in a ship named ''Cetos'' from a small island she visits to make sacrifices to [[Aphrodite]], and Perseus, sailing nearby, intercepts and destroys ''Cetos'' and its crew, who are "petrified by shock" at his bravery.<ref>[[Conon (mythographer)|Conon]], ''Narrations'', [https://books.google.com/books?id=lWruCgAAQBAJ&pg=PA88 40 (Trzaskoma, Smith and Brunet, p. 88)].</ref><!-- Conon thus explains away all the exotic and magical elements of the story.-->

== Constellations ==

[[File:Sidney Hall - Urania's Mirror - Gloria Frederici, Andromeda, and Triangula.jpg|thumb|upright|The [[constellation]] [[Andromeda (constellation)|Andromeda]] as depicted in ''[[Urania's Mirror]]'' by [[Sidney Hall]], {{c.|1825}}]]

Andromeda is represented in the [[Northern celestial hemisphere|Northern sky]] by the [[constellation]] [[Andromeda (constellation)|Andromeda]]<!--NOT an overlink, tool gives false positive-->, mentioned by the astronomer [[Ptolemy]] in the 2nd century, which contains the [[Andromeda Galaxy]]. Several constellations are associated with the myth. Viewing the fainter stars visible to the naked eye, the constellations are rendered as a maiden (Andromeda) chained up, facing or turning away from the [[ecliptic]]; a warrior ([[Perseus (constellation)|Perseus]]), often depicted holding the head of Medusa, next to Andromeda; a huge man ([[Cepheus (constellation)|Cepheus]]) wearing a [[Crown (headgear)|crown]], upside down with respect to the ecliptic; a smaller figure ([[Cassiopeia (constellation)|Cassiopeia]]) next to the man, sitting on a chair; a [[whale]] or sea monster ([[Cetus]]) just beyond [[Pisces (constellation)|Pisces]], to the south-east; the flying horse [[Pegasus (constellation)|Pegasus]], who was born from the stump of Medusa's neck after Perseus had decapitated her; the paired fish of the constellation [[Pisces (constellation)|Pisces]], that in myth were caught by [[Dictys]] the [[fisherman]] who was brother of [[Polydectes]], king of [[Seriphos]], the place where Perseus and his mother Danaë were stranded.<ref>{{cite book |last1=Thompson |first1=Robert Bruce |last2=Thompson |first2=Barbara Fritchman |date=2007 |title=Illustrated Guide to Astronomical Wonders |publisher=O'Reilly |isbn=978-0-596-52685-6 |pages=66–73 }}</ref>

== In literature ==

=== In poetry ===

[[George Chapman]]'s poem in [[heroic couplet]]s ''Andromeda liberata, Or the nuptials of Perseus and Andromeda'',<ref>{{cite book |last=Chapman |first=George |author-link=George Chapman |title=Andromeda liberata |url=https://quod.lib.umich.edu/e/eebo/A18401.0001.001?rgn=main;view=fulltext |publisher=[[University of Michigan]] |access-date=31 December 2022}}</ref> was written for the 1614 wedding of [[Robert Carr, 1st Earl of Somerset]] and [[Frances Carr, Countess of Somerset|Frances Howard]]. The wedding, which led to a "train of intrigue and murder and executions, was the scandal of the age."<ref name="Waddington 1966">{{cite journal |last=Waddington |first=Raymond B. |title=Chapman's Andromeda Liberata: Mythology and Meaning |journal=Publications of the [[Modern Language Association of America]] |volume=81 |issue=1 |year=1966 |doi=10.2307/461306 |pages=34–44|jstor=461306 |s2cid=164121070 }}</ref> Scholars have been surprised that Chapman should have celebrated such a marriage, and his choice of an [[allegory]] of the Perseus-Andromeda myth for the purpose. The poem infuriated both Carr and the [[Robert Devereux, 3rd Earl of Essex|Earl of Essex]], causing Chapman to publish a "justification" of his approach. Chapman's poem sees human nature as chaotic and disorderly, like the sea monster, opposed by Andromeda's beauty and Perseus's balanced nature; their union brings about an [[astrological]] harmony of [[Planets in astrology|Venus and Mars]] which perfects the character of Perseus, since Venus was thought always to dominate Mars. Unfortunately for Chapman, Essex supposed that he was represented by the "barraine rocke" that Andromeda was chained up to: Howard had divorced Essex on the grounds that he could not consummate their marriage, and she had married Carr with her hair untied, indicating that she was a virgin. Further, the poem could be read as having dangerous political implications, involving [[James VI and I|King James]].<ref name="Waddington 1966"/>

[[Ludovico Ariosto]]'s influential [[epic poem]] {{lang|it|[[Orlando Furioso]]}} (1516–1532) features a [[pagan]] princess named [[Angelica (character)|Angelica]] who at one point is in exactly the same situation as Andromeda, chained naked to a rock on the sea as a sacrifice to a sea monster, and is saved at the last minute by the [[Saracen]] knight [[Ruggiero (character)|Ruggiero]]. Images of Angelica and Ruggiero are often hard to distinguish from those of Andromeda and Perseus.<ref name="National Gallery">{{cite web |title=Perseus and Andromeda |url=https://www.nationalgallery.org.uk/paintings/glossary/perseus-and-andromeda |publisher=[[National Gallery]] |access-date=29 December 2022}}</ref>

[[John Keats]]'s 1819 [[sonnet]] ''On the Sonnet'' compares the restricted sonnet form to the bound Andromeda as being "Fetter'd, in spite of pained loveliness".<ref>{{cite book |last=Brady |first=Andrea |author-link=Andrea Brady |title=Introduction - The Fetters of Verse |chapter=The Fetters of Verse |date=October 2021 |pages=1–28 |chapter-url=https://www.cambridge.org/core/books/abs/poetry-and-bondage/fetters-of-verse/181495DED03EC13E0584C5730DB46FD2# |publisher=[[Cambridge University Press]] |doi=10.1017/9781108990684.001 |isbn=978-1-108-99068-4 |s2cid=242479172 |access-date=14 January 2023}}</ref> [[William Morris]] retells the story of Perseus and Andromeda in his epic 1868 poem ''[[The Earthly Paradise]]'', in the section ''April: The Doom of King Acrisius''.<ref>{{cite journal |last=Silver |first=Carole G. |title='The Earthly Paradise': Lost |journal=Victorian Poetry |volume=13 |issue=3/4 |year=1975 |pages=27–42 |jstor=40001829}}</ref> [[Gerard Manley Hopkins]]'s sonnet ''Andromeda''<ref>Hopkins, Gerard Manley (1879) [https://en.wikisource.org/wiki/Poems_of_Gerard_Manley_Hopkins/Andromeda Andromeda]</ref> (1879) has invited many interpretations.<ref>Mariani, Paul L. "Hopkins' "Andromeda" and the New Aestheticism," Victorian Poetry, Vol. 11, No. 1 (Spring, 1973), pp. 39-54</ref><ref name="Mariani 1973">{{cite journal |last1=Mariani |first1=Paul L. |title=Hopkins' ''Andromeda'' and the New Aestheticism |journal=Victorian Poetry |date=1973 |volume=11 |issue=1 |pages=39–54 |jstor=40001776 }}</ref> [[Charles Kingsley]]'s [[hexameter]] poem retelling the myth, ''Andromeda'' (1858), was set to music by [[Cyril Rootham]] in his ''Andromeda'' (1905)<!--; judging the poem's style to be "unfamiliar to most modern audiences", the cartoonist Matt Lawrence was commissioned in 2015 to create a set of cartoons to tell the poem's story-->.<ref>{{cite web |title=Andromeda Cartoons by Matt Lawrence |url=https://www.cantatadramatica.com/andromeda-story |publisher=Cantata Dramatica |access-date=29 December 2022 |date=2015 |quote=Some of the cartoons are accompanied by extracts from a recording made in 2019, a full version of which can be heard on the website of Cyril Bradley Rootham. }}</ref>

<gallery mode="packed" heights="225px">
File:Chapman Andromeda Liberata 1614.jpg|Title page of [[George Chapman]]'s ''Andromeda Liberata'', 1614, [[allegory|allegorically]] celebrating the tumultuous marriage of [[Robert Carr, 1st Earl of Somerset]] and [[Frances Carr, Countess of Somerset|Frances Howard]]<ref name="Waddington 1966"/> 
File:Orlando Furioso 20.jpg|''Ruggiero Rescuing Angelica'' by [[Gustave Doré]], 1880–1881, illustrates [[Ludovico Ariosto]]'s [[epic poem]] {{lang|it|[[Orlando Furioso]]}}, in a scene often confused with the myth of Andromeda.<ref name="National Gallery"/> 
File:Gustave Doré Andromeda.jpg|Doré's 1869 painting of Andromeda
</gallery>

=== In novels ===

In the 1851 novel ''[[Moby-Dick]]'', [[Herman Melville]]'s narrator Ishmael discusses the Perseus and Andromeda myth in two chapters. Chapter 55, "Of the Monstrous Pictures of Whales," mentions depictions of Perseus rescuing Andromeda from Cetus in artwork by [[Guido Reni]] and [[William Hogarth]]. In Chapter 82, "The Honor and Glory of Whaling," Ishmael recounts the myth and says that the Romans found a giant whale skeleton in Joppa that they believed to be the skeleton of Cetus.<ref>{{cite book |last=Melville |first=Herman |author-link=Herman Melville |date=1851 |title=Moby-Dick |url=https://www.gutenberg.org/files/2701/2701-h/2701-h.htm}}</ref><ref name="Pardes 2005">{{cite journal |last1=Pardes |first1=Ilana |title=Remapping Jonah's Voyage: Melville's "Moby-Dick" and Kitto's "Cyclopedia of Biblical Literature" |journal=Comparative Literature |date=2005 |volume=57 |issue=2 |pages=135–157 |doi=10.1215/-57-2-135 |jstor=4122318}}</ref><!-- [[Julia Constance Fletcher]] (who wrote under the [[pseudonym]] George Fleming), published ''Andromeda, a Novel'' in 1885. --> [[Jules Laforgue]] included what Knutson calls "a remarkable satirical adaptation",<ref name="Knutson 1992"/> {{lang|fr|"Andromède et Persée"}}, in his 1887 {{lang|fr|Moralités Légendaires}}. All the traditional elements are present, along with elements of fantasy and lyricism, but only to allow Laforgue to parody them.<ref name="Knutson 1992"/><!--
[[Robert Williams Buchanan]]'s 1901 novel ''Andromeda, An Idyl of the Great River'', updates the myth using characters in a 19th-century fishing community on the [[River Thames]]. [[Richard Le Gallienne]] wrote a 1902 prose version of Ovid's account, ''Perseus and Andromeda, A Retelling''.--> The romance, crime, and thriller writer [[Carlton Dawe]]'s 1909 novel ''The New Andromeda'' (published in America as ''The Woman, the Man, and the Monster'') offers what was called at the time a "wholly unconventional"<ref name="SLT 1909">{{cite news |title=[Review] The Woman, The Man and the Monster |work=[[Salt Lake Tribune]] |date=20 June 1909}}</ref> retelling of the Andromeda story in a modern setting.<ref name="SLT 1909"/><ref>{{cite book |last1=Carter |first1=David |last2=Osborne |first2=Roger |title=Australian Books and Authors in the American Marketplace 1840s-1940s |date=2018 |publisher=[[Sydney University Press]] |isbn=978-1-7433-2579-7 |page=107}}</ref> [[Robert Nichols (poet)|Robert Nichols's]] 1923 [[short story]] ''Perseus and Andromeda'' [[satirically]] retells the story in contrasting styles.<ref>[[Robert Nichols (poet)|Nichols, Robert]]. "Perseus and Andromeda", ''[https://books.google.com/books?id=fZ0NAQAAIAAJ Fantastica: being the smile of the Sphinx and other tales of imagination]'', Macmillan, 1923. The variant tales are on pages 75ff, 87ff, and 95ff respectively.</ref> In her 1978 novel ''[[The Sea, the Sea]]'', [[Iris Murdoch]] uses the Andromeda myth, as presented in a reproduction of [[Titian]]'s painting ''[[Perseus and Andromeda (Titian)|Perseus and Andromeda]]'' in the [[Wallace Collection]] in London, to reflect the character and motives of her characters. Charles has an [[Lysergic acid diethylamide|LSD]]-fuelled vision of a serpent; when he returns to London, he becomes ill on seeing Titian's painting, whereupon his cousin James comes to his rescue.<ref name="Tucker 1986">{{cite journal |last1=Tucker |first1=Lindsey |title=Released from Bands: Iris Murdoch's Two Prosperos in "The Sea, The Sea" |journal=Contemporary Literature |date=1986 |volume=27 |issue=3 |pages=378–395 |doi=10.2307/1208351 |jstor=1208351}}</ref>

<gallery mode="packed" heights="180px">
File:Guido Reni - AndromedaFXD.jpg|[[Herman Melville]]'s 1851 novel ''[[Moby-Dick]]'' mentions [[Guido Reni]]'s 17th century painting of Andromeda.<ref name="Pardes 2005"/>
File:Perseus and Andromeda. Etching by T. Cook, 1808, after W. Ho Wellcome V0035919.jpg|[[William Hogarth]]'s ''Perseus and Andromeda'', too, is mentioned in ''Moby-Dick''.<ref name="Pardes 2005"/> 1808 engraving, after Hogarth, by T. Cook.
File:Perseo y Andrómeda, por Tiziano.jpg|[[Titian]]'s ''[[Perseus and Andromeda (Titian)|Perseus and Andromeda]]'', 1554–1556, features in [[Iris Murdoch]]'s 1978 novel ''[[The Sea, The Sea]]''.<ref name="Tucker 1986"/>
</gallery>

== In the performing arts ==

{| class="wikitable"
|+ Timeline of Andromeda's appearance in different art forms
|-
! Period !! Story !! [[Visual arts]] !! [[Theatre]] !! [[Opera]] !! [[Poetry]] !! [[Film]]
|-
| [[Classical antiquity]] || [[Greek mythology|Greek]] and [[Roman mythology]]; [[Ovid]] and others; myths of [[Heracles]] and [[Hesione]]; [[Jason]] and [[Medea]]; [[Cadmus]] and [[Harmonia]]; [[Theseus]] and [[Ariadne]] || [[Red-figure pottery|Painted vases]], [[fresco]]es, [[mosaic]]s || [[Sophocles]], [[Euripides]] (both lost); [[Aristophanes]] ([[parody]]) || <!--Opera--> || <!--Poetry--> || <!--Film-->
|-
| [[Middle Ages]] || [[Saint George and the Dragon]] || [[Paolo Uccello]] || <!--Theatre--> || <!--Opera--> || <!--Poetry--> || 
|-
| 16th century || <!--Story--> || [[Piero di Cosimo]]; [[Titian]] || <!--Theatre--> || <!--Opera--> || <!--Poetry--> || 
|-
| 17th century || <!--Story--> || [[Giuseppe Cesari]]; [[Peter Paul Rubens]]; [[Rembrandt]] || [[Lope de Vega]]; [[Pierre Corneille]] verse play; [[Pedro Calderón de la Barca]] || [[Claudio Monteverdi]]; [[Benedetto Ferrari]] 1st opera open to public; [[Jean-Baptiste Lully]] || [[Ludovico Ariosto]] {{lang|it|[[Orlando Furioso]]}} || 
|-
| 18th century || <!--Story--> || [[François Boucher]]<!--; [[François Lemoyne]]--> || <!--Theatre--> || 17 Andromeda operas in Italy || [[George Chapman]] {{lang|it|Andromeda liberata}} [[allegory]] for a society wedding || 
|-
| 19th century || [[Herman Melville]] ''[[Moby-Dick]]'' (chs 55, 82); [[Jules Laforgue]] satirical || [[Frederic, Lord Leighton]]; [[Edward Poynter]]; [[Gustave Doré]] || <!--Theatre--> || <!--Opera--> || [[John Keats]] ''On the Sonnet''; [[Gerard Manley Hopkins]] sonnet; [[Charles Kingsley]] free verse || 
|-
| 20th–21st centuries || [[Iris Murdoch]] ''[[The Sea, The Sea]]'' || [[Félix Vallotton]] satirical; [[Alexander Liberman]] non-figurative || <!--Theatre--> || <!--Opera--> || <!--Poetry--> || ''[[Clash of the Titans (1981 film)|Clash of the Titans]]'' 1981, its [[Clash of the Titans (2010 film)|2010 remake]], and the 2012 ''[[Wrath of the Titans]]''
|}

=== In theatre ===

The theme, well suited to the stage,<ref name="Knutson 1992"/> was introduced to theatre by [[Sophocles]] in his lost [[Greek tragedy|tragedy]] ''Andromeda'' (5th century BC), which survives only in fragments. [[Euripides]] took up the theme in his [[Andromeda (play)|play of the same name]] (412 BC), also now lost, but [[Parody|parodied]] by [[Aristophanes]] in his [[Ancient Greek comedy|comedy]] {{transliteration|grc|[[Thesmophoriazusae]]}} (411 BC) and influential in the ancient world. In the parody, Mnesilochus is shaved and dressed as a woman to gain entrance to the [[Thesmophoria|women's secret rites]], held in honour of the fertility goddess [[Demeter]]. Euripides swoops mock-heroically across the stage as Perseus on a theatrical crane, trying and failing to rescue Mnesilochus, who responds by acting out the role of Andromeda.<ref name="Sfyroeras 2008">{{cite journal |last1=Sfyroeras |first1=Pavlos |title=Πóθος Εὐριπíδου: Reading "Andromeda" in Aristophanes' "Frogs" |journal=The American Journal of Philology |date=2008 |volume=129 |issue=3 |pages=299–317 |doi=10.1353/ajp.0.0014 |jstor=27566713 |s2cid=161684940 }}</ref>

The legend of Perseus and Andromeda became popular among playwrights in the 17th century, including [[Lope de Vega]]'s 1621 {{lang|es|El Perseo}},<ref name="Martin 1931"/> and [[Pierre Corneille]]'s famous<ref name="Knutson 1992"/> 1650 [[Verse drama and dramatic verse|verse play]] {{lang|fr|[[Andromède]]}}, with dramatic stage machinery effects, including Perseus astride [[Pegasus]] as he battles the sea monster. The play, a {{lang|fr|pièce à machines}}, presented to King [[Louis XIV]] of France and performed by the {{lang|fr|Comédiens du Roi}}, the royal troupe, had enormous and lasting success, continuing in production until 1660, to Corneille's surprise.<ref name="Knutson 1992"/><ref name="Williams 2007"/> The production was a radical departure from the tradition of French theatre, based in part on the Italian tradition of operas about Andromeda; it was semi-operatic, with many songs, set to music by [[Charles Coypeau d'Assoucy|D'Assouci]], alongside the stage scenery by the Italian painter [[Giacomo Torelli]]. Corneille chose to present Andromeda fully-clothed, supposing that her nakedness had been merely a painterly tradition; Knutson comments that in so doing, "he unintentionally broke the last link with the early erotic myth."<ref name="Knutson 1992"/>

[[Pedro Calderón de la Barca]]'s 1653 {{lang|es|Las Fortunas de Perseo y Andrómeda}} was also inspired by Corneille,<ref name="Knutson 1992"/> and like {{lang|es|El Perseo}} was heavily embellished with the playwrights' inventions and traditional additions.<ref name="Martin 1931">{{cite journal |last=Martin |first=Henry M. |title=The Perseus Myth in Lope de Vega and Calderon With Some Reference to Their Sources |journal=Publications of the Modern Language Association of America |volume=46 |issue=2 |year=1931 |issn=0030-8129 |doi=10.2307/458043 |pages=450–460|jstor=458043 |s2cid=163848591 }}</ref><!-- Another production of the period was [[John Weaver (dancer)|John Weaver]]'s 1716 ''Perseus and Andromeda'', a [[Pantomime|pantomimic entertainment]].-->

<gallery class="center" mode="nolines" widths="250px" heights="250px">
File:Set design Act2 of Andromède by P Corneille 1650 - Gallica 2010.jpg|Set design for [[Pierre Corneille]]'s 1650 {{lang|fr|[[Andromède]]}}, noted for its stage effects: Act 2, where [[Aeolus]] and eight winds lift Andromeda into the clouds, with thunder and lightning<ref name="Williams 2007"/>
File:Set design Act3 of Andromède by P Corneille 1650 - Gallica 2010.jpg|{{lang|fr|Andromède}}, Act 3, where Perseus, riding Pegasus, rescues a fully-clothed Andromeda from the sea monster<ref name="Williams 2007"/>
</gallery>

The Andromeda theme was explored later in works such as<!-- [[James Planché]] and [[Charles Dance (playwright)|Charles Dance's]] [[Victorian burlesque]], ''The Deep deep sea, or Perseus and Andromeda; an original mythological, aquatic, equestrian [[burletta]] in one act'' (1857);--> [[Muriel Stuart]]'s [[closet drama]] ''Andromeda Unfettered'' (1922), featuring: Andromeda, "the spirit of woman"; Perseus, "the new spirit of man"; a chorus of "women who desire the old thrall"; and a chorus of "women who crave the new freedom".<ref>{{cite web |last1=Stuart |first1=Muriel |title=Andromeda Unfettered |url=https://verse.press/poem/andromeda-unfettered-2972 |publisher=Verse Press |access-date=31 December 2022}}</ref><!-- and [[William Brough (writer)|William Brough's]] [[Victorian burlesque]] ''Perseus and Andromeda, or, The Maid and the Monster: A Classical Extravaganza'' (1861).-->

=== In music and opera ===

The Andromeda theme has been popular in classical music since the 17th century. It became a theme for [[opera]] from the 16th century, with an ''Andromeda'' in Italy in 1587<!--must have been a private production-->.<ref name="Knutson 1992"/> This was followed by [[Claudio Monteverdi]]'s ''Andromeda'' (1618–1620).<ref>{{cite journal |last=Rosenthal |first=Albi |title=Monteverdi's 'Andromeda': A Lost Libretto Found |journal=Music & Letters |date=January 1985 |volume=66 |issue=1 |pages=1–8 |doi=10.1093/ml/66.1.1 |jstor=855431}}</ref> [[Benedetto Ferrari]]'s ''Andromeda'', with music by [[Francesco Manelli]], was the first opera performed in a public theatre, [[Venice]]'s [[Teatro San Cassiano]], in 1637.<ref>''L'Andromeda'', Antonio Bariletti, Venice, 1637, p. 3.</ref> This set the pattern for Italian opera for several centuries.<ref>{{Cite book |last=Bianconi |first=Lorenzo |title=Music in the Seventeenth Century |publisher=[[Cambridge University Press]] |year=1987 |location=Cambridge |page=183 |quote=the Venetian-type theatre{{nbsp}}[...] comes to represent something of an economic and architectural prototype for Italy and Europe as a whole. At least architecturally, this prototype still survives essentially unchanged...}}</ref><ref name="Rosand 1990">{{cite book |last1=Rosand |first1=Ellen |title=Opera in Seventeenth-Century Venice |date=1990 |publisher=[[University of California Press]] |location=Berkeley |url=https://publishing.cdlib.org/ucpressebooks/view?docId=ft3199n7sm&chunk.id=d0e3339&toc.id=d0e3339&brand=ucpress |archive-url=https://web.archive.org/web/20221231173724/https://publishing.cdlib.org/ucpressebooks/view?docId=ft3199n7sm&chunk.id=d0e3339&toc.id=d0e3339&brand=ucpress |archive-date=31 December 2022 |chapter=3 ''Da rappresentare in musica'': The Rise of Commercial Opera}}</ref>

[[Jean-Baptiste Lully]]'s {{lang|fr|[[Persée (Lully)|Persée]]}} (1682), a [[tragédie lyrique]] in 5 acts, was inspired by the popularity of Corneille's play.<ref name="Williams 2007">{{cite journal |last=Williams |first=Wes |title='For Your Eyes Only': Corneille's View of Andromeda |journal=Classical Philology |date=January 2007 |volume=102 |issue=1 |pages=110–123 |doi=10.1086/521136 |s2cid=162104879 }}</ref> The libretto was by [[Philippe Quinault]], and a real horse appeared on stage as Pegasus.<ref name="Knutson 1992"/> {{lang|fr|Persée}} saw an initial run of 33 consecutive performances, 45 in total, exceptional at that time.<ref name="Knutson 1992"/> Written for King Louis XIV, it has been described as Lully's "greatest creation{{nbsp}}[...] considered the crowning achievement of 17th century French music theatre. Filled with dancing, fight scenes, monsters and special effects{{nbsp}}[...] [a] truly spectacular opera".<ref>{{cite web |title=Jean-Baptiste Lully: Persée |url=https://www.euroarts.com/tv-license/5417-jean-baptiste-lully-persee |publisher=[[EuroArts]] |access-date=31 December 2022 |id=Prog. No. 5417}}</ref> Michael Haydn wrote the music for another in 1797.<ref name="Knutson 1992"/> A total of seventeen Andromeda operas were created in Italy in the 18th century.<ref name="Knutson 1992"/>

Other classical works have taken a variety of forms including {{lang|it|[[Andromeda Liberata]]}} (1726), a [[pasticcio]]-[[Serenade|serenata]] on the subject of Perseus freeing Andromeda, by a team of composers including [[Antonio Vivaldi|Vivaldi]],<ref>{{cite web |last=Cookson |first=Michael |title=[Review] Antonio Vivaldi (1678-1741) Serenata Veneziana - Andromeda Liberata |url=http://www.musicweb-international.com/classrev/2005/Jan05/vivaldi_andromeda.htm |website=Music Web International |access-date=1 January 2023}}</ref> <!--{{ill|Louis Antoine Lefebvre|fr}}'s {{lang|fr|Andromède}} (possibly 1762), a cantata for solo voice and orchestra,<ref name="Lefebvre 1762"/> --> and [[Carl Ditters von Dittersdorf]]'s [[Symphony]] in F (''Perseus' Rescue of Andromeda'') and Symphony in D (''The Petrification of Phineus and his Friends''), Nos. 4 and 5 of his ''Symphonies after Ovid's Metamorphoses'' ({{c.|1781}}).

<gallery class="center" mode="packed" widths="180px" heights="250px">
File:Benedetto Ferrari Andromeda 1637.jpg|The world's first publicly performed opera, [[Benedetto Ferrari]]'s ''Andromeda'', 1637
File:Teatro San Cassiano reimagined.jpg|Reconstruction of the inauguration of [[Venice]]'s [[Teatro San Cassiano]] in 1637 with ''Andromeda''
File:Jean-Baptiste Lully - Persée - title page of the score - Paris 1682.png|Title page of [[Jean-Baptiste Lully]]'s 1682 {{lang|fr|[[Persée (Lully)|Persée]]}} in 5 acts
<!--File:Andromède cantatille à voix seule Louis Lefebvre music start.jpg|First sheet of music for Louis Lefebvre's 1762? {{lang|fr|Andromède, cantatille à voix seule}}<ref name="Lefebvre 1762">Lefebvre, Louis. 1762? ''[https://gallica.bnf.fr/ark:/12148/btv1b9057726h/f2.item Andromède, cantatille à voix seule]'', Paris. The start of the cantatille can be heard [https://www.youtube.com/watch?v=8MWSh66Uktw on YouTube].</ref>-->
</gallery>

In the 19th century, [[Augusta Holmès]] composed the [[symphonic poem]] {{lang|fr|Andromède}} (1883).<!-- In the 20th century, [[Jose Antonio Bottiroli]] composed ''Andrómeda'', ''Micro-sorrow I in D minor B96'' for piano (1984).<ref>{{cite book |last1=Banegas |first1=Fabio |title=Jose Antonio Bottiroli Vol. II - Complete Piano Works |date=2017 |publisher=Golden River Music |location=The Library of Congress (LC) |page=127|edition=First |ismn=979-0-3655-2418-1 |url=https://www.goldenrivermusic.eu/en/shop/product/1552-obras-completas-para-piano-complete-piano-works-volume-ii |access-date=7 August 2020}}</ref>--> In 2019, [[Caroline Mallonée]] wrote her ''Portraits of Andromeda'' for [[cello]] and [[string orchestra]].<ref>{{Cite web|url=https://news.wbfo.org/post/buffalo-composer-puts-andromeda-constellation-myth-and-meteors-music|title = A Buffalo composer puts Andromeda—constellation, myth and meteors—to music|date = 2 May 2019}}</ref>

In popular music, the theme is employed in tracks on [[Weyes Blood]]'s 2019 album ''[[Titanic Rising]]'' and on [[Ensiferum]]'s 2020 album ''[[Thalassic]]''.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211205/jgF38ZQJAPU Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20200617172923/https://www.youtube.com/watch?v=jgF38ZQJAPU&gl=US&hl=en Wayback Machine]{{cbignore}}: {{cite web| url = https://www.youtube.com/watch?v=jgF38ZQJAPU| title = Ensiferum - Andromeda (OFFICIAL VIDEO) | website=[[YouTube]]| date = 17 June 2020 }}{{cbignore}}</ref>

=== In film ===

{{multiple image
|image1=Alexa davalos 2016 1.jpg
|caption1=[[Alexa Davalos]] (''[[Clash of the Titans (2010 film)|Clash of the Titans]]'', 2010)
|width1=100
|image2=Rosamund Pike in Stockholm 2012.jpg
|caption2=[[Rosamund Pike]] (''[[Wrath of the Titans]]'', 2012)
|width2=101
|caption_align=center
|footer=Actresses who have portrayed Andromeda in 21st century cinema. Historian [[Henry Louis Gates Jr.]] and artist [[Kimathi Donkor]] have criticized casting white actors to portray Andromeda.<ref name="Gates 2014" /><ref name="Donkor 2020"/>
}}

The 1981 film ''[[Clash of the Titans (1981 film)|Clash of the Titans]]'' is loosely based on the story of Perseus, Andromeda, and Cassiopeia. In the film the monster is a [[kraken]], a giant squid-like sea monster in [[Norse mythology]], rather than the whale-like Cetos of Greek mythology. Perseus defeats the sea monster by showing it Medusa's face to turn it into stone, rather than by using his magical sword, and rides Pegasus.<ref>{{cite journal |last1=Gloyn |first1=Liz |author-link=Liz Gloyn |title='The Dragon-Green, the Luminous, the Dark, the Serpent-Haunted Sea': Monsters, Landscape and Gender In ''Clash of the Titans'' (1981 and 2010) |journal=New Voices in Classical Reception Studies Conference Proceedings |date=2012 |volume=1 |pages=64–75 |url=https://fass.open.ac.uk/sites/fass.open.ac.uk/files/files/new-voices-journal/proceedings/volume1/Gloyn-2013.pdf}}</ref> The [[Clash of the Titans (2010 film)|2010 remake with the same title]], adapts the original story. Andromeda is set to be sacrificed to the kraken but is saved by Perseus. The historian and filmmaker [[Henry Louis Gates Jr.]] criticizes both the original film and its remake for using white actresses to portray the Ethiopian princess Andromeda. The 1981 film uses the blonde [[Judi Bowker]]; the 2010 remake uses the brunette [[Alexa Davalos]]. Gates, noting that Andromeda was a black Aethiopian, writes that "their Andromedas appear to satisfy [[Cinema of the United States|Hollywood]]'s idea for a perfect match for Perseus".<ref name="Gates 2014">{{cite web |last=Gates |first=Henry Louis Jr. |author-link=Henry Louis Gates Jr. |title=Was Andromeda Black? |website=The Root |date=17 Feb 2014 |url=https://www.theroot.com/was-andromeda-black-1790874592 }}</ref> A third film, the 2012 ''[[Wrath of the Titans]]'', repeated the white Andromeda trope by casting the English actress [[Rosamund Pike]] in the role. Kimathi Donkor comments that none of the three films provide any "hint of the disruptive racial dilemma posed by the classical setting of Ethiopia",<ref name="Donkor 2020">{{cite book |last=Donkor |first=Kimathi |chapter=Africana Andromeda: Contemporary Painting and the Classical Black Figure |editor1-last=Moyer |editor1-first=Ian S. |editor2-last=Lecznar |editor2-first=Adam |editor3-last=Morse |editor3-first=Heidi |title=Classicisms in the Black Atlantic |date=2020 |isbn=978-0-19-185178-0 |page=173 |publisher=Oxford University Press |url=https://www.google.co.uk/books/edition/Classicisms_in_the_Black_Atlantic/RZjFDwAAQBAJ&pg=PA173}}</ref> preferring instead to continue the Western art tradition of "a hegemonic white visual space denying Ovid's mythography of black beauty."<ref name="Donkor 2020"/>
{{Clear}}

== In art ==

=== Merged traditions ===

The legend of [[Saint George and the Dragon]], in which a courageous [[knight]] rescues a princess from a monster (with clear parallels to the Andromeda myth), became a popular subject for art in the [[Late Middle Ages]], and artists drew from both traditions. One result is that Perseus is often shown with the flying horse [[Pegasus]] when fighting the sea monster, even though classical sources consistently state that he flew using [[winged sandals]].<ref name="Whatley 2004">{{cite book |url=http://d.lib.rochester.edu/teams/text/whatley-saints-lives-in-middle-english-collections-st-george-and-the-dragon |chapter=St. George and the Dragon: Introduction |editor1=Whatley, E. Gordon |editor2=Thompson, Anne B. Thompson |editor3=Upchurch, Robert K. |title=Saints' Lives in Middle Spanish Collections |year=2004 |publisher=Medieval Institute Publications |location=Kalamazoo, Michigan |isbn=978-1-5804-4089-9 }}</ref>

<gallery class="center" mode="nolines" widths="180px" heights="180px">
File:I.7.7 Pompeii. 1968. West wall of triclinium with wall painting of Perseus freeing Andromeda. Photo by Stanley A. Jashemski.jpg|Classical Roman fresco from [[Pompeii]] (before 79 AD) of Perseus, wearing [[winged sandals]], flying in to free Andromeda<ref name="Whatley 2004"/>
File:Paolo Uccello 047b.jpg|[[Paolo Uccello]]'s 1470 ''[[Saint George and the Dragon (Uccello)|Saint George and the Dragon]]'', illustrating a separate legend that became confused with the story of Perseus and Andromeda, introducing a horse for the hero<ref name="Whatley 2004"/>
File:Piero di Cosimo - Liberazione di Andromeda - Google Art Project.jpg|[[Piero di Cosimo]], ''[[Perseus Freeing Andromeda]]'', {{c.|1510}}. The hero is depicted with winged sandals, while Andromeda is clothed, unlike in many later paintings. 
File:D'arpino-Andromède.jpg|[[Giuseppe Cesari]], ''Perseus and Andromeda'', 1602. The hero is shown riding [[Pegasus]], the flying horse, in a departure from classical myth.<ref name="Whatley 2004"/>
</gallery>

=== Idealized beauty to realism ===

Andromeda, and her role in the popular myth of Perseus, has been the subject of numerous ancient and modern works of art, where she is represented as a bound and helpless, typically beautiful, young woman placed in terrible danger, who must be saved through the unswerving courage of a hero who loves her. She is often shown, as by [[Peter Paul Rubens|Rubens]], with Perseus and the flying horse Pegasus at the moment she is freed.<ref name="Grafton Pegasus">{{cite encyclopedia |last=Baumbach |first=Manuel |title=Pegasus |encyclopedia=The Classical Tradition |publisher=[[Harvard University Press]] |editor1=Grafton, Anthony |editor2=Most, Glenn W. |editor3=Settis, Salvatore |year=2010 |page=699 }}</ref> [[Rembrandt]], in contrast, [[Andromeda Chained to the Rocks|shows a suffering Andromeda]], frightened and alone. She is depicted naturalistically, exemplifying the painter's rejection of idealized beauty.<ref name="Clark 1966">{{cite book |last=Clark |first=Kenneth |author-link=Kenneth Clark |title=Rembrandt and the Italian Renaissance |publisher=[[New York University Press]] |year=1966 |page=11}}</ref> [[Frederic, Lord Leighton]]'s Gothic style 1891 ''[[Perseus and Andromeda (Leighton)|Perseus and Andromeda]]'' painting presents the white body of Andromeda in pure and untouched innocence, indicating an unfair sacrifice for a divine punishment that was not directed towards her, but to her mother. Pegasus and Perseus are surrounded by a [[halo (religious iconography)|halo]] of light that connects them visually to the white body of the princess.<ref name="Leighton Loggia">{{cite web |url=http://www.loggia.com/art/19th/leighton15.html |title=andromeda |website=Loggia.com |access-date=8 April 2015 |archive-url=https://web.archive.org/web/20150414111059/http://www.loggia.com/art/19th/leighton15.html |archive-date=14 April 2015 }}</ref>

<gallery class="center" mode="nolines" widths="180px" heights="180px">
File:Peter Paul Rubens - Perseus and Andromeda (Hermitage Museum).jpg|[[Peter Paul Rubens]], ''Perseus and Andromeda'', {{c.|1622}}, showing the moment that Perseus and Pegasus free Andromeda<ref name="Grafton Pegasus"/>
File:Rembrandt Harmensz. van Rijn 011.jpg|[[Rembrandt]], ''[[Andromeda Chained to the Rocks]]'', 1630, showing Andromeda frightened and alone<ref name="Clark 1966"/>
File:1869 Edward Poynter - Andromeda.jpg|[[Edward Poynter]], ''Andromeda'', 1869, depicted as an idealized beauty
File:Frederic, Lord Leighton - Perseus and Andromeda - Google Art Project.jpg|[[Frederic, Lord Leighton]], ''[[Perseus and Andromeda (Leighton)|Perseus and Andromeda]]'', 1891, showing the punishment as unfair<ref name="Leighton Loggia"/>
</gallery>

=== Varied materials and approaches ===

Apart from oil on canvas, artists have used a variety of materials to depict the myth of Andromeda, including the sculptor [[Domenico Guidi]]'s marble, and [[François Boucher]]'s etching. In [[modern art]] of the 20th century, artists moved to depict the myth in new ways. [[Félix Vallotton]]'s 1910 ''Perseus Killing the Dragon'' is one of several paintings, such as his 1908 ''The Rape of Europa'', in which the artist depicts human bodies using a harsh light which makes them appear brutal.<ref name="Vallotton.com">{{cite web |title=Biography |url=http://felix-vallotton.com/artists_en |website=Félix Vallotton |access-date=29 December 2022}}</ref>
[[Alexander Liberman]]'s 1962 ''Andromeda'' is a black circle on a white field, transected by purple and dark green [[crescent]] arcs.<ref>{{cite web |title=Alexander Liberman: Andromeda: 1962 |url=https://www.tate.org.uk/art/artworks/liberman-andromeda-t00650 |publisher=[[Tate Gallery]] |access-date=29 December 2022}}</ref>

<gallery class="center" mode="nolines" widths="180px" heights="180px">
File:Andromeda and the Sea Monster MET DP248138.jpg|[[Domenico Guidi]], marble statue ''Andromeda and the Sea Monster'', 1694
File:François Boucher - Andromeda (Andromède) - 2016.7 - Cleveland Museum of Art.tif|[[François Boucher]], etching print ''Andromeda'', 1732
File:Félix Vallotton Persée tuant le dragon 1910.JPG|[[Félix Vallotton]], ''Perseus Killing the Dragon'', 1910, in a deliberately harsh light. Oil on canvas<ref name="Vallotton.com"/>
</gallery>

== Analysis ==

=== Ethnicity ===

{{further|Aethiopia|White Aethiopians}}

[[File:Herodotus world map-en.svg|thumb|upright=1.75|According to [[Herodotus]] in the 5th century BC, the Aethiopians were a dark-skinned people occupying the whole of the southernmost fringes of the inhabitable world, to the south of [[Ancient Libya|Libya]].<ref name="Herodotus Aethiopia">For all references to Aethiopia in Herodotus, see: [https://www.perseus.tufts.edu/hopper/nebrowser?query=Perseus%3Atext%3A1999.01.0126&id=tgn%2C7000489 this list] at the [[Perseus Project]].</ref>]]

Andromeda was the daughter of the king and queen of Aethiopia, which [[Ancient Greece|ancient Greeks]] located at the edge of the world in [[Nubia]], the lands south of Egypt. The term ''Aithiops'' was applied to peoples who dwelt above the equator, between the [[Atlantic Ocean|Atlantic]] and [[Indian Ocean]]s.<ref>{{cite book |last=Thompson |first=Lloyd A. |title=Romans and blacks |url=https://books.google.com/books?id=7MQOAAAAQAAJ&q=%22Sub-Saharan+Africa%22+Ethiopia+Aethiopia&pg=PA57 |page=57 |year=1989 |publisher=[[Taylor & Francis]] |isbn=0-415-03185-0}}</ref> [[Homer]] says the Ethiopians live "at the world's end, and lie in two halves, the one looking West and the other East".<ref>Homer, ''[[Odyssey]]'' [http://data.perseus.org/citations/urn:cts:greekLit:tlg0012.tlg002.perseus-eng2:1.1-1.1 1.22&ndash;24]; Homer established a long-standing literary tradition that Ethiopia was an idyllic land of plenty where the gods attended feasts. {{cite journal |last1=MacLachlan |first1=Bonnie |title=Feasting with Ethiopians: Life on the Fringe |journal=Quaderni Urbinati di Cultura Classica |date=1992 |volume=40 |issue=1 |pages=15–33 |doi=10.2307/20547123 |jstor=20547123 }}</ref> The 5th-century BC historian [[Herodotus]] writes that "Where south inclines westwards, the part of the world stretching farthest towards the sunset is Ethiopia", and also included a plan by [[Cambyses II of Persia]] to invade Ethiopia ([[Kingdom of Kush|Kush]]).<ref>[[Herodotus]], ''[[Histories (Herodotus)|Histories]]'' [http://data.perseus.org/citations/urn:cts:greekLit:tlg0016.tlg001.perseus-eng1:3.114 3.114], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0016.tlg001.perseus-eng1:3.94 3.94], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0016.tlg001.perseus-eng1:7.70 7.70].</ref>

By the 1st century BC a rival location for Andromeda's story had become established: an outcrop of rocks near the ancient port city of [[Jaffa|Joppa]], as reported by [[Pomponius Mela]],<ref>[[Pomponius Mela]], 1.64.</ref> the traveller [[Pausanias (geographer)|Pausanias]],<ref>[[Pausanias (geographer)|Pausanias]], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0525.tlg001.perseus-eng1:4.35.9 4.35.9].</ref> the geographer [[Strabo]],<ref>[[Strabo]], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0099.tlg001.perseus-eng2:1.2.35 1.2.35], [http://data.perseus.org/citations/urn:cts:greekLit:tlg0099.tlg001.perseus-eng2:16.2.28 16.2.28].</ref> and the historian [[Josephus]].<ref>[[Josephus]], ''[[The Jewish War|Jewish War]]'' [http://data.perseus.org/citations/urn:cts:greekLit:tlg0526.tlg004.perseus-eng1:3.9.3 3.9.3].</ref> A case has been made that this new version of the myth was exploited to enhance the fame and serve the local tourist trade of Joppa, which also became connected with the [[Bible|biblical]] story of [[Jonah]] and yet another huge sea creature.<ref>Harvey, Paul Jr., "The death of mythology: the case of Joppa", ''Journal of Early Christian Studies'', January 1994, Vol. 2 Issue: Number 1 p. 1-14</ref><ref>{{cite journal |last=Kaizer |first=Ted |title=Interpretations of the Myth of Andromeda at Iope |journal=Syria |date=2011 |volume=88 |issue=88 |pages=323–339 |doi=10.4000/syria.939 |jstor=41682313 |s2cid=190063227 |url=http://dro.dur.ac.uk/15130/1/15130.pdf }}</ref> This was at odds with Andromeda's African origins, adding to the confusion already surrounding her ethnicity, as reflected in 5th-century BC Greek vase images showing Andromeda attended by dark-skinned African servants and wearing clothing that would have looked foreign to Greeks, yet with light skin. At least one of the vases depicts Andromeda and her father as mixed race [[barbarian]]s who possess some features similar to their dark-skinned African servants.<ref name="MFA Boston">{{cite web |title=Pelike |url=https://collections.mfa.org/objects/153843 |publisher=Museum of Fine Arts, Boston |access-date=21 January 2025}}</ref> 
<!--
Pliny the Elder accepts both traditions: in his ''[[Natural History (Pliny)|Natural History]]'', Andromeda was an Ethiopian princess chained at the shores of Ioppe.<ref>''[[Natural History (Pliny)|Natural History]]'' 5.69</ref> Pliny comes to the conclusion that, in the time of Cepheus, the Ethiopian kingdom had to extend as far as Syria and the Mediterranean: {{quote|Aethiopia...[was]...a famous and powerful country even at the time of the Trojan war, when Memnon was its king; it is also very evident from the fabulous stories about Andromeda, that it ruled over Syria in the time of king Cepheus, and that its sway extended as far as the shores of our sea|''Natural History'', Pliny the Elder, Book VI, Chapter 35.<ref>''Natural History'', Pliny the Elder, Book VI, Chapter 35.[https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.02.0137%3Abook%3D6%3Achapter%3D35#note-link11]</ref>}} well, Pliny accepts pretty much everything from fishermen's tales upwards, so this doesn't say a lot-->

The art historian [[Elizabeth McGrath (art historian)|Elizabeth McGrath]] discusses the tradition, as promoted by the influential [[Augustan literature (ancient Rome)|Roman poet]] Ovid, that Andromeda was a dark-skinned woman of either Ethiopian or Indian origin.<ref>{{cite journal |last=McGrath |first=Elizabeth |title=The Black Andromeda |journal=Journal of the Warburg and Courtauld Institutes |date=1992 |volume=55 |pages=1–18 |doi=10.2307/751417 |jstor=751417 |s2cid=195025221 }}</ref> In the ''[[Greek Anthology]]'', [[Philodemus]] (1st century BC) wrote about the "Indian Andromeda".<ref>''[[Greek Anthology]]'', 5.132 ([https://www.attalus.org/poetry/philodemus.html#5.132 English translation]; [https://www.perseus.tufts.edu/hopper/text?doc=urn:cts:greekLit:tlg7000.tlg001.perseus-grc1:5.132 Greek text]).</ref> In his ''[[Heroides]]'', Ovid has [[Sappho]] explain to [[Phaon]]: "If I'm not pale, Andromeda pleased Perseus, dark with the colour of her father Cepheus's land. And often white pigeons mate with other hues, and the dark turtledove's loved by emerald birds";<ref>Ovid, ''[[Heroides]]'', [https://www.poetryintranslation.com/PITBR/Latin/Heroides8-15.php#anchor_Toc524696652 15.35&ndash;38].</ref> the Latin word {{lang|la|fuscae}} Ovid uses here for 'dark Andromeda' refers to the colour black or brown. Elsewhere he says that Perseus brought Andromeda from "darkest" India<ref>Ovid, ''[[Ars Amatoria]]'' [https://www.poetryintranslation.com/PITBR/Latin/ArtofLoveBkI.php 1.53].</ref> and declares "Nor was Andromeda's colour any problem to her wing-footed aerial lover"<ref>Ovid, ''[[Ars Amatoria]]'' 2.643&ndash;644.</ref> adding that "White suits dark girls; you looked so attractive in white, Andromeda".<ref>Ovid, ''[[Ars Amatoria]]'' 3.191&ndash;192.</ref> Ovid's account of Andromeda's story<ref>Ovid, ''[[Metamorphoses]]'' [http://data.perseus.org/citations/urn:cts:latinLit:phi0959.phi006.perseus-eng1:4.604-4.705 4.665 ff.]</ref> follows Euripides' play ''Andromeda'' in having Perseus initially mistake the chained Andromeda for a statue of marble, which has been taken to mean she was light-skinned; but since statues in Ovid's time were commonly painted to look like living people, her skin could have been of any colour.<ref>{{Cite book |first1=Ulrike |last1=Koch-Brinkmann |first2=Renée |last2=Dreyfus |first3=Vinzenz |last3=Brinkmann  |title=Gods in colour: polychromy in the ancient world |year=2017 |publisher=Fine Arts Museums of San Francisco, Legion of Honor |isbn=978-3-7913-5707-2 |location=San Francisco |oclc=982089362}}</ref> The ambiguity is reflected in a description by the 2nd-century AD [[sophist]] [[Philostratus]] of a painting depicting Perseus and Andromeda. He emphasizes the painting's Ethiopian setting, and notes that Andromeda "is charming in that she is fair of skin though in Ethiopia," in clear contrast to the other "charming Ethiopians with their strange coloring and their grim smiles" who have assembled to cheer Perseus in this picture.<ref>Philostratus, [[Imagines (work by Philostratus)|''Imagines'']] [https://www.loebclassics.com/view/philostratus_elder-imagines_book_i_29_perseus/1931/pb_LCL256.117.xml 1.29].</ref> [[Heliodorus of Emesa]] follows Philostratus in describing Andromeda as light-skinned in contrast to the clearly dark-skinned Aethiopians; in his ''[[Aethiopica]]'', Queen Persinna of Aethiopia gives birth to an inexplicably white girl, Chariclea. Heliodorus states that this happened because the queen had gazed at a picture of Andromeda in the palace. The scholar of literature John Michael Archer calls this an example of "how African space is defined by European reference points".<ref>{{cite book |first=John Michael |last=Archer |title=Old Worlds: Egypt, Southwest Asia, India, and Russia in Early Modern English Writing |date=2001 |page=[https://books.google.com/books?id=DWNJJkOZSTwC&pg=PA36 36] |url=https://books.google.com/books?id=DWNJJkOZSTwC |publisher=[[Stanford University Press]] |isbn=978-0-8047-4337-2}}</ref>

Artworks in the modern era continue to portray Andromeda as fair-skinned, regardless of her stated origins; only a small minority of artists, such as an engraving after [[Abraham van Diepenbeeck]], have chosen to show her as dark. The journalist Patricia Yaker Ekall comments that even this work depicts Andromeda with "European features". She suggests that the "narrative" of [[white superiority]] took precedence, and that "the visual of a white man rescuing a chained up black woman would have been too much of a [[Trauma trigger|trigger]]".<ref name="Ekall 2021">{{cite web |last=Ekall |first=Patricia Yaker |title=Andromeda: forgotten woman of Greek mythology |url=https://artuk.org/discover/stories/andromeda-forgotten-woman-of-greek-mythology |publisher=[[Art UK]] |access-date=29 December 2022 |date=17 August 2021}}</ref>

<gallery class="center" mode="nolines" widths="180px" heights="180px">
File:Tableaux du temple des muses - tirez du cabinet de feu Mr. Fauereau, conseiller du roy en sa Cour des aydes, and grauez en tailles-douces par les meilleurs maistres de son temps, pour representer les (14586798939).jpg|Engraving after [[Abraham van Diepenbeeck]], ''The Rescue of Andromeda'' (1632–1635), from M. de Marolles, {{lang|fr|Tableaux du Temple des Muses}} (Paris, 1655), is exceptional in showing Andromeda as dark-skinned.<ref name="Ekall 2021"/>
File:Delacroix Andromeda.jpg|[[Eugène Delacroix]], ''Perseus and Andromeda'', {{c.|1853}}, follows the mainstream in depicting Andromeda as light-skinned.
</gallery>

=== Bondage and rescue ===

[[File:The Knight Errant b John Everett Millais 1870.jpg|thumb|upright|The Andromeda story has been compared to the erotically charged painting, [[John Everett Millais]]'s ''The Knight Errant'' (1870), which embodies similar psychological motifs.<ref name="Munich 1989"/>]]

The imagery of Perseus and Andromeda was depicted by many artists of the [[Victorian era]], including [[Edward Burne-Jones]]<ref>{{cite thesis |last=Keen |first=Jane Michèle |title=The Perseus and Pygmalion legends in later nineteenth-century literature and art, with special reference to the influence of Ovid's metamorphoses |publisher=University of Southampton (Ph.D. thesis) |year=1983 |url=https://eprints.soton.ac.uk/459580/1/197890.pdf}}</ref> and [[Frederic Leighton]].<ref name="Kestner 1992">{{cite journal |last=Kestner |first=Joseph A. |title=Myths of and about Art |journal=Victorians Institute Journal |volume=20 |date=1 April 1992 |doi=10.5325/victinstj.20.1992.0315 |pages=315–320}}</ref><ref name="Munich 1989"/> Adrienne Munich states that most of these choose the moment after the hero Perseus has killed Medusa and is preparing to "slay the dragon and unbind the maiden".<ref name="Munich 1989">{{cite book |last=Munich |first=Adrienne |chapter=The Poetics of Rescue, The Politics of Bondage |title=Andromeda's Chains: Gender and Interpretation in Victorian Literature and Art |publisher=[[Columbia University Press]] |publication-place=New York |date=1989 |isbn=0-231-06872-7 |oclc=18909224 |pages=8–37 }}</ref> In her view, this transitional moment just precedes "the hero's final test of manhood before entering adult sexuality".<ref name="Munich 1989"/> Andromeda, on the other hand, "has no story, but she has a role and a lineage", being a princess, and having "attributes: chains, nakedness, flowing hair, beauty, virginity. Without a voice in her fate, she neither defies the gods nor chooses her mate."<ref name="Munich 1989"/> Munich comments that given that most of the artists were men, "it can be thought of as a male myth", providing convenient gender roles. She cites Catherine MacKinnon's description of the gender differences as "the erotization of dominance and submission": the male gets the power and the female is submissive. Further, the rescue myth provides a "veneer of charity" over the themes of aggression and possession.<ref name="Munich 1989"/>

Munich likens the effect to [[John Everett Millais]]'s 1870 painting ''The Knight Errant'', where the knight, "errant like [[Oedipus]]", finds a man sexually assaulting a bound and naked woman, which she calls a [[Freudian]] "primal scene". The knight kills the man and frees the woman. She asks whether Millais's knight is hiding from the woman's body, or demonstrating self-control, or whether he has "killed his own more aggressive self".<ref name="Munich 1989"/> She states that similar psychological themes are implied by the story of Perseus and Andromeda: Perseus makes Andromeda into a mother, thus Oedipally "conflating the purpose of his quest with the goal of finding a wife."<ref name="Munich 1989"/>

As for the bondage, Munich notes that the Victorian critic [[John Ruskin]] attacked male exploitation of what she calls "suffering nudes as subjects for titillating pictures."<ref name="Munich 1989"/> "Andromeda" is, she writes, the name of a type of "debased" imagery. She gives as example Gustave Doré's drawing of the voluptuously chained-up Angelica for {{lang|it|Orlando Furioso}}, where "torment combines with an artistic pose, giving a new meaning to the concept of the 'pin-up'."<ref name="Munich 1989"/> She notes Ruskin's assertion that the image linked nude prostitutes to the naked Christ, both perverting the meaning of Andromeda's suffering and "blasphem[ing] Christ's sacrifice".<ref name="Munich 1989"/>

Further, Munich writes, Andromeda's name means 'Ruler of Men', hinting at her power; and indeed, she can be seen as "the good sister" of the monstrous female, the Medusa who turns men to stone. In psychological terms, she comments, "by slaying the Medusa and freeing Andromeda, the hero tames the chaotic female, the very sign of nature, simultaneously choosing and constructing the socially defined and acceptable female behavior."<ref name="Munich 1989"/>

[[File:Adrienne Munich's analysis of Andromeda myth.svg|thumb|upright=2.5|center|Adrienne Munich's analysis of the Andromeda myth<ref name="Munich 1989"/>]]
[[File:Kadmos dragon Louvre E707 (enhanced).jpg|thumb|The story of [[Cadmus]], [[Harmonia]], and the dragon is one of several myths similar to that of Perseus and Andromeda.<ref name="Knutson 1992"/> Black-figured [[amphora]] from [[Euboea]], 560–550 BC]]

In the view of Marilynn Desmond and Pamela Sheingorn, [[Christine de Pizan]]'s ''Ovide moralisé''<!--the Rouen O manuscript--> presents the bound Andromeda in a miniature image as "the object of desire". The image of "her white body silhouetted against the dark rock and the ropes visibly outlined against her flesh, Andromeda's bondage encodes her exposed vulnerability."<ref name="Desmond Sheingorn 2003"/> They note that the "sexually charged"<ref name="Desmond Sheingorn 2003"/> image contradicts the text, drawing the reader's eye to the sexual threat of the devouring monster. In support of this, they quote [[Marina Warner]]'s observation that "in myth and fairy tale, the metaphor of devouring often stands in for sex."<ref name="Desmond Sheingorn 2003">{{cite book |last1=Desmond |first1=Marilynn |last2=Sheingorn |first2=Pamela |chapter=Envisioning Desire <!--pp. 99–166--> |title=Myth, Montage, & Visuality in Late Medieval Manuscript Culture: Christine de Pizan's Epistre Othea |year=2003 |publisher=University of Michigan Press |pages=132–135 |isbn=0-472-11323-2 |url=https://www.google.co.uk/books/edition/_/cTc9jxlqVd0C?hl=en&gbpv=1&pg=PA132}}</ref>

The scholar of literature Harold Knutson describes the story as having a "disturbing sensuality", which together with the evident injustice of Andromeda's "undeserved sacrifice, create a curiously ambiguous effect".<ref name="Knutson 1992">{{cite book |last=Knutson |first=Harold C. |chapter=Andromeda |editor-last=Brunel |editor-first=Pierre |title=Companion to Literary Myths, Heroes, and Archetypes |date=1992 |publisher=[[Routledge]] |isbn=978-0-4150-6460-6 |pages=60–69}}</ref> He suggests that in the earlier Palestinian version, the woman was the object of desire, [[Aphrodite]]/[[Inanna|Ishtar]]/[[Astarte]], and the hero was the [[sun god]] [[Marduk]]. The monster was woman in evil form, so chaining her human form would keep her from further evil. Knutson comments that the myth illustrates "the ambiguous male view of the eternal female principle."<ref name="Knutson 1992"/>

Knutson writes that a similar pattern is seen in several other myths, including Heracles' rescue of [[Hesione]]; [[Jason]]'s rescue of Medea from the hundred-eyed dragon; [[Cadmus]]'s rescue of [[Harmonia]] from a dragon; and in an early version of another tale, [[Theseus]]'s rescue of [[Ariadne]] from the [[Minotaur]]. He comments that all of this points to "the richness of the [story's] archetypal model", citing Hudo Hetzner's analysis of the many stories that involve a hero rescuing a maiden from a monster. The beast may be a sea-monster, or it may be a dragon that lives in a cave and terrifies a whole country, or the monstrous [[Count Dracula]] who lives in [[Castle Dracula|a castle]].<ref name="Knutson 1992"/>

== See also ==
{{portal|Mythology|Ancient Greece}}

* [[Hesione]] – saved by Heracles from a sea monster
* [[Cleostratus (mythology)|Cleostratus]] – saved by [[Menestratus (Thespiae)|Menestratus]] from a dragon
* [[Alcyoneus (son of Diomos)|Alcyoneus]] – saved by [[Eurybarus]] from a cave-dwelling monster
* [[Iphigenia]] – sacrificed to the goddess Artemis (or rescued, depending on the version)

== References ==

{{Reflist}}

== Sources ==

* [[Bibliotheca (Pseudo-Apollodorus)|Apollodorus]], ''Apollodorus, The Library, with an English Translation by Sir James George Frazer, F.B.A., F.R.S. in 2 Volumes'', Cambridge, Massachusetts, [[Harvard University Press]]; London, [[William Heinemann]], 1921. {{ISBN|0-674-99135-4}}. [http://data.perseus.org/texts/urn:cts:greekLit:tlg0548.tlg001.perseus-eng1 Online version at the Perseus Digital Library].
* Hard, Robin (2004), ''The Routledge Handbook of Greek Mythology: Based on H.J. Rose's "Handbook of Greek Mythology"'', [[Psychology Press]], 2004. {{ISBN|978-0-415-18636-0}}. [https://books.google.com/books?id=r1Y3xZWVlnIC Google Books].
* Hard, Robin (2015), ''Eratosthenes and Hyginus: Constellation Myths, With Aratus's Phaenomena'', [[Oxford University Press]], 2015. {{ISBN|978-0-19-871698-3}}. [https://books.google.com/books?id=7IMSBwAAQBAJ Google Books].
* [[Herodotus]], ''[[The Histories of Herodotus|Histories]]'', translated by [[A. D. Godley]], Cambridge, Massachusetts, [[Harvard University Press]], 1920. {{ISBN|0674991338}}. [https://www.perseus.tufts.edu/hopper/text?doc=Hdt.+1.1.0 Online version at the Perseus Digital Library].
* [[Hesiod]], ''[[Catalogue of Women]]'', in ''Hesiod: The Shield, Catalogue of Women, Other Fragments'', edited and translated by [[Glenn W. Most]], [[Loeb Classical Library]] No. 503, Cambridge, Massachusetts, [[Harvard University Press]], 2007, 2018. {{ISBN|978-0-674-99721-9}}. [https://www.loebclassics.com/view/LCL503/2018/volume.xml Online version].
* [[Gaius Julius Hyginus|Hyginus, Gaius Julius]], ''[[De astronomia]]'', in ''The Myths of Hyginus'', edited and translated by Mary A. Grant, Lawrence: [[University of Kansas Press]], 1960. [https://topostext.org/work/207 Online version at ToposText].
* [[Gaius Julius Hyginus|Hyginus, Gaius Julius]], ''[[Fabulae]]'', in ''The Myths of Hyginus'', edited and translated by Mary A. Grant, Lawrence: [[University of Kansas Press]], 1960. [https://topostext.org/work/206 Online version at ToposText].
* [[Lucian]], ''Phalaris. Hippias or The Bath. Dionysus. Heracles. Amber or The Swans. The Fly. Nigrinus. Demonax. The Hall. My Native Land. Octogenarians. A True Story. Slander. The Consonants at Law. The Carousal (Symposium) or The Lapiths'', translated by A. M. Harmon, [[Loeb Classical Library]] No. 14, Cambridge, Massachusetts, [[Harvard University Press]], 1913. {{ISBN|978-0-674-99015-9}}. [https://www.loebclassics.com/view/LCL014/1913/volume.xml Online version at Harvard University Press].
* [[Marcus Manilius|Manilius]], ''[[Astronomica (Manilius)|Astronomica]]'', edited and translated by G. P. Goold, [[Loeb Classical Library]] No. 469, Cambridge, Massachusetts, [[Harvard University Press]], 1977. {{ISBN|978-0-674-99516-1}}. [https://www.loebclassics.com/view/LCL469/1977/volume.xml Online version at Harvard University Press].
* [[Ovid]], ''[[Metamorphoses]]'', edited and translated by Brookes More, Boston, Cornhill Publishing Co., 1922. [http://data.perseus.org/texts/urn:cts:latinLit:phi0959.phi006.perseus-eng1 Online version at the Perseus Digital Library]. [https://topostext.org/work/141 Online version at ToposText].
* [[Pausanias (geographer)|Pausanias]], ''Pausanias Description of Greece with an English Translation by W.H.S. Jones, Litt.D., and H.A. Ormerod, M.A., in 4 Volumes'', Cambridge, Massachusetts, Harvard University Press; London, William Heinemann Ltd., 1918. [https://www.perseus.tufts.edu/hopper/text?doc=Paus.+1.1.1 Online version at the Perseus Digital Library].
* [[William Smith (lexicographer)|Smith, William]], ''[[Dictionary of Greek and Roman Biography and Mythology]]'', London (1873). [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3atext%3a1999.04.0104 Online version at the Perseus Digital Library].
* [[Strabo]], ''[[Geographica|Geography]]'', edited and translated by H.C. Hamilton, Esq., W. Falconer, M.A., London, George Bell & Sons, 1903. [https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0239%3Abook%3Dnotice Online version at the Perseus Digital Library].
* Trzaskoma, Stephen M., R. Scott Smith, and Stephen Brunet, ''Anthology of Classical Myth: Primary Sources in Translation'', [[Hackett Publishing Company]], 2004. {{ISBN|0-87220-721-8}}. [https://books.google.com/books?id=lWruCgAAQBAJ Google Books].
* [[John Tzetzes|Tzetzes, John]], ''Scolia eis Lycophroon'', edited by Christian Gottfried Müller, Sumtibus F.C.G. Vogelii, 1811. [https://archive.org/details/isaakioukaiiann00mlgoog/page/n5/mode/2up?view=theater Internet Archive].

== Further reading ==

* Edwin Hartland, ''The Legend of Perseus: A Study of Tradition in Story, Custom and Belief'', 3 vols. (1894–1896) {{ISBN|1481035738}} (available online at: https://archive.org/details/legendofperseuss01hart/page/n6/mode/2up)
* Daniel Ogden, ''Perseus'' ([[Routledge]], 2008) {{ISBN|0415427258}}

{{Authority control}}

{{Greek religion}}<!--inc myth-->

[[Category:Andromeda (mythology)| ]]
[[Category:Metamorphoses characters]]
[[Category:Princesses in Greek mythology]]
[[Category:Queens in Greek mythology]]
[[Category:Deeds of Poseidon]]
[[Category:Love stories]]
[[Category:Nude sculptures of women]]
[[category:Nude paintings of women]]
[[Category:Iconography]]
[[Category:Ethiopian characters in Greek mythology]]
[[Category:Race-related controversies in art]]
[[Category:Damsels in distress]]
[[Category:Perseus]]
[[Category:Human sacrifice in folklore and mythology]]