Varying degrees of tragic stylization are also visible in other stories of Persian and Hellenic monarchs. Tragic effects cluster at the beginning and end of Herodotus’ “biography” of Cyrus. The story of his birth has folktale roots enhanced by various tragic features (intra-familial violence, fated doom precipitated by preventive measures, a variation on the Atreusmahl myth); the story of his last campaign includes tragic vocabulary and a corrective reference to the Aeschylean law of “learning through suffering.” His successor Cambyses is portrayed as a tragic protagonist on his deathbed, when he learns “too late” the true meaning of divine communications he had previously misinterpreted, with disastrous personal and political consequences. Among Greek tyrants, Herodotus portrays the Samian Polycrates and the Corinthian Periander in tragic fashion, the latter in a narrative that bears several hallmarks of Sophoclean tragedy, including sibling conflict over devotion to a dead parent (cf. the playwright’s Electra).

The Lydian logos is indebted to tragedy for many features: its large-scale narrative structure and (in its constituent stories) small-scale episodic structure, narrative motifs and themes, even vocabulary. However, Herodotus also diverges from his tragic sources in ways that clarify the nature of his own inquiries. The source of the constraint under which Gyges makes his fateful decisions is not divine (as in Aeschylus), but the will of his king and queen, highlighting a characteristic feature of Eastern monarchy. In the final sentence of the Atys/Adrastus story, the distinctive ethnographic formula that describes Adrastus’ suicidal thoughts marks him as a uniquely Herodotean tragic hero. Croesus’ pyre scene contains both an echo of the Aeschylean Cassandra (the king’s dramatic breaking of his silence) and a defining feature of Herodotean historiē: the citation of a Lydian source for Apollo’s epiphany demonstrates the critical attitude that Herodotus brings to popular and poetic traditions.