Historically informed analysis reveals a very different conception of hero in the Eroica than the one sustained in the popular imagination and perpetuated by the majority of its reception history: a militaristic or Napoleonic Heldenleben. By combining analytic perspectives from schema theory and topic theory with key passages from Beethoven’s epistolary life and Tagebuch, this chapter illustrates that the Eroica’s narrative is akin to religious drama, conveying the same theme of abnegation found in the contemporary oratorio Christus am Ölberge and the Heiligenstadt Testament, the Eroica’s ‘literary prototype’. Unlike some middle-period works which communicate a ‘tragic-to-triumphant’ expressive genre, the Eroica is cast in the ‘tragic-to-transcendent’ type, which became characteristic of Beethoven’s late style. A central component of this spiritual genre is the strategic positioning of structural and semantic oppositions in an unresolved state of suspension. The Eroica manifests this most overtly through a governing opposition between death ‘ombra’ and pastoral ‘Ländler, contredanse’ music, and the association of this stylistic opposition with the tonalities of G minor and E flat major, respectively. Rather than a programmatic narrative about a hero who overcomes, the Eroica is a conceptually ‘late’ work that meditates on suffering as a spiritual necessity and its implications for transcendence.