Third episode.—Hercules returns to his house, fresh from the slaying of Lycus, and proceeds to offer sacrifices of thanksgiving to Jupiter. But in the midst of the sacrifice the madness planned by Juno begins to come upon him. His sight is darkened, and his reason changed to delirium. Now he catches sight of his children, cowering in fright; he thinks they are the children of Lycus, immediately lets fly an arrow at one of them, and seizes a second, whom he drags from the scene. Amphitryon, standing where he can see all that takes place, describes the wretched death of the second, and then the third, though Megara tries to save her last remaining child. She also falls before the blow of her husband, who thinks in his madness that she is his cruel stepmother, Juno. Hercules, re-entering, exults in his supposed victory over his enemies, and then sinks down in a deep faint.Third choral interlude.—All is nowjoy and exultation. Fear has departed, hope has come back again, and faith in the protecting care of the gods is restored. Therefore, let all Thebes give herself up to the rapture and triumph of this hour.But now two specters are seen hovering over the palace, one of whom introduces herself to the chorus as Iris, the ambassadress of Juno, and announces that her companion is a fiend, daughter of the night. Their mission hither is, at the command of Juno, to drive Hercules into a madness in which he shall slay his children. The fiend, indeed, makes a weak protest against such a mission, but speedily yields and goes darting into the palace, where we know that she begins at once her deadly work within the breast of Hercules.The chorus bemoans the city's short-lived joy, and the new and terrible disaster that has fallen upon their hero's house. Soon they hear the mad shouts of Hercules, and know by these that the fiend has already done her fatal work.Third choral interlude.—The chorus calls upon heaven, earth, and sea to mourn for Hercules in this new disaster that has befallen him. They pray that he may be restored to sanity. In a long apostrophe to Sleep they pray that the soothing influences of this god may hold and subdue him until his former mind returns to its accustomed course. They watch his feverish tossings, and suffer with him in the grief which he so soon must realize. They close with a pathetic lament over the dead children.Exode.—A messenger hurries out of the palace, and describes the dreadful scenes that have just been enacted there. Hercules was offering sacrifices of purification before Jove's altar, with his three sons and Megara beside him. All was propitious, when suddenly a madness seized on Hercules. He ceased his present sacrifice, declaring that he must first go to Mycenae and kill Eurystheus and his sons, and so make an end of all his enemies at once. In fancy he mounted a chariot and speedily arrived at Mycenae. His own sons seemed to his disordered vision to be Eurystheus'sons; and, rushing savagely upon them, he soon had slain them all, and Megara herself. Then did he fall into a deep, swoonlike slumber, prostrate beside a mighty column, to which the attendants tied him securely with cords, lest he awake and do further mischief.The palace doors are now thrown open, and the prostrate, sleeping Hercules is seen. Amphitryon warns the chorus not to wake him lest they restore him to his miseries. Soon Hercules awakes, and in his right mind. He seems to himself to have had a dreadful dream. He looks in wonder at the cords which bind his arms, at the fresh-slain corpses lying near, at his own arrows scattered on the floor. He calls aloud for someone to explain these things to him. Amphitryon advances and informs him that in his madness, sent by Juno's hate, he has destroyed his wife and all his sons.And now Theseus, having heard that Lycus has usurped the throne of Thebes, and grateful for his own deliverance from the world of shades by Hercules, has come with an army of Athenian youth to aid his friend. He is shocked to find the hero sitting in deepest dejection, with head bowed low, and covered with a mourning-veil. Quickly he inquires and learns the truth from Amphitryon. With noble and unselfish friendship, he offers his sympathy and help to Hercules, although the latter warns him to avoid the contagion which his own guilty presence engenders. He bids Hercules be a man, and give over his threats of self-destruction.Hercules gives the reasons why itis impossible for him to live. First, Juno's inveterate hate, which attacked him in his very cradle, pursues him still, relentlessly; but, most and worst of all, he has incurred such odium because of the murder of his wife and children, that he will be henceforth an outcast on the earth. No land will give him refuge now. Why should he live? Let him die; and let Juno's cup of happiness be full.Theseus reminds him that no man escapes unscathed by fate. Nay, even the gods themselves have done unlawful things, and yet live on and do not feel the obloquy their deeds should cause. As for a place of refuge, Athens shall be his home. There shall he obtain full cleansing for his crimes, a place of honor, and ample provision for his wants. All that a generous and grateful friend can give shall be his own.Hercules accepts this offer of Theseus, reflecting also that he might be charged with cowardice should he give up to his troubles and seek refuge in death. He accordingly takes a mournful farewell of his dead wife and children, commends their bodies to Amphitryon for burial, which it is not lawful for him to give, and so commits himself to the hands of his faithful friend:I will follow Theseus,Towed like a battered skiff. Whoe'er prefersWealth or dominion to a steadfast friendJudges amiss.Exode.—Hercules wakes up in his right mind, bewildered and uncertain where he is. His eyes fall on the murdered children, though he does not as yet recognize them as his own. He misses his familiar club and bow, and wonders who has been bold enough to remove these and not to fear even a sleeping Hercules. Now he recognizes in the corpses his own wife and children:Oh, what sight is this?My sons lie murdered, weltering in their blood;My wife is slain. What Lycus rules the land?Who could have dared to do such things in Thebes,And Hercules returned?He notices that Theseus and Amphitryon turn away and will not meet his gaze. He asks them who has slain his family. At last, partly through their half-admissions, and partly through his own surmise, it comes to him that this dreadful deed is his own. His soul reels with the shock, and he prays wildly for death. No attempts of his two friends to palliate his deed can soothe his grief and shame. At last the threat of old Amphitryon instantly to anticipate the death of Hercules by his own leads the hero to give over his deadly purpose.He consents to live—but where? What land will receive a polluted wretch like him? He appeals to Theseus:O Theseus, faithful friend, seek out a place,Far off from here where I may hide myself.Theseus offers his own Athens as a place of refuge, where his friend may find at once asylum and cleansing from his sin:My land awaits thy coming; there will MarsWash clean thy hands and give thee back thy arms.That land, O Hercules, now calls to thee,Which even gods from sin is wont to free.THEHIPPOLYTUSOF EURIPIDES, AND THEHIPPOLYTUSOF SENECAPrologue.—Venus complains that Hippolytus alone of all men sets her power at naught and owns allegianceto her rival, Diana. She announces her plan of revenge: that Phaedra shall become enamored of her stepson, that Theseus shall be made aware of this and in his rage be led to slay his son. If Phaedra perish too, it will but add to the triumph of the goddess' slighted power.Hippolytus comes in from the chase and renders marked homage to Diana. He is warned by an aged officer of the palace "to loathe that pride which studies not to please." Inquiring the meaning of this warning, he is told to recognize the presence of Venus, too, and to include her in his devotions; but from this advice he turns away in scorn.Prologue.—Hippolytus, in hunting-costume, appears in the court of the palace, which is filled with huntsmen bearing nets and all sorts of hunting-weapons, and leading dogs in leash. The young prince, in a long, rambling speech, assigns places for the hunt, and their duties to his various servants and companions. He ends with an elaborate ascription of praise to his patroness Diana, as goddess of the chase, and with a prayer to her for success in his own present undertaking. The whole speech is in lyric strain, the anapestic measure, most commonly employed by Seneca.Parode, or chorus entry.—The chorus of Troezenian women deplores the strange malady that has befallen the young queen. They relate howThis is the third revolving day,Since, o'erpowered by lingering pains,She from all nourishment abstains,Wasting that lovely frame with slow decay.At the conclusion of the lyric part of the chorus, the queen, closely veiled, in company with her aged nurse, is seen coming from the palace gates.Parode, or chorus entry.—The technical chorus entry is entirely lacking in this play. While the chorus may be assumed to have entered and to have been present during the long interview between Phaedra and her nurse, which forms the first episode, still its presence is in no way manifested until the end of this interview.First episode.—Full of anxiety, the nurse strives to indulge her mistress' every whim. Phaedra answers feebly at first, but suddenly, to the amazement of her companion, her speech is filled with language of the chase, and she again relapses into her mute lethargy. At last, under the insistence of the nurse to probe her mystery, Phaedra confesses that the wretched fate of her house pursues her, too, and that she now feels the torments of love; and, though she does not speak his name,the truth at last is clear that Hippolytus is the object of her passion. The nurse recoils in horror and shame from this confession.Phaedra describes how she has struggled against her unhappy love, but in vain, and is now resolved on death in order to save her honor. At this the nurse throws all her influence in the opposite scale, arguing that, after all, the sway of Venus is universal, that it is only human to love, and that this is no reason why one should cast his life away. She even proposes to acquaint Hippolytus with her mistress' feelings, and strive to win his love in return. This proposal Phaedra indignantly rejects. The nurse then offers to fetch from the house certain philters which will cure the queen of her malady. The queen reluctantly consents to this, and the nurse retires into the palace.First episode.—Phaedra bewails her present lot, in that she has been forced to leave her native Crete, and live in wedlock with her father's enemy. And even he has now deserted her, gone to the very realms of Dis, in company with a madcap friend, to seduce and bear away the gloomy monarch's queen. But a worse grief than this is preying on her soul. She feels in her own heart the devastating power of unlawful love, which has already destroyed all the natural interests of her life. She recalls her mother's unhappy passion; but this was bearable compared with her own. For Venus has, from deadly hatred of her family, filled her with a far more hopeless love. She does not name the object of her passion, but, from her guarded references, it is clear that Hippolytus, her stepson, is meant.The nurse urges her mistress to drive this passion from her breast, moralizing upon the danger of delay. Has not her house already known sinful love enough? Such love is dangerous for it cannot long be hid. Granting that Theseus may never return to earth, can her sin be concealed from her father? from her grandsires, both gods of heaven? And what of her own conscience? Can she ever be happy or at peace with such a sin upon her soul? She pictures her mistress' passion in all its hideousness. Besides, it is most hopeless, since Hippolytus, woman-hater that he is, can never be brought to respond to it. Phaedra yields to these arguments and entreaties of the nurse, and says that now she is resolved upon death as her only refuge. Hereupon the nurse (the usual rôle) begs her not to take this desperate course, and undertakes to bend Hippolytus to their will.First choral interlude.—The chorus prays that love may never come upon its breast with immoderate power, and relates instances of the resistless sway of Venus and her son.First choral interlude.—The chorus sings at length upon the universal and irresistible sway of love.Second episode.—Phaedra, standing near the doors of the palace, suddenly becomes agitated, and utters despairing cries. The chorus, inquiring the cause of these, is told to listen. Atfirst there is only a confused murmur from within; but this soon resolves itself into the angry denunciations of Hippolytus and the pleading tones of the nurse. By these Phaedra learns that the nurse has indeed revealed the fatal secret to Hippolytus under an oath that he will not betray the truth to anyone, and that the youth has received the announcement with horror and scorn. He breaks forth into bitter reproaches against all womankind. He regrets that his lips are sealed by his oath, else would he straightway reveal to Theseus all his wife's unfaithfulness.Phaedra, on her side, reproaches the nurse for betraying her secret. She angrily dismisses her, and, after exacting an oath of silence from the chorus, goes out, reiterating her resolve to die, and suggests that she has one expedient left by which her name may be preserved from infamy, and her sons from dishonor.Second episode.—On the inquiry of the chorus as to how the queen is faring, the nurse describes the dreadful effect which this malady of love has already produced upon her. Then the palace doors open, and Phaedra is seen reclining upon a couch, attended by her tiring-women. She rejects all the beautiful robes and jewels which they offer, and desires to be dressed as a huntress, ready for the chase.The nurse prays to Diana to conquer the stubborn soul of Hippolytus and bend his heart toward her mistress. At this moment the youth himself enters and inquires the cause of the nurse's distress.Thereupon ensues a long debate, in which the nurse chides Hippolytus for his austere life and argues that the pleasures of life were meant to be enjoyed, and that no life comes to its full fruition unless youth is given free rein. The young man replies by a rhapsody on the life of the woods, so full of simple, wholesome joys, and so free from all the cares of life at court and among men. He compares this with the Golden Age, and traces the gradual fall from the innocence of that time to the abandoned sin of the present. He concludes with laying all the blame for this upon woman.Phaedra now comes forth, and, seeing Hippolytus, falls fainting, but is caught in the young man's arms. He attempts to reassure her and inquires the cause of her evident grief. After much hesitation, she at last confesses her love for him and begs him to pity her. With scorn and horror he repulses her and starts to kill her with his sword; but, deciding not so to stain his sword, he throws the weapon away and makes off toward the forest.The nurse now plans to save her mistress by inculpating Hippolytus. She accordingly calls loudly for help, and tells the attendants who comerushing in that the youth has attempted an assault upon the queen, and shows his sword in evidence.Second choral interlude.—The chorus prays to be wafted far away from these scenes of woe; and laments that the hapless queen had ever come from Crete, for then she would not now be doomed by hopeless love to self-inflicted death.Second choral interlude.—The chorus dwells upon and praises the beauty of Hippolytus, and discourses upon the theme that beauty has always been a dangerous possession, citing various mythological instances in proof of this.Third episode.—A messenger hurriedly enters with the announcement that the queen has destroyed herself by the noose. The chorus, though grieved, manifests no surprise at this, and is divided as to a plan of action. And now enters Theseus, who demands the cause of the lamentations of the servants, which may be heard from within the palace. He learns from the chorus the fact and manner, but not the cause, of Phaedra's death.The palace doors are now thrown open and the shrouded body of the queen is discovered within. Theseus, in an agony of lamentations, seeks to know the cause of his queen's death. He at length discovers a letter clasped in her dead hand, by which he is informed that Phaedra has slain herself in grief and shame because her honor has been violated by the king's own son, Hippolytus. Thereupon Theseus curses his son, and calls on Neptune to destroy him, offering this as one of the three requests which, in accordance with the promise of the god, should not be denied.Here enters Hippolytus, hearing the sound of his father's voice. He looks in amazement upon the corpse of Phaedra, and begs his father to explain her death. Theseus, supposing thathis son conceals a guilty conscience, makes no direct answer, but inveighs against the specious arts of man. This strange speech, and still more the manner of his father, now show Hippolytus that he himself is connected in his father's mind with Phaedra's death; and he seeks to know who has thus calumniated him. The wrath of Theseus now breaks over all bounds. He charges his son with the dishonor and murder of his wife, and with withering scorn taunts him with his former professions of purity. Hippolytus protests his innocence, but Theseus continues obdurate, and produces the fatal letter in proof of his statements. Then the youth realizes the terrible mesh of circumstances in which he is taken; but, bound by his oath of secrecy, he endures in silence. After Theseus has pronounced the doom of exile upon him, and retired within the gates, he himself goes forth to seek his comrades and acquaint them with his fate.Third episode.—Theseus, just returned to earth from hades, and with all the horrors of the lower world still upon him, briefly refers to his dreadful experiences and his escape by the aid of Hercules. Then, hearing the sounds of lamentation, he asks the cause. He is told by the nurse that Phaedra, for some reason which she will not disclose, has resolved on immediate self-destruction. Rushing into the palace, he encounters Phaedra just within. After urgent entreaties and threats from Theseus, she confesses that she is determined to die in order to remove the stain upon her honor; and without mentioning the name of him who has ruined her, she shows the sword which Hippolytus has left behind in his flight. This is at once recognized by Theseus, who flies into a wild passion of horror, rage, and bitter scorn. He vows dire vengeance upon his son, which shall reach him wherever he may flee; and ends by claiming from Neptune, as the third of the boons once granted him, that the god will destroy Hippolytus.Third choral interlude.—The chorus reflects upon the precarious life of man, lauds the golden mean, and prays for the blessings of life without conspicuous fame. No man can hope for continued security in life, when such a youth as Hippolytus is driven off by Theseus' ire. It laments that no longer will his steeds, his lyre, his wonted woodland haunts know the well-loved youth; and reproaches the gods that they did not better screen their guiltless votary.Third choral interlude.—The chorus complains that while nature is so careful to maintain the order of the heavenly bodies, the atmospheric phenomena, the seasons, and the productiveness of wealth, for the affairs of men alone she has no care. These go all awry. Sin prospers and righteousness is in distress. Verily, it does not at all profit a man to strive to live uprightly, since all the rewards of life go to the vain and profligate. While the case of Hippolytus is not mentioned, it is clearly in mind throughout.Exode.—The last words of the chorus are interrupted by the approach of a messenger who hastily inquires forthe king. As the latter comes forth from the palace, the messenger announces the death of his son. At the king's request he gives a detailed account of the disaster: how Hippolytus was driving his fiery coursers along the shore, when Neptune sent a monstrous bull from out the sea, which drove the horses to a panic of fear; how the car was at length dashed against a ragged cliff, and Hippolytus dragged, bruised and bleeding, by the maddened horses; how, though yet living, he could not long survive. Theseus expresses pleasure at his son's sufferings, and bids that he be brought into his presence that he may behold his punishment.The chorus interjects a single strophe, acknowledging Venus as the unrivaled queen of heaven and earth.Diana now appears to Theseus and reveals to him the whole truth, explaining the infatuation of the queen, the fatal letter, and the wiles of Venus. The father is filled with horror and remorse. Diana tells him that he may yet hope for pardon for his sin, since through the wiles of Venus, which she herself could not frustrate, the deed was done.Here the dying Hippolytus is borne in by his friends. In his agony he prays for death; but by the voice of his loved goddess he is soothed and comforted. After a touching scene of reconciliation between the dying prince and his father, the youth perishes, leaving Theseus overcome with grief.Exode.—A messenger, hurrying in, announces to Theseus the death of his son. Theseus receives the news calmly and asks for a detailed account. The messenger relates how Hippolytus had yoked his horses to his car and was driving madly along the highway by the sea, when suddenly the waves swelled up and launched a strange monster in the form of a bull upon the land. This monster charged upon Hippolytus, who fronted the beast with unshaken courage. But in the end the horses became unmanageable through fright, and dragged their master to his death among the rocks. The body of the hapless Hippolytus has been torn in pieces and scattered far and wide through the fields; and even now attendants are bringing these in for burning on the pyre. Theseus laments, not because his son is dead, but because it is through his, the father's, act.The chorus expatiates upon the fact that the blows of fate fall heavily upon men of exalted condition, but spare the humble. The great Theseus, once so mighty a monarch, but now so full of woe, is an example of this truth. It has not profited him to escape from hades, since now his son has hastened thither.But now their attention is turned to Phaedra who appears, wailing aloud, and with a drawn sword in hand. She rails at Theseus as the destroyer of his house, weeps over the mangled remains of Hippolytus, confesses to Theseus that her charge against his son was false, and ends by falling upon the sword.Theseus, utterly crushed by the weight of woe that has fallen upon him, prays only that he may return to the dark world from which he has just escaped.The chorus reminds him that he will find ample time for mourning, and that he should now pay due funeral honors to his son. Whereat Theseus bids all the fragments be hunted out and brought before him. These he fits together as best he can, lamenting bitterly as each new gory part is brought to him.He ends by giving curt command for the burial of Phaedra, with a prayer that the earth may rest heavily upon her.THE MAIDENS OF TRACHINOF SOPHOCLES, AND THEHERCULES OETAEUSOF SENECAPrologue.—In the courtyard of her palace in Trachin, Deianira recounts to her attendants and the chorus of Trachinian maidens how her husband had won her from the river god, Acheloüs, and how, during all these years, she has lived in fear and longing for her husband, who has been kept constantly wandering over the earth by those who hold him in their power; and even now he has been for many months absent, she knows not where.An old servant proposes that she send her son, Hyllus, abroad to seek out his father. This the youth, who enters at this juncture, readily promises to do, especially on hearing from his mother that the oracle declares this is the year in which his father shall end his life,Or, having this his task accomplished,Shall, through the coming years of all his life,Rejoice and prosper.Prologue.—Hercules, about to sacrifice to Cenaean Jove after having conquered Eurytus, king of Oechalia, recounts at length his mighty toils on earth, and prays that now at last he may be given his proper place in heaven. He dispatches his herald, Lichas, home to Trachin, to tell the news of his triumph, and to conduct the train of captives thither.Parode, or chorus entry.—The chorus prays to Helios, the bright sun-god,for tidings of Hercules, for Deianira longs for him, and "ever nurses unforgetting dread as to her husband's paths." Hercules is tossed upon the stormy sea of life, now up, now down, but ever kept from death by some god's hands. Deianira should, therefore, be comforted:For who hath known in Zeus forgetfulnessOf those he children calls?Parode, or chorus entry.—The place of the chorus entry, which should be filled by the chorus proper, composed of Aetolian maidens, is taken by the band of captive Oechalian maidens. They bewail their lot and long for death; they dwell upon the utter desolation of their fatherland, and upon the hard-heartedness of Hercules who has laid it waste.Iole, their princess, joins in their lamentations, recalls the horrors of her native city's overthrow, and looks forward with dread to her captivity.First episode.—Deianira confides to the chorus her special cause for grief: she feels a strong presentiment that Hercules is dead; for, when he last left home, he left a tablet, as it were a will, disposing of his chattels and his lands,and fixed a time,That when for one whole year and three months moreHe from his land was absent, then 'twas hisOr in that self-same hour to die, or else,Escaping that one crisis, thenceforth live with life unvexed.At this moment, however, a messenger enters and announces the near approach of Hercules accompanied by his spoils of victory.First episode.—During the interval just preceding this episode, the captives have been led to Trachin, Deianira has seen the beauty of Iole, and learned of Hercules' infatuation for her. She has by this news been thrown into a mad rage of jealousy, and counsels with her nurse as to how she may take vengeance upon her faithless husband, while the nurse vainly advises moderation.The nurse at last suggests recourse to magic, professing herself to be proficient in these arts. This suggests to Deianira the use of that blood of Nessus which the dying centaur had commended to her as an infallible love-charm. She takes occasion to relate at length the Nessus incident. She at once acts upon her decision to use the charm; and speedily, with the nurse's aid, a gorgeous robe is anointed with the blood, and this is sent by Lichas' hand to Hercules.First choral interlude.—The chorus voices its exultant joy over this glad and unexpected news.First choral interlude.—The chorus of Aetolian women, who have followed Deianira from her girlhood's home to this refuge in Trachin, now tender to her their sympathy in her present sufferings. They recall all their pastintercourse with her, and assure her of their undying fidelity.This suggests the rarity of such fidelity especially in the courts of kings, and they discourse at large upon the sordidness and selfishness of courtiers in general. The moral of their discourse is that men should not aspire to great wealth and power, but should choose a middle course in life, which only can bring happiness.Second episode.—Lichas, the personal herald of Hercules, now enters, followed by Iole and a company of captive women. He explains to Deianira how Hercules had been driven on by petty persecutions to slay Iphitus, the son of Eurytus, treacherously; how he had for this been doomed by Zeus to serve Omphale, queen of Lydia, for a year; and how in revenge he has now slain Eurytus, and even now is sending home these Oechalian captives as spoil; Hercules himself is delaying yet a little while in Euboea, until he has sacrificed to Cenaean Jove.Deianira looks in pity upon the captives praying that their lot may never come to her or hers; and is especially drawn in sympathy to one beautiful girl, who, however, will answer no word as to her name and state.As all are passing into the palace, the messenger detains Deianira and tells her the real truth which Lichas has withheld: that this seemingly unknown girl is Iole, daughter of Eurytus; that it was not in revenge but for love of Iole that Hercules destroyed her father's house, and that he is now sending her to his ownhome not as his slave, but mistress, and rival of his wife.Lichas, returning from the palace, on being challenged by the messenger and urged by Deianira to speak the whole truth, tells all concerning Hercules' love for Iole.Deianira receives this revelation with seeming equanimity and acquiescence.Second episode.—Deianira comes hurrying distractedly out of the palace, and relates her discovery as to the horrible and deadly power of the charm which she has sent to her husband.While she is still speaking, Hyllus rushes in and cries out to his mother to flee from the wrath of Hercules, whose dreadful sufferings, after putting on the robe which his wife had sent to him, the youth describes at length. He narrates also the death of Lichas. The suffering hero is even now on his way by sea from Euboea, in a death-like swoon, and will soon arrive at Trachin.Deianira, smitten with quick repentance, begs Jupiter to destroy her with his wrathful thunderbolts. She resolves on instant self-destruction, though Hyllus and the nurse vainly try to dissuade her, and to belittle her responsibility for the disaster; and in the end she rushes from the scene, Hyllus following.Second choral interlude.—The chorus briefly reverts to the battle of Acheloüs and Hercules for the hand of Deianira.Second choral interlude.—The chorus, contemplating the changing fates of their prince's house, is reminded of the saying of Orpheus, "that naught for endless life is made." This leads to an extended description of Orpheus' sweet music and its power over all things, both animate and inanimate, and suggests the story of his unsuccessful attempt to regain Eurydice.Returning to the original theme, the chorus speculates upon the time when all things shall fall into death, and chaos resume her primeval sway.It is startled out of these thoughts by loud groans, which prove to be the outcries of Hercules, borne home to Trachin.Third episode.—Deianira tells to the chorus the story of how Nessus, the centaur, had once insulted her, and for this had been slain by Hercules with one of his poisoned arrows; how, also, the centaur in dying had given her a portion of his blood, saying this would be a charm able to restore to her her husband's wandering love. She now resolves to use this charm. She anoints a gorgeous robe with the blood which she has preserved through all these years, and bids Lichas carry this to her lord as a special gift from her. He is to wear it as he offers hissacrifices to Cenaean Jove, Lichas departs upon this mission.Third episode.—Hercules in his ravings warns Jove to look well to his heavens, since now their defender is perishing. The giants will be sure to rise again and make another attempt upon the skies. He bitterly laments that he, who has overcome so many monsters, must die at last, slain by a woman's hand, and that woman not Juno, nor even an Amazon:Ah, woe is me,How often have I 'scaped a glorious death!What honor comes from such an end as this?His burning pains coming on again, he cries out in agony, and describes the abject misery and weakness that have come upon him. Are these the shoulders, the hands, the feet, that were once so strong to bear, so terrible to strike, so swift to go? He strives to apprehend and tear away the pest that is devouring him, but it is too deep-hidden in his frame. He curses the day that has seen him weep and beseeches Jove to smite him dead with a thunderbolt.Alcmena enters, and, while she herself is full of grief, she strives to soothe and comfort her suffering son. He falls into a delirium, and thinks that he is in the heavens, looking down upon Trachin. But soon he awakes, and, realizing his pains once more, calls for the author of his misery, that he may slay her with his own hands.Hyllus, who has just entered from the palace, now informs his father that Deianira is already dead, and by her own hand; that it was not her fault, moreover, but by the guile of Nessus, that Hercules is being done to death. The hero recognizes in this the fulfilment of an oracle once delivered to him:By the hand of one whom thou hast slain, some day,Victorious Hercules, shalt thou lie low.And he comforts himself with the reflection that such an end as this is meet, forThus shall no conqueror of HerculesSurvive to tell the tale.He now bids Philoctetes prepare a mighty pyre on neighboring Mount Oeta, and there take and burn his body, still in life. Hyllus he bids to take the captive princess, Iole, to wife. He calls upon his mother, Alcmena, tocomfort her grief by pride in her great son's deeds on earth, and the noble fame which he has gained thereby.Third choral interlude.—The chorus prays for the early and safe return of Hercules from where he lingers:Thence may lie come, yea, come with strong desire,Tempered by suasive spellOf that rich unguent, as the monster spake.Third choral interlude.—The chorus bids all nature mourn the death of Hercules. Verily the earth is bereft of her defender, and there is no one left to whom she may turn if again harassed by monsters. They speculate upon the place of the departed Hercules. Shall he sit in judgment among the pious kings of Crete in hades, or shall he be given a place in heaven? At least on earth he shall live in deathless gratitude and fame.Fourth episode.—Deianira discovers by experiment, now that it is too late, the destructive and terrible power of the charm which she has sent, and is filled with dire forebodings as to the result.Her lamentations are interrupted by Hyllus, who comes hurrying in; he charges his mother with the murder of his father, and curses her. He then describes the terrible sufferings that have come upon the hero through the magic robe, and how Hercules, in the madness of pain, has slain Lichas, as the immediate cause of his sufferings. He has brought his father with him from Euboea to Trachin. Deianira withdraws into the palace, without a word, in an agony of grief.Fourth choral interlude.—The chorus recalls the old oracle that after twelve years the son of Zeus should gain rest from toil, and sees in his impending death the fulfilment of this oracle. They picture the grief of Deianira over her act, and foresee the great changes that are coming upon their prince's house.Fifth episode.—The nurse rushes in from the palace, and tells how Deianira has slain herself with the sword, bewailing the while the sufferings which she has unwittingly brought on Hercules; and how Hyllus repents him of his harshness toward his mother, realizing that she was not to blame.Fifth choral interlude.—The chorus pours out its grief for the double tragedy. And now it sees Hyllus and attendants bearing in the dying Hercules.Exode.—Hercules, awaking from troubled sleep, laments the calamity that has befallen him; he chides the lands which he has helped, that now they do not hasten to his aid; and prays Hyllus to kill him with the sword, and so put him out of his misery.He denounces Deianira because she has brought suffering and destruction upon him which no foe, man or beast, has ever been able to bring. He curses his own weakness, and laments that he must weep and groan like a woman.He marvels that his mighty frame, which for years has withstood so many monsters, which he recounts at length, can now be so weak and wasted. Reverting to his wife, he bids that she be brought to him that he may visit punishment upon her.Hyllus informs his father that Deianira has died by her own hand, for grief at what she has unwittingly brought upon her dear lord. It was, indeed, through Nessus' guile that the deed was done.Hercules, on hearing this, recognizes the fulfilment of the oracle;Long since it was revealéd of my sireThat I should die by hand of none that live,But one who, dead, had dwelt in hades dark.He exacts an oath of obedience from Hyllus, and then bids him bring his father to Mount Oeta, and there place him upon a pyre for burning. Hyllus reluctantly consents in all but the actual firing of the pyre. The next request is concerning Iole, that Hyllus should take her as his wife. This mandate he indignantly refuses to obey, but finally yields assent. And in the end Hercules is borne away to his burning, while the chorus mournfully chants its concluding comment:What cometh no man may know;What is, is piteous for us,Base and shameful for them;And for him who endureth this woe,Above all that live hard to bear.Exode.—Philoctetes enters, and, in response to the questions of the nurse, describes the final scene on Oeta's top. There a mighty pyre is built, on which Hercules joyfully takes his place. There he reclines, gazing at the heavens, and praying his father, Jupiter, to take him thither, in compensation for his service on the earth. His prayer seems to be answered, and he cries aloud:"But lo, my father calls me from the sky,And opens wide the gates. O sire, I come!"And as he spake his face was glorified.He presents his famous bow and arrows to Philoctetes, bidding him for this prize apply the torch and light the pyre, which his friend most reluctantly does. The hero courts the flames, and eagerly presses into the very heart of the burning mass.In the midst of this narrative, Alcmena enters, bearing in her bosom an urn containing the ashes of Hercules. The burden of her lament is that so small a compass and so pitiful estate have come to the mighty body of her son, which one small urn can hold. But when she thinks upon his deeds, her thoughts fly to the opposite pole:What sepulcher, O son, what tomb for theeIs great enough? Naught save the world itself.Then she takes up in quickened measures her funeral song of mourning in the midst of which the deified Hercules, taking shape in the air above, speaks to his mother, bidding her no longer mourn, for he has at last gained his place in heaven.The chorus strikes a fitting final note, that the truly brave are not destined to the world below:But when life's days are all consumed,And comes the final hour, for themA pathway to the gods is spreadBy glory.THETROADESOF EURIPIDES, AND THETROADESOF SENECAPrologue.—Neptune appearing from the depths of the sea, briefly recounts the story of the overthrow of Troy, which he laments, states the present situation of the Trojan women, dwells upon the especial grief of Hecuba, and places the blame for all this ruin upon Minerva:But, oh my town, once flourishing, once crownedWith beauteous-structured battlements, farewell!Had not Minerva sunk thee in the dust,On thy firm base e'en now thou mightst have stood.To him appears Minerva, who, though she had indeed helped the Greeks to their final triumph over Troy, had been turned against them by the outrage of Cassandra on the night of Troy's overthrow. She now makes common cause with Neptune,and plans for the harassing of the Greek fleet by storm and flood on the homeward voyage. The Greeks are to be taught a lesson of reverence:Unwise is he, whoe'er of mortals stormsBeleaguered towns, and crushed in ruins wastesThe temples of the gods, the hallowed tombsWhere sleep the dead; for he shall perish soon.[The two gods disappear.]Hecuba, lying prone upon the ground before Agamemnon's tent, gives voice to her sufferings of body and of spirit; laments her accumulated losses of home, friends, station, liberty; blames Helen for all, and calls upon the chorus of captive women to join her in lamentation.
Third episode.—Hercules returns to his house, fresh from the slaying of Lycus, and proceeds to offer sacrifices of thanksgiving to Jupiter. But in the midst of the sacrifice the madness planned by Juno begins to come upon him. His sight is darkened, and his reason changed to delirium. Now he catches sight of his children, cowering in fright; he thinks they are the children of Lycus, immediately lets fly an arrow at one of them, and seizes a second, whom he drags from the scene. Amphitryon, standing where he can see all that takes place, describes the wretched death of the second, and then the third, though Megara tries to save her last remaining child. She also falls before the blow of her husband, who thinks in his madness that she is his cruel stepmother, Juno. Hercules, re-entering, exults in his supposed victory over his enemies, and then sinks down in a deep faint.
Third episode.—Hercules returns to his house, fresh from the slaying of Lycus, and proceeds to offer sacrifices of thanksgiving to Jupiter. But in the midst of the sacrifice the madness planned by Juno begins to come upon him. His sight is darkened, and his reason changed to delirium. Now he catches sight of his children, cowering in fright; he thinks they are the children of Lycus, immediately lets fly an arrow at one of them, and seizes a second, whom he drags from the scene. Amphitryon, standing where he can see all that takes place, describes the wretched death of the second, and then the third, though Megara tries to save her last remaining child. She also falls before the blow of her husband, who thinks in his madness that she is his cruel stepmother, Juno. Hercules, re-entering, exults in his supposed victory over his enemies, and then sinks down in a deep faint.
Third choral interlude.—All is nowjoy and exultation. Fear has departed, hope has come back again, and faith in the protecting care of the gods is restored. Therefore, let all Thebes give herself up to the rapture and triumph of this hour.But now two specters are seen hovering over the palace, one of whom introduces herself to the chorus as Iris, the ambassadress of Juno, and announces that her companion is a fiend, daughter of the night. Their mission hither is, at the command of Juno, to drive Hercules into a madness in which he shall slay his children. The fiend, indeed, makes a weak protest against such a mission, but speedily yields and goes darting into the palace, where we know that she begins at once her deadly work within the breast of Hercules.The chorus bemoans the city's short-lived joy, and the new and terrible disaster that has fallen upon their hero's house. Soon they hear the mad shouts of Hercules, and know by these that the fiend has already done her fatal work.
Third choral interlude.—All is nowjoy and exultation. Fear has departed, hope has come back again, and faith in the protecting care of the gods is restored. Therefore, let all Thebes give herself up to the rapture and triumph of this hour.
But now two specters are seen hovering over the palace, one of whom introduces herself to the chorus as Iris, the ambassadress of Juno, and announces that her companion is a fiend, daughter of the night. Their mission hither is, at the command of Juno, to drive Hercules into a madness in which he shall slay his children. The fiend, indeed, makes a weak protest against such a mission, but speedily yields and goes darting into the palace, where we know that she begins at once her deadly work within the breast of Hercules.
The chorus bemoans the city's short-lived joy, and the new and terrible disaster that has fallen upon their hero's house. Soon they hear the mad shouts of Hercules, and know by these that the fiend has already done her fatal work.
Third choral interlude.—The chorus calls upon heaven, earth, and sea to mourn for Hercules in this new disaster that has befallen him. They pray that he may be restored to sanity. In a long apostrophe to Sleep they pray that the soothing influences of this god may hold and subdue him until his former mind returns to its accustomed course. They watch his feverish tossings, and suffer with him in the grief which he so soon must realize. They close with a pathetic lament over the dead children.
Third choral interlude.—The chorus calls upon heaven, earth, and sea to mourn for Hercules in this new disaster that has befallen him. They pray that he may be restored to sanity. In a long apostrophe to Sleep they pray that the soothing influences of this god may hold and subdue him until his former mind returns to its accustomed course. They watch his feverish tossings, and suffer with him in the grief which he so soon must realize. They close with a pathetic lament over the dead children.
Exode.—A messenger hurries out of the palace, and describes the dreadful scenes that have just been enacted there. Hercules was offering sacrifices of purification before Jove's altar, with his three sons and Megara beside him. All was propitious, when suddenly a madness seized on Hercules. He ceased his present sacrifice, declaring that he must first go to Mycenae and kill Eurystheus and his sons, and so make an end of all his enemies at once. In fancy he mounted a chariot and speedily arrived at Mycenae. His own sons seemed to his disordered vision to be Eurystheus'sons; and, rushing savagely upon them, he soon had slain them all, and Megara herself. Then did he fall into a deep, swoonlike slumber, prostrate beside a mighty column, to which the attendants tied him securely with cords, lest he awake and do further mischief.The palace doors are now thrown open, and the prostrate, sleeping Hercules is seen. Amphitryon warns the chorus not to wake him lest they restore him to his miseries. Soon Hercules awakes, and in his right mind. He seems to himself to have had a dreadful dream. He looks in wonder at the cords which bind his arms, at the fresh-slain corpses lying near, at his own arrows scattered on the floor. He calls aloud for someone to explain these things to him. Amphitryon advances and informs him that in his madness, sent by Juno's hate, he has destroyed his wife and all his sons.And now Theseus, having heard that Lycus has usurped the throne of Thebes, and grateful for his own deliverance from the world of shades by Hercules, has come with an army of Athenian youth to aid his friend. He is shocked to find the hero sitting in deepest dejection, with head bowed low, and covered with a mourning-veil. Quickly he inquires and learns the truth from Amphitryon. With noble and unselfish friendship, he offers his sympathy and help to Hercules, although the latter warns him to avoid the contagion which his own guilty presence engenders. He bids Hercules be a man, and give over his threats of self-destruction.Hercules gives the reasons why itis impossible for him to live. First, Juno's inveterate hate, which attacked him in his very cradle, pursues him still, relentlessly; but, most and worst of all, he has incurred such odium because of the murder of his wife and children, that he will be henceforth an outcast on the earth. No land will give him refuge now. Why should he live? Let him die; and let Juno's cup of happiness be full.Theseus reminds him that no man escapes unscathed by fate. Nay, even the gods themselves have done unlawful things, and yet live on and do not feel the obloquy their deeds should cause. As for a place of refuge, Athens shall be his home. There shall he obtain full cleansing for his crimes, a place of honor, and ample provision for his wants. All that a generous and grateful friend can give shall be his own.Hercules accepts this offer of Theseus, reflecting also that he might be charged with cowardice should he give up to his troubles and seek refuge in death. He accordingly takes a mournful farewell of his dead wife and children, commends their bodies to Amphitryon for burial, which it is not lawful for him to give, and so commits himself to the hands of his faithful friend:I will follow Theseus,Towed like a battered skiff. Whoe'er prefersWealth or dominion to a steadfast friendJudges amiss.
Exode.—A messenger hurries out of the palace, and describes the dreadful scenes that have just been enacted there. Hercules was offering sacrifices of purification before Jove's altar, with his three sons and Megara beside him. All was propitious, when suddenly a madness seized on Hercules. He ceased his present sacrifice, declaring that he must first go to Mycenae and kill Eurystheus and his sons, and so make an end of all his enemies at once. In fancy he mounted a chariot and speedily arrived at Mycenae. His own sons seemed to his disordered vision to be Eurystheus'sons; and, rushing savagely upon them, he soon had slain them all, and Megara herself. Then did he fall into a deep, swoonlike slumber, prostrate beside a mighty column, to which the attendants tied him securely with cords, lest he awake and do further mischief.
The palace doors are now thrown open, and the prostrate, sleeping Hercules is seen. Amphitryon warns the chorus not to wake him lest they restore him to his miseries. Soon Hercules awakes, and in his right mind. He seems to himself to have had a dreadful dream. He looks in wonder at the cords which bind his arms, at the fresh-slain corpses lying near, at his own arrows scattered on the floor. He calls aloud for someone to explain these things to him. Amphitryon advances and informs him that in his madness, sent by Juno's hate, he has destroyed his wife and all his sons.
And now Theseus, having heard that Lycus has usurped the throne of Thebes, and grateful for his own deliverance from the world of shades by Hercules, has come with an army of Athenian youth to aid his friend. He is shocked to find the hero sitting in deepest dejection, with head bowed low, and covered with a mourning-veil. Quickly he inquires and learns the truth from Amphitryon. With noble and unselfish friendship, he offers his sympathy and help to Hercules, although the latter warns him to avoid the contagion which his own guilty presence engenders. He bids Hercules be a man, and give over his threats of self-destruction.
Hercules gives the reasons why itis impossible for him to live. First, Juno's inveterate hate, which attacked him in his very cradle, pursues him still, relentlessly; but, most and worst of all, he has incurred such odium because of the murder of his wife and children, that he will be henceforth an outcast on the earth. No land will give him refuge now. Why should he live? Let him die; and let Juno's cup of happiness be full.
Theseus reminds him that no man escapes unscathed by fate. Nay, even the gods themselves have done unlawful things, and yet live on and do not feel the obloquy their deeds should cause. As for a place of refuge, Athens shall be his home. There shall he obtain full cleansing for his crimes, a place of honor, and ample provision for his wants. All that a generous and grateful friend can give shall be his own.
Hercules accepts this offer of Theseus, reflecting also that he might be charged with cowardice should he give up to his troubles and seek refuge in death. He accordingly takes a mournful farewell of his dead wife and children, commends their bodies to Amphitryon for burial, which it is not lawful for him to give, and so commits himself to the hands of his faithful friend:
I will follow Theseus,Towed like a battered skiff. Whoe'er prefersWealth or dominion to a steadfast friendJudges amiss.
I will follow Theseus,Towed like a battered skiff. Whoe'er prefersWealth or dominion to a steadfast friendJudges amiss.
I will follow Theseus,Towed like a battered skiff. Whoe'er prefersWealth or dominion to a steadfast friendJudges amiss.
I will follow Theseus,
Towed like a battered skiff. Whoe'er prefers
Wealth or dominion to a steadfast friend
Judges amiss.
Exode.—Hercules wakes up in his right mind, bewildered and uncertain where he is. His eyes fall on the murdered children, though he does not as yet recognize them as his own. He misses his familiar club and bow, and wonders who has been bold enough to remove these and not to fear even a sleeping Hercules. Now he recognizes in the corpses his own wife and children:Oh, what sight is this?My sons lie murdered, weltering in their blood;My wife is slain. What Lycus rules the land?Who could have dared to do such things in Thebes,And Hercules returned?He notices that Theseus and Amphitryon turn away and will not meet his gaze. He asks them who has slain his family. At last, partly through their half-admissions, and partly through his own surmise, it comes to him that this dreadful deed is his own. His soul reels with the shock, and he prays wildly for death. No attempts of his two friends to palliate his deed can soothe his grief and shame. At last the threat of old Amphitryon instantly to anticipate the death of Hercules by his own leads the hero to give over his deadly purpose.He consents to live—but where? What land will receive a polluted wretch like him? He appeals to Theseus:O Theseus, faithful friend, seek out a place,Far off from here where I may hide myself.Theseus offers his own Athens as a place of refuge, where his friend may find at once asylum and cleansing from his sin:My land awaits thy coming; there will MarsWash clean thy hands and give thee back thy arms.That land, O Hercules, now calls to thee,Which even gods from sin is wont to free.
Exode.—Hercules wakes up in his right mind, bewildered and uncertain where he is. His eyes fall on the murdered children, though he does not as yet recognize them as his own. He misses his familiar club and bow, and wonders who has been bold enough to remove these and not to fear even a sleeping Hercules. Now he recognizes in the corpses his own wife and children:
Oh, what sight is this?My sons lie murdered, weltering in their blood;My wife is slain. What Lycus rules the land?Who could have dared to do such things in Thebes,And Hercules returned?
Oh, what sight is this?My sons lie murdered, weltering in their blood;My wife is slain. What Lycus rules the land?Who could have dared to do such things in Thebes,And Hercules returned?
Oh, what sight is this?My sons lie murdered, weltering in their blood;My wife is slain. What Lycus rules the land?Who could have dared to do such things in Thebes,And Hercules returned?
Oh, what sight is this?
My sons lie murdered, weltering in their blood;
My wife is slain. What Lycus rules the land?
Who could have dared to do such things in Thebes,
And Hercules returned?
He notices that Theseus and Amphitryon turn away and will not meet his gaze. He asks them who has slain his family. At last, partly through their half-admissions, and partly through his own surmise, it comes to him that this dreadful deed is his own. His soul reels with the shock, and he prays wildly for death. No attempts of his two friends to palliate his deed can soothe his grief and shame. At last the threat of old Amphitryon instantly to anticipate the death of Hercules by his own leads the hero to give over his deadly purpose.
He consents to live—but where? What land will receive a polluted wretch like him? He appeals to Theseus:
O Theseus, faithful friend, seek out a place,Far off from here where I may hide myself.
O Theseus, faithful friend, seek out a place,Far off from here where I may hide myself.
O Theseus, faithful friend, seek out a place,Far off from here where I may hide myself.
O Theseus, faithful friend, seek out a place,
Far off from here where I may hide myself.
Theseus offers his own Athens as a place of refuge, where his friend may find at once asylum and cleansing from his sin:
My land awaits thy coming; there will MarsWash clean thy hands and give thee back thy arms.That land, O Hercules, now calls to thee,Which even gods from sin is wont to free.
My land awaits thy coming; there will MarsWash clean thy hands and give thee back thy arms.That land, O Hercules, now calls to thee,Which even gods from sin is wont to free.
My land awaits thy coming; there will MarsWash clean thy hands and give thee back thy arms.That land, O Hercules, now calls to thee,Which even gods from sin is wont to free.
My land awaits thy coming; there will Mars
Wash clean thy hands and give thee back thy arms.
That land, O Hercules, now calls to thee,
Which even gods from sin is wont to free.
Prologue.—Venus complains that Hippolytus alone of all men sets her power at naught and owns allegianceto her rival, Diana. She announces her plan of revenge: that Phaedra shall become enamored of her stepson, that Theseus shall be made aware of this and in his rage be led to slay his son. If Phaedra perish too, it will but add to the triumph of the goddess' slighted power.Hippolytus comes in from the chase and renders marked homage to Diana. He is warned by an aged officer of the palace "to loathe that pride which studies not to please." Inquiring the meaning of this warning, he is told to recognize the presence of Venus, too, and to include her in his devotions; but from this advice he turns away in scorn.
Prologue.—Venus complains that Hippolytus alone of all men sets her power at naught and owns allegianceto her rival, Diana. She announces her plan of revenge: that Phaedra shall become enamored of her stepson, that Theseus shall be made aware of this and in his rage be led to slay his son. If Phaedra perish too, it will but add to the triumph of the goddess' slighted power.
Hippolytus comes in from the chase and renders marked homage to Diana. He is warned by an aged officer of the palace "to loathe that pride which studies not to please." Inquiring the meaning of this warning, he is told to recognize the presence of Venus, too, and to include her in his devotions; but from this advice he turns away in scorn.
Prologue.—Hippolytus, in hunting-costume, appears in the court of the palace, which is filled with huntsmen bearing nets and all sorts of hunting-weapons, and leading dogs in leash. The young prince, in a long, rambling speech, assigns places for the hunt, and their duties to his various servants and companions. He ends with an elaborate ascription of praise to his patroness Diana, as goddess of the chase, and with a prayer to her for success in his own present undertaking. The whole speech is in lyric strain, the anapestic measure, most commonly employed by Seneca.
Prologue.—Hippolytus, in hunting-costume, appears in the court of the palace, which is filled with huntsmen bearing nets and all sorts of hunting-weapons, and leading dogs in leash. The young prince, in a long, rambling speech, assigns places for the hunt, and their duties to his various servants and companions. He ends with an elaborate ascription of praise to his patroness Diana, as goddess of the chase, and with a prayer to her for success in his own present undertaking. The whole speech is in lyric strain, the anapestic measure, most commonly employed by Seneca.
Parode, or chorus entry.—The chorus of Troezenian women deplores the strange malady that has befallen the young queen. They relate howThis is the third revolving day,Since, o'erpowered by lingering pains,She from all nourishment abstains,Wasting that lovely frame with slow decay.At the conclusion of the lyric part of the chorus, the queen, closely veiled, in company with her aged nurse, is seen coming from the palace gates.
Parode, or chorus entry.—The chorus of Troezenian women deplores the strange malady that has befallen the young queen. They relate how
This is the third revolving day,Since, o'erpowered by lingering pains,She from all nourishment abstains,Wasting that lovely frame with slow decay.
This is the third revolving day,Since, o'erpowered by lingering pains,She from all nourishment abstains,Wasting that lovely frame with slow decay.
This is the third revolving day,Since, o'erpowered by lingering pains,She from all nourishment abstains,Wasting that lovely frame with slow decay.
This is the third revolving day,
Since, o'erpowered by lingering pains,
She from all nourishment abstains,
Wasting that lovely frame with slow decay.
At the conclusion of the lyric part of the chorus, the queen, closely veiled, in company with her aged nurse, is seen coming from the palace gates.
Parode, or chorus entry.—The technical chorus entry is entirely lacking in this play. While the chorus may be assumed to have entered and to have been present during the long interview between Phaedra and her nurse, which forms the first episode, still its presence is in no way manifested until the end of this interview.
Parode, or chorus entry.—The technical chorus entry is entirely lacking in this play. While the chorus may be assumed to have entered and to have been present during the long interview between Phaedra and her nurse, which forms the first episode, still its presence is in no way manifested until the end of this interview.
First episode.—Full of anxiety, the nurse strives to indulge her mistress' every whim. Phaedra answers feebly at first, but suddenly, to the amazement of her companion, her speech is filled with language of the chase, and she again relapses into her mute lethargy. At last, under the insistence of the nurse to probe her mystery, Phaedra confesses that the wretched fate of her house pursues her, too, and that she now feels the torments of love; and, though she does not speak his name,the truth at last is clear that Hippolytus is the object of her passion. The nurse recoils in horror and shame from this confession.Phaedra describes how she has struggled against her unhappy love, but in vain, and is now resolved on death in order to save her honor. At this the nurse throws all her influence in the opposite scale, arguing that, after all, the sway of Venus is universal, that it is only human to love, and that this is no reason why one should cast his life away. She even proposes to acquaint Hippolytus with her mistress' feelings, and strive to win his love in return. This proposal Phaedra indignantly rejects. The nurse then offers to fetch from the house certain philters which will cure the queen of her malady. The queen reluctantly consents to this, and the nurse retires into the palace.
First episode.—Full of anxiety, the nurse strives to indulge her mistress' every whim. Phaedra answers feebly at first, but suddenly, to the amazement of her companion, her speech is filled with language of the chase, and she again relapses into her mute lethargy. At last, under the insistence of the nurse to probe her mystery, Phaedra confesses that the wretched fate of her house pursues her, too, and that she now feels the torments of love; and, though she does not speak his name,the truth at last is clear that Hippolytus is the object of her passion. The nurse recoils in horror and shame from this confession.
Phaedra describes how she has struggled against her unhappy love, but in vain, and is now resolved on death in order to save her honor. At this the nurse throws all her influence in the opposite scale, arguing that, after all, the sway of Venus is universal, that it is only human to love, and that this is no reason why one should cast his life away. She even proposes to acquaint Hippolytus with her mistress' feelings, and strive to win his love in return. This proposal Phaedra indignantly rejects. The nurse then offers to fetch from the house certain philters which will cure the queen of her malady. The queen reluctantly consents to this, and the nurse retires into the palace.
First episode.—Phaedra bewails her present lot, in that she has been forced to leave her native Crete, and live in wedlock with her father's enemy. And even he has now deserted her, gone to the very realms of Dis, in company with a madcap friend, to seduce and bear away the gloomy monarch's queen. But a worse grief than this is preying on her soul. She feels in her own heart the devastating power of unlawful love, which has already destroyed all the natural interests of her life. She recalls her mother's unhappy passion; but this was bearable compared with her own. For Venus has, from deadly hatred of her family, filled her with a far more hopeless love. She does not name the object of her passion, but, from her guarded references, it is clear that Hippolytus, her stepson, is meant.The nurse urges her mistress to drive this passion from her breast, moralizing upon the danger of delay. Has not her house already known sinful love enough? Such love is dangerous for it cannot long be hid. Granting that Theseus may never return to earth, can her sin be concealed from her father? from her grandsires, both gods of heaven? And what of her own conscience? Can she ever be happy or at peace with such a sin upon her soul? She pictures her mistress' passion in all its hideousness. Besides, it is most hopeless, since Hippolytus, woman-hater that he is, can never be brought to respond to it. Phaedra yields to these arguments and entreaties of the nurse, and says that now she is resolved upon death as her only refuge. Hereupon the nurse (the usual rôle) begs her not to take this desperate course, and undertakes to bend Hippolytus to their will.
First episode.—Phaedra bewails her present lot, in that she has been forced to leave her native Crete, and live in wedlock with her father's enemy. And even he has now deserted her, gone to the very realms of Dis, in company with a madcap friend, to seduce and bear away the gloomy monarch's queen. But a worse grief than this is preying on her soul. She feels in her own heart the devastating power of unlawful love, which has already destroyed all the natural interests of her life. She recalls her mother's unhappy passion; but this was bearable compared with her own. For Venus has, from deadly hatred of her family, filled her with a far more hopeless love. She does not name the object of her passion, but, from her guarded references, it is clear that Hippolytus, her stepson, is meant.
The nurse urges her mistress to drive this passion from her breast, moralizing upon the danger of delay. Has not her house already known sinful love enough? Such love is dangerous for it cannot long be hid. Granting that Theseus may never return to earth, can her sin be concealed from her father? from her grandsires, both gods of heaven? And what of her own conscience? Can she ever be happy or at peace with such a sin upon her soul? She pictures her mistress' passion in all its hideousness. Besides, it is most hopeless, since Hippolytus, woman-hater that he is, can never be brought to respond to it. Phaedra yields to these arguments and entreaties of the nurse, and says that now she is resolved upon death as her only refuge. Hereupon the nurse (the usual rôle) begs her not to take this desperate course, and undertakes to bend Hippolytus to their will.
First choral interlude.—The chorus prays that love may never come upon its breast with immoderate power, and relates instances of the resistless sway of Venus and her son.
First choral interlude.—The chorus prays that love may never come upon its breast with immoderate power, and relates instances of the resistless sway of Venus and her son.
First choral interlude.—The chorus sings at length upon the universal and irresistible sway of love.
First choral interlude.—The chorus sings at length upon the universal and irresistible sway of love.
Second episode.—Phaedra, standing near the doors of the palace, suddenly becomes agitated, and utters despairing cries. The chorus, inquiring the cause of these, is told to listen. Atfirst there is only a confused murmur from within; but this soon resolves itself into the angry denunciations of Hippolytus and the pleading tones of the nurse. By these Phaedra learns that the nurse has indeed revealed the fatal secret to Hippolytus under an oath that he will not betray the truth to anyone, and that the youth has received the announcement with horror and scorn. He breaks forth into bitter reproaches against all womankind. He regrets that his lips are sealed by his oath, else would he straightway reveal to Theseus all his wife's unfaithfulness.Phaedra, on her side, reproaches the nurse for betraying her secret. She angrily dismisses her, and, after exacting an oath of silence from the chorus, goes out, reiterating her resolve to die, and suggests that she has one expedient left by which her name may be preserved from infamy, and her sons from dishonor.
Second episode.—Phaedra, standing near the doors of the palace, suddenly becomes agitated, and utters despairing cries. The chorus, inquiring the cause of these, is told to listen. Atfirst there is only a confused murmur from within; but this soon resolves itself into the angry denunciations of Hippolytus and the pleading tones of the nurse. By these Phaedra learns that the nurse has indeed revealed the fatal secret to Hippolytus under an oath that he will not betray the truth to anyone, and that the youth has received the announcement with horror and scorn. He breaks forth into bitter reproaches against all womankind. He regrets that his lips are sealed by his oath, else would he straightway reveal to Theseus all his wife's unfaithfulness.
Phaedra, on her side, reproaches the nurse for betraying her secret. She angrily dismisses her, and, after exacting an oath of silence from the chorus, goes out, reiterating her resolve to die, and suggests that she has one expedient left by which her name may be preserved from infamy, and her sons from dishonor.
Second episode.—On the inquiry of the chorus as to how the queen is faring, the nurse describes the dreadful effect which this malady of love has already produced upon her. Then the palace doors open, and Phaedra is seen reclining upon a couch, attended by her tiring-women. She rejects all the beautiful robes and jewels which they offer, and desires to be dressed as a huntress, ready for the chase.The nurse prays to Diana to conquer the stubborn soul of Hippolytus and bend his heart toward her mistress. At this moment the youth himself enters and inquires the cause of the nurse's distress.Thereupon ensues a long debate, in which the nurse chides Hippolytus for his austere life and argues that the pleasures of life were meant to be enjoyed, and that no life comes to its full fruition unless youth is given free rein. The young man replies by a rhapsody on the life of the woods, so full of simple, wholesome joys, and so free from all the cares of life at court and among men. He compares this with the Golden Age, and traces the gradual fall from the innocence of that time to the abandoned sin of the present. He concludes with laying all the blame for this upon woman.Phaedra now comes forth, and, seeing Hippolytus, falls fainting, but is caught in the young man's arms. He attempts to reassure her and inquires the cause of her evident grief. After much hesitation, she at last confesses her love for him and begs him to pity her. With scorn and horror he repulses her and starts to kill her with his sword; but, deciding not so to stain his sword, he throws the weapon away and makes off toward the forest.The nurse now plans to save her mistress by inculpating Hippolytus. She accordingly calls loudly for help, and tells the attendants who comerushing in that the youth has attempted an assault upon the queen, and shows his sword in evidence.
Second episode.—On the inquiry of the chorus as to how the queen is faring, the nurse describes the dreadful effect which this malady of love has already produced upon her. Then the palace doors open, and Phaedra is seen reclining upon a couch, attended by her tiring-women. She rejects all the beautiful robes and jewels which they offer, and desires to be dressed as a huntress, ready for the chase.
The nurse prays to Diana to conquer the stubborn soul of Hippolytus and bend his heart toward her mistress. At this moment the youth himself enters and inquires the cause of the nurse's distress.
Thereupon ensues a long debate, in which the nurse chides Hippolytus for his austere life and argues that the pleasures of life were meant to be enjoyed, and that no life comes to its full fruition unless youth is given free rein. The young man replies by a rhapsody on the life of the woods, so full of simple, wholesome joys, and so free from all the cares of life at court and among men. He compares this with the Golden Age, and traces the gradual fall from the innocence of that time to the abandoned sin of the present. He concludes with laying all the blame for this upon woman.
Phaedra now comes forth, and, seeing Hippolytus, falls fainting, but is caught in the young man's arms. He attempts to reassure her and inquires the cause of her evident grief. After much hesitation, she at last confesses her love for him and begs him to pity her. With scorn and horror he repulses her and starts to kill her with his sword; but, deciding not so to stain his sword, he throws the weapon away and makes off toward the forest.
The nurse now plans to save her mistress by inculpating Hippolytus. She accordingly calls loudly for help, and tells the attendants who comerushing in that the youth has attempted an assault upon the queen, and shows his sword in evidence.
Second choral interlude.—The chorus prays to be wafted far away from these scenes of woe; and laments that the hapless queen had ever come from Crete, for then she would not now be doomed by hopeless love to self-inflicted death.
Second choral interlude.—The chorus prays to be wafted far away from these scenes of woe; and laments that the hapless queen had ever come from Crete, for then she would not now be doomed by hopeless love to self-inflicted death.
Second choral interlude.—The chorus dwells upon and praises the beauty of Hippolytus, and discourses upon the theme that beauty has always been a dangerous possession, citing various mythological instances in proof of this.
Second choral interlude.—The chorus dwells upon and praises the beauty of Hippolytus, and discourses upon the theme that beauty has always been a dangerous possession, citing various mythological instances in proof of this.
Third episode.—A messenger hurriedly enters with the announcement that the queen has destroyed herself by the noose. The chorus, though grieved, manifests no surprise at this, and is divided as to a plan of action. And now enters Theseus, who demands the cause of the lamentations of the servants, which may be heard from within the palace. He learns from the chorus the fact and manner, but not the cause, of Phaedra's death.The palace doors are now thrown open and the shrouded body of the queen is discovered within. Theseus, in an agony of lamentations, seeks to know the cause of his queen's death. He at length discovers a letter clasped in her dead hand, by which he is informed that Phaedra has slain herself in grief and shame because her honor has been violated by the king's own son, Hippolytus. Thereupon Theseus curses his son, and calls on Neptune to destroy him, offering this as one of the three requests which, in accordance with the promise of the god, should not be denied.Here enters Hippolytus, hearing the sound of his father's voice. He looks in amazement upon the corpse of Phaedra, and begs his father to explain her death. Theseus, supposing thathis son conceals a guilty conscience, makes no direct answer, but inveighs against the specious arts of man. This strange speech, and still more the manner of his father, now show Hippolytus that he himself is connected in his father's mind with Phaedra's death; and he seeks to know who has thus calumniated him. The wrath of Theseus now breaks over all bounds. He charges his son with the dishonor and murder of his wife, and with withering scorn taunts him with his former professions of purity. Hippolytus protests his innocence, but Theseus continues obdurate, and produces the fatal letter in proof of his statements. Then the youth realizes the terrible mesh of circumstances in which he is taken; but, bound by his oath of secrecy, he endures in silence. After Theseus has pronounced the doom of exile upon him, and retired within the gates, he himself goes forth to seek his comrades and acquaint them with his fate.
Third episode.—A messenger hurriedly enters with the announcement that the queen has destroyed herself by the noose. The chorus, though grieved, manifests no surprise at this, and is divided as to a plan of action. And now enters Theseus, who demands the cause of the lamentations of the servants, which may be heard from within the palace. He learns from the chorus the fact and manner, but not the cause, of Phaedra's death.
The palace doors are now thrown open and the shrouded body of the queen is discovered within. Theseus, in an agony of lamentations, seeks to know the cause of his queen's death. He at length discovers a letter clasped in her dead hand, by which he is informed that Phaedra has slain herself in grief and shame because her honor has been violated by the king's own son, Hippolytus. Thereupon Theseus curses his son, and calls on Neptune to destroy him, offering this as one of the three requests which, in accordance with the promise of the god, should not be denied.
Here enters Hippolytus, hearing the sound of his father's voice. He looks in amazement upon the corpse of Phaedra, and begs his father to explain her death. Theseus, supposing thathis son conceals a guilty conscience, makes no direct answer, but inveighs against the specious arts of man. This strange speech, and still more the manner of his father, now show Hippolytus that he himself is connected in his father's mind with Phaedra's death; and he seeks to know who has thus calumniated him. The wrath of Theseus now breaks over all bounds. He charges his son with the dishonor and murder of his wife, and with withering scorn taunts him with his former professions of purity. Hippolytus protests his innocence, but Theseus continues obdurate, and produces the fatal letter in proof of his statements. Then the youth realizes the terrible mesh of circumstances in which he is taken; but, bound by his oath of secrecy, he endures in silence. After Theseus has pronounced the doom of exile upon him, and retired within the gates, he himself goes forth to seek his comrades and acquaint them with his fate.
Third episode.—Theseus, just returned to earth from hades, and with all the horrors of the lower world still upon him, briefly refers to his dreadful experiences and his escape by the aid of Hercules. Then, hearing the sounds of lamentation, he asks the cause. He is told by the nurse that Phaedra, for some reason which she will not disclose, has resolved on immediate self-destruction. Rushing into the palace, he encounters Phaedra just within. After urgent entreaties and threats from Theseus, she confesses that she is determined to die in order to remove the stain upon her honor; and without mentioning the name of him who has ruined her, she shows the sword which Hippolytus has left behind in his flight. This is at once recognized by Theseus, who flies into a wild passion of horror, rage, and bitter scorn. He vows dire vengeance upon his son, which shall reach him wherever he may flee; and ends by claiming from Neptune, as the third of the boons once granted him, that the god will destroy Hippolytus.
Third episode.—Theseus, just returned to earth from hades, and with all the horrors of the lower world still upon him, briefly refers to his dreadful experiences and his escape by the aid of Hercules. Then, hearing the sounds of lamentation, he asks the cause. He is told by the nurse that Phaedra, for some reason which she will not disclose, has resolved on immediate self-destruction. Rushing into the palace, he encounters Phaedra just within. After urgent entreaties and threats from Theseus, she confesses that she is determined to die in order to remove the stain upon her honor; and without mentioning the name of him who has ruined her, she shows the sword which Hippolytus has left behind in his flight. This is at once recognized by Theseus, who flies into a wild passion of horror, rage, and bitter scorn. He vows dire vengeance upon his son, which shall reach him wherever he may flee; and ends by claiming from Neptune, as the third of the boons once granted him, that the god will destroy Hippolytus.
Third choral interlude.—The chorus reflects upon the precarious life of man, lauds the golden mean, and prays for the blessings of life without conspicuous fame. No man can hope for continued security in life, when such a youth as Hippolytus is driven off by Theseus' ire. It laments that no longer will his steeds, his lyre, his wonted woodland haunts know the well-loved youth; and reproaches the gods that they did not better screen their guiltless votary.
Third choral interlude.—The chorus reflects upon the precarious life of man, lauds the golden mean, and prays for the blessings of life without conspicuous fame. No man can hope for continued security in life, when such a youth as Hippolytus is driven off by Theseus' ire. It laments that no longer will his steeds, his lyre, his wonted woodland haunts know the well-loved youth; and reproaches the gods that they did not better screen their guiltless votary.
Third choral interlude.—The chorus complains that while nature is so careful to maintain the order of the heavenly bodies, the atmospheric phenomena, the seasons, and the productiveness of wealth, for the affairs of men alone she has no care. These go all awry. Sin prospers and righteousness is in distress. Verily, it does not at all profit a man to strive to live uprightly, since all the rewards of life go to the vain and profligate. While the case of Hippolytus is not mentioned, it is clearly in mind throughout.
Third choral interlude.—The chorus complains that while nature is so careful to maintain the order of the heavenly bodies, the atmospheric phenomena, the seasons, and the productiveness of wealth, for the affairs of men alone she has no care. These go all awry. Sin prospers and righteousness is in distress. Verily, it does not at all profit a man to strive to live uprightly, since all the rewards of life go to the vain and profligate. While the case of Hippolytus is not mentioned, it is clearly in mind throughout.
Exode.—The last words of the chorus are interrupted by the approach of a messenger who hastily inquires forthe king. As the latter comes forth from the palace, the messenger announces the death of his son. At the king's request he gives a detailed account of the disaster: how Hippolytus was driving his fiery coursers along the shore, when Neptune sent a monstrous bull from out the sea, which drove the horses to a panic of fear; how the car was at length dashed against a ragged cliff, and Hippolytus dragged, bruised and bleeding, by the maddened horses; how, though yet living, he could not long survive. Theseus expresses pleasure at his son's sufferings, and bids that he be brought into his presence that he may behold his punishment.The chorus interjects a single strophe, acknowledging Venus as the unrivaled queen of heaven and earth.Diana now appears to Theseus and reveals to him the whole truth, explaining the infatuation of the queen, the fatal letter, and the wiles of Venus. The father is filled with horror and remorse. Diana tells him that he may yet hope for pardon for his sin, since through the wiles of Venus, which she herself could not frustrate, the deed was done.Here the dying Hippolytus is borne in by his friends. In his agony he prays for death; but by the voice of his loved goddess he is soothed and comforted. After a touching scene of reconciliation between the dying prince and his father, the youth perishes, leaving Theseus overcome with grief.
Exode.—The last words of the chorus are interrupted by the approach of a messenger who hastily inquires forthe king. As the latter comes forth from the palace, the messenger announces the death of his son. At the king's request he gives a detailed account of the disaster: how Hippolytus was driving his fiery coursers along the shore, when Neptune sent a monstrous bull from out the sea, which drove the horses to a panic of fear; how the car was at length dashed against a ragged cliff, and Hippolytus dragged, bruised and bleeding, by the maddened horses; how, though yet living, he could not long survive. Theseus expresses pleasure at his son's sufferings, and bids that he be brought into his presence that he may behold his punishment.
The chorus interjects a single strophe, acknowledging Venus as the unrivaled queen of heaven and earth.
Diana now appears to Theseus and reveals to him the whole truth, explaining the infatuation of the queen, the fatal letter, and the wiles of Venus. The father is filled with horror and remorse. Diana tells him that he may yet hope for pardon for his sin, since through the wiles of Venus, which she herself could not frustrate, the deed was done.
Here the dying Hippolytus is borne in by his friends. In his agony he prays for death; but by the voice of his loved goddess he is soothed and comforted. After a touching scene of reconciliation between the dying prince and his father, the youth perishes, leaving Theseus overcome with grief.
Exode.—A messenger, hurrying in, announces to Theseus the death of his son. Theseus receives the news calmly and asks for a detailed account. The messenger relates how Hippolytus had yoked his horses to his car and was driving madly along the highway by the sea, when suddenly the waves swelled up and launched a strange monster in the form of a bull upon the land. This monster charged upon Hippolytus, who fronted the beast with unshaken courage. But in the end the horses became unmanageable through fright, and dragged their master to his death among the rocks. The body of the hapless Hippolytus has been torn in pieces and scattered far and wide through the fields; and even now attendants are bringing these in for burning on the pyre. Theseus laments, not because his son is dead, but because it is through his, the father's, act.The chorus expatiates upon the fact that the blows of fate fall heavily upon men of exalted condition, but spare the humble. The great Theseus, once so mighty a monarch, but now so full of woe, is an example of this truth. It has not profited him to escape from hades, since now his son has hastened thither.But now their attention is turned to Phaedra who appears, wailing aloud, and with a drawn sword in hand. She rails at Theseus as the destroyer of his house, weeps over the mangled remains of Hippolytus, confesses to Theseus that her charge against his son was false, and ends by falling upon the sword.Theseus, utterly crushed by the weight of woe that has fallen upon him, prays only that he may return to the dark world from which he has just escaped.The chorus reminds him that he will find ample time for mourning, and that he should now pay due funeral honors to his son. Whereat Theseus bids all the fragments be hunted out and brought before him. These he fits together as best he can, lamenting bitterly as each new gory part is brought to him.He ends by giving curt command for the burial of Phaedra, with a prayer that the earth may rest heavily upon her.
Exode.—A messenger, hurrying in, announces to Theseus the death of his son. Theseus receives the news calmly and asks for a detailed account. The messenger relates how Hippolytus had yoked his horses to his car and was driving madly along the highway by the sea, when suddenly the waves swelled up and launched a strange monster in the form of a bull upon the land. This monster charged upon Hippolytus, who fronted the beast with unshaken courage. But in the end the horses became unmanageable through fright, and dragged their master to his death among the rocks. The body of the hapless Hippolytus has been torn in pieces and scattered far and wide through the fields; and even now attendants are bringing these in for burning on the pyre. Theseus laments, not because his son is dead, but because it is through his, the father's, act.
The chorus expatiates upon the fact that the blows of fate fall heavily upon men of exalted condition, but spare the humble. The great Theseus, once so mighty a monarch, but now so full of woe, is an example of this truth. It has not profited him to escape from hades, since now his son has hastened thither.
But now their attention is turned to Phaedra who appears, wailing aloud, and with a drawn sword in hand. She rails at Theseus as the destroyer of his house, weeps over the mangled remains of Hippolytus, confesses to Theseus that her charge against his son was false, and ends by falling upon the sword.
Theseus, utterly crushed by the weight of woe that has fallen upon him, prays only that he may return to the dark world from which he has just escaped.
The chorus reminds him that he will find ample time for mourning, and that he should now pay due funeral honors to his son. Whereat Theseus bids all the fragments be hunted out and brought before him. These he fits together as best he can, lamenting bitterly as each new gory part is brought to him.
He ends by giving curt command for the burial of Phaedra, with a prayer that the earth may rest heavily upon her.
Prologue.—In the courtyard of her palace in Trachin, Deianira recounts to her attendants and the chorus of Trachinian maidens how her husband had won her from the river god, Acheloüs, and how, during all these years, she has lived in fear and longing for her husband, who has been kept constantly wandering over the earth by those who hold him in their power; and even now he has been for many months absent, she knows not where.An old servant proposes that she send her son, Hyllus, abroad to seek out his father. This the youth, who enters at this juncture, readily promises to do, especially on hearing from his mother that the oracle declares this is the year in which his father shall end his life,Or, having this his task accomplished,Shall, through the coming years of all his life,Rejoice and prosper.
Prologue.—In the courtyard of her palace in Trachin, Deianira recounts to her attendants and the chorus of Trachinian maidens how her husband had won her from the river god, Acheloüs, and how, during all these years, she has lived in fear and longing for her husband, who has been kept constantly wandering over the earth by those who hold him in their power; and even now he has been for many months absent, she knows not where.
An old servant proposes that she send her son, Hyllus, abroad to seek out his father. This the youth, who enters at this juncture, readily promises to do, especially on hearing from his mother that the oracle declares this is the year in which his father shall end his life,
Or, having this his task accomplished,Shall, through the coming years of all his life,Rejoice and prosper.
Or, having this his task accomplished,Shall, through the coming years of all his life,Rejoice and prosper.
Or, having this his task accomplished,Shall, through the coming years of all his life,Rejoice and prosper.
Or, having this his task accomplished,
Shall, through the coming years of all his life,
Rejoice and prosper.
Prologue.—Hercules, about to sacrifice to Cenaean Jove after having conquered Eurytus, king of Oechalia, recounts at length his mighty toils on earth, and prays that now at last he may be given his proper place in heaven. He dispatches his herald, Lichas, home to Trachin, to tell the news of his triumph, and to conduct the train of captives thither.
Prologue.—Hercules, about to sacrifice to Cenaean Jove after having conquered Eurytus, king of Oechalia, recounts at length his mighty toils on earth, and prays that now at last he may be given his proper place in heaven. He dispatches his herald, Lichas, home to Trachin, to tell the news of his triumph, and to conduct the train of captives thither.
Parode, or chorus entry.—The chorus prays to Helios, the bright sun-god,for tidings of Hercules, for Deianira longs for him, and "ever nurses unforgetting dread as to her husband's paths." Hercules is tossed upon the stormy sea of life, now up, now down, but ever kept from death by some god's hands. Deianira should, therefore, be comforted:For who hath known in Zeus forgetfulnessOf those he children calls?
Parode, or chorus entry.—The chorus prays to Helios, the bright sun-god,for tidings of Hercules, for Deianira longs for him, and "ever nurses unforgetting dread as to her husband's paths." Hercules is tossed upon the stormy sea of life, now up, now down, but ever kept from death by some god's hands. Deianira should, therefore, be comforted:
For who hath known in Zeus forgetfulnessOf those he children calls?
For who hath known in Zeus forgetfulnessOf those he children calls?
For who hath known in Zeus forgetfulnessOf those he children calls?
For who hath known in Zeus forgetfulness
Of those he children calls?
Parode, or chorus entry.—The place of the chorus entry, which should be filled by the chorus proper, composed of Aetolian maidens, is taken by the band of captive Oechalian maidens. They bewail their lot and long for death; they dwell upon the utter desolation of their fatherland, and upon the hard-heartedness of Hercules who has laid it waste.Iole, their princess, joins in their lamentations, recalls the horrors of her native city's overthrow, and looks forward with dread to her captivity.
Parode, or chorus entry.—The place of the chorus entry, which should be filled by the chorus proper, composed of Aetolian maidens, is taken by the band of captive Oechalian maidens. They bewail their lot and long for death; they dwell upon the utter desolation of their fatherland, and upon the hard-heartedness of Hercules who has laid it waste.
Iole, their princess, joins in their lamentations, recalls the horrors of her native city's overthrow, and looks forward with dread to her captivity.
First episode.—Deianira confides to the chorus her special cause for grief: she feels a strong presentiment that Hercules is dead; for, when he last left home, he left a tablet, as it were a will, disposing of his chattels and his lands,and fixed a time,That when for one whole year and three months moreHe from his land was absent, then 'twas hisOr in that self-same hour to die, or else,Escaping that one crisis, thenceforth live with life unvexed.At this moment, however, a messenger enters and announces the near approach of Hercules accompanied by his spoils of victory.
First episode.—Deianira confides to the chorus her special cause for grief: she feels a strong presentiment that Hercules is dead; for, when he last left home, he left a tablet, as it were a will, disposing of his chattels and his lands,
and fixed a time,That when for one whole year and three months moreHe from his land was absent, then 'twas hisOr in that self-same hour to die, or else,Escaping that one crisis, thenceforth live with life unvexed.
and fixed a time,That when for one whole year and three months moreHe from his land was absent, then 'twas hisOr in that self-same hour to die, or else,Escaping that one crisis, thenceforth live with life unvexed.
and fixed a time,That when for one whole year and three months moreHe from his land was absent, then 'twas hisOr in that self-same hour to die, or else,Escaping that one crisis, thenceforth live with life unvexed.
and fixed a time,
That when for one whole year and three months more
He from his land was absent, then 'twas his
Or in that self-same hour to die, or else,
Escaping that one crisis, thenceforth live with life unvexed.
At this moment, however, a messenger enters and announces the near approach of Hercules accompanied by his spoils of victory.
First episode.—During the interval just preceding this episode, the captives have been led to Trachin, Deianira has seen the beauty of Iole, and learned of Hercules' infatuation for her. She has by this news been thrown into a mad rage of jealousy, and counsels with her nurse as to how she may take vengeance upon her faithless husband, while the nurse vainly advises moderation.The nurse at last suggests recourse to magic, professing herself to be proficient in these arts. This suggests to Deianira the use of that blood of Nessus which the dying centaur had commended to her as an infallible love-charm. She takes occasion to relate at length the Nessus incident. She at once acts upon her decision to use the charm; and speedily, with the nurse's aid, a gorgeous robe is anointed with the blood, and this is sent by Lichas' hand to Hercules.
First episode.—During the interval just preceding this episode, the captives have been led to Trachin, Deianira has seen the beauty of Iole, and learned of Hercules' infatuation for her. She has by this news been thrown into a mad rage of jealousy, and counsels with her nurse as to how she may take vengeance upon her faithless husband, while the nurse vainly advises moderation.
The nurse at last suggests recourse to magic, professing herself to be proficient in these arts. This suggests to Deianira the use of that blood of Nessus which the dying centaur had commended to her as an infallible love-charm. She takes occasion to relate at length the Nessus incident. She at once acts upon her decision to use the charm; and speedily, with the nurse's aid, a gorgeous robe is anointed with the blood, and this is sent by Lichas' hand to Hercules.
First choral interlude.—The chorus voices its exultant joy over this glad and unexpected news.
First choral interlude.—The chorus voices its exultant joy over this glad and unexpected news.
First choral interlude.—The chorus of Aetolian women, who have followed Deianira from her girlhood's home to this refuge in Trachin, now tender to her their sympathy in her present sufferings. They recall all their pastintercourse with her, and assure her of their undying fidelity.This suggests the rarity of such fidelity especially in the courts of kings, and they discourse at large upon the sordidness and selfishness of courtiers in general. The moral of their discourse is that men should not aspire to great wealth and power, but should choose a middle course in life, which only can bring happiness.
First choral interlude.—The chorus of Aetolian women, who have followed Deianira from her girlhood's home to this refuge in Trachin, now tender to her their sympathy in her present sufferings. They recall all their pastintercourse with her, and assure her of their undying fidelity.
This suggests the rarity of such fidelity especially in the courts of kings, and they discourse at large upon the sordidness and selfishness of courtiers in general. The moral of their discourse is that men should not aspire to great wealth and power, but should choose a middle course in life, which only can bring happiness.
Second episode.—Lichas, the personal herald of Hercules, now enters, followed by Iole and a company of captive women. He explains to Deianira how Hercules had been driven on by petty persecutions to slay Iphitus, the son of Eurytus, treacherously; how he had for this been doomed by Zeus to serve Omphale, queen of Lydia, for a year; and how in revenge he has now slain Eurytus, and even now is sending home these Oechalian captives as spoil; Hercules himself is delaying yet a little while in Euboea, until he has sacrificed to Cenaean Jove.Deianira looks in pity upon the captives praying that their lot may never come to her or hers; and is especially drawn in sympathy to one beautiful girl, who, however, will answer no word as to her name and state.As all are passing into the palace, the messenger detains Deianira and tells her the real truth which Lichas has withheld: that this seemingly unknown girl is Iole, daughter of Eurytus; that it was not in revenge but for love of Iole that Hercules destroyed her father's house, and that he is now sending her to his ownhome not as his slave, but mistress, and rival of his wife.Lichas, returning from the palace, on being challenged by the messenger and urged by Deianira to speak the whole truth, tells all concerning Hercules' love for Iole.Deianira receives this revelation with seeming equanimity and acquiescence.
Second episode.—Lichas, the personal herald of Hercules, now enters, followed by Iole and a company of captive women. He explains to Deianira how Hercules had been driven on by petty persecutions to slay Iphitus, the son of Eurytus, treacherously; how he had for this been doomed by Zeus to serve Omphale, queen of Lydia, for a year; and how in revenge he has now slain Eurytus, and even now is sending home these Oechalian captives as spoil; Hercules himself is delaying yet a little while in Euboea, until he has sacrificed to Cenaean Jove.
Deianira looks in pity upon the captives praying that their lot may never come to her or hers; and is especially drawn in sympathy to one beautiful girl, who, however, will answer no word as to her name and state.
As all are passing into the palace, the messenger detains Deianira and tells her the real truth which Lichas has withheld: that this seemingly unknown girl is Iole, daughter of Eurytus; that it was not in revenge but for love of Iole that Hercules destroyed her father's house, and that he is now sending her to his ownhome not as his slave, but mistress, and rival of his wife.
Lichas, returning from the palace, on being challenged by the messenger and urged by Deianira to speak the whole truth, tells all concerning Hercules' love for Iole.
Deianira receives this revelation with seeming equanimity and acquiescence.
Second episode.—Deianira comes hurrying distractedly out of the palace, and relates her discovery as to the horrible and deadly power of the charm which she has sent to her husband.While she is still speaking, Hyllus rushes in and cries out to his mother to flee from the wrath of Hercules, whose dreadful sufferings, after putting on the robe which his wife had sent to him, the youth describes at length. He narrates also the death of Lichas. The suffering hero is even now on his way by sea from Euboea, in a death-like swoon, and will soon arrive at Trachin.Deianira, smitten with quick repentance, begs Jupiter to destroy her with his wrathful thunderbolts. She resolves on instant self-destruction, though Hyllus and the nurse vainly try to dissuade her, and to belittle her responsibility for the disaster; and in the end she rushes from the scene, Hyllus following.
Second episode.—Deianira comes hurrying distractedly out of the palace, and relates her discovery as to the horrible and deadly power of the charm which she has sent to her husband.
While she is still speaking, Hyllus rushes in and cries out to his mother to flee from the wrath of Hercules, whose dreadful sufferings, after putting on the robe which his wife had sent to him, the youth describes at length. He narrates also the death of Lichas. The suffering hero is even now on his way by sea from Euboea, in a death-like swoon, and will soon arrive at Trachin.
Deianira, smitten with quick repentance, begs Jupiter to destroy her with his wrathful thunderbolts. She resolves on instant self-destruction, though Hyllus and the nurse vainly try to dissuade her, and to belittle her responsibility for the disaster; and in the end she rushes from the scene, Hyllus following.
Second choral interlude.—The chorus briefly reverts to the battle of Acheloüs and Hercules for the hand of Deianira.
Second choral interlude.—The chorus briefly reverts to the battle of Acheloüs and Hercules for the hand of Deianira.
Second choral interlude.—The chorus, contemplating the changing fates of their prince's house, is reminded of the saying of Orpheus, "that naught for endless life is made." This leads to an extended description of Orpheus' sweet music and its power over all things, both animate and inanimate, and suggests the story of his unsuccessful attempt to regain Eurydice.Returning to the original theme, the chorus speculates upon the time when all things shall fall into death, and chaos resume her primeval sway.It is startled out of these thoughts by loud groans, which prove to be the outcries of Hercules, borne home to Trachin.
Second choral interlude.—The chorus, contemplating the changing fates of their prince's house, is reminded of the saying of Orpheus, "that naught for endless life is made." This leads to an extended description of Orpheus' sweet music and its power over all things, both animate and inanimate, and suggests the story of his unsuccessful attempt to regain Eurydice.
Returning to the original theme, the chorus speculates upon the time when all things shall fall into death, and chaos resume her primeval sway.
It is startled out of these thoughts by loud groans, which prove to be the outcries of Hercules, borne home to Trachin.
Third episode.—Deianira tells to the chorus the story of how Nessus, the centaur, had once insulted her, and for this had been slain by Hercules with one of his poisoned arrows; how, also, the centaur in dying had given her a portion of his blood, saying this would be a charm able to restore to her her husband's wandering love. She now resolves to use this charm. She anoints a gorgeous robe with the blood which she has preserved through all these years, and bids Lichas carry this to her lord as a special gift from her. He is to wear it as he offers hissacrifices to Cenaean Jove, Lichas departs upon this mission.
Third episode.—Deianira tells to the chorus the story of how Nessus, the centaur, had once insulted her, and for this had been slain by Hercules with one of his poisoned arrows; how, also, the centaur in dying had given her a portion of his blood, saying this would be a charm able to restore to her her husband's wandering love. She now resolves to use this charm. She anoints a gorgeous robe with the blood which she has preserved through all these years, and bids Lichas carry this to her lord as a special gift from her. He is to wear it as he offers hissacrifices to Cenaean Jove, Lichas departs upon this mission.
Third episode.—Hercules in his ravings warns Jove to look well to his heavens, since now their defender is perishing. The giants will be sure to rise again and make another attempt upon the skies. He bitterly laments that he, who has overcome so many monsters, must die at last, slain by a woman's hand, and that woman not Juno, nor even an Amazon:Ah, woe is me,How often have I 'scaped a glorious death!What honor comes from such an end as this?His burning pains coming on again, he cries out in agony, and describes the abject misery and weakness that have come upon him. Are these the shoulders, the hands, the feet, that were once so strong to bear, so terrible to strike, so swift to go? He strives to apprehend and tear away the pest that is devouring him, but it is too deep-hidden in his frame. He curses the day that has seen him weep and beseeches Jove to smite him dead with a thunderbolt.Alcmena enters, and, while she herself is full of grief, she strives to soothe and comfort her suffering son. He falls into a delirium, and thinks that he is in the heavens, looking down upon Trachin. But soon he awakes, and, realizing his pains once more, calls for the author of his misery, that he may slay her with his own hands.Hyllus, who has just entered from the palace, now informs his father that Deianira is already dead, and by her own hand; that it was not her fault, moreover, but by the guile of Nessus, that Hercules is being done to death. The hero recognizes in this the fulfilment of an oracle once delivered to him:By the hand of one whom thou hast slain, some day,Victorious Hercules, shalt thou lie low.And he comforts himself with the reflection that such an end as this is meet, forThus shall no conqueror of HerculesSurvive to tell the tale.He now bids Philoctetes prepare a mighty pyre on neighboring Mount Oeta, and there take and burn his body, still in life. Hyllus he bids to take the captive princess, Iole, to wife. He calls upon his mother, Alcmena, tocomfort her grief by pride in her great son's deeds on earth, and the noble fame which he has gained thereby.
Third episode.—Hercules in his ravings warns Jove to look well to his heavens, since now their defender is perishing. The giants will be sure to rise again and make another attempt upon the skies. He bitterly laments that he, who has overcome so many monsters, must die at last, slain by a woman's hand, and that woman not Juno, nor even an Amazon:
Ah, woe is me,How often have I 'scaped a glorious death!What honor comes from such an end as this?
Ah, woe is me,How often have I 'scaped a glorious death!What honor comes from such an end as this?
Ah, woe is me,How often have I 'scaped a glorious death!What honor comes from such an end as this?
Ah, woe is me,
How often have I 'scaped a glorious death!
What honor comes from such an end as this?
His burning pains coming on again, he cries out in agony, and describes the abject misery and weakness that have come upon him. Are these the shoulders, the hands, the feet, that were once so strong to bear, so terrible to strike, so swift to go? He strives to apprehend and tear away the pest that is devouring him, but it is too deep-hidden in his frame. He curses the day that has seen him weep and beseeches Jove to smite him dead with a thunderbolt.
Alcmena enters, and, while she herself is full of grief, she strives to soothe and comfort her suffering son. He falls into a delirium, and thinks that he is in the heavens, looking down upon Trachin. But soon he awakes, and, realizing his pains once more, calls for the author of his misery, that he may slay her with his own hands.
Hyllus, who has just entered from the palace, now informs his father that Deianira is already dead, and by her own hand; that it was not her fault, moreover, but by the guile of Nessus, that Hercules is being done to death. The hero recognizes in this the fulfilment of an oracle once delivered to him:
By the hand of one whom thou hast slain, some day,Victorious Hercules, shalt thou lie low.
By the hand of one whom thou hast slain, some day,Victorious Hercules, shalt thou lie low.
By the hand of one whom thou hast slain, some day,Victorious Hercules, shalt thou lie low.
By the hand of one whom thou hast slain, some day,
Victorious Hercules, shalt thou lie low.
And he comforts himself with the reflection that such an end as this is meet, for
Thus shall no conqueror of HerculesSurvive to tell the tale.
Thus shall no conqueror of HerculesSurvive to tell the tale.
Thus shall no conqueror of HerculesSurvive to tell the tale.
Thus shall no conqueror of Hercules
Survive to tell the tale.
He now bids Philoctetes prepare a mighty pyre on neighboring Mount Oeta, and there take and burn his body, still in life. Hyllus he bids to take the captive princess, Iole, to wife. He calls upon his mother, Alcmena, tocomfort her grief by pride in her great son's deeds on earth, and the noble fame which he has gained thereby.
Third choral interlude.—The chorus prays for the early and safe return of Hercules from where he lingers:Thence may lie come, yea, come with strong desire,Tempered by suasive spellOf that rich unguent, as the monster spake.
Third choral interlude.—The chorus prays for the early and safe return of Hercules from where he lingers:
Thence may lie come, yea, come with strong desire,Tempered by suasive spellOf that rich unguent, as the monster spake.
Thence may lie come, yea, come with strong desire,Tempered by suasive spellOf that rich unguent, as the monster spake.
Thence may lie come, yea, come with strong desire,Tempered by suasive spellOf that rich unguent, as the monster spake.
Thence may lie come, yea, come with strong desire,
Tempered by suasive spell
Of that rich unguent, as the monster spake.
Third choral interlude.—The chorus bids all nature mourn the death of Hercules. Verily the earth is bereft of her defender, and there is no one left to whom she may turn if again harassed by monsters. They speculate upon the place of the departed Hercules. Shall he sit in judgment among the pious kings of Crete in hades, or shall he be given a place in heaven? At least on earth he shall live in deathless gratitude and fame.
Third choral interlude.—The chorus bids all nature mourn the death of Hercules. Verily the earth is bereft of her defender, and there is no one left to whom she may turn if again harassed by monsters. They speculate upon the place of the departed Hercules. Shall he sit in judgment among the pious kings of Crete in hades, or shall he be given a place in heaven? At least on earth he shall live in deathless gratitude and fame.
Fourth episode.—Deianira discovers by experiment, now that it is too late, the destructive and terrible power of the charm which she has sent, and is filled with dire forebodings as to the result.Her lamentations are interrupted by Hyllus, who comes hurrying in; he charges his mother with the murder of his father, and curses her. He then describes the terrible sufferings that have come upon the hero through the magic robe, and how Hercules, in the madness of pain, has slain Lichas, as the immediate cause of his sufferings. He has brought his father with him from Euboea to Trachin. Deianira withdraws into the palace, without a word, in an agony of grief.Fourth choral interlude.—The chorus recalls the old oracle that after twelve years the son of Zeus should gain rest from toil, and sees in his impending death the fulfilment of this oracle. They picture the grief of Deianira over her act, and foresee the great changes that are coming upon their prince's house.Fifth episode.—The nurse rushes in from the palace, and tells how Deianira has slain herself with the sword, bewailing the while the sufferings which she has unwittingly brought on Hercules; and how Hyllus repents him of his harshness toward his mother, realizing that she was not to blame.Fifth choral interlude.—The chorus pours out its grief for the double tragedy. And now it sees Hyllus and attendants bearing in the dying Hercules.
Fourth episode.—Deianira discovers by experiment, now that it is too late, the destructive and terrible power of the charm which she has sent, and is filled with dire forebodings as to the result.
Her lamentations are interrupted by Hyllus, who comes hurrying in; he charges his mother with the murder of his father, and curses her. He then describes the terrible sufferings that have come upon the hero through the magic robe, and how Hercules, in the madness of pain, has slain Lichas, as the immediate cause of his sufferings. He has brought his father with him from Euboea to Trachin. Deianira withdraws into the palace, without a word, in an agony of grief.
Fourth choral interlude.—The chorus recalls the old oracle that after twelve years the son of Zeus should gain rest from toil, and sees in his impending death the fulfilment of this oracle. They picture the grief of Deianira over her act, and foresee the great changes that are coming upon their prince's house.
Fifth episode.—The nurse rushes in from the palace, and tells how Deianira has slain herself with the sword, bewailing the while the sufferings which she has unwittingly brought on Hercules; and how Hyllus repents him of his harshness toward his mother, realizing that she was not to blame.
Fifth choral interlude.—The chorus pours out its grief for the double tragedy. And now it sees Hyllus and attendants bearing in the dying Hercules.
Exode.—Hercules, awaking from troubled sleep, laments the calamity that has befallen him; he chides the lands which he has helped, that now they do not hasten to his aid; and prays Hyllus to kill him with the sword, and so put him out of his misery.He denounces Deianira because she has brought suffering and destruction upon him which no foe, man or beast, has ever been able to bring. He curses his own weakness, and laments that he must weep and groan like a woman.He marvels that his mighty frame, which for years has withstood so many monsters, which he recounts at length, can now be so weak and wasted. Reverting to his wife, he bids that she be brought to him that he may visit punishment upon her.Hyllus informs his father that Deianira has died by her own hand, for grief at what she has unwittingly brought upon her dear lord. It was, indeed, through Nessus' guile that the deed was done.Hercules, on hearing this, recognizes the fulfilment of the oracle;Long since it was revealéd of my sireThat I should die by hand of none that live,But one who, dead, had dwelt in hades dark.He exacts an oath of obedience from Hyllus, and then bids him bring his father to Mount Oeta, and there place him upon a pyre for burning. Hyllus reluctantly consents in all but the actual firing of the pyre. The next request is concerning Iole, that Hyllus should take her as his wife. This mandate he indignantly refuses to obey, but finally yields assent. And in the end Hercules is borne away to his burning, while the chorus mournfully chants its concluding comment:What cometh no man may know;What is, is piteous for us,Base and shameful for them;And for him who endureth this woe,Above all that live hard to bear.
Exode.—Hercules, awaking from troubled sleep, laments the calamity that has befallen him; he chides the lands which he has helped, that now they do not hasten to his aid; and prays Hyllus to kill him with the sword, and so put him out of his misery.
He denounces Deianira because she has brought suffering and destruction upon him which no foe, man or beast, has ever been able to bring. He curses his own weakness, and laments that he must weep and groan like a woman.
He marvels that his mighty frame, which for years has withstood so many monsters, which he recounts at length, can now be so weak and wasted. Reverting to his wife, he bids that she be brought to him that he may visit punishment upon her.
Hyllus informs his father that Deianira has died by her own hand, for grief at what she has unwittingly brought upon her dear lord. It was, indeed, through Nessus' guile that the deed was done.
Hercules, on hearing this, recognizes the fulfilment of the oracle;
Long since it was revealéd of my sireThat I should die by hand of none that live,But one who, dead, had dwelt in hades dark.
Long since it was revealéd of my sireThat I should die by hand of none that live,But one who, dead, had dwelt in hades dark.
Long since it was revealéd of my sireThat I should die by hand of none that live,But one who, dead, had dwelt in hades dark.
Long since it was revealéd of my sire
That I should die by hand of none that live,
But one who, dead, had dwelt in hades dark.
He exacts an oath of obedience from Hyllus, and then bids him bring his father to Mount Oeta, and there place him upon a pyre for burning. Hyllus reluctantly consents in all but the actual firing of the pyre. The next request is concerning Iole, that Hyllus should take her as his wife. This mandate he indignantly refuses to obey, but finally yields assent. And in the end Hercules is borne away to his burning, while the chorus mournfully chants its concluding comment:
What cometh no man may know;What is, is piteous for us,Base and shameful for them;And for him who endureth this woe,Above all that live hard to bear.
What cometh no man may know;What is, is piteous for us,Base and shameful for them;And for him who endureth this woe,Above all that live hard to bear.
What cometh no man may know;What is, is piteous for us,Base and shameful for them;And for him who endureth this woe,Above all that live hard to bear.
What cometh no man may know;
What is, is piteous for us,
Base and shameful for them;
And for him who endureth this woe,
Above all that live hard to bear.
Exode.—Philoctetes enters, and, in response to the questions of the nurse, describes the final scene on Oeta's top. There a mighty pyre is built, on which Hercules joyfully takes his place. There he reclines, gazing at the heavens, and praying his father, Jupiter, to take him thither, in compensation for his service on the earth. His prayer seems to be answered, and he cries aloud:"But lo, my father calls me from the sky,And opens wide the gates. O sire, I come!"And as he spake his face was glorified.He presents his famous bow and arrows to Philoctetes, bidding him for this prize apply the torch and light the pyre, which his friend most reluctantly does. The hero courts the flames, and eagerly presses into the very heart of the burning mass.In the midst of this narrative, Alcmena enters, bearing in her bosom an urn containing the ashes of Hercules. The burden of her lament is that so small a compass and so pitiful estate have come to the mighty body of her son, which one small urn can hold. But when she thinks upon his deeds, her thoughts fly to the opposite pole:What sepulcher, O son, what tomb for theeIs great enough? Naught save the world itself.Then she takes up in quickened measures her funeral song of mourning in the midst of which the deified Hercules, taking shape in the air above, speaks to his mother, bidding her no longer mourn, for he has at last gained his place in heaven.The chorus strikes a fitting final note, that the truly brave are not destined to the world below:But when life's days are all consumed,And comes the final hour, for themA pathway to the gods is spreadBy glory.
Exode.—Philoctetes enters, and, in response to the questions of the nurse, describes the final scene on Oeta's top. There a mighty pyre is built, on which Hercules joyfully takes his place. There he reclines, gazing at the heavens, and praying his father, Jupiter, to take him thither, in compensation for his service on the earth. His prayer seems to be answered, and he cries aloud:
"But lo, my father calls me from the sky,And opens wide the gates. O sire, I come!"And as he spake his face was glorified.
"But lo, my father calls me from the sky,And opens wide the gates. O sire, I come!"And as he spake his face was glorified.
"But lo, my father calls me from the sky,And opens wide the gates. O sire, I come!"And as he spake his face was glorified.
"But lo, my father calls me from the sky,
And opens wide the gates. O sire, I come!"
And as he spake his face was glorified.
He presents his famous bow and arrows to Philoctetes, bidding him for this prize apply the torch and light the pyre, which his friend most reluctantly does. The hero courts the flames, and eagerly presses into the very heart of the burning mass.
In the midst of this narrative, Alcmena enters, bearing in her bosom an urn containing the ashes of Hercules. The burden of her lament is that so small a compass and so pitiful estate have come to the mighty body of her son, which one small urn can hold. But when she thinks upon his deeds, her thoughts fly to the opposite pole:
What sepulcher, O son, what tomb for theeIs great enough? Naught save the world itself.
What sepulcher, O son, what tomb for theeIs great enough? Naught save the world itself.
What sepulcher, O son, what tomb for theeIs great enough? Naught save the world itself.
What sepulcher, O son, what tomb for thee
Is great enough? Naught save the world itself.
Then she takes up in quickened measures her funeral song of mourning in the midst of which the deified Hercules, taking shape in the air above, speaks to his mother, bidding her no longer mourn, for he has at last gained his place in heaven.
The chorus strikes a fitting final note, that the truly brave are not destined to the world below:
But when life's days are all consumed,And comes the final hour, for themA pathway to the gods is spreadBy glory.
But when life's days are all consumed,And comes the final hour, for themA pathway to the gods is spreadBy glory.
But when life's days are all consumed,And comes the final hour, for themA pathway to the gods is spreadBy glory.
But when life's days are all consumed,
And comes the final hour, for them
A pathway to the gods is spread
By glory.
Prologue.—Neptune appearing from the depths of the sea, briefly recounts the story of the overthrow of Troy, which he laments, states the present situation of the Trojan women, dwells upon the especial grief of Hecuba, and places the blame for all this ruin upon Minerva:But, oh my town, once flourishing, once crownedWith beauteous-structured battlements, farewell!Had not Minerva sunk thee in the dust,On thy firm base e'en now thou mightst have stood.To him appears Minerva, who, though she had indeed helped the Greeks to their final triumph over Troy, had been turned against them by the outrage of Cassandra on the night of Troy's overthrow. She now makes common cause with Neptune,and plans for the harassing of the Greek fleet by storm and flood on the homeward voyage. The Greeks are to be taught a lesson of reverence:Unwise is he, whoe'er of mortals stormsBeleaguered towns, and crushed in ruins wastesThe temples of the gods, the hallowed tombsWhere sleep the dead; for he shall perish soon.[The two gods disappear.]Hecuba, lying prone upon the ground before Agamemnon's tent, gives voice to her sufferings of body and of spirit; laments her accumulated losses of home, friends, station, liberty; blames Helen for all, and calls upon the chorus of captive women to join her in lamentation.
Prologue.—Neptune appearing from the depths of the sea, briefly recounts the story of the overthrow of Troy, which he laments, states the present situation of the Trojan women, dwells upon the especial grief of Hecuba, and places the blame for all this ruin upon Minerva:
But, oh my town, once flourishing, once crownedWith beauteous-structured battlements, farewell!Had not Minerva sunk thee in the dust,On thy firm base e'en now thou mightst have stood.
But, oh my town, once flourishing, once crownedWith beauteous-structured battlements, farewell!Had not Minerva sunk thee in the dust,On thy firm base e'en now thou mightst have stood.
But, oh my town, once flourishing, once crownedWith beauteous-structured battlements, farewell!Had not Minerva sunk thee in the dust,On thy firm base e'en now thou mightst have stood.
But, oh my town, once flourishing, once crowned
With beauteous-structured battlements, farewell!
Had not Minerva sunk thee in the dust,
On thy firm base e'en now thou mightst have stood.
To him appears Minerva, who, though she had indeed helped the Greeks to their final triumph over Troy, had been turned against them by the outrage of Cassandra on the night of Troy's overthrow. She now makes common cause with Neptune,and plans for the harassing of the Greek fleet by storm and flood on the homeward voyage. The Greeks are to be taught a lesson of reverence:
Unwise is he, whoe'er of mortals stormsBeleaguered towns, and crushed in ruins wastesThe temples of the gods, the hallowed tombsWhere sleep the dead; for he shall perish soon.[The two gods disappear.]
Unwise is he, whoe'er of mortals stormsBeleaguered towns, and crushed in ruins wastesThe temples of the gods, the hallowed tombsWhere sleep the dead; for he shall perish soon.
Unwise is he, whoe'er of mortals stormsBeleaguered towns, and crushed in ruins wastesThe temples of the gods, the hallowed tombsWhere sleep the dead; for he shall perish soon.
Unwise is he, whoe'er of mortals storms
Beleaguered towns, and crushed in ruins wastes
The temples of the gods, the hallowed tombs
Where sleep the dead; for he shall perish soon.
[The two gods disappear.]
Hecuba, lying prone upon the ground before Agamemnon's tent, gives voice to her sufferings of body and of spirit; laments her accumulated losses of home, friends, station, liberty; blames Helen for all, and calls upon the chorus of captive women to join her in lamentation.