[18] After the two dramas of the Attic masters, Heracles
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appears only once in the extant literature of ancient Tragedy. Seneca founded his
Hercules Furens on the play of Euripides, and his
Hercules Oetaeus on the play of Sophocles. It would be profitless to institute a detailed comparison between the
Trachiniae and a work which Seneca, in the fashion of his day, composed rather as a rhetorical exercise than as a piece for the stage. Those who read it, with the Greek model present to their minds, can only wonder how the Roman's brilliant gifts of expression, —which shine in epigram and, at moments, reach a true elevation of sentiment,—could co-exist with such abject tastelessness, such extravagance of bombast, such insensibility to proportion. Yet, in one respect, a comparison is very interesting. If the Phaedra of the
Hippolytus has fared ill at Seneca's hands, far worse is the transformation which he has effected in the Deianeira of the
Trachiniae. The following lines describe
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Deianeira's behaviour when Iolè first arrives at Trachis:—
Ut fulsit Iole, qualis innubis dies
Purumve claris noctibus sidus micat,
Stetit
furenti similis ac torvum intuens
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,— like ‘an Armenian tigress,’ the poet adds, or ‘a Maenad shaking the thyrsus.’ Then Deianeira prays Juno to torment Heracles with all imaginable plagues
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; and finally avows her own readiness to kill him
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. Certainly Seneca has protected our sympathy with the hero from competition; but the hero himself, bragging and whining by turns, fails to profit by that advantage. The
Hercules Oetaeus became the model of Rotrou, in his tragedy entitled
Hercule Mourant
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; and also influenced, in a greater or less degree, several other French dramas on the same theme
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. It was inevitable that the Latin writer, rather than Sophocles, should be imitated by a French dramatist of the seventeenth century. Apart from this, however, the Deianeira of Seneca, considered as a general type, would be more truly congenial to the French stage. It was difficult for the Latin races to imagine a woman, supplanted in her husband's love, who did not wish to kill somebody,—her rival, or her husband, or both. Ovid's Deianeira is by no means so bad as Seneca's; but she, too, has the impulse to destroy Iolè
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. The Deianeira of the
Trachiniae, with anguish in her soul,—intent on regaining her lord's heart, but not angry, not malevolent towards him or towards Iolè,—this Deianeira is a creation of the Hellenic spirit, refined by the sweetness, the purity, the restrained strength of Athens at her best; if any one would see the spiritual kinswomen of this Deianeira, he must look for them on the grave-reliefs of the Cerameicus.