Three tragedies of Seneca: Hercules furens, Troades, Medea;

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MACMILLAN'S LATIN CLASSICS

Edited by JAMES C. EGBERT, PhJ).
ProfessorofLatin^ Columbia University

THREE TRAGEDIES OF SENECA

THE MACMILLAN COMPANY

NEW YORK • BOSTON • CHICAGO
ATLANTA • SAN FRANCISCO

MACMILLAN & CO., Limited

LONDON • BOMBAY • CALCUTTA
MELBOURNE

THE MACMILLAN CO. OF CANADA, Ltd.

TORONTO

THREE TRAGEDIES OF

SENECA

HERCULES FURENS

TROADES

MEDEA

-^ITH AN INTRODUCTION AND NOTES
BT

HUGH MACMASTER KINGERY, Ph.D.

PBOFseeoB nr wabasb colusk '<J:- ,(

We(D gotfe

THE MACMILLAN COMPANY

1909

AU righU reaerved

L

*b »^. IS^. Xo

HARVARD COLLEGE LIBRARY

SHELDON FUND

JULY 10. 1940

Copyright, 1908,
By the MACMILLAN COMPANY.

Set up and electrotyped. Published February, 1908. Reprinted
September, 1909.

NortDooH i^ress

J. 8. CuBhing Co. —Berwick & Smith Co.

Norwood, Mass., U.S.A.

PREFACE

The last decade has seen a revival of interest in the
Latin Tragedy, which had long been neglected. In many-
colleges and universities the plays are studied now either
in independent courses or as supplementary to work in the
Comedy. The neglect, no doubt, was due in part to the want
of available editions with English notes. On the Continent
of Europe, especially in Germany, much labor has been de-
voted to the constitution of the text, and many monographs
on various phases of the subject have been published. In
England and America, on the other hand, little has been
done for many years.

It has been the fashion to dismiss the Senecan tragedies
airily as unworthy of serious attention ; but such criticism
seems to have been based in most cases on slight first-
hand acquaintance with them. Undeniably they have their
faults, yet have withal a real interest and value, first as the
sole remains of an important branch of Roman literature,
second for their own content and style, and third for their
direct and powerful influence upon the English drama of
the Elizabethan age. Most of them, furthermore, may be
compared directly with their Greek originals, an advantage
we do not enjoy in studying the Latin Comedy.

In this edition no attempt at a critical treatment of the
text has been made, but the aim throughout has been to
give such aid as will enable an intelligent student of aver-
age preparation to understand and appreciate the plays
themselves. The mythological lore in whick l\i^^ ^\.^ 'SKi

v

vi PREFACE

rich is explained or illustrated in the notes by frequent
citation of Latin (and occasionally of Greek) authors. Such
original authorities as Apollodorus for Hercules and Apol-
lonius Rhodius for Medea and the Argonauts have been
consulted, but, being outside the range of works usually
studied by undergraduates, are quoted very sparingly. Sen-
eca's indebtedness to Ovid and Vergil is illustrated by nu-
merous quotations from those poets.

It is assumed that the student of these tragedies has a
good reading knowledge of the Latin of Vergil, Horace and
Ovid ; hence little notice is taken of ordinary questions of
form or syntax, and no direct reference to the grammars is
given. Particular reference to the dictionary is made for a
few extraordinary word-meanings, but in general all neces-
sary explanation is given in the notes, which are very
full.

The treatment of versification in the introduction has
been governed by a desire to present the essentials in
simple and practical form with a minimum of technical
terminology. Especially may the discussion of iambic verse
appear to some unduly elementary ; but in view of the un-
satisfactory handling of the subject in our school grammars
it has seemed wise to err on the side of too great rather
than too little fullness. For the same reason, in the in-
terest of simplicity, the glyconic and asclepiadean measures
are presented as choriambic instead of logaoedic. As a
guide to the reading of the verse the principal ictus of
each measure is indicated in the text by printed axjcents,
as is common in editions of Plautus and Terence.

The text in the main follows Leo (Berlin, 1879), modi-
fied in a few instances by reference to Richter's edition of
1902. In most cases any departure from Leo's text is men-
tioned in the notes; but for the purpose of this series it has

PREFACE vii

not been thought desirable either to print the variants or to
devote much space to discussion of textual questions.

Acknowledgment is due to Professor James C. Egbert,
the general editor of the series, for his courtesy and helpful
suggestions, and to my colleague. Professor Daniel D. Hains,
for assistance in the difficult work of reading proof on the
Latin text.

Wabash Collbos*

CONTENTS

Introduction p^^^

Tragic Literature at Rome 1

The Senecan Tragedies 3

Greek Models . 6

Stage Setting 8

The Question of Authorship 9

Seneca's Life 11

The Language and Style 14

Seneca's Works 15

Versification 16

Iambic Measures 16

Trochaic Measures 19

The Sapphic 19

Choriambic Measures 20

Dactylic Verse 21

Anapestic Verse 21

Manuscripts 23

Editions 23

Text

Hercules Furens 27

Troades 73

Medea 115

Notes

On the Hercules Furens 153

On the Troades 211

On the Medea 265

ix

ABBREVIATIONS USED IN THE INTRODUCTION AND
NOTES

A., Aen. Aeneid.

Ach. Achilleis (Statins).

Ag. Agamemnon (Seneca).

Am. Amores (Ovid).

Ann. Annales (Tacitus).

A.P. Ars Poetica.

Brev. Vit. De Brevitate Vitae

(Seneca).
C, Carm. The Odes of Horace or

Catullus.
C.S. Carmen Saeculare.
De Prov. De Providentia (Seneca).
E. Eclogues of Vergil.
Epig. Epigrams (Seneca).
Epist. Epistles (Cicero, Seneca,

Pliny).
Eur. Euripides.
P. Fasti (Ovid).
Fab. Fabulae (Hyginus).
frag. Fragments of Latin tragedy.
G. Greorgics of Vergil.
Germ. Gtermania (Tacitus).
Hec. Hecuba (Euripides).
H.F. Hercules Furens (Euripides,

'Seneca).
H.O. Hercules Oetaeus (Seneca).
n. Diad.
I.O. Institutio Oratoria (Quin-

tilian).
M., Met. Metamorphoses.
Med. Medea (Seneca).

N.D. De NaturaDeorum (Cicero).
N.H. NaturalisHistoria (Pliny).
N.Q. Naturales Quaestiones

(Seneca).
Oct. Octavia (Seneca).
Od. Odyssey.
Oed. Oedipus (Seneca).
Phaed. Phaedra (Seneca).
Phais. Pharsalia (Lucan).
Phil. Philippics (Cicero).
Rem. Am. Bemedium Amoris(Ovid).
R.N. De Berum Natura (Lucretius).
S., Sat. Satires (Horace, Juvenal).
Tac. Tacitus.
Theb. Thebais (Statins).
Thy. Thyestes (Seneca).
Tr., Trist. Tristia (Ovid).
Tro. Troades (Euripides, Seneca).

art., artt. article, articles.

of. confer, compare.

CI. Diet. Classical Dictionary.

f.. If. following.

fin. at or near the end.

init. at or near the beginning.

lit. literally.

n. note.

p., pp. page, pages.

8C. adlicet, understand, supply.

tr. translate.

v., w. verse, verses.

THREE TRAGEDIES OF SENECA

INTRODUCTION

Tragic Literature at Rome

For the first five centuries of her history Rome was too
busily engaged in maintaining her existence against the
perils of dissension within and the attacks of hostile neigh-
bors to give much attention to the gentler arts. By the
end of that time she had extended her control over the
whole of Italy (except the valley of the Po), and had come
into contact with the Greek colonies that fringed the
southern coasts. Educated Greeks were brought to
Rome as captives, and to some of them was given the
duty of teaching the young. This led to the development
of the first formal literature of Rome.

One of the prisoners so employed was L. Livius An-
dronicus, who in the year of the city 514 (b.c. 240) pro-
duced the first formal play ever given at Rome. Prob-
ably it was little more than a translation of some Greek
play, but it was a revelation to the uncultured Romans,
and so appealed to their fancy that other works soon were
produced by Livius and his imitators.

Gradually practice and rivalry brought about an im-
provement in form and workmanship, and presently one
and another ventured to introduce new features. In
place of mere translation, whether bald or free, came the
interpolation of incidents and dialogue not in the original,
the welding together of two plots (contamination a.\vd t^Vsa

2 THREE PLAYS OF SENECA

introduction of bits of local color to render the scenes
more intelligible to the untraveled Roman. Especially
was this done in the Comedy, as is seen in the extant plays
of Plautus and Terence.

In Tragedy the earliest names after Livius are those of
Naevius, Ennius and Pacuvius. All these borrowed freely
from the Greek ; but presently the Roman's national pride
suggested an attempt at a national drama, and the result
is seen in the fohvlae praetextae of Naevius and his suc-
cessors. In these, while the form of the Greek play was
preserved, both plot and characters were purely Roman.
We meet such titles as the Romulus of Naevius, the
Paullus of Pacuvius, and the Brvius and the Aeneadae of
Accius.

Unfortunately we have of these earliest products of the
Roman tragic muse nothing more than a list of titles and
a few of the merest fragments — too meager data for the
formation of any independent judgment of their merits.
For this we must rely on the opinions of ancient critics
who had access to the plays in their entirety. Cicero
constantly professed a great admiration for Ennius,
though rather as an epic than as a tragic poet. Varro is
quoted as having declared Pacuvius a model of richness
in diction. To Pacuvius and Accius Quintilian assigns
the foremost place among the early tragic writers in vigor
of thought and expression and in the dignity of the char-
acters they had created. The popularity still enjoyed by
these old productions in the time of Augustus provoked
the sarcastic protest of Horace (see especially Epist. 2. 1.
18-75). In general, the Roman critics of later times ad-
mitted the courage and vigor of these pioneers in htera-
ture, while at the same time they deplored the rudeness

INTRODUCTION 3

of their style; but this, as Quintilian observes, was due
less to themselves than to their time.

Interest in Tragedy soon was overshadowed by the
growing popularity of the Comedy, which appealed more
powerfully to the Roman taste ; and, while the comedies
of Plautus and Terence were still popular in the Augustan
Age, the custom of presenting tragedies on the stage seems
soon to have died out. A natural result was the diversion
of literary effort into other channels, and in the half
century following the death of Accius there was but one
tragic writer of any note — L. Julius Caesar Strabo.
After Accius, indeed, it is probable that works of this sort
were composed rather as literary experiments and for
private reading or at most for declamation than for ex-
hibition on the stage. Many of the later poets tried their
skill in tragic composition, among them Q. Cicero, Varro,
Varius, Asinius PoUio, Ovid, Pomponius Secundus and
Seneca — some of them with considerable success, if we
may accept the judgment of Quintilian (I.O. 10. 1. 98).
In all we meet the names of thirty-six Roman poets who
wrought or dabbled in this field, and the number of their
works amounts to about one hundred and fifty.

The Senecan Tragedies

Of all this mass of tragic literature we have to-day,
aside from inconsiderable fragments, only the plays which
bear the name of Seneca. Nine of the ten are adapta-
tions from the Greek, while one, the Octavia, is a prae-
texta. Fortunately most of the Greek originals are ex-
tant, so that comparison with them is possible — an
advantage we do not enjoy in studying the Latin Comedy.
Thus we find that Seneca's Agamemnon ^^.^ Viorto^^^

4 THREE PLAYS OF SENECA

from Aeschylus, the Oedipus from Sophocles, and no less
than five of the others — the Medea, the Hippolytus or
Phaedra, the Hercules Furens, the Troades or Hecuba,
and the Phoenissae — "from Euripides. In fact, it is
worthy of note that from the first it was not the solemn,
stately idealism of Aeschylus and Sophocles but the human
re^sm of Euripides that most attracted the Romans.
From the time of Ennius down it was Euripides who was
copied most often.

In most cases the Senecan characters bear the same
names as in the Greek originals, and in essential features
are the same; though they differ in matters of detail
and often are inferior in distinctness of conception and
consistency of development. In plot the Roman author
has not ventured to vary far from his models, though
here and there he has altered the arrangement as well as
the relative importance of certain scenes. For instance,
the Hercules Furens opens with a scene, not in Euripides,
in which Juno foreshadows the catastrophe; and the
Troades is a contamination of two plays of Euripides.
As a rule the Latin plays are considerably shorter than
their Greek prototypes. New characters are not intro-
duced, but frequently one or another is omitted.

The chorus is retained as in the Greek, though (since
the orchestral pit in the Roman theater was occupied by
seats for the senators) there was no space provided for
the choral dance. In early times the chorus may have
had a place on the stage, and its retention in tragic com-
position after public representation ceased was due prob-
ably to tradition and to the opportunity thus afforded for
experiment in lyric passages. Horace's precept, Actoris
partes chorus . . . defendat, can hardly be said to have

INTRODUCTION 5

been observed in these plays. There is little of that direct
participation in the development of the plot which is
assigned the chorus by the Greeks and especially by
Aeschylus. Its part here is more formal and artificial —
it is rather a set passage on some lyric theme suggested
more or less directly by the context than an integral part
of the whole. In this as in his handling of the charac-
ters our author carries to an extreme an innovation of
Euripides.

The Octavia is constructed on the same general plan as
the other nine tragedies, having its dialogue and choruses,
but differing of course in plot and scene and presenting
also some pecuHarities of versification. Scholars are
pretty generally agreed now that it is later than the age
of Nero, though its author evidently was a close 'student
of Seneca^s thought and style.

While the Senecan tragedies are not arranged in trilo-
gies, there are some pairs in which both plays contain the
same principal characters. These are (1) the Oedipus
and the Phoenissae or Thebais, in which the downfall and
exile of the hapless Theban king are portrayed; (2) the
Thyestes and the Agamemnon^ whose theme is the house
of Pelops and its dark destiny; and (3) the two tragedies
in which the hero Hercules overshadows all the other
characters — the Hercules Furens and the Hercules
Oetaeus, The remaining plays are unconnected — the
Hippolytus or Phaedra, whose double title suggests its
plot; the Troades or Hecuba, dealing with the fortunes of
the royal house after the fall of Troy; and the Medea,
The three presented in this edition are the best, though
others, notably Thyestes, Agamemnon, Phaedra and
Octavia, are well worthy of study.

THREE PLAYS OF SENECA

Greek Models

The three plays contained in this volume conform
closely to corresponding plays of Euripides. The title
Hercules Furens is the Latin translation of the Greek
'HfMKXtfs M(uvo/Lt€vos, and the content of the two tragedies
is practically identical. The action of each begins with
a scene in which Amphitryon and Megara are standing
near the altar and the usurper Lycus enters to them. In
each Lycus threatens the others with death. In each
Hercules returns opportunely and kills the tyrant. In
each the hero becomes violently insane, kills his wife and
children, and then wakens to remors6 and despair. There
is some difference in the machinery of the plot, however.
Euripides represents the frenzy of Hercules as caused by
the actual apparition of Lyssa, the spirit of madness, led
in by Juno's messenger. Iris. This is omitted by the Latin
author, who instead introduces Juno in the first scene,
declaring her purpose to use Hercules' power against him-
self as the only possible means of subduing him. This is
less repellent to our modern taste, and by foreshadowing
the hero's madness makes that the natural climax of the
plot and gives it unity. Seneca also introduces a new
element in making Lycus propose marriage to Megara,
whose spirited refusal adds a new motive for his attempt
to take her life. Again, Euripides makes Theseus come
to Thebes after the madness of his friend. Seneca repre-
sents him as coming with Hercules in the first place, and
so opens the way naturally for the description of the in-
fernal world which he gives to Amphitryon and Megara
during Hercules' absence in search of Lycus.

Though there is little doubt that Seneca dfew upon

INTRODUCTION 7

other sources and may have originated portions of the
plot himself, it is fair to say that the Troades is a con-
tamination of two plays of Euripides. In the Hecuba of
the Greek poet the scene is laid in the Thracian Cher-
sonesus and the catastrophe is the death of Polyxena; in
his Troades the scene is Troy and the climax the death of
Astyanax. Seneca in his Troades skillfully weaves the
two plots together, laying the scene at Troy immediately
after its capture and working up naturally to the double
tragedy, which is reported to the Trojan women by a
messenger in the closing scene. Many differences of de-
tail may be pointed out: e.g. that in the Greek play it
is Ulysses who prevails on the Grecian leaders to sacrifice
Polyxena and who himself comes to lead her away; that
in the Greek she speaks at length and with spirit, but in
the Latin utters not a word; that Euripides makes the
herald announce the result of the lot to the captive
women, while Seneca lays this duty upon Helen, and so on.
In the Medea of Euripides as well as that of Seneca
time and scene are the same; in both she protests against
the injustice of her banishment and gains a respite of a
single day; in both she seeks a final interview with Jason
and upbraids him with his faithlessness, hstening with
scorn to his excuses ; in both she tries at first to recall her
recreant husband to his duty, and, failing in that, dis-
sembles her wrath but begins to plot her revenge. Of the
Euripidean characters Seneca omits the paedagogos and
Aegeus, king of Athens, and makes the two boys purely
miUae personae. He omits Medea's long address to the
chorus and the latter's promise of silence. On the other
hand, the entire fourth act of the Latin play is new. In
both ver^ioas the heroine is by far the strongest character^

8 THREE PLAYS OF SENECA

but she overshadows the rest more completely in the
Latin than in the Greek. Jason in the one play affirms
that his purpose in wedding the Corinthian princess is to
gain means of protection and support for Medea and her
children; in the other he frankly confesses that fear is
his motive. In the one case he is a smooth-tongued
egoist, in the other a self-confessed coward.

These are but typical points at which the Latin author
has departed from his Greek models; it will be an in-
teresting and valuable exercise for the student to make
the comparison exhaustive for one or more of the trage-
dies. One matter should not be forgotten: that while
Seneca undoubtedly had these plays of Euripides before
him as his ultimate models, he certainly was familiar with
later Greek versions and with some of them in Latin.
He was a great reader and imitator of Ovid, and Ovid
was the author of a Medea, now lost, of which Roman
critics {e,g. Quintilian and Tacitus) speak in the highest
terms. There were Latin tragedies also which dealt with
the scenes attending the fall of Troy (e.g, the Troades
and the Astyanax of Accius), and it is likely that so alert
and omnivorous a reader as Seneca was acquainted with
them all.

Stage Setting

Permanent theaters were long unknown at Rome. Of
those that finally were built the general plan was the
same. The stage was very long and narrow, with a per-
manent background representing the street front of one
or more houses which might stand for whatever scene
the particular play required. Immediately before the
stage and somewhat lower was a large space exactly semi-

INTRODUCTION 9

circular, filled with seats for the magistrates and those of
senatorial rank ; and back of these rose the cavea, or gen-
eral seating, in semicircular tiers. The cavea often would
accommodate many thousands of spectators. There was
no roof, though sometimes an awning was stretched over-
head to keep off the heat of the sun.

In the Hercules Furens the background would represent
the temple of Jupiter — possibly also the royal house —
with an altar in the foreground. For the Troades it is
possible we must think of the scene as changing. Cer-
tainly in Act III the action must take place before the
tomb of Hector, while the interview of Pyrrhus with
Agamemnon and the later scenes of the play would find
a fitter place within the burning city or in the Grecian
camp. For the Medea the background would represent
the royal palace and the home of Medea, and the final
appearance of the latter would be on the flat roof of her
house.

Two elements are recognized in the text of each play —
the diverhium or dialogue proper, and the cantica or
passages which were chanted to musical accompaniment.
In general the iambic verse represents dialogue and the
other meters cantica, though exceptions may be pointed
out.

The Question op Authorship

While all the manuscripts ascribe these tragedies to
"Seneca," there are circumstances which open the way
for the raising of a "Senecan question,'' and critics have
not been slow to embrace it. The several theories ad-
vanced are (1) that the plays are the work of the well-
known philosopher; (2) that some of them are his and

10 THREE PLAYS OF SENECA

the remainder from another hand, or other hands;
(3) that all are the product of collaboration by Marcus
and Lucius Seneca, the latter's brother Mela and the
young poet Lucan; and (4) that all are the work of an
entirely different person, whose real or assumed name was
Seneca.

It is impossible here to discuss these theories at length.
The opinion now prevails that the Octavia is not Lucius
Seneca's, and that the other nine are his, with the pos-
sible exception of the Agamemnon and the Hercules
Oetaeus, Of external evidence in support of this con-
clusion we have the mention of Seneca as a poet by
Quintilian, Pliny and Tacitus, the citation of the Medea
as his by Quintilian (see Med. 453 n.), the ascription of
four other tragedies in this collection to him by well-
known writers in the early centuries of our era (Oedipus,
Phaedra, Thyestes and Troades), and the negative fact
that we have no proof of the existence of a separate
Seneca tragicus. Of internal evidence we have the occa-
sional reference to contemporary events in which Seneca
was deeply interested; the close parallel in philosophical
principles and general tone of thought between the trage-
dies and the prose works which are indisputably his;
and the identity of literary style.

The case of the Octavia is different. Its omission from
the oldest and best manuscript, the fact that the phi-
losopher himself is one of the dramatis personae, the re-
markable forecasting (629-631) of the fate that befell
Nero three years after Seneca's death, and certain pecul-
iarities of style and meter, all have been cited as going
to prove a later origin ; and, while none of these arguments
is conclusive in itself, their cumulative force is consider-

INTRODUCTION 11

able. Various dates have been assigned for its composi-
tion, as eariy as the reign of Domitian and as late as that
of Hadrian or even later, but no definite conclusion has
been reached. Historically the Octavia agrees almost
perfectly with Tacitus. It is of especial interest as the
only example extant of the fahula praetexta,

Seneca's Life

Like so many other literary men of the Silver Age —
e,g, M. Seneca, Lucan, Martial, Quintilian — L. Annaeus
Seneca was a native of Spain. Born at Corduba (modern
Cordova) about the beginning of the Christian era, he
was brought to Rome at an eariy age and received a
liberal education. His natural taste led him in the direc-
tion of philosophy, and he seems to have studied the
theories of all the schools. Sotion the Alexandrian in-
spired in him a great admiration of Pythagoras and his
doctrines, and at one time he actually began to abstain
from the eating of flesh in accordance with the rules of
that sect; but later he received a deeper and more lasting
impression from association with his instructor Attalus
the Stoic, and his own philosophy, so far as it can be
assigned to any school, is Stoic.

Under the advice of his father, the distinguished rhetori-
cian M. Annaeus Seneca, he entered public Ufe as an advo-
cate. Here his pleadings were so successful as to arouse
the jealousy of the emperor Caligula, and he prudently
went into retirement. But other perils awaited him.
Claudius mounted the throne in a.d. 41, and almost
immediately was persuaded by his wife Messalina to
order Seneca's banishment to Corsica. There he solaced

12 THREE PLAYS OF SENECA

his grief and discontent by study and literary work.
It was at this time that he composed his epigrams, two
treatises "on consolation^' {dd Polyhium and ad Helviam),
and probably the tragedy Medea,

On Messalina's death in 49 her successor Agrippina
procured Seneca's recall and made him tutor to her son,
L. Domitius, afterward the emperor Nero. The next
five years were comparatively uneventful for Seneca, but
were marked by the gradual development of Agrippina 's
ambitious plans. She secured her son's adoption by the
emperor and his marriage with Claudius' daughter
Octavia; and on the emperor's death (a.d. 54) her prompt
action caused the recognition of Nero as his successor
instead of his own son Britannicus.

From this time on the life of Seneca is linked insepa-
rably with the history of Nero and his reign. As secretary
of the young monarch he composed the eulogy on Claudius
which Nero delivered in the senate, and shortly after
produced the Apocolocyntosis, a bitter satire on the dead
emperor. He is thought also to have prepared most of
the state papers during the early years of Nero's reign.

During his first five years of power the young prince
was almost wholly under the influence of his counselors
Burrus and Seneca, and governed with such wisdom and
moderation that the quinquennium Neronis was long
remembered for its peace and happiness. Agrippina,
however, whose courage and determination had advanced
her son to his high station, felt she was entitled to a con-
trolling voice in affairs, and soon came into conflict with
his more politic advisers. Enraged at being thwarted in
her plans, she began to utter threats of displacing Nero
with the true heir, Britannicus; and this led to the first

INTRODUCTION 13

act in the career of bloodshed that has rendered the name
of Nero forever infamous. Feeling that he could not be
safe while Britannicus lived, Nero had him taken ofif by
poison (a.d. 55). Then he began to treat his young wife
Octavia with coldness and cruelty. In time his mistress
Acte was displaced by Poppaea Sabina, who soon aspired
to be his lawful wife. Agrippina stood in the way of this
design, and she in turn was assassinated (a.d. 59); but
it was not till three years later that Nero finally dared to
divorce Octavia and marry Poppaea.. In June of a.d. 62
Octavia was banished to the island Pandataria, and
shortly after was murdered.

Meantime Seneca had maintained his position amid
increasing difficulties. He saw but dared not vigorously
oppose the growing depravity of his ward. He opposed
Agrippina^s ambitious schemes, yet it can scarcely be
believed that he advocated her death; though he prob-
ably wrote the dispatches in which Nero reported that
event to the senate, and Tacitus (Ann. 14. 11) says that
he incurred the hatred of the people by his attempt to
gloss over a deed so unnatural.

In A.D. 62 Seneca's friend and fellow-counselor Burrus
died, and thenceforth his own influence rapidly waned.
Soon he begged permission to go into retirement. For
three years more he lived, a mere spectator of events,
employing his enforced leisure in writing, as he had done
in Corsica. At last the blow fell. He was accused of
complicity in the plot of Piso (a.d. 65), and without a
trial was commanded to die. The story of his calm for-
titude in the closing scene is too familiar to require
repetition.

Seneca has been criticised severely both as maiv «A\d ^^

.14 THREE PLAYS OF SENECA

author. He has been accused of insincerity and incon-
sistency in his life and of empty verbosity in his writings.
It certainly is unfortunate for his fame that he lived under
such conditions. Inheriting wealth and rising early into
prominence, he could know the sweets of poverty, of which
he wrote so glibly, only in theory and not by experience.
His learning and abiUty cannot be questioned, and the
range and variety of his works prove his industry as an
author. In spite of some inconsistencies his philosophy
is pure and elevated, and his ethics so nearly Christian
as to have caused the belief in early times that he had
known and been influenced by the Apostle Paul, whose
first imprisonment in Rome occurred in Seneca's Ufetime.
It was his misfortune that his relations with Nero were
such as to render his practice of these principles so
difficult.

The Language and Style

In regard to word forms and syntax the Latin of Seneca
is essentially that of the Golden Age. Occasionally he
uses in his prose constructions which earlier were admissi-
ble only in verse, and gives this word and that a slightly
different shade of meaning, but in the main the mastery
of Cicero, Ovid and Vergil gives one the key to Seneca's
grammar. It was in his rhetoric that he founded a new
school. Ovid had made a beginning, but Seneca went
much further. Form became the essential thing. An
affectation of brevity, a straining after antithesis and epi-
gram, came to be the characteristics of his work and that
of his imitators (see Quintilian's criticism, I.O. 10. 1. 129).
In spite, however, of undeniable faults of style, there is
much that is good and more that is pleasing, and both for

INTRODUCTION 15

his own works and on account of his great influence no
study of Roman literature can afford to leave Seneca out
of account.

Seneca's Works

Seneca was a prolific and versatile writer. Of his prose
works the best known are some of the twelve books classed
as diahgi: (1) De Providentia, (2) De Constantia Sapien-
tiSy (3-5) De Ira^ (6) De Consolatione ad Marciam,
(7) De Vita Beata, (8) De Otio, (9) De Tranquillitate
Animi, (10) De Brevitate Vitae, (11) De Consolatione ad
Polybiwn, (12) Ad Helviam Matrem de Consolatione.

His other prose works still extant are: (a) two books
de dementia ; (b) seven books de Beneficiis ; (c) Naturales
QuaestioneSy a compilation of contemporary science in
seven books; (d) Epistulae Morales, a collection of 124
letters or moral essays in the form of letters, addressed
to LuciUus; and (a) fourteen short letters, indorsed as
genuine by St. Jerome but usually regarded as spurious,
purporting to have passed between Seneca and the Apostle
Paul (eight written by Seneca, six by Paul).

All together the prose works of Seneca now extant,
counting only those admitted to be authentic, cover more
than a thousand closely printed duodecimo pages. From
fragments, and citations in later writers, moreover, we
know that he wrote much in the fields of science, philoso-
phy and history that has been lost. Mention has been
made also of letters addressed to Novatus, and it is well
known that he composed many speeches and state papers
for Nero. His literary activity therefore must have been
very great.

The Apocolocyniosis, partly in prose, partly in verae^

16 THREE PLAYS OF SENECA

is the only complete example known to be extant of the
Satura Menippea. Its theme is the search of the lately
deceased emperor Claudius for his proper place in the
other world, and while it displays a good deal of ingenuity
and talent of a certain order, its flippancy and irreverence
make it distasteful to the modern reader.

The purely poetical works ascribed to Seneca are the
epigrams and the ten tragedies already discussed. All
display skill in the use of metrical forms, without, how-
ever, any high endowment of poetic genius.

The approximate order of composition has been placed
as follows: Before a.d. 41 the consolation ad Marciam;
during the period of exile (41-49) some of the tragedies,
including possibly the Medea, the epigrams, and two
treatises on consolation, ad Polyhium and ad Helviam;
within the next five years dialogues 3, 4, 5, 9, 10; within
the eight years following Nero's succession (54-62) De
dementia, De BeneficiiSy dialogues 2 and 7, and the
Apocolocyntosis ; and in the last three years of his life
dialogues 1 and 8, the Naturales Quaestiones, and the
Epistulae. The remaining tragedies were composed at
uncertain intervals. The Octavia must, of course, have
been written after 62 a.d.

Versification
Iambic

The standard verse for dramatic dialogue in both Greek
and Latin was the iambic trimeter. The characteristic
foot is the iambus (v>'— ), arranged in pairs or dipodies
(vy_^w_), three of which constitute a line. In the
dipody the ictus or metrical stress was stronger on the first

INTRODUCTION

17

than on the second member, and it is usual in printing to
represent only this heavier ictus. The theoretical form
of the trimeter, therefore, is wj^w-_wj1w_w^w — , as
seen in Horace's Bedtus ille qui procul negdtiiSj Epod.
2. 1, and throughout Catullus 4,

This theoretical form, however, is rarely met in prac-
tice, and if used constantly would have proved extremely
monotonous. To secure variety, or, as Horace put it
(A.P. 251), "that it might come to the ears more slowly
and with greater weight," the iambus came to be replaced
by the eq^uivalent tribrach (w 6 w), or, in the first foot
of each measure (the first, third and fifth feet of the
line), by the spondee (—j^), and the typical form of the
dipody became __ j^ w __ . From this it was but a short
step to the substitution of any equivalent of the spondee,
and so we meet its various resolutions — the anapest
(\j\^Z.) or the dactyl (_6w) as the first member of
any dipody, and rarely the proceleusmatic (\y kj 6 kj)
only in the first foot of the verse. The sixth foot always
is dissyllabic, either iambic or pyrrhic (\j6). The sub-
joined tables show the variations found in each foot, and
in each dipody.

The Various Feet

1

2

8

4

5

6

w

\j

W

W —

W

W!^

\J \J \^

www

www

www

\J \J —

WW

WW —

— \J \J

— WW

— w w

\J \J KJ \J

18

THREE PLAYS OF SENECA

The Various Measures

1

2

8

\y — w —

W — W —

W— \J^

KJ KJ KJ \J

w — www

\y ^ ^ W

\j \y \y V^ W V^

KJ —

w_

\J^

\J \J \J

www

\^ KJ — W

W W w

w w w ^

WW WWW

w w — www

WW W

— WW W

— WW w ^

WW www

— w w www

w w w w w _

It will be observed that the iambus may occur in any
of the six places, though it is rare in the fifth, which as a
rule is either spondee or anapest. In theory the tribrach
might appear in any foot except the last, but actually it
is found only in the first four. The remaining feet, the
spondee and its equivalents, each of four moraey can occur,
of course, only in the odd-numbered places, that is in the
first half of each dipody (see, however, notes on Tro. 264
and 932) ; and the proceleusmatic only in the first place.
The sixth foot is always dissyllabic, either iambus (w _)
or pyrrhic (ww), the final syllable being anceps.

It is an interesting fact that the ictus of the third foot
(the second printed accent) almost invariably coincides
with the prose accent. Sometimes the word is an unim-
portant monosyllable, but the only exceptions to the rule
are found in a few polysyllables, usually containing several
short syllables, whose original accent is supposed to have

INTRODUCTION 19

been recessive. If we regard this original accent as sur-
viving here the apparent exceptions become no e^ftsep-
tions at all. Examples are Ddnaides, H. F. 757; cineribus,
Tro. 195; mfsertas, Med. 253; scileribus, 499 ; fdcinorum,
561. MdchinatriXy Med. 266, and cdniugi (for cdniugii),
481, can be explained on the same principle. Sigeon,
Tro. 932, is discussed in the note on that line.

In Med. 771-786 the trimeter alternates with the iambic
dimeter, in which the same principles of quantity are
observed. The only other iambic verse met in these three
plays is in the short chorus, Med. 849-878, in anacreontics
(iambic dimeter catalectic), each stanza or strophe clos-
ing with a line one syllable shorter (iambic dimeter
brachycatalectic) .

Trochaic

The only simple trochaic verses found in these three
tragedies are in Med. 740-751 ; these are in the trochaic
tetrameter catalectic, often called the trochaic septenarius.
This consists in theory of seven trochees plus one long
syllable, the thesis of an incomplete foot; or, to state it
differently, of four trochaic dipodies (^w__v^), lacking
the arsis or final short syllable of the last. In practice
the first member of a dipody often is a tribrach (a trochee
resolved), and the second member either a spondee or
one of its resolutions, anapest or dactyl.

The Sapphic

Seneca uses the lesser sapphic in several of his choruses.
In H.F. 830-874 is a series of sapphics uninterrupted.
In Tro. 814-860 the series is broken up into stanzas ol

20 THREE PLAYS OF SENECA

irregular length by the insertion of three adonics, and the
chorus in Tro. 1009-1055 contains one adonic. In Med.
579-669 by supplying one hemistich (half verse) in 660
we have fourteen sapphic stanzas or strophes, seven of
four lines each (as in Horace's odes) and seven of nine
lines each, the last of each strophe being an adonic.

The lesser sapphic may be regarded as composed of
two trochaic dipodies (Z.w ) separated by a (cyc-
lic) dactyl, the normal scheme of the whole Hne being
^\j j^v^wj^w — v^, from which there are few varia-
tions. In Tro. 836, 1051, and in Med. 636 the arsis of the
second foot is resolved, bringing two dactyls in succession.
In Tro. 824 and 853 the dactyl in the third foot is re-
placed by a spondee, and the same is true of 852 unless we
regard cui in cuicumque as having two short syllables
instead of one long one. The caesura, always masculine,
occurs regularly in the third foot.

Choriamhic

The lesser asclepiadean and the glyconic may be re-
garded as variations of trochaic verse, but more simply as
choriambic. Each line opens with a spondee and closes
with an iambus (or pyrrhic) ; between these the glyconic
has one choriambus and the lesser asclepiadean two.
Their schemes, therefore, which are invariable, are : For
the glyconic Z.__|Z.ww_^| v^v^, and for the lesser ascle-
piadean Z. _ I /. w w ^ I jL\j kj j^\\j )iJL. The latter is
met in H.F. 524-591, Tro. 371-407 (408 being incomplete
with the scheme ^_^ v^ w j1), Med. 56-74, 93-109. The
glyconic occurs in H.F. 875-894, Med. 75-92.

INTRODUCTION 21

Dactylic

Seneca makes little use of the dactylic hexameter, the
six verses at the close of the first chorus in the Medea
(110-115) being the only examples in the plays here
treated. Of these v. 113 is spondaic.

Anapestic

The favorite choral measure in all the tragedies (occur-
ring twice in each of our three plays) is the anapestic
dimeter, consisting of four anapests or their equivalent.
In spite of its name there is no one of the four places
in which some substitute does not occur oftener than
the anapest itself. Thus the spondee is the favorite in
the first, second and fourth positions, and the dactyl in
the third. The dactyl does not occur at all in the second
or fourth place. Occasionally a short syllable is allowed
to stand at the end of the line, making a trochee instead of
a spondee or a tribrach instead of an anapest; but this
is relatively rare, being met but five times in Hercules
Fur ens y eight times in Troades, and twice in Medea; and
nearly all of these examples come at a distinct pause in
the sense. In order to preserve the quantity at the end
of a verse it often is necessary to count its final conso-
nant with the initial consonant of the following verse
to "make position." Hiatus between verses, which the
Greeks did not allow in this measure, is admitted by
Seneca; there are five instances in the Medea and six
each in Hercules Furens and Troades. Seneca does not
use the paroemiac, with which the Greeks regularly con-
cluded an anapestic passage.

22

THREE PLAYS OF SENECA

At irregular intervals throughout the anapestic pas-
sages appear monometers, or half-lines. In parts of the
first chorus in the Troades these may have been intro-
duced to assist in producing the effect of strophe and anti-
strophe, but in most cases there is no apparent law
governing their appearance.

In the following tables it is shown what feet occur in
each place, and also what combinations are found in each
dipody.

Thb Various Feet

1

2

8

4

W W

W W —

W W —

W W

— w w

— WW

w w w^

www

_w^

— w

The Various Measures
Arranged according to their frequency of occurrence

1

2

WW

WW

W W

WW WW

— WW w w

WW WW w

WW w

WW

WW

WW W W

W W

WW w

www

1 Only in monometers.

INTRODUCTION 23

Manuscripts

The manuscripts of the Senecan tragedies are grouped
in two general classes. The first of these includes the
Codex Etruscus (Laurentianus 37, 6), the oldest complete
copy (which, however, does not contain the Octavia), dat-
ing from the eleventh or twelfth century; the Ambro-
sianus (D276) and the Vaticanus (lat. 1769), both of the
fourteenth century and derived from a lost copy of the
Codex Etruscus J but containing the Octavia; and frag-
ments of a niuch older manuscript (fragmenta Am-
brosiana) containing detached portions of the Oedipus
and the Medea (of the latter vv. 196-274, 694-708 and
722-744). The remains of the Codex Thyaneus, of the
ninth or tenth century, have only fragmentary passages
from three plays (Tro. 64-164, Med. 579-594, and a few
scattered lines from the Oedipus).

To the second class are referred a considerable number
of copies, more or less corrupt, derived from a common
archetype of unknown date. This is supposed to have
been the work of a man of some learning, who did not
hesitate to modify the text when it suited his convenience.

Of all the manuscripts the Etruscan has been accepted
since the days of Gronovius as most authoritative.

Editions

The literature now accessible to the student of the
tragedies is relatively scanty. The most recent and
authoritative editions of the text are those of F. Leo,
Berlin, 1879, and G. Richter, Leipzig, 1902.

The old annotations in Latin by Delrius, Lipaius^

24 THREE PLAYS OF SENECA

Gruter, Scriverius, Gronovius and Schroeder have become
very rare. Two plays were edited with brief English
notes two generations ago by Professor Charles Beck of
Harvard College — Medea, 1834; Hercules Fur ens, 1845
— but these little volumes are long out of print and hard
to find.

In the latter part of the sixteenth century a considerable
interest was taken in the tragedies of Seneca, and there
can be no question that they, with Ovid's poems, exercised
a marked influence upon the English literature of that
period. A collection of English translations by different
hands was published in London in 1581 under the title
"The Tenne Tragedies,^' and this was reprinted some
years ago by the Spenser Society of Great Britain. There
is a German translation and commentary in three vol-
umes (two volumes of translation and one of notes) by
W. A. Swoboda, published at Prague, 1828-1830. Quite
recently an English metrical version was published by
Ella Isabel Harris, Ph.D. (The Clarendon Press, 1904).
An English translation in verse has just appeared from the
pen of Professor Frank J. Miller, Ph.D., of the University
of Chicago.

HERCULES

DRAMATIS PERSONAE

lUNO

Amphitryon

Meoara

Lycus

Hercules

Theseus

Chorus

SCAENA ThEBIS

THE PARTS TAKEN BY EACH ACTOR

I Hercules
Lycus
II Amphitryon

lUNO

III Theseus
Megara

HERCULES

lUNO

Sor6r Tonantis (h6c enim soliim mihi
nom^n relictum est) semper alieniim lovem
ac t^mpla summi vfdua deserui a^theris
lociimque caelo piilsa paelicibiis dedi ;
telMs colenda est : pa^lices caeliim tenent. s

hinc Arctos alta pdrte glacialfs poll
sublime classes sfdus Argolicds agit;
hinc, qud recenti v^re laxatiir dies,
Tyria6 per undas vector Europa^ nitet;
illfnc timendum rdtibus ac pont6 gregem lo

passfm vagantes ^xerunt AtMntides.
ferr6 minax hinc turret Ori6n deos
su^sque Perseus aiireus stelMs habet;
hinc cldra gemini sfgna Tyndarida^ micant
quibiisque natis mobilis telWs stetit. 15

nee fpse tan turn Bd,cchus aut Bacchf parens
adi^re superos : n6 qua pars probr6 vacet,
mundiis puellae s^rta Cnosiaca^ gerit.

Sed Vetera querimur — una me dira dc fera
Thebdna tellus spdrsa nuribus f mpiis 20

quoti^ns novercam f^cit I escenddt licet
meumque victrix t^neat Alcmen^ locum,
parit^rque natus dstra promissa 6ccupet,
in cdius ortus miindus impendft diem

27

28 THREE PLAYS OF SENECA

tardiisque Eoo Phoebus effulsft mari 2$

retin^re mersum iussus Ocean6 iubar —
non sf c abibunt 6dia ; vivac^s aget
viol^ntus iras dnimus et saevus dolor
aet^rna bella pd,ce sublatd, geret.

Quae b^lla ? quidquid h6rridum tellus creat 30

inimfca, quidquid p6ntus aut a^r tulit
terrfbile dirum pdstilens atrox ferum,
fractum dtque domitum est. superat et crescft malls
irdque nostra friiitur; in laud^s suas
mea v^rtit odia : diim nimis saeva f mpero, 35

patr^m probavi, gloriae feci locum,
qua S61 reducens qudque depon^ns diem
bin6s propinqua tfnguit Aethiopas face,
ind6mita virtus c61itur et tot6 deus

narrdtur orbe. m6nstra iam desiint mihi 40

min6rque labor est H^rculi iussa ^xequi,
quam mfhi iubere : la^tus imperia ^xcipit.
quae f^ra tyranni iiira violent6 queant
noc^re iuveni ? n^mpe pro telfs gerit
quae tfmuit et quae f udit : armatiis venit 45

le6ne et hydra, n^c satis terra^ patent:
effr^git ecce Ifmen infernl lovis

et opfma victi r^gis ad super6s refert. 48

vidi fpsa, vidi n6cte discussa fnferum 50

et Dfte domito sp61ia iactant^m patri
frat^rna. cur non vfnctum et oppressiim trahit
ipsiim catenis paria sortitum lovi
Ereb6que capto p6titur et retegit Styga ?
parum ^st reverti, fo^dus umbrariim perit : 49

patefd-cta ab imis mdnibus retr6 via est 55

et sdcra dirae mdrtis in apert6 iacent.

HERCULES 29

at file, rupto cdrcere umbrarum ferox,

de m^ triumphat ^t superbific^ manu

atnjm per urbes diicit Argolicds canem.

vis6 labantem C^rbero vidl diem 60

pavidiimque Solem; m6 quoque invasft tremor,

et t^ma monstri c611a devicti fntuens

timui fmperasse. 16 via sed nimiiim queror;

caelo timendum est, r^gna ne summa 6ccupet

qui vfcit ima: sc^ptra praeripi^t patri. 65

nee in dstra lenta v^niet ut Bacchiis via:

it^r ruina qua^ret et vacu6 volet

regn^re mundo. r6bore expert6 tumet,

et p6sse caelum viribus vincf suis

didicf t f erendo ; siibdidit mundo caput 70

nee fl^xit umeros m61is immensa^ labor

meliilsque collo s^dit Hercule6 polus.

imm6ta cervix sfdera et caelum tulit

et m6 prementem : quaint ad super6s viam.

Perge^fra, perge et mdgna meditantem 6pprime, 75

congr^dere, manibus fpsa dilacerd tuis :
quid tdnta mandas 6dia ? discedd,nt ferae,
ipse fmperando f^ssus Eurystheiis vacet.
Titdnas ausos rilmpere imperiiim lovis
emltte, Siculi v^rticis laxd specum, 80

telltis gigante Doris excuss6 tremens
supp6sita monstri colla terrificf levet — 82

sed vfcit ista. qua^ris Alcida^ parem ?
nemo 6st nisi ipse : b^lla iam secum gerat. 85

adsfnt ab imo Tdrtari fundo ^xcitae
Eum^nides, ignem Mmmeae spargdnt comae,
vip^rea saevae v^rbera incutidnt manus.
1 ntinc, superbe, ca^litum sed^s pete.

30 THREE PLAYS OF SENECA

humd,na temne. id,m Styga et man6s feros 90

fugisse credis ? hlc tibi ostendam Inferos.

revocdbo in alta c6nditam calfgine,

ultrd nocentum exHia, discord^m deam

quam miinit ingens m6ntis oppositl specus;

ediicam et imo Dltis e regno 6xtraham 95

quidquld relictum est : v6niet invisum Scelus

suumque lambens sdnguinem Impietds ferox

Err6rque et in se semper armatiis Furor —

hoc^h6c ministro n6ster utatiir dolor.

Inclpite, famulae Dltis, ardent^m citae 100

concdtite pinum et dgmen horrendum dnguibus
^ega^ra ducat dtque luctificd manu
vastdm rogo flagrante corripidt trabem.
hoc dgite, poenas petite vitiata6 Stygis.
concdtite pectus, dcrior mentem 6xcoquat 105

quam quf caminis Ignis Aetnaefs furit :
ut p6ssit animo cd^ptus Alcid^s agi,
magn6 furore p4rcitus, vobls prius
insdniendum est — Iiino, cur nondiim furis ?
me m6, sorores, m^nte deiectdm mea no

versdte primam, fdcere si quicquam dpparo
digniim noverca; v6ta mutentiir mea:
nat6s reversus vldeat incolum^s precor
mantique fortis r^deat. inveni diem,
invlsa quo nos H6rculis virtiis iuvet. 115

me vlcit ; et se vlncat et cupidt mori
ab Inferis reversus. hie prosit mihi
love ^sse genitum. stdbo et, ut certo ^xeant
emfssa nervo t61a, librab6 manu,

regdm furentis drma, pugnanti H6rculi 120

tandem favebo — sc^lere perfect6 licet

HERCULES 31

admlttat illas g^nitor in caeliim manus.

Mov6nda iam sunt b^lla : clarescf t dies
ortiique Titan Mcidus croce6 subit.

Chorus )..•'

Iam fSri mkant sid^ra prono 125

languf3a mun(|o ; nox vlcta vagos

contrdhit ignes.luc^ renata,^' '

cogf t iiitidum Phosph6ros agmen;

i^^gnu3D celsi glacidle poli 129

luc6m verso tem6ne vocat. 131

iam ca^ruleis ev6ctus equis

Titd,n summa pijpspicit Oeta;

iam Cddmeis inclitf^ Bacchis

asp^rsa die dumSa rubent 135

Phoeblque fugit reditura soror.

labQr ^xoritur durtis et omnes

agitdt curas aperitque domos.

Pae};6r geljda cand pruina
grege df misso pabiila-^arpit ; 140

ludft prato lib^r aperto
nondtim,rupta fronts iuvencus,
Vacuai^ reparant ub^ra matres;
§rrdt Gursu levis Incerto

mpUi petulans haediis in herba; ' , 145
pend^t summo stridiila ramo
^ penndsque novo trad^re soli
, -^'gestft querulos int^r nidos
Thracla paielex, turbdque circa
confiisa sonat murmiire mixto 150

tesjtdta diem.

:i-

32 THREE PLAYS OF SENECA

carbdsa ventis credit diibius

navlta vitae, lax6s aura

compl^nte sinus, hie 6xesis

pendens scopulis aut d^ceptos 155

instniit hamos aut suspensus

spectdt pressa praemf a dextra :

sentft tremulum lin^a piscem.

Haec, fnnocuae quibus 6st -vitae
tranqulUa quies et la^ta suo ^ ; 160

parv6que doiuiis; spes Immanes
urblbus errant trepidlque metus : 163

ill^ superbos aditds regum

durdsque fores cxp^rs. somni * 165

colit, hlc nullo fin^ beatas
comp6nit opes gazfsVinhians
et c6ngesto pauper in auro; -

illiim populi favor dttonitum
flucttique magis mobile vulgus 170

AUX& tumidum toll! t inani ;
hiQ cldmosi rabi6sa fori
iurgla Yfendens impr6bus iras
et v6rba locat. novlt paucos
sectira quies, qui v61ocis 175

memor^s aevi temp6ra numquam
reditiira tenent. Dum fdta sinunt
vivlte laeti : properdt cursu
vitd citato volucrlque die

rota ^radcipitis verti;tur anni; 180

dura6 peragunt p^nsS sorores
nee siia retro fild revplvunt.
at g6ns hominum flatiir rapidis
obvla f atis inc^rta sui :

HERCULES 33

Stygids ultro quaerfmus undas. 185

fhiuum, Alcide, pect6re forti
properds maestos vis6re manes :
cert6 veniunt temp6re Parcae,
nullf iusso cessdre licet,

null! scriptum prof^rre diem : 190

recipft populos xtrnA citatos.
Aliiim multis gloria terris
y traddt et omnes f amd per urbes
garriila laudet cael6que parem
tolldt et astris; aliiis curru 19s

sublfmiseat: me m6a tellus
lare s^creto tut6que tegat/ "*
venit dd pigros cand senectus,
humilfque loco sed c6rta sedet
sordlda parvae f ortiina domus : 200

alt^ virtus anim6sa cadit. —
Sed ma^sta venit crin^ soluto
Megard parvum comitdta gregem,
tarddsque senio grdditur Alcida^ parens.

Amphitryon

O mdgne^piympi rector et mundi drbiter, 205

iam stdtue tandem grdvibus aerumnfs modum
fin^mque cladi. nulla lux umqudm mihi
sectira fulsit ... ^/. - '

. . . finis alteriiis mali .' -

gradus 6st futuri : pr6tiixu8 reduef novus
pardtur hostis; dntequam laetdm domum . 210

contlngat, aliud iiissus ad bellum meat;
nee tilla requies t^mpus aut ulWm vacat,

34 THREE PLAYS OF SENECA

nisi dtim iubetur. s^quitur a prim6 statim

inf^sta luno : niimquid immunis fuit

infdntis aetas ? m6nstra superavlt prius 215

quam n6sse posset. g6mina cris.tatf caput

angu6s ferebant 6ra, quos contra 6bvius

reptd,bat infansj^gneos serp^ntium

ocul6s remisso Wmine ac placido fntuens;

art6s serenis viiltibus nod6s tulit, 220

et ttimida tenera giittura elid^ns manu

prolusit hydrae. Ma^nali pernix fera,

mult6 decorum pra^ferens aur6 caput,

depr^nsa cursu est ; mdximus Nemea6 timor

pressiis lacertis g^muit Herculefs leo. 225

quid stdbula memorem dlra Bistonif gregis

sufsque regem pdbulum armentfs datum,

solitiimque densis hfspidum Erymanthf iugis

Arcddia quatere n^mora Maenaliiim suem,

taunimque centum, n6n levem populfs metum ? 230

int^r remotos g^ntis Hesperian greges

past6r triformis If toris Tart^sii

per^mptus, acta est pra6da ab occasu liltimo;

nottim Cithaeron pd,vit Ocean6 pecus.

penetrdre iussus s61is aestivf plagas 235

et adusta medius r6gna quae torr^t dies

utrfmque montes s61vit ac rupto 6bice

latd,m ruenti f6cit Ocean6 viam.

post ha^c adortus n^moris opulentf domos

aurffera vigilis sp61ia serpentfs tulit; 240

quid ? sa^va Lernae m6nstra, numerosum malum,

non fgne demum vfcit et docuft mori,

solitdsque pennis c6ndere obductfs diem

petf t ab ipsis niibibus StympMlidas ?

„ HERCULES 35

non ylcit ilium ca61ibis semper tori 245

regfna gentis vidua Thermod6ntiae,

nee ad 6mne darum fdcinus audac6s manus

stabulf fugavit tiirpis Augef labor.

Quid ista prosunt ? 6rbe defens6 caret,
sens^re ten-ae pdcis auctor^m suae 250

ab^sse : rursus pr6sperum ao fell x scelus
virtiis vocatur; s6ntibus parent boni,
ius 6st in armis, 6pprimit leg^s timor.
ante 6ra vidi n6stra truculent^ manu
nat6s paterni cddere regni vfndices 255

ipstimque, Cadmi n6bilis stirpem tiltimam,
occfdere, vidi r^gium capitf decus
cum cdpite raptum — quls satis Thebds fleat ?
'" ferdx deorum t^rra, quern domintim tremis?
e ctiius arvis 6que fecund6 sinu 260

strict6 inventus 6rta cum ferr6 stetit
cuitisque muros ndtus Amphi6n love
struxft canoro sdxa modulatii trahens,
in ctiius urbem n6n semel diviim parens
cael6 relicto v^nit, haec quae ca^lites 265

rec6pit et quae f6cit et (fas sft loqui)
fortdsse faciet, s6rdido premitdr iugo.
Cadm6a proles dtque Ophioniiim genus,
quo r^ccidistis ? tr^mitis ignavurii 6xulem,
sufs carentem ffnibus, nostrfs gravem. 270

qui scelera terra qufque persequitur mari
ac 8SiAys(m^ sc^ptra confringft manu
nunc s^rvit absens f^rtque quae fieri vetat,
ten6tque Thebas 6xul Herculeds Lycus.
sed n6n tenebit. dderit et poend,s petet 275

subitdsque ad astra em^rget ; inveni^t viam

* - , '

/

36 • THREE PLAYS OF SENECA.

aut fdciet. adsis s6spes et reme6s precor
tand^mque venias victor ad victdm domum.

j
Megara .\

Emerge, coniunx, d,tque dispulsd,s manu
abrdmpe tenebras ; nulla si retr6 via aSo

it^rque clusum est, 6rbe diduct6 redi
et qufdquid atra n6cte possessiim latet
emftte tecum, dfrutis qualfs iugis /

praec6ps citato fliimini quaer^ns iter
quondam stetisti, scfssa cum vasto Impetu 285

patu6re Tempe ; p^ictpr^ impulsiis tuo
hue m6ns et illuc ciSssit et rupto dggere
novd cucurrit Th^ssalus torr^ns via :
talfs, parentes llberos patridm petens,
enimpe rerum t^rminos tecum ^fiferens, 290

et quldquid avida t6t per annonim gradus
absc6ndit aetas r^dde et oblit6s sui
lucfsque pavidos dnte te populos age.
indfgna te sunt sp61ia, si tantum refers
quantum Imperatum est. mdgna sed nimiiim loquor 295
ignd,ra nostrae s6rtis. unde illiim mihi . ■)y

quo t6 tuamque d^xteram amplectdr dieih '\{^[/

reditiisque lentos n6c mei memor^s querar ? ■' ' v
-tibi, 6 deorum ductor, indomitf ferent
cent^na tauri c611a ; tibi, frugum potens, 300

secr^ta reddam sdcra: tibi mutd fide
longds Eleusin tdcita iact^bft faces,
tum r^stitutas frdtribus reb6r meis
animds et ipsum r^gna moderant6m sua
flor^re patrem. si qua te mai6r tenet 305

HERCULES 37

clausiim potestas, s^quimur : aut omn^s tuo

def^nde reditu s6spes aut omn^s trahe —

trah^s nee uUus ^riget fract6s deus.

Amph. O s6cia nostri sdnguinis, castd fide , ♦"/

servdns torum natosque magnanimi H^rculis, 310 '

meli6ra mente e6ncipe atque animum ^xcita.

aderft profecto, qudlis ex omni solet

lab6re, maior. Meg. Qu6d nimis miserf volunt

hoc fdcile eredunt. Amph. Immo quod metuiint nimis

numqudm moveri p6sse nee tolll putant: 315

prona 6st timoris semper in peids fides.

Meg. Dem^rsus gjj^|6ssus et toto Insuper

oppr^ssus orbe qudm viam ad super6s habet ?

Amph. Q^am tiinc habebat cum per arent^m plagam

et ^ctuint§5 m6re turbatl maris 320

adit ^arenafe bisque disced^ns f retum /

et bis recurrens, ciimque desertd rate / ■>^.. -

depr6nsus haesit Syrtium brevibiis Vadis

et piippe fixa mdria superavft pedes.

Meg. Inlqua raro mdximis virtdtibus 325

f ortiina parcit ; n6mo se tut6 diu
perf culis off^rre tam crebrfs potest :
quern sa^pe transit cdsus, aliquando fnvenit.

Sed ^cce saevus dc minas vultii gerens
et qudlis animo est tdlis incessd venit 330

ali^na dextra sc^ptra concuti6ns Lycus.

Lycus

Urbfs regens opul^nta Thebana6 loca
/'et 6mne quidquid dberi cingit solo
obliqua Phocis,'' quidquid Ismen6s rigat,

38 TflREE PLAYS. OF SENECA

quidquld Cithaeroiiv^^rtice «xc^6 vl^et, 335

et blna findens IsthiAos exills freta

non Vetera patriae Mra posside6 domus ' -

igndvus heres ; n6biles non sunt mihi . ^■

avl nee altis Inclitum tituHs genus,

sed cldra virtus : qui genus iactdt suum, 340

ali^na l^udat. r^pta sed trepidd manu

^ceptra 6btinentur; 6mnis in ferro ^st salus:

quod cfvibus tendre te invitfs scias^

strictds tuetur 6nsis. alieno In loco , ^

haut stdbile regnum est; una sed nostras potest 345

fundd,re vires i^ncta regalf face

thalamfsque,Megarar diicet e genere Inclito '

novitds colorem n6stra. non equid^m reor'^^

fore lit recuset dc meos sperndt toros;

quod si Impotenti p^rtinax animo Abnuet, 350

Stat t611ere omnem p^nitus Herculedm domum.

invf dia factum ac s6rmo popularf s premet ?

ars prfma regni est p6sse f invidiam pati.

tempt^mus igitur, f6rs dedit nobfs locum.

namque fpsa, tristi v^stis obtentii caput 355

veldta, iuxta pra^sides astdt deos

laterfque adhaeret v6rus Alcida^ sator.

Meg. Quidnam fste, nostri generis exitium dc lues,

novl parat ? quid t^mptat ? Lyc. O clartim trahens

a stfrpe nomen r^ia, facilfs mea 360

panimper aure v6rba patienti 6xcipe.

si aet^rna semper 6dia mortal^s gerant

nee co^ptus umquam c6dat ex animfs furor,

sed drma felix tSneat infelfx paret,

nihil relinquent b^lla; turn vastls ager 365

squal^bit ajrvis, stibdita tectls face ^

HERCULES 39

V altus sepultas 6bruet gent^s ciriis.

pac6m reduci v611e victori 6xpedit, ^

vict6 necesse est -^ pdjiiiceps regn6 veni;
, soci^mur animis, pfgnus hoc fidef cape : 370

^ contfnge dextram. quid truci vultii siles?

Meg. Egone lit parentis sanguine aspersdm manum
' f ratriimque geimna ca^de contingdm ? prius
' e^nguet ortus, r^feret occasds diem,
^^ pa^ S^ij^te fida nivibus et flaminfs erit 37s

et Sc^Ila Siculum idnget Ausonid latus,

priiisque mult(i.(Yfcibus alterrils fugax
, Eiiripus unda stdbit Euboicd piger.

patrem dbstulisti, r6gi:ia, german6s, larem
' ' patridm — quid ultra est ? lina res super^st mihi 380

f ratre d-c parente cd-rior, regno dc lare :

odiiim tui, quod 6sse cum ]popul6 mihi

commdne doleo : pdrs quota ex ill6 mea est ?

domindre tumidus, spf ritus alt6s gere :

sequitiir superbos iSltor a terg6 deus. 385

Thebdna novi r^gna: quid matr^s, loquar

passds et ausas sc61era T quid ^eininiim nef as

mixtiimque,/nomen c6niugispatfjpatris?

quid bf na f ratnim cdstra ? quid totid^m rogos ?

rig^t ^ijperlb^ffrdnt&lis luctd parens 390

'"'"^TOaestiisauePhrygio mdnat ip. S^pyl6 lapis.

quin f psflk^torvum' si^Tgens crista caput
::111^^6^Uadmu/3^giiA permensiis fuga

longds reliquit c6rporis tractf notas.

haec \A manent ex^mpla : dominare lit libet, 39s

'^ 3iSm s6lita/egni fdta te nostrf vocent.

Lyc. Agedum ^feratas rdbida voces dmove

et dfsce regum imp6ria ab Alcid6 pati.

40 THREE PLAYS OF SENECA

*>

ego rdpta quamvis sc6ptracsrrctricf:geram

(iextrd regamque ciincta sine legiim metu - 400

quas drma vincunt, pauca pro causd loquar

nostrd. cruento c^cidit in bell6 pater?

cecid^re f ratres ? drma non sef vdnt modum ;

nee t^mperari fdcile nee r^rmil potest

stricti 6nsis ira, b6Tla delectdt cruor. 405

sed file regno pr6 suo, nos Improba j|, , '^

eupfdine acti ? qua^ritur belli ^xifiis,

non caiisa. sed nunc p6reat omnis m6moria:

euhi victor arma p6suit, et victum decet

dep6nere odia. n6n ut inflex6 genu / (. f, j ,vji . ^ 410

regndntem adores p^timus : hoc ipsiifa placet-" '^'^ "^

anim6 ruinas qu6d capis magn6 tuas;

es r6ge coniunx dfgna : sociemus toros.

Meg. Gelidiis per artjis v44^^ exangu6s tremor.

quod Mcinus aures pepulit ? haut equidem h6rrui, 415

cum pdce rupta b^llicus mur6s fragor

circtimsonaret, p^rtuli intrepide 6mnia :

thalam6s trenjesco ; cdpta nunc vide6r mihi.

grav6ni uatenae c6rpus et longd fame

mors pr6trahatur 16nta : non vinc^t fidem 420

vis tilla nostram ; m6riar, Alcid^, tua.

Lyc. Anim6sne mersus f nf eris conitinx f acit ?

Meg. Inf^rna tetigit, p6sset ut supera dssequi.

Lyc. Telluris ilium p6ndus immensa6 premit.

Meg. Nu116 premetur 6nere, qui caeMm tulit. 425

Lyc. Cog^re. Meg. CogT quf potegt^nescft mori.

Lyc. Effdre potius, qu6d novis tnalamfs parem

Regd-le munus. Meg. Aiit tuam mortem aiit meam.

Lyc. Mori^re demens. Mi:g. C6niugi occurrd,m meo.

Lyc. Sceptr6ne nostro fdmulus est poti6r tibi ? 430

HERCULES 41

.-U^'

Meg. Quot fste famulus trddidit reg6s neci.

Lyc. Cur 6rgo regi s^rvit et patitiir iugum ?

Meg. Imp6rifiC dura t611e : quid virtus erit?

Lyc. Obicl feris monstrfsque virtut^m putas ?

Meg. Virtiitis est domdi^ quae cunctl pavent. 43s

Lyc. Tenebrde loqu^tem md,gna Tartarean premunt.

Meg. Non 6st ad astra m611is e terris via.

Lyc. Quo pdtre genitus ca^litum sperdt domos? j

Amph. Miserdnda coniunx H^rculis magnl, sile:**^^'

partes meae sunt r^ddere Alcida^jpatrem 440

geniisque verum. p6st tot ingentis viri

n^emordnda fac^a p6stque pac^tum manu

quodciimque TitaiL6rtus et lab^s^videt,

post m6nstra tot perd6mita, post Phlegram Impio

sparsdm cruqre p6stque defens6s deos 44s

nondtim liquef^e pdtre ? mentimiir lovem ?

Iun6nis odio c r^de. Lyc« Quid violds lovem ?

mortdle caMo n6n potest iungl genus.

Amph. Cgmmiinis ista pldribus causa 6st deis.

Lyc. Famine fuerant d^nte^quam fier^nt dei ? 45©

Amph. I^sto^ Phera^osCp^lii^ pavlt greges — ^ f'

Lyc. Sed n6n per omnes 6xul erravlt plagas. l.>.^*V

Amph. Quern p^^fugaKterra^mdter errante ^didit.

Lyc. Num m6nstra saeva Phoebus aut timult feras?

Amph. Primiis sagittas Imbuit Phoebl draco. ,r 455

Lyc. Quam grdvia parvus tulerit 'ignords/lSLala ?

Amph, E mdtris utero fulmine eiectiis puer

mox Mlminanti pr6ximus patri stetit.

quid ? qu£ gubernat dstra, qui nub^s quatit,

n on Idt uit infans nipis Idaea^ specu? 460

j^iUci^^tan^ pr^tia natal^s habent

semp^rqu^magno c6nstititynascl deum.

42 THREE PLAYS OF SENECA

Lyc. Quemcdmque miserum vlderis, homin6m scias.

Amph. Quemciimque fortem vlderis, miserum neges.

Lyc. Fortem vocemus cdius ex umerfsleo, 465

doniim puellae fdctus, et clava 6xcidit f ^

f ulsf tque pictum v^ste Sidoni^ latira ?

fortem vocemus cuius horrent^s comae

madu6re nardo, laude qui notds manus

ad n6n virilem timpani movit sonum, 470

mitrd ferocem bdrbara front^m premens ?

Amph. Non ^rubescit Bdcchuis efifus6s'tener

sparsfsse crines n^c manu molU levem

vibrdre thyrsum, c;|^m parum^o^tf gradu

aur6 decorum s^rma barbaric6 trahit : 475

\post mtilta virtus 6perg, laxarf sojet,
""" "Lyc. Hoc Euryti fat^tur eVersf' cioifius

pecorumque ritu virginum oppressl greges;

hoc nulla luno, ndllus Eurystheus iubet;^ ^^,.

ipsfus haec sunt 6pera.^, Amph. Non nosti 6mma: 480

ipsfus opus est c^stibus fractiis suis

Eryx et ^ryci iiinctus Antaeus Libys,.

et qui h6spitali cdede manant^s focf

bib^re^iustum sdnguinem Busfridis;

ipsfus opus est vulneri et f^rro fnvius 485

mortem coactus Integer Cycniils pati

nea'iinus una G^ryon victus mahu. ■

eris Inter istos — quf tamen null6 stupro

laes^re thalamos. Lyc. Qu6d lovi hoc regi licet:

lovf dedisti c6niugem, regi dabit; .-J- 490

et t6 magistro n6n ;iovum hoc disc6t nurus,

etidm viro prbbdnte nlelior^m sequi.

sin c6pulari p4rtinax taedfs negat,

vel ^x coacta n6bilem partiim feram.

HERCULES 43

Meg. Umbrde Creontis ^t penates Ldbdaci 495

et nuptiales impii Oedipodae faces,

nunc s61ita nostro Mta coniugi6 date.

nunc, niinc, cruentae r^gis Aegyptl nurus,

ad^ste^^ulto sdnguine infectde m£^iji4s.

dest lina numero Ddnais : explebo nefas. . I 500

Lyc. CoiKuffia .quoniam p4rvicax nostra dbnuis

reg^mque TOrreS; sc^ptra quid possfnt scies.

compl^ctere aras: niillus,erij)i6t deus

te mlhi, nee orbe si ifemoirl^*qgcsat

ad stipera victor niimina Alcid^s vehi. 505

cong^rite silvas: t6mpla supplicibiis suis

ini6cta flagrent, c6niugem et totdm gregem

consiimat unus Igne suoil(jic6 rogus.

Amph. Jl9c mtinus a te g^nitor Alcidde peto,

rogdre quoii me d^ceat, ulb primiis cadanij^ 510

Lyc. Qui m6rte cunctosHSere suppiicitim iubet

nesclt tyranj;iu3 6sse: di versa Inroga;

misenim veta perlre, felic^m iube.

ego, diim cremandis trdbibus accrescft rogus,

sacr6 regentem mdria votiv6 colam. 515

Amph. Pro niiminum vis surg^g^ro cael6stium

rect6r parensque, ciiius -^xcxi^f^^ t^emunt

humdna fgES, Impiam reglS fen

comp4sce dextram — quid deos frustrd precor?

ubiciimque es, audi, ndte. cur ^ubit6 labant 52°

agitata motu t^mpla ? cur m'ugit solum ?

audfmur, est est s6nitus Herculel gradus. 523

44 THREE PLAYS OF SENECA

Chorus

6 Fortiina viris Invida f6rtibus,
qudm non a^qua bonis pra^mia dfvidis. 525

'Eiirystheus facilf r^gnet in 6tio;
JLlcmend genif;tis b^lla per 6mnia
m6nstris ^xagit/pt ca^liferdm manum :
s^rpentfs resect t c611a ferdcia,
d^ceptfs referat Hmfa sor6ribus, ^ 530

cum somno dederft p6rvigil^s gerais
p6niis dmfiBiis pra^positiis draco.'

Intravit Scythia6 multivagas domo^i^
6t genius patrils s6dibus h6fepitlfiS; *'^' '
cdlcavltque fretf t^rga rig^ntia 535

^t mutis tacitiim litjoribug mare.
fUic diira car^nt a^quora. flifctabus,
^t qua pl^na rat^s cd^ffiasa t^nderant,
Intonsfs teritiir s^mita Sdrmatis.
stdt pontus, vicibus m6bilis^nnuis, 540

ndvem mine fa^ilfs nunc eqiittem pati.
lllic qua^ vidufs, g^ntibus imperat,
ailrat6 religdns flia balteb,
d^traxft spolium n6bile c6rpQri
6t peltam ^\ elJv^^ vincula pectoris, 545

vfctor^m p6sit6 siispici^ns genti.

Qud spe^pra^cipit^s dctus ad inferos,
aiidax ire vids inremedbiles,
vldistf Sicula^ ;:6gna Pros6rpinae ?^ , /^ .t.»V ^
fllic nulla Not6 nulla Fav6nio ' 550

c6nsurgunt tumidis fluctibus a^quora;
n6n illfc geminum Tyndarida^ genus
succurnint timidis sf dera ndvibus :

,..V'>-

HERCULES 45

stdt nigr6 pelagiis gurgile Idnguidum,

6t cum M6rs avidls pdlljda d^ntibus 555

g^^tes Innumerds m^tt)us Intulit,

jfinq't6t populf r^mig0 trdnseunt.

Evincds utindmjiira fera6 Stygis »

Pdrcanimque colffiPndn revocdbiles. ^ it* -
hie qui r6x populfs pluribus fmperat, -^ * ^' 560
j^.b^iio ciim peter6s N^storedln Pylon,
t^cum c6nserult p^stiferds manus ;

t^lum t^rgemind; cuspid© pra6ferens :
6ffugft tenuf vulnere saiiciuq
, A 6t^ortfs dominusjp^rtimiif't mori. 565

P -^dtum nimpe mania, trfstibu^ inferis ^'

^ospectujs patedt Wcis et fnvius ^ " "'*
Kmes d^t facil^s dd super6s vias.
''* Tmnufes potuft fl6ctere cdntibus
limbranim domin6s 6t prece supplici 570

•Orpheus, Eiirydic^n diim repetft suam.
qua^ silvds et av^s sdxaque trdxerat ^ ,7
drs, quae pra^buerd,t fliiminibus moralf
d(^ cuius sonitiim c6nstiterdnt ferae,
.mutcet n6n solitfs v6cibus inferos 575

6t burdls resondt cMrius in locis.
d6flent Eurydic6n Thr6icia6 nurus,
d^flent 6t lacrimls dlfficil^s.dei,
6t qui i@nFe~nimi& crfmina t^trica
qua^runt dc veter^s ^xcutiunt reos 580

fl^ntes Eurydic6n iuridicf sedent.
tdndem m6rtis ait 'vincimur' Arbiter,
'6vade dd super6e>'46ge tam6n data:
tu post t6rga tuf perge virf comes,
tii non dnte tudm r^spice c6niugem, ^^

46 THREE PLAYS OF SENECA

r f

qudm cum cidra de6s 6btjjlerft dies
Spdrtanfque aderft idmia Ta^nari.'
6dit v^rus am6r n^c patitur moras :
miinus diim properat c^rnere, p6rdidit.

Qua^ vincf potuft r6gia cdrmine, 590

ha6c vincf poterft r6gia vfribus.

Hercules

O lucis almae rector et caeli decus,
qui alt6rna curru epdtia flammifero dmbiens
inliistre latis 6xeris terrfs caput,

da, Phoebe, vehiami, si quid inlicitiim tui 595

vid^re vultus : itissus in lucem 6xtuli
arcdna mundi. tuque, caelestum Arbiter
par6nsque, visus Mlmine opposit6 tege;
et tii, secundo mdria qui sceptr6 regis, , . yv-
imds pete undas. >.qufsquis ex alto dspicit 600

terr^na, facie p611ui metu6ns nova,
aci^m reflectat 6raque in caelum 6rigat
port^nta fugiens: h6c nefas cerndnt duo,
qui adv^xit et quae iiissit. in poend,s meas
atque fn labores n6n satis terrde patent 605

Iun6nis odio: vldi inaccessa 6mnibus,
ign6ta Phoebo qudeque deteri6r polus
obsciira diro spdtia concessit lovi;
et, si placerent t^rtiae sortis loca,

regndre potui : n6ctis aeternde chaos 610

et n6cte quiddam grdvius et trist^s deos
et fdta vidi, m6rte contemptd redi —
quid r^stat aliud? vldi et ostendi inferos,
da si quid ultra est, idm diu pateris manus

HERCULES 47

cessdre nostras, Idno ; quae vincf iubes ? 615

Sed t^mpla quare mfles infestus tenet
lim6nque sacrum terror armorum 6bsidet ?

Amphitryon

Utrdmne visus v6ta Jecipiiint meos,
an llle domitor ^jbis et Gmum decus
tristf silentem niibilo liquf t domum ? 620

estne file natus ? membra laetitid stupent.

o ndte, certa at s6ra Thebanim salus, " '
tene6ne in aiiras ^diitum an vand fruor
dee^ptus umbra ? tilne es ? amosc6 toros
umer6sque et alto n6bilem trUnc6 manum. 625

g H[erc. Unde Iste, genitor, squdlor et lugubribus
^raiicta coniunx? linde tam foedo 6bsiti '
'paed6re nati ? qude domum clad^s gravat ?
Amph. Socer 6st peremptus, r6gna possedit Lycus,
nat6s^parentemj c6niugemj let6 petit. 630

Herc. Ingrdta tellus, n^mo ad Herculede domus
auxflia venit ? vldit hoc tantiim nefas
■J ^ ' def^nsus orbis ? r- cur diem questii tero ?
mact4tur*nostia, Mnc ferat virtiis notam
fidtque summus h6stis Alcidde Lycus. 635

ad haiiriendum sdnguinem inimiciim feror,
Thes^u ; resiste, n6 qua vis subita f ngruat.
me b^lla poscunt, dfffer amplexiis, parens,
coniiinxque differ, nuntiet Ditf Lycus.
me idm redisse.

48 THREE PLAYS OF SENECA

Theseus

Fl^bilem ex oculfs fuga, 640
regfna, vultum, tuque nato s6spite
lacrimds cadentes r^prime : si novi H^rculem,
Lycus Creonti d6^bitas poenas dabit.
lentum ^st' dabit : dat ; l^c quqqi^e est lentiam : dedit.
Amph. Votum secundet quf potest nostrum deus 645

rebusque lapsis adsit. O magni comes
mAgndnime nati, pdnde virtutum 6rdinem,
qtiam 16nga maestos ducat ad man^s via,
ut vfncla tulerit dura Tartareus canis. - " ^

Thes. Memorare cogis dcta securde quoque ^650

horr^nda menti. vfx adhuc certa ^st fides ■ ^-^

vitd,lis aurae, t6rpet acies luminum •
hebet^sque visus vfx diem insuetiim ferunt.
Amph. Pervince, Theseu, quldquid alto in p6ctore
reman^t pavoris n6ve te fructu 6ptimo 655

fraudd laborUm: qude fuit durum pati,
meminfsse dulce est. fdre casus h6rridos.
Thes. Fas 6mne mundi t^que dominant6m precor
regn6 capaci t^que quam amotam fnrita
quaes! vit Enna mater, ut iura abdita 660

et op^rta terris liceat impune ^loqui.

Spartdna tellus n6bile attollft iugum,
densfs ubi aequt)r Ta^narus silvfs premit;
hie 6ra' solvit Ditis invisl domus

hidtque rupes dlta et immens6 specu 665

ing^ns vorago faucibus vastis patet
latumque pandit 6mnibus populis iter,
non ca^ca tenebris Incipit prim6 via;
tenuis relictae lucis a terg6 nitor

,. HERCULES 49

fulg6rque dubius s61is adflictl cadit 670

et liidit aciem : n6cte sic mixta solet
praeb^re lumen primus aut senis dies,
hine dmpla vawiis spdtia laxantur locis,
in quae 6mne versum pr6perat humandm genus,
nee Ire labor est j ipsa deducf t via : 675

ut sa^pe puppes a6stus invitds rapit, ^ , ,.
sic pr6nus aer urguet atque avidiim chaos,
gradfimque jetro fl6ctere haut umqudm sinunt
umbra^ tenaces. fntus immensf sinus
placid6 quieta Idbitur Leth^ vado 680

demitque cijras, n^ve remeandi dmplius
patent faCultas, fl^xibus multfs gravem J
inv61vit amnem : qudlis incertfs vagus
Maeander undis Wdit et cedit sibi

i^istdtque, dubius Iftus an font^m petat. 685

^ paiual inertia fo^da Cocytf i^cet ;
hie vultur, illic liictifer bub6 gemit
om6nque triste r^sonat infausta6 strigis. ^ , _
hoiT^nt opaca fr6nde nigrant^s; comae,
^t'axum fmminentem ^ud tenej segnls Sopor 690

Fam6sque maesta tabido rictii iacet
Pud6rque serus c6nscios vultiis tegit.
Metiis Pavorque fiirvus et frend^ns Dolor
at^rque Luctus s6quitur et Morbus tremens
et clncta ferro B^lla ; in extremo dbdita 695

in^rs Senectus ddiuvat bacul6 gradum.
Amph. Estne dliqua tellus C^re^is aut Bacchl ferax ?
THESj^Non prdta viridi la^ta facie g^rminant
nee aoulta leni fluctuat Zephyr6 seges;
non lilla ramos sllva pomifer6s habet : 700

sterilfs profundi v^titas squal^t soli

50 THREE PLAYS OF SENECA

et fo^da tellus t6rpet aetern6 situ. 702

imm6tus aer ha^ret et pigr6 sedet

nox d,tra mundo : cuncta maerore h6rrida 705

ipsdque morte p^ior est mortis locus.

Amph. Quid file opaca quf regit sceptr6 loca,

qua s^de positus t^mperat popul6s leves ?

Thes. Est in recessu Tdrtjiri pbscpr6 locus,

quern grdvibus umbris sp^sa'caligo dlligat. 710

a f6nte discors mdnat hinc un6 latex,

alt^r quieto similis (hunc iurdnt dei)

tac^nte sacram d^vehens fluvi6 Styga;

at hfc tumultu rdpitur ingentf ferox

et saxa fluctu v61vit Acheron fnvius 715

renavigari. cingitur duplicf vado

adv^rsa Ditis r^gia, atque ing^ns domus

umbrdnte luco t^gitur. hie vast6 specu

pendant tyranni Ifmina, hoc umbrfs iter,

haec porta regni. cdmpus hanc circd iacet, 720

in qu6 superbo dfgerit vultii sedens

animds recentes dfra maiestds dei.

frons torva, fratrum qua^ tamen speci^m gerat

gentisque tantae, vultus est illf lovis,

sed fulminantis : magna pars regnf trucis 725

est ipse dominus, cuius aspectus timet

quidqufd timetur. Amph. V^rane est fama fnferis

tam s^ra reddi iilra et oblit6s sui

scelerfs nocentes d^bitas poends dare ?

quis Iste veri rector atque aequi Arbiter? 730

Thes. Non unus alta s^de quaesit6r sedens

iudfcia trepidis s^ra sortitiir reis.

adftur illo Cn6sius Min6s foro,

Rhadamdnthus illo, Th^tidis hoc audit socer.

HERCULES 51

quod qufsque fecit, pd,titur; auctor^m scelus 735

repetf t suoque pr6mitur exempl6 nocens :
vidl cruentos cd,rcere includf duces
et Impotehtis t6rga plebeid manu
scindf tyranni. qulsquis est placid^ potens
dominiisque vitae s^rvat innocuds manus 740

et fncruentum mitis imperium regit
aiiim6que gjareitu 16nga permensus diu
felfcis aevi spAtia vel caeliim petit
vel la^ta felix n^moris Elysil loca,

iud^x futurus. sanguine humanq ibstine 745

quiciimque regnas : sc61era taiantiir modo
mai6re vestra. Amph. C6rtus inclus6s tenet
locii^ ;jl^centes ? litque fert fama, fmpios
Isuppllcia vinclis sa^va perpetufs^lomant?
Thes. Rjftpiijlr volucri t6ttus*lxi6n rota; 750

cervice saxum grd,nde Sisyphid sedet;
in^i^ne medio faiicibuq siccfs senexi?
^Bectltur undas, dlluit mentdm latex,
fid^mque cum iam sa^pe decept6 4edit,

destitiidnt famem. 755

aeternds dapes
urndsque frustra Ddnaides plends gerunt;
errdnt furentes fmpiae Cadm6ides !-*'
terr^tque mensas^dvida Phineds avi^,^
-^PH. Nunc 6de nati n6bilem pugndm mei. 760

pent linda/^n ore; .p6ma
^aeb^t Mucti Tf^os aet

i.'^'*'

patnil volentifi.munus an spoliiim refert?
Thes. Ferale tardis Imminet saxilm vadis,
stup6nt ubi undae, s^gne torpescft fretum.
hunc s^rvat amnem cultu et aspectu h6rridus
pavid6sque manes squdlidus vectdt senex. 765

inp^xapendet bdrba, deform^m sinum

^.'

52 THREE PLAYS OF SENECA

nodiis coercet, c6ncavae squal6nt genae;

regit ipse longo p6rtitor cont6 ratem.

hie 6nere vacuam|lltori puppem dpplicans

repet^bat umbras; p6scit Alcid^s viam 770

ced^nte turba ; dlrus exclamdt Charon :

' quo p^rgis, audax ? sfste properant^m gradum.'

non pdssus ullas ndtus Alcmend^ moras

ips6 coactum nd,vitam cont6 domat

scandftque puppem. ciimba populordm capax 775

succiibuit uni : smit et gravi6r rs^is

utrfmque Lethen Idtere ntutiantlT)ibit.

tum vlcta trepidant m6nstra, Centaurf truces

Lapitha^que multo in b^lla succensj;'mero^

Stygia^ paludis iiltimos quaer^ns sinuS ' 780

fecilnda mergit capita Lernaeiis labor.

post ha^c avari Dftis appar^t domus :

hie sa^vus umbras t6j?ritat Stygius canis,

qui t^rna vasto capita concuti^ns ^ono

regniim tuetur. s6rdidum tab6 caput 785

lambiint colubrae, vfperis horrent iubae

longilsque torta sfbilat caudd draco.

par Ira formae : s6nsit ut motus pedum,

att611it hirtas dngue vibrat6 comas

missilmque cap tat aiire subrectd sonum, 790

sentfre et umbras s61itus. ut propi6r stetit

love ndtus, antro s6dit incertiis canis

levit^rque timuit — 6cce latratu gravi

loca muta terret; sfbilat tot6s minax

serpens per armos. v6cis horrenda^ fragor 795

per 6ra missus t^rna felic^s quoque

ext^rret umbras. s61vit a laevd feros

tunc ipse rictus 6t Cleonaeiim caput

HERCULES 53

oppdnit ac se t^gmine ingentf tegit,

victrice magnum d6xtera robur gerens. 800

hue nunc et illuc v6rbere assidu6 rotat,
>" fog6minat ictus. d6mitus inf regit minas
et ciincta lassus cd,pita summisft canis
antr6que toto. c^ssit . extimuf t . sedens
ut^rque solio aoininus et duel iubet ; 805

me qu6que petenti milnus Alcida6 dedit^; . .. ■>-
Tum gravia monstri c611a permuloens maau
adamdnte texto vf ncit ; oblitus sui
£llst6i opaci p^rvigil regni canis

compdpit aures tfmidus et pati^ns trahi
'' ^riifnque fassus, 6re summisso 6bsequens,

810

utnimque cauda piilsat anguiferd latus.

postquam 6st ad oras Ta^nari ventum ^t nitor

percussit oculos liicis ignota6 novus,

resiimit animos vlctus et vastds furens 815

quassdt catenas; pa^ne victorem dbstulit

pronilmque retro v^xit et movft gradu.

tunc 6t meas resp^xit Alcid^s manus;

geminls uterque vfribus tractum canem

ird furentem et b^lla temptantem fnrita 820

intiilimus orbi. vfdit ut clanim diem

et piira nitidi spdtia conspexft poli, 822

compr^ssit oculos 6t diem invisum ^xpulit

faci6mque retro fl^xit atque.x)mni. petit 825

cervice terrajn ;- 4iim sub Herculeds caput

absc6ndit Umbras. — d^nsa sed laet6 venit

clam6re turba fr6ntibus laurum gerens

magnlque meritas H^rculis laud^s canit.

54 THREE PLAYS OF SENECA

Chorus

Ndtus Eurystheiis properdnte p^artu 830

iiisserat mundf penetrd,re fundum :
d6rat hoc solum numer6 laborum,
t^rtiae reg^m spolidre sortis.
aiisus es caec6s aditiis inire,
diicit ad man6s via qud remotos 835

trfstis et nigrd metu6nda silva,
s6d frequens magnd, comitdnte turba.

Qudntus incedft popuMs per urbes
dd novi lud6s avidds theatri,
qudntus Eleiim ruit dd Tonantem, 840

qulnta cum sacrum revocd,vit aestas;
quanta, cum longa6 redit h6ra nocti
cr^scere et somn6s cupi^ns quietoa
libra Phoebe6s tenet a6 qua currusy
tiirba secretdm Cerer^m frequentat 845

^t citi tectls properdnt relictis ^^ ^p*
jittici noct^m celebrdre my^tae:
tdnta per camp6s agitilr silentes
tiirba ; pars tardd graditiir senecta,
trlstis et longd satidta vita; 850

pdrs adhuc currf t meli6ris aevi :
vlrgines nondum thalamfs iugatae ," •
6t comis nondum positfs ephebi
mdtris et nom^n modo d6ctus infans.
hfs datum solfs, minus ilt timerent, . ' 855

fgne praelat6 relevdre noctem;
c^teri vadunt per opdca tristes.
qudlis est vobfs animus, remota
liice cum maestus sibi qufsque sensit

HERCULES 55

6brutum totd caput ^sse terra ? 860

std,t chaos densiim tenebra6£ue turpes
^t color noctls malus d,Cv§ileiiJ^s
6tium x^undi vacua4^g[ue nubes.

S^ra nos ill6 reier^t senectus :
n6mo ad id ser6 venit, linde numquam, 865

cdm semel venlt, potult reverti ;
quid iuvat durum properdre f atum ?
6miiis haec magnla vaga turba terris
Ibit ad man^s f^cief^le inerti
v^la Cocyt6 : tibi cr^scit omne, 870

6t quod occasiis videt ^t quod ortus
• — pdrc^ Venturis — tibi, m6rs, paramur.
sfs licet segnis, properdmus ipsi :
prima quae vitdm dedit h6ra, carpit.

Th6bis la6ta di^s adest. 875

d,ras tdngite silpplices,

pljigues ca^dite v£ctimas:>> .. . *

p^rmixta^ maribiis nuriis ' ' '

s611emn6s agit^nt choros;

c6ssent d6posit6 iugo 880

drvi f6rtilis Incolae.
Pdx est H^rculed manu

Ailroram lirter et H^sperum,

6t qua s61 mediiim tenens

limbras c6rporibus negat; 885

(iu6dcumque dlluitiir solum

i6ngo T6thyos dmbitu,

-ilcida^ domuft labor.

trdnsvectiis vada Tdrtari

pdcatf s redit inf eris ; 890

idm nullus super^st timor :

56 THREE PLAYS OF SENECA

nil ultrd lacet inferos.

Stdntes sdcrificiis cotnas
dflectd tege p6pulo.

, ; Hercules

t
Victrfce dextra filsus advers6 Lycus 895

terrdm cecidit 6re; turn quisqufs comes

fuerdt tyranni iacuit et poena^ comes.

nunc sdcra patri victor et superis feram

caesisque meritas victimis ards colarA.^ ^ *

Te t^ laborum socia et .^diutrix precor, 900

belligera Pallas, ciiius in laev^' ciet

^aegis feroces 6re saxific6 minas ;

adsit Lycurgi <l6mitpr et rubri maris,

tectam virente^cuspidem thyrs6 gerens,

geminumque numen Phoebus et Phoebi soror: 905

sor6r sagittis dptior, Phoebus lyrae ;

frat^rque quisquis incolit caelum meus

non ^x noverca frdter. hue app^Uite

greg^s opimos; quid quid Indonim seges

Arabesque odoris quidquid arboribus legunt 910

conf^rte in aras, pinguis exund^t vapor.

populea nostras drbor exorn^t comas,

te rdmus oleae fr6nde gentili tegat^,

Theseil ; Tonantem nostra adorabit manus,

tu c6nditores urbis et silv^stria 915

trucis dntra Zethi, n6bilis Dirc^n aquae

lar^mque regis dd venae Tyrium coles. ■'•■'■^

date tura flammis. Amph. Ndte, manant^s prius:

manus cruenta ca^de et hostili 4xpia.

Herc. Utindm cruore cdpitis invisi deis 920

libdre possem : grdtior nullus liquor

HERCULES 57

tinxf sset aras ; vf ctima haut ulla dmplior

potest magisque oplma mactarf lovi,

quAm r^x iniquus. Amph. Ffniat genit6r tuos
^,i)ptalabores, d6tur aliquando 6tium 925

' qui^sque fessis. Herc. Ipse concipidm preces

lovenii^qtte dignas. st6t suo caelum loco

telMsque et aequor; d,stra ino'fi'ens6s agant

aet^rna cursus. dlta pax gent^s alat;

femim 6mne teneat niris innocuf labor 930

ens6sque lateant. niilla tempestds fretum

viol^nta turbet, nuUus irat6 love

exlliat ignis, niillus hibernd nive

nutrf t<fs agros 'dmnis evers6s trahat.

ven^na cessent, niilla nocitur6 gravis 935

'* suc6 tumescat h^rba. non saevi dc truces

re^gj§nt tyranni; si quod etiamnum ^st scelus

latura tellus, pr6peret, et si qu6d parat

monstrum, meum sit. sed quid hoc ? mediiim diem

cinx^re tenebrae. Phoebus obscur6 meat 940

sine niibe vultu. qufs diem retr6 fugat

agitque in ortus ? linde nox atnim caput

ign6ta prof ert ? unde tot stella6 polum

implant diurnae ? primus en nost6r labor

caell refulget pdrte non minimd leo 945

ird,que totus f^rvet et mdrsils parat.

iam rdpiet aliquod sfdus : ingenti minax

stat 6re et ignes 6fflat et ruiil^'.iubam

cervfce iactans qufdquid autumnias gravis

hi^msque gelido frfgida spati6 refert 950

uno impetu transfliet et vernl petet

frang6tque tauri c611a. Amph. Quod subitum h6c malum

58 THREE PLAYS OF SENECA

quo, ndte, yultus hdc et hue acr6s refers

aci^que falsum tiirbida caeWm vides ?

Herc. Perd6mita tellus, tumida cesserunt freta, 955

inf 6rna nostros r^gna sensere impetus :

immune caelum est, dfgnus Alcid^ labor.

in dlta mundi spdtia sublimfs ferar,

petdtur aether — dstra promittf t pater.

quid, sf negaret ? n6n capit terra H^rculem 960

tand^mque superis r6ddit. en ultr6 voeat

omnls deorum coitus et laxdt fores,

und vetante. r^^pipis et reserds polum ?

an c6ntumacis ianuam mundf traho ?

dubitdtur etiam ? vf ncla Saturno ^xuarn 965

contrdque patris fmpii regnum fmpotens

aviim resolvam ; b^lla Titan^s parent,

me diice furentes; sdxa cum silvfs feram

rapidmque dextra pl^na Centauris iuga.

iam m6nte gemino Umitemiad super6s agam: 970

videdt sub Ossa P^lion ChifSn suum," ' ^ j > v

in caelum Olympus t^rtio positiis gradu

perv6niet aut mitt^tur. Amph. Infand6s procul

av^rte sensus; pectoris sanf parum

magnf tamen compesce dementem fmpetum. 975

Herc. Quid h6c? Gigantes drma pestiferi movent.

profugit umbras Tityos ac lacenim gerens

et indne pectus qudm prope a cael6 stetit.

labdt Cithaeron, dlta Pellen^ tremit

Macetdmque Tempe. rdpuit hie Pindl iuga, 980

hie rdpuit Oeten, sa^vit horrendum Mimans.

flammlfera Erinys v^rbere excuss6 sonat

rogfsque adustas pr6pius ac propius sudes

in 6ra tendit; sa^va Tisiphon6, caput

HERCULES 59

serp^ntibus valMta, post raptilm canem 985

portdm vacantem clausit opposite, face —

sed 6cce proles r^gis inimicf latet.

Lycl nefandum s6men : invis6 patri

haec d6xtra iam vos r^ddet. excutidt leves

nervus sagittas — t^la sic mitti decet . 990

Herciilea. Amph. Quo se caucus impegft furor?

vastum coactis fl6xit arcum c6rnibus

pharetrdmque solvit, stridet emissa fmpetu

hanindo — medio spiculum coll6 fugit

vuln6re relicto. Herc. C^teram prolem ^ruam 995

omn^sque latebras. quid moror? maids mihi

belWm Mycenis r6stat, ut Cyclopia

ev^rsa manibus sd,xa nostris c6ncidant.

hue 6at et illuc vdlva deiecto 6bice

rumpdtque postes; ciilmen impulsum labet. 1000

perMcet omnis r6gia : hie video dbditum

natdm scelesti pdtris. Amph. En blandds manus

ad g6nua tend'ens v6ce miseranda rogat —

sceWs nefandum, trfste et aspectu h6rridum !

dextrd precantem rdpuit et circd furens . 1005

bis t^r rotatum misit ; ast illf caput

sonuft, cerebro t^cta dispers6 madent.

at mlsera, parvum pr6tegens natiim sinu,

Megard, furenti sfmilis e latebrfs fugit.

Herc. Lic6t Tonantis profuga condarfs sinu, loio

petet lindecumque t^met haec dextra ^t feret.

Amph. Quo mlsera pergis? qudm fugam aut latebrdm
petis ?

nulliis salutis H^rcule infesto ^st locus.

ampl^ctere ipsum p6tius et blandd prece

lenire tempta. Meg. Pdrce iam, coniiinx, precor^ iov<,

60 THREE PLAYS OF SENECA

agn6sce Megaram. ndtus hie vultiis tuos

habitiisque reddit; c^rnis, ut tenddt manus?

Herc. Tene6 novercam. s^quere, da poends mihi

iug6que pressum If bera turpi lovem ;

sed ante matrem pdrvulum hoc monstrum 6ccidat. 1020

Meg. Quo t^ndis amens ? s^nguinem fundus tuum ?

Amph. Pavefdctus infans fgneo vultii patris

perit dnte vulnus, spfritum eripult timor.

in c6niugem nunc (A&vsi Ubratiir gravis —

perfr^git ossa, c6rpori trunc6 caput 1025

ab^st nee usquam est. c^rnere hoc aud^s, nimis

vivdx senectus ? sf piget luctils, habes

mortem paratam: pectus in tela fndue,

vel stfpitem istuc ca^de nostrorum Inlitum

conv^rte. falsum ac n6mini turp^m tuo 1030

remove parentem, n6 tuae laudi 6bstrepat.

Chor. Quo te Ipse, senior, 6bvium morti Ingeris? \

quo p^rgis amens ? pr6fuge et obtectiis late

unumque manibus aiifer Herculefs scelus.

Herc. Bene hab^t, pudendi r^gis excisa 6st domus. 1035

tibi hiinc dicatum, mdximi coniiinx lovis,

greg^m cecidi ; vota persolvf libens

te dfgna, et Argos victimas alids dabit.

Amph. Nondiim hfasti,'nate: consummd sacrum.

stat ^cce ad aras h6stia, expectdt manum 1040

cervice prona; pra^beo occurro insequor:

mactd — quid hoc est ? 6rrat acies luminum

visiisque marcor h^betat ; an video Herculis

maniis trementes ? vultus in somniim cadit

et f^ssa cervix cdpite summisso labat; 1045

flex6 genu iam t6tus ad terrdm ruit,

ut ca^sa silvis 6rnus aut portiim mari

HERCULES 61

datiira moles, vlvis an let6 dedit

id^m tuos qui misit ad mortem furor?

sopor ^st : reciprocos splritus motus agit. 1050

detiir quieti t^mpus, ut somn6 gravi

vis vlcta morbi pectus oppressum levet.

remov6te, famuli, t61a, ne repetdt furens.

Chorus

Lugedt aether magniisque parens
aeth^ris alti telMsque ferax 1055

et vdga ponti mobllis unda,
tuque dnte omnes qui p^r terras
tractiisque maris fundfs radios
, noct^mque fugas ot6 decoro,
fervfde Titan : obitils pariter 1060

tecum JLlcides vidft et ortus
novltque tuas utrasque domos.

Solvite tantis animiim monstris,
solvlte superi, caecam In melius
flectlte mentem. tuque, 6, domitor 1065

Somn6 malorum, requi^s animi,
pars hiimanae meli6r vitae,
volucre 6 matris genus JLstraeae,
frat^r durae langufde Mortis,
veris miscens falsd, futuri 1070

certiis et idem pessfmtfs auctor,
pax ^rrorum, portus vitae,
lucis requies noctfsque comes,
qui pdr regi famul6que venis,

pavidiim leti genus hilmanum 1075

cogls longam disc^re noctem :

62 THREE PLAYS OF SENECA

placidils fessum lenisque fove,

preme d^vinctum torp6re gravi ;

sopor fndomitos allfget artus

nee torva prius pectora linquat, 1080

quam m^ns repetat pristina cursum.

En fusus humi saeva feroci
cord^ volutat somnia : nondum est
tantf pestis superdta mali ;

clava^que gravi lassiim solitus 1085

mandare caput quaerit vacua
pondera dextra, motii iactans
braccliia vano. nee adhiic omnes
expulit aestus, sed ut fngenti

vexata Noto servat longos 1090

unda tumultus et idm vento ^

cessdnte tumet . . . pelle insanos
fluctus animi, redeat pietas
virtusque viro. vel sit potius
mens v^sano concita motu : 1095

error caecus qua co^pit eat;
solds te iam praestdre potest
furor f nsontem : proxf ma puris
sors ^st manibus nescfre nefas.

Nunc H^rculeis percUssa sonent noo

pect6ra palmis, mundilm solitos
ferr6 lacertos verb^ra pulsent
victrice manu ; gemitus vastos
audiat aether, audiat atri

regina poli vastisque ferox 1105

qui c611a gerit vinctd catenis
im6 latitans Cerbftus antro;
reson^t maesto clam6re chaos

HERCULES 63

latfque patens undd profundi : 1109

pect6ra tantis obs6ssa mails ma

non silnt ictu feri^nda levi,

un6 planctu tria r^gna sonent.

et tii collo decus dc telum ms

susp^nsa diu, fortfs harundo,

pharetra^que graves, date sa^va fero

verb^ra tergo; caeddnt umeros

rob6ra fortes stip^sque potens

durfs oneret pect6ra nodis : 1120

plangdnt tajitos armd dolores.

Ite infaustum genus, 6 pueri, 1135

notl per iter trist6 laboris, 1136

non y6s patriae laudfs comites 1122

■) ultl saevos vuln^re reges,
non Argiva membrd palaestra
flect^re docti fortes caestu 1125

fort^sque manu (1130) nondumque ferae
tergd iubatae . . . iam tdmen ausi 1126

teliim Scythicis leye c6rytis
missiim certa librare manu

tut6sque fuga figure cervos : 1129

ite dd Stygios, umbra^, portus 1131

ite, innocuae, quas fn primo
limine vitae scelus 6ppressit

patriiisque furor : 1134

ite, iratos vislte reges. 1137

Hercules

Quis hf c locus, quae r^gio, quae mundf plaga ?
ubi Slim? sub ortu s61is, an sub cdrdine
glacidlis ursae ? niimquid Hesperil maris w«^

64 THREE PLAYS OF SENECA

extr^ma tellus hunc dat Ocean6 mbdum ?

quas trdhimus auras? quod solum fess6 subest?

cert4 redimus — linde prostrata dd domum

vide6 cruenta corpora ? an nondum ^xuit

simuMcra mens inf^rna ? post reditiis quoque 1145

ob^rrat oculis tiirba ferajf^ meis ?

pud^t fateri: pdveo; nescio qu6d mihi,

nesci6 quod animus grdnde t^raesagf t malum.

ubi ^s, parens ? ubi f 11a hatorum grege

anim6sa coniunx? cur latus laeyrim vacat 1150

spolio leonis ? qu6nam abit tegfm^n meum

id^mque somno m611is Hercule6 torus ?

ubi t^la ? ubi arcus ? drma quis viv6 mihi

detrdhere potuit ? sp61ia quis tanta dbstulit

ipsiimque quis non H^rculis somnum h6rruit ? 1155

lib^t meum vid^re victor^m, libet.

exurge, virtus, qu^m novum cael6 pater

genuft relicto, cuius in fetii stetit

nox longior quam n6stra — quod cern6 nefas ?

natl cruenta ca^de confectf iacent, 1160

per^mpta coniunx. quis Lycus regnum 6btinet

quis tanta Thebis sc^lera moliri aiisus est

Herciile reverso ? qulsquis Ismenl loca,

Aetata quisquis drva, qui gemin6 mari

pulsdta Pelopis r^gna Dardanii colis, 1165

succiirre, saevae clddis auctorem Indica.

ruat f ra in omnes : hostis est quisquis mihi

non m6nstrat hostem. victor Alcida^, lates?

proc^de, seu tu viiidicas currus truces

Thracis cruenti sfve Geryona^ pecus 1170

Libya^ve dominos, nulla pugnandf mora est.

en nildus asto; v61 meis arnife licet

H^i

HERCULES 65

petds inermem. ciir meos Theseus fugit
pat6rque vultus ? 6ra cur condiint sua ?
diflf^rte fletus ; quls meos dederit neci 1175

omn6s simul, profdre — quid, genit6r, siles?
at tu 6de, Theseu, s^d tua, Theseil, fide.
ut6rque tacitus 6ra pudibunda 6btegit
furtfmque lacrimas fiindit. in tantfs malis
quid ^st pudendum ? niimquid Argivae f mpotens nSo
dpjpaindtor urbis, niimquid infestiim Lyci
reiintis agmen cldde nos tanta obruit ?
per t^ meorum fdcinorum laud^m precor,
genit6r, tuique n6minis semper mihi
num6n secundum, fdre. quis fudit domum ? 1185

cui pra6da iacui? Amph. Tdcita sic abed-nt mala.
Herc. Ut iniiltus ego sim ? Amph. Sa^pe vinSicta 6bfuit.
Herc. Quisqudmne segnis tdnta toleravlt mala ?
Amph. Mai6ra quisquis tlmuit. Herc. His etidm, pater,
quicqudm timeri mdius aut gravius potest ? 1190

Amph. Cladls tuae pars Ista quam nclstf quota est ?
Herc. Miserere, genitor, siapplices tend6 manus.
quid h6c ? manus refiigit — hie errdt scelus.
uade hlc cruor ? quid f Ua puerill madens
haMndo leto ? tfncta Lernaea ^st nece — 1195

iam t6Ia video n6stra. non quaer6 manum.
quis p6tuit arcum fl^ctere aut quae d^xtera
sinudre nervum ylx recedent^m mihi ?
ad v6s revertor; genitor, hoc nostrum ^st scelus?
tacu^re — nostrum est. Amph. Liictus est istfc tuus, 1200
crin5§n novercae : cdsus hie culpd caret.
Herc. Nunc pdrte ab omni, genitor, iratus tona,
oblfte nostri Mndica serd manu
galt^m nepotes. st^Uiger mundiis sonet

66 . THREE PLAYS OF SENECA

flanundsque et hie et file iaculetiir polus; 1205

rup6s ligatum Cdspiae corpus trahant

aique dies avida — ciir Promethef vacant

scopulf ? vacat cur v^rtice immens6 feras

volucr^sque pascens <;)au6asi abruptiim latus

nudiimque silvis ? f 11a quae ponMm Scythen 1210

Sympl^gas artat hfnc et hinc vinQtdp, m^nus

dist^ndat alto, cumque revocatd vice

in s6 coibunt saxaque in caelum ^xpriment '

actfa i^l^rimque rupibus medium mare,

ego Inquiela m6ntium iacedm mora. 1215

quin structum acervans n^more congest© dggerem

cru6re corpus f mpio sparsiim cremo ?

sic, sic agendum est : Inferis reddam H^rculem.

Amph. Nondiim tumultu pectus attonit6 carens

mutdvit iras qu6dque habet propriiim furor, 1220

in se Ipse saevit. Herc. Dira Furianim loca

et Inferorum career et sontf plaga

decr^ta turbae — sf quod exiliiim latet

ult^rius Erebo, C^rbero ignotum 6t mihi :

hoc me dbde, tellus ; Tartari ad finem liltimum 1225

mansurus rbo. pectus o nimidm ferum !

quis v6s per omnem, llberi, spars6s domum

defl^re digne p6terit ? hie durus malis

lacrimdre vultus n^scit; /hue arciim date,

date hue sagittas, stfpitem hue vastiim date. 1230

tibi t^la frangam n6stra, tibi nostr6s, puer,

rump^mus arcus ; dt tuis stipes gravis '

ard^bit umbris ; f psa Lernaeis f requens

phar^tra telis f n tups ibf t rogos :

dent drma poenas. vos quoque infaustds meis » 1235

cremdbo telis, 6 novercal^s manus.

HERCULES 67

Amph. Quk n6men usquam sc^leris errori dddidit ?

Herc. Saepe 6rror ingens sc^leris obtinuft locum.

Amph. Nunc H^rcule opus est: p^rfer banc mol^m mali.

Herc. Non sic furore c^ssit extinctus pudor, 1240

popul6s ut omnes fmpio asjpectu fugem.^'^ ''■ ^ - '^'

anna, drma, Theseu, fldgitoproper^ mihi

subtrdcta reddi — sdna si mens ^st mihi,

ref 6rte manibus t^la ; si reman^t furor,

pat^r, recede: m6rtis invenidm viam. 1245

Amph. Per sdncta generis ^^cr^MPfji i^s n6minis

utnimque nostri, sfve me altor^m vocas

sej^ tii parentem, p^rque venerand6s piis
'jcaitios, senectae pdrce deserta^, precor,

annlsque fessis; ilnicum lapsa6 domus 1250

firmdmen, unum liimen afflict6 malis
■^'tefi6t reserva. niillus ex te c6ntigit^ . , ,7

f nictiis labonim ; semper aut dubijim mare

aut m6nstra timui ; qulsquis in tot6 furit

rex sa^vus orbe, mdnibus aut arls nocens, 1255

a m6 timetur; semper absentfs pater

fnictiim tui tactuni^ue et aspectilm peto.

Herc Cur dnftiam in ista luce detineam dmplius

moTCTCtue nil est : ciincta iam amisl bona,

mentem drma famam c6niugem nat6s manus, 1260

etidm furorgm. n^mo pollut6 queat

anim6 me^n : m6rte sanandum ^st scelus.

Amph. Perim^s parentem. Herc. Fdcere ne possim,
6ccidam.

Amph. Genit6re coram? Herc. C^rnere hunc docuf
nefas.

Amph. Memoranda potius omnibus facta intuens 1265

unfus a te crfminis venidm pete.

68 THREE PLAYS OF SENECA

Herc. Venidm dabit sibi Ipse, qui nuUl dedit?
^nauo^nda feci iussus : hoc uniim meum est.
succiirre, genitor; slve te pietas mo vet
seu trfste fatum sive violatum decus 1270

virtu tis : effer drma ; vincatiir mea
fortuna dextra. \Tqes. Siint quidem patriae preces
satis ^ffi(:?^iies, s^S tamen nostr6 quoque
mov^re fletu. surge et ad versa Impetu
perfrfrige solito. nunc tuum nuUi Imparem 1275

animum malo resume, nunc magnd tibi
virtute agendum est : H^rculem irasci veta.
Herc. Si vfvo, feci sc^lera; si mori6r, tuli.
purgdre terras pr6pero — iamdudiim mihi
monstrum Impiujn saeviimque et immite dc ferum 1280
ob^rrat : agfedum dextra, conare dggredi^^ "^^
ing^ns opus, lab6re bis seno dmplius.
igndva cessas, f6rtis in puer6s modo
pavidd,sque matres? drma nisi dantiir mihi,
aut 6mne Pindi Thrdcis exciddm nemus 1285

Bacchlque lucos ^t Cithaeronfs iuga
meciim cremabo, aut t6ta cum domibiis suis
dominfsque tecta, cum deis templa 6mnibus
Thebdna supra c6rpus excipidm meum
atque urbe versa, c6ndar, et, si f6rtibus 1290

leve p6ndus uttferis mo^nia immissa Incident
sept^mque opertus n6n satis portfs premar,
onus 6mne media pdrte quod mundf sedet
dirimltque superos. In meum vertdm caput.
Amph. Reddo drma — Herc. Vox est digna genitore
H^rculis. 1295

hoc ^n peremptus splculo cecidft puer —
Amph. Hoc luno telum mdnibus immisft tuis.

HERCULES 69

Herc. Hoc ntinc ego utar. Amph. ificce quam miserdm

metu
(^jyp&ipitsit pectijsque soUicitilm ferit.
Herc. Aptdta harundo est. Amph. ]^cce iam faci&

'' vol^ns sciensqiie. Herc. Pdnde, quid fieri iubes ?

Amph. Nihil rogamus: n6ster m'tiitoBst dolor.

natiim potes servdre tu soltis mihi,

eripere nee tu; maximum evasf me turn:

miserum hatit potes me M^re, felic^m potes. 1305

sic stdtue, quidgu^ ^S,tuii^, ufjcf usdm tuam

famdmque inOTto stdre et'ancipiti scias :

aut vivis aut occfdis — banc animdm levem

fessdmque senio n^c minus fessdm/^nalis

in6reprimot4neo. ta^ fe^pkri .3.0

yitdm dat aliquis ? n6n feram ulteriiis moram,

let|I^ ferro) pectus impresso Induam :

hie, EicTacebit H^rculis sanl scelus.

Herc. Iam pdrce, genitor, pdrce, iam revocd manum.

s;^3^iimbe, virtus, p^rfer imperium patris. 1315

'^' eat M labores hfc quoque Hercule6s labor:

vivdmus. artus dlleva afflict6s solo,

Theseii, parentis, "vd^xtra contactils pios . /- ■

sceler^laiyfugit. Amph. Hdpc manum amplect6r Kbens,

hacTTifsusTbo, p^ctori hanc 'aegrV^dmovens 1320

pelldm dolores. Herc. Quem locum profugiis petam ?

ubi Tn6 recondam qudve tellure 6bruar ?

quis Tdnais^aut quis Nllus aut quis P^rsica

(^ol6ntus unda Tigris' aut Rhenils ferox

Taglisve H^^era turbidus gaz4 fluens 1325

abliiere dextram p6terit ? ^ arctoiiin licet

/Mae^S^in ine^g^lida transf unddt mare

^

70 THREE PLAYS OF SENECA

et t6ta Tethys p6r meas currdt manus,
haer^bit altum fdcinus. in quas impius
terrds recedes? 6rtum an occasiim petes? 1330

ubf oug uptus p^rdidi exifi6 locum,
me r^fugit orbis, dstra transvers6s agunt
obllqua cursus. ipse Titan C6rber^m^ *
meli6re vultu vidi't. o fidiim capjiit^ ^
Theseii, latebram quaere longinquam dhditam; 1335

quoniairfqfue semper ic^leris alieni drbiter
amds nocentes, :^f^iam ifieritlslrefer
^vic^mque nosybrja : r^dde me<^ern^ precor
^ umbrfs reductum^ m^que subfeStSm tuis
substf tue vinclis : ille me abscond^t locus — 1340

sed et file novit. Thes- N6stra te telliis manet.
illlc^solutam ca^de^Graoiviis manum
restltuit armis : Ilia te, Alcid6, vocat,
facere innocentes t^rra quae super6s solet.

TROADES

DRAMATIS PERSONAE

Hecuba

Talthtbius

Ptrrhus

Agamemno

Calchas

Andromacha

Senex

Asttanax

Ulixes

Helena

NUNTIUS

polyxena tacita
Chorus

SCAENA TrOIAE

THE PARTS TAKEN BY EACH ACTOR

I Andromacha

Ptrrhus
II Hecuba
aoamemno
Ulixes
III Talthtbius
Calchas
Senex
Helena
nuntixts

TROADES

Hecuba

Quiciimque regno fidit et magnd potens
domindtur aula n6c leves metuit deos
animiimque rebus cr^dulum laetis dedit,
me vfdeat et te, Tr6ia : non umqudm tulit
docum^nta fors mai6ra, quam fragili loco $

starent superbi. c61umen eversum 6ccidit
poll^ntis Asiae, ca61itum egregiiis labor;
ad ciiius arma v6iiit et qui frlgidum
sept^na Tanain 6ra pandent6m bibit
et qui renatum primus excipi^ns diem lo

tepidum rubenti Tlgrin immisc^t freto,
et qua6 vagos vicfna prospici6ns Scythas
ripdm catervis P6nticam vidufs ferit.
excisa ferro est, P^rgamum incubult sibi.
en dlta muri decora congestfs iacent is

tectis adusti ; r^giam flammae dmbiunt
omnfsque late filmat Assaracf domus.
non pr6hibet avidas fldmma victorfs manus :
dirfpitur ardens Tr6ia. nee caeMm patet
und^nte fumo : niibe ceu densa 6bsitus ao

at^r favilla squdlet Iliacd dies.
Stat dvidus irae victor et lentum f lium
metftur oculis dc decem tandem ferus
ign6scit annis; h6rret afflictdm quoque,

73

74 THREE PLaVs OF SENECA

victdmque quamvis vfdeat, haut credit sibi 25

potulsse vinci. sp61ia populat6r rapit
Darddnia ; praedam mille non capMnt rates.
Test6r deorum niimen adverslim mihi, -^
patria^que cineres t^que rector^m Phrygum
quern Tr6ia toto c6nditum regn6 tegit, 30

tu6sque manes qu6 stetit stante Ilium,
et v6s meorum Ifberum magnf greges,
umbra6 minores : quldquid adversi dccidit,
quaecumque Phoebas 6re lymphat6 furens
eredf deo vetdnte praedixft mala, 35

prior Hecuba vidi gravida nee tacuf metus
et vdna vates dnte Cassandrdm fui.
non caiitus ignes Ithacus aut Ithacl comes
noctiirnus in vos spdrsit aut f alldx Sinon :
mens Ignis iste est, fdcibus ardetis meis. 40

sed quid ruinas lirbis eversa^ gemis,
vivdx senectus ? r^spice inf elix ad hos
luctiis recentes : Tr6ia iam vetus ^st malum,
vidi 6xecrandum r^giae caedfs nefas
ipsdsque ad aras mdius admissiim scelus 45

Aedcidis armis, ciim ferox, scaevd manu
comd reflectens r^gium tortd caput,
alt6 nefandum viilneri ferrum dbdidit;
quod p6nitus actum cdm recepiss6t libens,
ensfs senili sfccus e iugul6 redit. so

placdre quern non p6tuit a caede 6flfera
mortdlis aevi cdrdinem extremiim premens
superfque testes sc^leris et quodddm sacrum
regnl iacentis ? ille tot regiim parens
car^t sepulcro Priamus et flamma fndiget 55

ard^nte Troia. n6n tamen superfs sat est :

TROADES 75

dominum 6cce Priami niiribus et natfs legens
sortltur urna pra^daque en vilis sequar.
hie H^ctoris coniugia despond^t sibi,
hie 6ptat Heleni c6niugem, hie Ant^noris; 60

nee d^st tuos, Cassdndra, qui thalam6s petat —
mea s6rs timetur, s61a sum Danals metus.
Lam^nta eessant ? tiirba captiva^ mea,
ferite palmis p^ctora et planctiis date
et iiista Troiae fdeite — iamduddm sonet 65

fatdlis Ide, iiidieis diri domus.

Chorus

Non nide vulgus lacrimfsque novum
lug^re iubes : hoc c6ntinuis
egimus annis, ex qu6 tetigit

Phrygius Graias hosp^s Amyelas 70

seeultque fretum pinds matri
saerd Cybebae.
deei^ns nivibus eanijit Ide,
deei^ns nostris nuddta rogis,

et Sigeis trepidiis campis 75

deeumds seeuit mess6r aristas,
ut nilUa dies maer6re caret,
sed n6ya fletus eausd ministrat :
ite dd planetus, miserdmque leva,
regina, manum. vulgiis dominam 80

vil^ sequemur : non Indociles
lug^re sumus.

Hec. Fida^ casus nostri comites,
solvite crinem, per c611a fluant
maestd eapilli tepid6 Troiae ^\

76 THREE PLAYS OF SENECA

pulv^re turpes: (102 b) complete manus,

hoc ^x Troia sumpslsse licet. 103

paret ^xertos turb^ lacertos ; 87

vest^ remissa substrfnge sinus

uter6que tenus patednt artus.

cui c6niugio pect6ra velas, 90

captive pudor?

cingdt tunicas palld solutas,

vacet dd crebri verb^ra planctus

furibunda manus — placet hf c habitus,

placet: ^gnosco Trodda turbam. 95

iteriim luctus redednt veteres,

solitdm flendi vincite morem :

Hect6ra flemus.

Chor. Solvimus omnes lacerum multo

fun^re crinem ; com^ demissa est 100

libera nodo sparsftque cinis

fervldus ora.

cadit ^x umeris vestfs apertis 104

imumque tegit suffijlta latus ; 105

iam nijda vocant pect6ra dextras :

nunc, ndnc vires expr6me, dolor.

Rhoet^a sonent lit6ra planctu,

habit^nsque cavis montibus Echo

non, lit solita est, extr^ma brevis no

verbd remittat, tot6s reddat

Troia^ gemitus : audiat omnis

pontds et aether, saevite, manus,

pulsu pectus tundfte vasto,

non sum solito cont^nta sono: 115

Hect6ra flemus.

Hec. Tibi n6stra ferit dextrd lacertos

TROADES 77

umer6sque ferit tibi sd,nguineos,

tibi n6stra caput dext^ra pulsat,

tibi mdternis ub^ra palmis 120

lanidta iacent : fiuat &t multo

sanguine manet quamcijmque tuo

fun^re feci niptd cicatrix.

colum^n patriae, mora fdtonim,

tu pra^sidium Phrygibus fessis, 125

tu miirus eras umerfsque tuis

stetit f Ua decern fulta per annos :

tecum cecidit summiisque dies

Hect6ris idem patria^que fuit.

Vertite planctus : Priam6 vestros 130

fundlte fletus, satis Hector habet.
Chor. Accfpe, rector Phrygian, planctus,
accfpe fletus, bis cdpte senex.
nil Tr6ia semel te r^ge tulit,

bis pulsari Darddna Graio 135

moenla ferro bisqu^ pharetras
passa H^rculeas. post ^latos
Hecuba^ partus regiimque gregem
postr^ma pater fun^ra cludis
magn6que lovi victfma caesus 140

Sig^a premis lit6ra truncus.
Hec. Ali6 lacrimas flectite vestras:
non ^st Priami miserdnda mei
mors, lliades — 'felfx Priamus'
dicite cunctae : lib^r manes 145

vadft ad imos, nee f^ret umquam
victd Graium cervfce iugum ;
non file duos videt Atridas
nee fdllacem cernft Vlixen ;

78 THREE PLAYS OF SENECA

non Argolici praedd triumphi 150

subi^cta feret colld tropaeis ;

non ddsuetas ad sc^ptra manus

post t^rga dabit currusque sequens

Agam^mnonios aur^a dextra

vincula gestans latis fiet 15s

pompd Mycenis.

Chor. 'Felix Priamus' dicfmus omnes:

secum ^xcedens sua r^gna tulit;

nunc ^lysii nemorfs tutis

errdt in umbris int^rque pias 160

felix animas Hect6ra quaerit.

felfx Priamus, fellx quisquis

bell6 moriens omnia secum

consumpta tulit.

Talthybius

O 16nga Danais semper in portii mora,
seu p^tere bellum, p^tere seu patridm volunt. 165

Chor. Quae caijsa ratibus fdciat et Danafs moram,
effdre, reduces qufs deus clauddt vias.
Tal. Pavet dnimus, artus h6rridus quassdt tremor.
mai6ra veris m6nstra vix capiiint fidem —
vidi ipse, vidi. summa iam Titdn iuga 170

string^bat ortu, vlcerat noct^m dies, 170 b

cum sijbito caeco t^rra mugitu fremens
concussa totos trdxit ex im6 sinus;
mov^re silvae cdpita et excelsiim nemus
frag6re vasto t6nuit et lucus sacer;

Ida^a ruptis sdxa ceciderunt iugis. 175

nee t^rra solum tr^muit : et pontus suum

TROADES 79

ad^sse Achillen s^nsit ac stravft vada.

turn scfssa vallis dperit immens6s specus

et hidtus Erebi p^rvium ad super6s iter

telliire fracta pra^bet ac tumuliim levat; 180

emlcuit ingens limbra Thessalicf ducis,

Threlcia qualis drina prolud^ns tuis

iam, Tr6ia, fatis strdvit aut Neptiinium

cand nitentem p^rculit iuven^m coma,

aut cum fnter acies Mdrte violent6 furens 185

corp6ribus amnes cliisit et quaer^ns iter

tardiis cniento Xdnthus erravft vado,

aut ciim superbo victor in curni stetit

egltque habenas H^ctorem et Troidm trahens.

impl^vit omne litus iratf sonus : 190

'ite, Ite inertes, mdnibus meis d^bitos

auf6rte honores, s61vite ingratds rates

per n6stra ituri mdria — non parv6 luit

irds Achillis Gra^cia et magn6 luet.

desp6nsa nostris clneribus Pol^xene 195

Pyrrhi manu mact^tur et tumuWm riget.'

haec fdtus alta n6cte divisft diem

repet^nsque Ditem m^rsus ingent^m specum

coeiinte terra iilnxit. immotf iacent

tranqullla pelagi, v^ntus abiecft minas 200

placidiimque fiuctu miirmurat lenl mare,

Tritdnum ab alto c^cinit hymenaedm chorus.

Pyrrhus

Cum la^ta pelago v^la rediturus dares,
excfdit Achilles ciiius uniiis manu

impiilsa Troia, qufdquid adiecft morae 205

1116 remote, diibia quo cader^t stetit.

80 THREE PLAYS OF SENECA

velfs licet quod p^titur ac proper^s dare,

sero ^s daturus : idm suum cunctl duces

tul^re pretium. qua^ minor merc^s potest

tanta^ dari virtiitis ? an meruit panim aio

qui, fiigere bellum iussus et longd sedens

aeviim senecta ducere ac Pylil senis

transc^ndere annos, ^xuit matris dolos

falsdsque vestes, fdssus est armis virum ?

inh6spitali T^lephus regno fmpotens, 215

dum Mj^siae fer6cis introitiis negat,

rud^m cruore r^gio dextram Imbuit

fort^mque eandem s^nsit et mit^m manum.

cecid^re Thebae, vfdit Eeti6n capi

sua r^gna victus ; cldde subversa 6st pari 220

app6sita celso pdrva Lyrnes6s iugo,

captdque tellus n6bilis Bris^ide

et caiisa litis r^gibus Chrys^ iacet

et n6ta fama T^nedos et quae pdscuo

feciinda pingui Thrdcios nutrlt greges 225

Scyr6s fretumque Lesbos Aegaeiim secans

et cdra Phoebo Cilia ; quid quas dlluit

vernls Caycus gurgitem attoll^ns aquis?

haec tdnta clades gentium ac tantus pavor,

sparsa^ tot urbes turbinis vastl modo 230

alt^rius esset gl6ria ac summiim decus :

iter ^st Achillis ; sic meus venlt pater

et tdnta gessit b^lla, dum belliim parat.

ut dlia sileam m^rita, non unus satis

Hect6r fuisset ? Ilium viclt pater, 235

vos dlruistis. Inclitas laud^s iuvat

et fdcta magni cldra genitorls sequi :

iacult peremptus Hector ante ocul6s patris

TROADES 81

patnilque Memnon, ciiius ob luctum parens

pall^nte maestum pr6tulit vultu diem ; 240

sulque victor 6peris exemplum h6rruit

didicltque Achilles ^t dea nat6s mori.

turn sa^va Amazon liltimus cecidit metus —

deb^s Achilli, m^rita si digne a^stimas,

et si ^x Mycenis vfrginem atque Argfs petat. 245

dubitdtur et iam pldcita nunc subito fmprobas

Priamfque natam P^lei nat6 ferum

mact^re credis ? dt tuam natdm parens

Helenae Immolasti : s61ita iam et facta 6xpeto.

Agam. luvenlle vitium est r^gere non posse Impetum ; 250

aetdtis alios fervor hie primiis rapit,

Pyrrhiim paternus. spfritus quonddm truces

mindsque tumidi l^ntus Aeacida^ tuli :

quo pliira possis, plura patient^r feras.

Quid ca^de dira n6biles clari ducis 255

asp^rgis umbras ? n6scere hoc primiim decet,
quid fdcere victor d^beat, victds pati.
viol^nta nemo imp^ria continuft diu,
moderdta durant; qu6que Fortuna dltius
ev^xit ac levdvit humands opes, 260

hoc s6 magis supprimere felic^m decet
vari6sque casus tr^mere metuent^m deos
nimium faventes. mdgna momento 6brui
vinc^ndo didici. Tr6ia nos tumid6s facit
nimium dc fieroces ? stdmus hoc Danal loco, 265

unde ilia cecidit. fdteor, aliquando Impotens
regno dc superbus dltius mem^t tuli ;
sed fr^git illos spfritus haec qua^ dare
potulsset aliis cadsa, Fortuna^ favor,
tu m6 superbum, Prlame, tu timidum facis. a-v^

a

82 THREE PLAYS OF SENECA

ego 6sse quicquam sc^ptra nisi van6 putem

fulg6re tectum n6men et falso comam

vincl6 decentem ? cdsus haec rapist brevis,

nee mllle forsan rdtibus aut annls decern.

non 6mnibus fortuna tam lenta Imminet. 275

equid^m fatebor (pdce dixisse h6c tua,

Argiva tellus, Uceat) aflEligl Phrygas

vinclque volui : niere et aequari solo

utinam drcuissem. s6d regi frenls nequit

et Ira et ardens h6stis et vict6ria 280

commissa nocti. quid quid indignum aiit ferum

cuiqudm videri p6tuit, hoc fecft dolor

tenebra^que, per quas ipse se irritdt furor,

gladidsque felix, cuius infectl semel

vec6rs libido est. quldquid eversa^ potest 285

super^sse Troiae, mdneat : exactiim satis

poendrum et ultra est. r^gia ut virgo 6ccidat

tumul6que donum d^tur et ciner^s riget

et fdcinus atrox caddis ut thalam6s vocent,

non pdtiar. in me culpa cunctonim redit : 290

qui n6n vetat peccdre, cum possft, iubet.

Pyrrh. Nulliimne Achillis pra^mium man^s f erent ?

Agam. Fer6nt, et ilium laiidibus cunctf canent

magniimque terrae nomen ignotae aiidient.

quod sf levatur sdnguine infus6 cinis, 295

oplma Phrygii c611a caedantiir greges

fludtque nuUi fl^bilis matri cruor.

quis Iste mos est ? qudndo in inferids homo est

imp^nsus hominis ? d^trahe invidiam tuo

odiiimque patri, qu^m coli poend iubes. 300

Pyrrh. O tiimide, rerum diim secundarum status

ext611it animos, tlmide cum increpuit metus,

TROADES 83

regiim tjn^anne ! idmne flammatum geris

am6re subito pectus ac veneris novae ?

soMsne totiens sp61ia de nobis feres ? 305

hac d^xtra Achilli vlctimam redddm suam.

quam si negas retin^sque, maior^m dabo

digndmque quam det P^rrhus; et nimium diu

a ca^de nostra r^gia cessdt manus

par^mque poscit Prlamus. Agam. Haud equid^m nego 310

hoc ^sse Pyrrhi maximum in bell6 decus,

saev6 peremptus ^nse quod Priamiis iacet,

suppl^x paternus. Pyrrh. Siipplices nostrl patris

host^sque eosdem n6vimus. Priamiis tamen

praes^ns rogavit; tii gravi pavidus metu, 315

nee dd rogandum f6rtis, Aiacl preces

Ithac6que mandas clausus atque host^m tremens.

Agam. At n6n timebat tiinc tuus, fate6r, parens,

int^rque caedes Gra^ciae atque ustds rates

segnls iacebat b^lli et armonim Immemor, 320

levl canoram v^rberans plectr6 chelyn.

Pyrrh. Tunc mdgnus Hector, drma contemn^ns tua,

cantiis Achillis tlmuit et tanto In metu

navdlibus pax dlta Thessalicls fuit.

Agam. Nempe Isdem in istis Th^ssalis navdlibus 325

pax dlta rursus H^ctoris patii fuit.

Pyrrh. Est r^gis alti splritum regl dare.

Agam. Cur d^xtra regi splritum eripult tua ?

Pyrrh. Mortem misericors sa^pe pro vitd dabit.

Agam. Et niinc misericors vlrginem bust6 petis ? 330

Pyrrh. lamne Immolari vlrgines credls nef as ?

Agam. Praef^rre patriam llberis reg^m decet.

Pyrrh. Lex nulla capto pdrcit aut poenam Impedit.

Agam. Quod n6n vetat lex, h6c vetat fieri pudor.

84 THREE PLAYS OF SENECA

Pyrrh. Quodctjmque libuit fdcere victorf licet. 335

Agam. Minimum decet lib^re cui multiim licet.
Pyrrh. His ista iactas, qu6s decem annonim gravi
regn6 subactos P^rrhus exsolvlt iugo ?
Agam. Hos Sc^rus animos ? Pyrrh. Sc^lere quae fratrum

caret.
Agam. Inclusa fluctu — Pyrrh. N^mpe cognatf maris : 340
Atrei ^t Thyestae n6bilem novl domum.
Agam. Ex vlrginis conc^pte furtiv6 stupro
et ^x Achille ndte, sed nondiim viro —
Pyrrh. Illo ^x Achille, g^nere qui mundiim suo
sparsijs per omne ca^litum regniim tenet : 345

Thetide a^quor, umbras A^aco, caeMm love.
Agam. Illo ^x Achille, quf manu Paridfs iacet.
Pyrrh. Quem n^c deorum c6mminus quisqudm petit.
Agam. Comp^scere equidem v^rba et audac^m malo
poter^m domare; s^d mens captfs quoque 350

scit pdrcere ensis. p6tius interpr^s deum
Calchds vocetur : f dta si posc^nt, dabo.

Tu qui Pelasgae vlncla solvistf rati
mordsque bellis, drte qui reseras polum,
cui vfscerum secr^ta, cui mundf fragor 355

et st^Ua longa s^mitam flammd trahens
dant sfgna fati, cuius ingentf mihi
merc^de constant 6ra : quid iubedt deus
effdre, Calchas, n6sque consiU6 rege.

Calchas

Dant Mta Danais qu6 solent preti6 viam: 360

mactdnda virgo est Th^ssali bust6 ducis;
sed qu6 iugari Th^ssalae cultu solent

TROADES 85

I6nidesve v^l Mycenaea6 nurus,

Pyrrhijs parent! c6niugem traddt suo :

sic rite dabitur. n6n tamen nostras tenet 365

haee una puppes cailsa : nobili6r tuo,

Polyxene, cru6re debetijr cruor.

quern fdta quaerunt, tiirre de summd cadat

Priamf nepos Hect6reus et letum oppetat.

turn mlUe velis impleat classfs freta. 370

Chorus

V^rum est dn timid6s fdbula d^cipit

limbras c6rporibiis vlvere c6nditis,

edm coniunx oculfs fmposuit manum

silpremiisque di^s s61ibus 6bstitit

^t tristfs ciner^s lirna co^rcuit ? 375

n6n prod^st animdm trddere Mneri,

s6d restdt miserfs vfvere 16ngius ?

dn toti morimiir nullaque pdrs manet

n6stri, eiim profug6 spfritus hdlitu

fmmixtiis nebulfs c^ssit in dera 380

6t nudiim tetiglt siibdita Mx latus ?

Quldquid s61 oriens, qufdquid et 6ccidens
n6vit, ca^rulels Oceanijs fretis
quldquid bfs veni^ns 6t fugi^ns lavat,
a^tas P^gase6 e6mpi^t gradu. 385

qu6 bis s^na voldnt sldera tdrbine,
qu6 cursti properdt v61vere sa^cula
dstrordm dominiis, qu6 properdt modo
6bliquls Hecate cilrrere fl^xibus :
h6e omn^s petimiis fdta nee dmplius, 390

iiirat6s superis qui tetiglt lacus,

86 THREE PLAYS OF SENECA

lisquam est ; ut calidls Mmus ab ignibus

vdnescft, spatiiim p^r breve s6rdidus,

ut nub^s, gravidas quds modo vidimus,

drctol Boreal dfssicit impetus : 395

sfc hie, qu6 regimiir, spfritus 6flEluet.

p6st mortem nihil ^st fpsaque m6rs nihil,

v^locis spatil m^ta novlssima ;

sp^m pondnt avidl, s611icitl metum :

t^mpus n6s avidiim d^vorat ^t chaos. 400

m6rs indfvidua ^st, ri6xia c6rpori

n^c parc^ns animal : Ta^nara et dspero

r^gnum sub domin6 limen et 6bsidens

custos n6n facill Cerberus 6stio

nimor^s vacuf v^rbaque indnia 405

^t par s611icit6 fdbula s6mnio.

qua^ris qu6 iaceds p6st obitum loco ?

qu6 non ndta iac^nt. —

Andromacha

Quid, ma^sta Phrygiae tiirba, laceratfs comas
miserumque tunsae pectus effus6 genas 410

fletu rigatis ? 16 via perpessa^ sumus,
si fl^nda patimur. Ilium vobfs modo,
mihi c^cidit olim, ciim ferns curni Incito
mea membra raperet 6t gravi gemer^t sono
Pelfacus axis p6ndere Hectore6 tremens. 415

tunc 6bruta atque ev^rsa quodcumque dccidit
torp^ns malis rig^nsque sine sensii fero.
iam er^pta Danais c6niugem sequer^r meum,
nisi hf c teneret : hlc meos anim6s domat
morique prohibet; c6git hie aliquld deos 420

TROADES 87

adhiic rogare — t^mpus aerumnae dddidit.

hie mlhi malorum maximum fnictum dbstulit,

nihil timere : pr6speris rebiis locus

er^ptus omnis, dira qua venidnt habent.

mis^rrimum est timbre, cum sperms nihil. 435

Senex

Quis t6 repens comm6vit afflictdm metus ?

Andr. Ex6ritur aliquod mdius ex magn6 malum.

nondum mentis llii fatiim stetit.

Sen. Et quds reperiet, ut velit, clad^s deus ?

Andr. Stygis profundae claiistra et obscurf specus 430

laxdntur et, ne d^sit eversfs metus,

host^s ab imo c6nditi Dite Exeunt —

sollsne retro p6rvium est Danafs iter ?

certe a6qua mors est: tiirbat atque agitdt Phrygas

communis iste terror; hie propria meum 435

ext^rret animum n6ctis horrenda6 sopor.

Sen. Quae visa portas? 6ffer in medium metus.

Andr. Partes fere nox dlma transierdt duas

clanimque septem v^rterant stella^ iugum ;

ign6ta tandem v^nit afflieta6 quies 440

brevlsque fessis s6mnus obrepsft genis,

si s6mnus ille est mentis attonita^ stupor :

cmn siibito nostros Hector ante oeul6s stetit,

non qudlis ultro b611a in Argiv6s ferens

Graids petebat fdeibus Idaefs rates, 445

nee ca6de multa qudlis in Dana6s furens

vera 6x Achille sp61ia simulat6 tulit,

non file vultus fldmmeum intend^ns iubar,

Bed f^ssus ac delictus et fletii gravis

88 THREE PLAYS OF SENECA

similisque nostro, squdlida obtectus coma. 450

iuvdt tamen vidfsse; turn quassdns caput:

'dispone somnos' fnquit 'et natum ^rip6,

o ffda coniunx : la teat, haec una 6st salus.

omitte fletus — Tr6ia quod cecidlt gemis ?

utindm iaceret t6ta. festina, dmove 455

quociimque nostrae pdrvulam stirp^m domus.'

mihi g^lidus horror dc tremor somnum 6xpulit,

ocul6sque nunc hue pdvida, nunc illuc ferens

oblfta nati mfsera quaesivi H^ctorem:

falldx per ipsos umbra complexus abit. 460

O ndte, magni c^rta progenies patris,
spes una Phrygibus, dnica aflElicta^ domus,
veterfsque suboles sanguinis nimium fncliti
nimiumque patri sfmiHs : hos vultiis mens
hab^bat Hector, tdlis incessii fuit 465

habitiique talis, sic tulit fortes manus,
sic c61sus umeris, fr6nte sic torvd minax
cervfce f usam dfssipans iactd comam —
o ndte sero Phrygibus, o matrf cito,
erftne tempus lllud ac felfx dies 470

quo Tr6ici defensor et vind6x soli
redivfva ponas P6rgama et spars6s fuga
civ^s reducas, n6men et patriae suum
Phrygibiisque reddas ? s6d mei f atf memor
tam mdgna timeo v6ta — quod captls sat est, 475

vivdmus. heu me, quls locus fidiis meo
erft timori qudve te sede 6cculam ?
arx flla pollens 6pibus et murfs deum,
gent^s per omnes cMra et invidiam gravis,
nunc pulvis altus, strdta sunt fiamma 6mnia 480

>^u/>er^stgue vasta ex lirbe ne tantilm quidem,

TROADES 89

quo Idteat inf ans — qu^m locum f raudf legam ?

est tumulus ingens c6niugis carl sacer,

ver^ndus hosti, m61e quem immensd parens

opibdsque magnis stnixit, in luctus suos 485

rex n6n avarus : 6ptime creddm patri —

sud6r per artus f rlgidus tot6s cadit :

om^n tremesco mlsera feralfs loci. 488

Sen. Miser 6ccupet praesidia, secunis legat. 497

Andr. Quid qu6d latere sine metu magn6 nequit, 496

ne pr6dat aliquis ? Sen. Amove testes doli. 492

Andr. Si qua^ret hostis ? Sen. tfrbe in eversd perit : 493

haec caiisa multos lina ab interitu drcuit, 489

credf perisse. Andr. Vlx spei quicquam ^st super:

grave p6ndus ilium mdgna nobilitds premit; 491

quid pr6derit latufsse redituro In manus? 494

Sen. Vict6r feroces Impetus prim6s habet. 49s

Andr. Quis t6 locus, quae r^gio seducta, fnvia 498

tut6 reponet? qufs feret trepidfs opem?

quis pr6teget? qui s6mper, etiam mine tuos, 500

Hect6r, tuere: c6niugis furtilm piae

serva ^t fideli cfnere victurum ^xcipe.

succ^de tumulo, ndte — quid retr6 fugis

tutdsque latebras sp^mis? agnosco fndolem:

pud^t timere. spfritus magn6s fuga 505

anim6sque veteres, siime quos casiis dedit.

en fntuere, tdrba quae simiis super:

tumuMs, puer, captfva: cedendum 6st malis.

sanctds parentis c6nditi sed^s age

aud6 subire. fdta si miser6s iuvant, 510

hab6s salutem ; fdta si vitdm negant,

hab6s sepulchrum. Sen. Claiistra commissum tegunt;

quem n6 tuus prodiicat in medium timor,

90 THREE PLAYS OF SENECA

procul hlnc recede t^que diversam dmove.

Andr. Levius solet timbre, qui propiiis timet; 515

sed, si placet, referdmus hinc ali6 pedem.

Sen. CohiW parumper 6ra questusque 6pprime:

gressiis nefandos diix Cephallanum ddmovet.

Andr. Dehisce tellus tiique, coniunx, liltimo

specu revulsam sclnde tellurem ^t Stygis 520

sinii profundo c6nde depositum meum.

ad^st Ulixes, ^t quidem dubi6 gradu

vultiique: nectit p^ctore astus cdllidos.

Ulixes

Dura6 minister s6rtis hoc primum peto,
ut, 6re quamvis v6rba dicantur meo, 525

non 6sse credas n6stra: Graiorum 6miiium
procerdmque vox est, p6tere quos serds domos
Hect6rea suboles pr6hibet : hanc fata 6xpetunt.
solllcita Danaos pdcis incerta^ fides
semper tenebit, semper a terg6 timor 530

resplcere coget drma nee ponf sinet,
dum Phr^gibus animos ndtus eversls dabit,
Andr6macha, vester. augur haec Calchds canit;
et, si taceret augur haec Calchds, tamen
dic^bat Hector, ciiius et stirpem h6rreo : 535

gener6sa in ortus s6mina exurgunt suos.
sic ille magni pdrvus armenti comes
primlsque nondum c6rnibus find^ns cutem
cervice subito c^lsus et fronte drduus
greg^m paternum ducit ac pecori Imperat; 540

quae t^nera caeso vlrga de trunc6 stetit,
par Ipsa matri tempore exigu6 subit

TROADES 91

umbrdsque terris r^ddit et cael6 nemus;

sic m^le relictus igne de magn6 cinis

vir^s resumit. ^st quidem iniustus dolor 545

rerum a^stimator : si tamen tecum 6xigas,

venidm dabis, quod b^Ua post hiem^s decern

totid^mque messes idm senex mil^s timet

alidsque clades rdrsus ac numqudm benfe

Troidm iacentem. mdgna res Dana6s movet, 550

futiirus Hector : libera Grai6s metu.

haec una naves caiisa deductds tenet,

hac cldssis haeret. n^ve crudel^m putes,

quod s6rte iussus H^ctoris natiim petam :

petlssem Oresten. pdtere quod vict6r tulit. 555

Andr. Utindm quidem esses, ndte, materna In manu,

noss^mque quis te cdsus ereptiim mihi

ten^ret, aut quae r6gio — non hostilibus

conf6ssa telis pectus ac vincUs manus

secdntibus praestricta, non acrl latus 560

utrdmque flamiha clncta matemdm fidem

umquam ^xuissem. ndte, quis te minp locus,

fortiina quae poss^dit ? errore dvio

vagus drva lustras ? vdstus an patriae vapor

corripuit artus ? sa6vus an vict6r tuo 565

lusit cruore ? niimquid immanls ferae

morsii peremptus pdscis Idaeds aves ?

Ulix. Simuldta remove v^rba; non facile ^st tibi

decipere Ulixen : vicimus matrdm dolos

etidm dearum. cdssa consilia dmove; 570

ubi natus est ? Andr. Ubi Hector ? ubi cunctl Phryges ?

ubi Prfamus? unum qua^ris: ego quaero 6mnia.

Ulix. Codcta dices sp6nte quod fari dbnuis.

Andb. Tuta 6st, perire qua^ potest deb^t cu^vt.

92 THREE PLAYS OF SENECA

Ulix. Magnifica verba m6rs prope admota ^xcutit. 575

Andr. Si vis, Ulixe, c6gere Andromachdm metu,

vitdm minare : ndm mori votum ^st mihi. .

Ulix. Verb^ribus igni morte cruciatu ^loqui

quodciimque celas d,diget invitdm dolor

et p^ctore imo c6ndita arcana ^ruet : 580

nec^ssitas plus p6sse quam pietds solet.

Andr. Prop6ne flammas, vulnera et dirds mali

dol6ris artes ^t famem et saevdm sitim

varidsque pestes lindique, et ferrum Inditum

visc^ribus istis, cdrceris caecl luem, 585

et quldquid audet victor iratiis timens :

anim6sa nullos mdter admittlt metus. 588

Ulix. Hie Ipse, quo nunc c6ntumax perstds, amor

consiilere parvis llberis Dana6s monet. 590

post drma tarn longlnqua, post ann6s decern

miniis timerem qu6s facit Calchd,s metus,

si mlhi timerem : b611a Telemach6 paras.

Andr. Invlta, Ulixe, gaudium Danals dabo :

dandum^st; fatere qu6s premis luctiis, dolor. 595

gaud^te, Atridae, tiique laetifica, lit soles,

ref6r Pelasgis : H^ctoris proles obit.

Ulix. Et 6sse verum hoc qud probas Danais fide ?

Andr. Ita qu6d minari mdxicium vict6r potest

contlngat et me fdta maturo 6xitu 600

facillque solvant dc meo conddnt solo

et pdtria tellus H^ctorem levit^r premat,

ut luce cassus Inter extinct6s iacet

datusque tumulo d^bita exanimls tulit.

Ulix. Expl^ta fata stirpe sublata H^ctoris 605

soliddmque pacem la^tus ad Dana6s feram —

quid dgis, Ulixe ? Ddnaidae credent tibi :

TROADES 93

tu cul ? parent! - — ffngit an quisquam h6c parens,

nee ab6minandae m6rtis auspicium pa vet ?

auspfcia metuunt qui nihil maiu£; timent. 6io

fidem dlligavit iure iurand6 suam —

si p^ierat, timbre quid graviiis potest ?

nunc ddvoca astus, dnime, nunc fraud^s, dolos,

nunc t6tum Ulixen; Veritas numqudm perit.

scrutdre matrem. ma6ret, inlacrimdt, gemit; 615

sed et hiic et illuc dnxios gressiis refert

missdsque voces aure soUicita ^xcipit :

magis ha6c timet, quam ma6ret. ingenio 6st opus.

Ali6s parentes dlloqui in luctu decet :
tibi grdtulandum est, mlsera, quod nat6 cares, 620

quern m6rs manebat sa6va praecipit^m datum
e tiirre, lapsis s61a quae murls manet.
Andr. Rellquit animus membra, quatiuntiir, labant
torp^tque vinctus frigido sanguis gelu.
Ulix. Intr6muit : hac, hac pdrte quaerenda 6st mihi ; 625
matrem timor det^xit : iterab6 metum. —
ite, Ite celeres, fraiide matema dbditum
host^m, Pelasgi n6minis pestem liltimam,
ubiciimque latitat, ^rutam in medium date,
bene 6st : tenetur. p6rge, festina, dttrahe — 630

quid r6spicis trepiddsque ? iam cert6 perit.
Andr. Utindm timerem. s61itus ex longo ^st metus :
dedlscit animus sa6pe quod didiclt diu.
Ulix. Lustrdle quoniam d^bitum muris puer
sacrum dntecessit n^c potest vat^m sequi 635

meli6re fato rdptus, hoc Calchds ait
mod6 piari p6sse rediturds rates,
si pldcet undas H^ctoris sparsl cinis
ac ttimulus imo t6tus aequetiir solo.

94 THREE PLAYS OF SENECA

nunc file quoniam d^bitam effugit necem, 640

erit ddmovenda s6dibus sacrls manus.

Andr. Quid dgimus ? animum dlstrahit geminiis timor ;

hinc ndtus, illinc c6niugis sacrl cinis.

pars litra vincet ? t^stor immit^s deos,

de6sque veros c6niugis man^s mei : 645

non dliud, Hector, In meo nat6 mihi

plac^re quam te. vlvat, ut posslt tuos

ref^rre vultus — pr6rutus tumul6 cinis

merg^tur? ossa fluctibus spargl sinam

disi^cta vastis ? p6tius hie mortem 6ppetat. — 650

poterls nefandae d^ditum mat^r neci

vid^re ? poteris c61sa per fastlgia

missiim rotari ? p6tero, perpetidr, feram,

dum n6n mens post fdta victorls manu

iact^tur Hector. — hlc suam poendm potest 655

sentlre, at ilium fdta iam in tut6 locant —

quid Mctuaris? stdtue, quem poenae ^xtrahas.

ingrdta, dubitas? Hector est illinc tuus —

errds: utrimque est Hector; hie senstis potens,

forsdn futurus liltor extinctl patris — 660

utrlque parci n6n potest : quid idm f acis ?

serva 6 duobus, dnime, quem Danal timent.

Ulix. Resp6nsa peragam : funditus busta 6ruam.

Andr. Quae v^ndidistis? Ulix. P6rgam et e summo

dggere
trahdm sepulchra. Andr. Ca^litum appell6 fidem 665
fid^mque Achillis: P^rrhe, genitoris tui
munus tuere. Ulix. Tumulus hie eamp6 statim
tot6 iacebit. Andr. Fuerat hoc prorsus nefas
Danals inausum. t^mpla violastls, deos
etidm f aventes : biista transierdt furor. 670

TROADES 95

reslstam, inennes 6fferam armatls manus,

dabit Ira vires, qudlis Argolicds ferox

turmds Amazon strdvit, aut quails deo

percussa Maenas ^ntheo silvds gradu

anndta thyrso turret atque exp^rs sui 675

vulnus dedit nee s^nsit, in medi6s ruam

tumul6que cineris s6cia defens6 cadam.

Ulix. Cessdtis et vos fl6bilis clam6r movet
fur6rque cassus f^minae ? iussa 6cius
perdgite. Andr. Me, me st^mite hie ferr6 prius. 680

rep^Uor, heu me. nimpe fatorum moras,
mollre terras. Hector, ut Ulix6n domes,
vel limbra satis es — drma concusslt manu,
iaculdtur ignes — c^rnitis, Danai, H^ctorem?
an s61a video ? Ulix. Fiinditus cuncta 6ruam. 685

Andr. Quid agls ? ruina pdriter et natum 6t virum
prost^mis una ? f 6rsitan Dana6s prece
placdre poteris. c6nditum illid^t statim
inmidne busti p6ndus — interest miser
ubiciimque potius, n^ pater natum 6bruat 690

premdtque patrem ndtus. — Ad genua decido
suppl6x, Ulixe, qudmque nulliiis pedes
nov6re dextram p^dibus admove6 tuis.
miserere matris ^t preces placidus pias
pati^nsque recipe, qu6que te celsum dltius 695

superl levarunt, mitius laps6s preme :
miser6 datur quodcumque, fortuna^ datur.
sic t6 revisat c6niugis sancta^ torus,
ann6sque, dum te r^cipit, extenddt suos
La^rta; sic te iiivenis aspicidt tuus, 7«>

et v6ta vincens v6stra felici Indole
aetdte avum transc^ndat, ingeni6 patrem.

96 THREE PLAYS OF SENECA

miserere matris : linicum adflicta^ mihi
soldmen hie est. Ulix. ifixhibe natum 6t roga.

Andr. Hue 6 latebris proe6de tuis, 705

jflebile matris furtiim miserae.

hie 6st, hie est terr6r, Ulixe,

mill6 earinis. sUbmitte manus

dominique pedes suppllce dextra

stratiis adora nee turpe puta 710

quidquld miseros fortiina iubet.

pone 6x animo reg^s atavos

magnique senis iurd per omnes

ineliita terras, exeldat Heetor,

gere edptivum posit6que genu, 715

si tiia nondum fun^ra sentis,

matris fletus imitdre tuae.
Vidlt pueri regis laerimas

et Tr6ia prior, parvusque minas

trueis -ilcidae flexft Priamus. 720

ille, llle ferox, euius vastis

viribus omnes eess^re ferae,

qui p6rfraeto limine Ditis

eaeeiim retro patef^eit iter,

hostls parvi vietus laerimis : 725

'suselpe' dixit 'reet6r habenas

patri6que sede celsiis solio;

sed se^ptra fide meU6re tene.'

hoe f liit illo viet6re eapi :

diselte mites Hereiilis iras. 730

an s61a placent Hereiilis arma?

iacet dnte pedes non minor illo

suppllee supplex vitdmque petit —

regmim Troiae quoeiimque volet

Fortuna ferat. 735

TROADES 97

Ulix. Matrls quidem me ma^ror attonita^ movet,

magls Pelasgae m^ tamen matrls movent,

quarum iste magnos cr^scit in luctiis puer.

Andr. Has, hds ruinas lirbis in ciner^m datae

hie ^xcitabit ? ha6 manus Troiam, ^rigent ? 740

nullds habet spes Tr6ia, si tal^s habet.

non sic iacemus Tr6es, ut cuiqudm metus

posslmus esse, spiritus genit6r facit ?

sed n^mpe tractus. ipse post Troidm pater

posufsset animos, mdgna quos frangiint mala. 745

si po6na petitur, qua6 peti gravi6r potest ?

famuMre collo n6bili subedt iugum,

servire liceat. dliquis hoc regl negat ?

Ulix. Non h6c Ulixes, s6d negat Calchds tibi.

Andr. mdchinator fraiidis et scelerum drtifex, 750

virtiite cuius b^llica nemo 6ccidit,

dolls et astu mdleficae mentis iacent

etidm Pelasgi, vdtem et insont^s deos

praet^ndis ? hoc est pectoris faciniis tui.

noctiime miles, f6rtis in puerl necem 755

iam s61us audes dliquid et clar6 die.

Ulix. Virtus Ulixis Ddnaidis nota 6st satis

nimlsque Phrygibus. n6n vacat vanls diem

cont^rere verbis : dncoras classls legit.

Andr. Brev^m moram largire, dum officiiim parens 760

nat6 supremum r^ddo et amplexu tiltimo

avid6s dolores sdtio. Ulix. Misererl tui

utindm liceret. qu6d tamen soliim licet,

tempiis moramque ddbimus. arbitri6 tuo

implore lacrimis : flatus aerumnds levat. 765

Andr. diilce pignus, 6 decus lapsa^ domus

summtimque Troiae Mnus, o Danaiim timor,

98 THREE PLAYS OF SENECA

genetrlcis o spes vdna, cui demons ego

laud^s parentis b^llicas, ann6s avi

demons precabar, v6ta destitult deus. 770

lUaca non tu sc^ptra regall potens

gestdbis aula, iiira nee popuUs dabis

victdsque gentes siib tuum mitt^s iugum,

non Grdia caedes t^rga, non Pyrrhiim trahes;

non drma tenera pdrva tractabis manu 775

sparsdsque passim sdltibus latls feras

auddx sequeris n^c stato lustrf die,

soll^mne referens Tr6ici lusus sacrum,

pu6r citatas n6bilis turmds ages;

non Inter aras m6bili vel6x pede, 780

rebodnte flexo c6ncitos cormi modos,

barbdrica prisco t^mpla saltatii coles.

o Mdrte diro trlstius letl genus !

jflebllius aliquid H^ctoris magni nece

muri videbunt. Ulix. Rumpe iam fletiis, parens : 785

magniis sibi ipse n6n facit fin^m dolor.

Andr. Lacrimls, Ulixe, pdrva quam petimiis mora est;

concede paucas, ut mea conddm manu

viv^ntis oculos. 6ccidis parviis quidem,

sed idm timendus. Tr6ia te expectdt tua : 790

i, vdde liber, liberos Trods vide.

AsTYAN. Miserere, mater. Andr. Quid meos retinas sinus

maniisque matris cdssa praesidia 6ccupas?

fremiti! leonis qudlis audit6 tener

timidtim iuvencus dpplicat matrf latus, 795

at llle saevus mdtre summotd leo

praeddm minorem m6rsibus vastis tenens

f ranglt vehitque : tdlis e nostr6 sinu

te rdpiet hostis. 6scula et fletiis, puer,

TROADES 99

lacerdsque crines 6xcipe et pleniis mei 800

occiirre patri; paiica maternal tamen

perf6r querelae v6rba : ' si man^s habent

curds priores n6c perit flammls amor,

servlre Graio pdteris Andromach^n uiro,

crud61is Hector? 16ntus et segnls iaces? 80s

redlt Achilles/ siime nunc itenim comas

et Slime lacrimas, quldquid e miser6 viri

fun^re relictum est, siime quae reddds tuo

osciila parenti. mdtris banc soldcio

rellnque vestem: tiimulus banc tetigit mens Sio

man6sque cari. si quid bic cineris latet,

scrutdbor ore. Ulix. Niillus est flendl modus:

abripite propere cldssis Argolica6 moram.

Chorus

Qude vocat sed^s babitdnda captas ?

Tb^ssali months et opdca Tempe, 815

dn viros tellus dare mllitares

dptior Pbtbi6 meli6rque fetu

f6rtis armentl lapid6sa Tracbin,

dn maris vast! domitrix lolcos ?

tirbibus centiim spati6sa Crete, 820

pdrva Gortynls sterillsque Tricce,

dn frequens rivls levibiis Motbone,

qua^ sub Oetaels latebr6sa silvis

mlsit infest6s Troia^ minis

n6n semel drcus ? 825

6lenos tectls habitdta raris,
vlrgini Pleur6n inimlca divae,
dn maris latl sinu6sa Troezen ?

100 THREE PLAYS OF SENECA

P61ion regnum Prothoi superbum,

t^rtius cael6 gradus ? (hf c recumbens 830

m6ntis exesl spati6sus antro

idm trucis Chirdn pueii magister,

tfnnulas plectr6 feri^nte chordas,

tunc quoque ingent^s acu^bat iras

b^lla can^ndo) 835

-in ferax varii lapidls Carystos,
dn premens litus maris Inquieti
semper Eurip6 properdnte Chalcis ?
qu61ibet vent6 f aciKs Calydnae,
An carens numqudm Gono6ssa yento " 840

qua^que f ormiddt Boredn Enispe ?
Attica pendens Pepar6thos ora,
dn sacris gaud^ns tacitls Eleusin ?
nijmquid Aiacls Salamlna veri

aut fera notdm Calydona saeva, 845

qudsque perfundlt subitiirus aequor
s^gnibus terrds Titar^ssos undis ?
B^ssan et Scarph^n, Pylon dn senilem?
Phdrin an Pisds lovis 6t coronis

]Slida cldram ? 850

Qu61ibet tristls miserds procella
mlttat et don^t cuictimque terrae,
dum luem tantdm Troiae dtque Achivis
qua6 tulit, Sparta, procul dbsit, absit
Argos et saevl Pelopis Mycenae, 855

N^ritos parvd brevi6r Zacyntho
H nocens saxfs Ithac^ dolosis.

Qu6d manet fatiim dominiSsque quis te,
aiSt quibus terrfs, Hecubd, videndam
diicet ? in cuius mori^re regno ? 860

TROADES 101

Helena

Quiciimque hymen fun6stus, inlaetdbilis
lam^nta caedes sdnguinem gemitus habet
est allspice Helena dlgnus. eversls quoque
noc^re cogor Phr;f gibus : ego Pyrrhl toros
narrdre falsos iubeor, ego cultiis dare 865

habitiisque Graios. drte capietiir mea
medque fraude c6ncidet Paridls soror.
falldtur; ipsi l^vius hoc equid^m reor:
optdnda mors est sine metu mortis mori.
quid iussa cessas dgere ? ad auctor^m redit 870

scelerls coacti ciilpa. — Dardania^ domus
gener6sa virgo, m^lior afflict6s deus
resplcere coepit t^que felicl parat
dotdre thalamo; tdle coniugiiim tibi
non Ipsa sospes Tr6ia, non Priamiis daret. 875

nam t6 Pelasgae mdximum gentls decus,
cui r^gna campi Mta Thessalicl patent, 878

ad sdncta lecti iura legitiml petit. 877

te mdgna Tethys t^que tot pelagl deae
placidiimque numen a^quoris tumidl Thetis 880

sudm vocabunt, t6 datam Pyrrh6 socer
Peletis nurum vocdbit et Nereiis nurum.
dep6ne cultus squdlidos, fest6s cape,
dedlsce captam ; d^prime horrent^s comas
crin6mque docta pdtere distingul manu. 885

hie f6rsitan te cdsus excels6 magis
soli6 reponet. pr6fuit multls capi.

Andromacha

Hoc d^rat unum Phr;^gibus eversls malum,
gaud^re — flagrant strdta passim P^rgama:

102 THREE PLAYS OF SENECA

o c6niugale t^mpus I an quisquam aiideat 890

negdre ? quisquam ddbius ad thalam6s eat,

quos Helena suadet ? p^stis exitiiim lues

utrMsque populi, c6rnis hos tumul6s ducum

et niida totis 6ssa quae passim iacent

inhumdta campis ? ha6c hymen sparsit tuus. 895

tibi fliixit Asiae, fluxit Europa^ cruor,

cum dlmicantes la^ta prospicer^s viros,

inc^rta voti — p^rge, thalamos dppara.

taedls quid opus est quldve soUemnl face?

quid igne ? thalamis Tr6ia praeluc^t novis. 900

celebrdte Pyrrhi, Tr6ades, coniibia,

celebrate digne : pldnctus et gemitiis sonet.

Hel. Rati6ne quamvis cdreat et fleet! neget

magniis dolor soci6sque nonnumqudm sui

maer6ris ipsos 6derit : causdm tamen 905

possiim tueri iudice infest6 meam,

gravi6ra passa. Mget Andromacha H^ctorem

et Hecuba Priamum ; s61us occulta Paris

lug^ndus Helenae est. dtirum et invisum 6t grave est

servitia ferre ? pdtior hoc oUm iugum, 910

annis decem captlva. prostratum Ilium est,

versl penates ? p^rdere est patridm grave,

gravius timere. v6s levat tantl mali

comitdtus : in me victor et victims furit.

quam qulsque famulam trdheret incert6 diu 915

casii pependit : m6 meus traxlt statim

sine s6rte dominus. causa bellonim fui

tanta^que Teucris clddis ? hoc venim puta,

Spartdna puppis v^stra si secult freta;

sin rdpta Phrygiis pra6da remigibiis fui 920

dedltque donum iiidici victrlx dea.

TROADES 103

ign6sce praedae. iiidicem irattim mea
habitura causa est : ista Menelatim manent
arbltria. nunc banc Mctibus pauMm tuis,
Andr6macha, omissis fl^cte — vix lacrimds queo 925

retin^re. Andr. Quantum est H61ena quod lacrimdt

malum,
cur Idcrimat autem ? fdre quos Ithaciis dolos,
quae sc^lera nectat; litrum ab Idaels iugis
iactdnda virgo est, drcis an celsae 6dito
mitt^nda saxo ? niSm per has vastum In mare 930

volv^nda rupes, latere quas sciss6 levat
altiim vadoso Slgeon spectdns sinu ?
die, fdre, quidquid siibdolo vultii tegis.
Ievi6ra mala sunt ciincta, quam Priaml gener
Hecuba^que Pyrrhus. fdre, quam poendm pares 935

expr6me et unum hoc d^me nostris clddibus,
falli : paratas p6rpeti mortem vides.
Hel. Utindm iuberet m6 quoque interpr^s deum
abrumpere ense Mcis invisa6 moras

vel AchlUis ante btista furibundd manu 940

occldere Pyrrhi, fdta comitant^m tua,
Pol^xene miserdnda, quam tradl sibi
ciner^mque Achilles dnte mactari suum,
camp6 maritus lit sit Elysi6, iubet.

Andr. Vide ut dnimus ingens la^tus audierlt necem. 945
cultiis decoros r^giae vestls petit
et ddmoveri crlnibus patitiir manum.
mortem putabat lllud, hoc thalam6s putat.
at mlsera luctu mdter audit6 stupet ;
labefActa mens succiibuit. assurge, dlleva 950

animum 6t cadentem, mlsera, firma spfritum.
quam tenuis anima vinculo pend^t levi —

104 THREE PLAYS OF SENECA

minimum 6st quod Hecubam fdcere felic^m potest.

spirdt, revixit. prima mors miser6s fugit.

Hec. Adhiic Achilles vlvit in poends Phrygum? 955

adhiic rebellat ? 6 manum Paridls levem.

cinis Ipse nostrum sdnguinem ac tumuMs sitit.

modo tiirba felix Idtera cingebdt mea,

lassdbar in tot 6scula et tantiim gregem

divldere matrem; s61a nunc haec ^st super 960

votiim, comes, levdmen afflicta^, quies;

haec t6tus Hecubae f6tus, hac sold vocor

iam v6ce mater, diira et infellx age

eldbere anima, d^nique hoc umim mihi

remltte funus. Inrigat fletiis genas 965

imb^rque victo siibitus e vultii cadit.

Andr. Nos Hecuba, nos, nos, Hecuba, lugenda6 sumus,969

quas m6ta classis hiic et hue sparsds feret ; 970

hanc cdra tellus s6dibus patrils teget.

Hel. Magis invidebis, si tuam sort^m scies.

Andr. An dliqua poenae pdrs meae ignota 6st mihi ?

Hel. Versdta dominos lima captivls dedit.

Andr. Cui fdmula trador ? 6de; quern dominiimvoco? 975

Hel. Te s6rte prima Scj'rius iuvenis tulit.

Andr. Cassdndra felix, qudm furor sorti 6ximit

Phoebusque. Hel. Regum hanc mdximus rect6r tenet. 978

Hec. Laetdre, gaude, ndta. quam vell^t tuos 967

Cassdndra thalamos, v^llet Andromache tuos. 968

estne dliquis, Hecubam quf suam dicf velit? 979

Hel. Ithaco 6btigisti pra^da nolentl brevis. 980

Hec. Quis tam fmpotens ac dilrus et iniqua^ ferus

sortf tor urnae r^gibus reg^s dedit ?

quis tdm sinister dlvidit captds deus ?

quis drbiter crud^lis et miseris gravis

TROADES 105

eligere dominos n^scit et mat rem H^ctoris 985

armls Achillis mlscet ? ad Ulix^n vocor : 987

nunc victa, nunc captlva, nunc cunctfs mihi

obs^ssa videor clddibus — dominf pudet, 989

non s^rvitutis. st6rilis et saevls fretis 991

incliisa tellus n6n capit tumul6s meos —

due, diic, Ulixe, nil moror, dominiim sequor;

me m^a sequentur fdta : non pelag6 quies

tranqullla veniet, sa^viet ventfs mare, 995

9|C ^ ^ ^ ^ ^ ^ ^

et b^lla et ignes 6t mea et Priamf mala,

dumque Ista veniant. Interim hoc poena^ loco est :

sortem 6ccupavi, pra^mium eripul tibi. —

Sed 6n citato Pyrrhus accurrft gradu
vultuque torvo. P;f rrhe, quid cessds ? age 1000

recliide ferro pectus et Achillis tui
conitinge soceros. p6rge, mactat6r senum,
et hlc decet te sd,nguis : abrept^m trahe.
macuMte superos ca^de funestd deos,
maculd,te manes — qufd precer vobis ? precor 1005

his digna sacris a^quora : hoc classi dccidat
toti Pelasgae, rdtibus hoc mille dccidat
mea^ precabor, ciim vehar, quidqufd rati.

Chorus

Dtilce maerentf popuMs dolentum,

dtilce lamentis resondre gentes; loio

l^nius luctiis lacrima^que mordent,

ttirba quas fletii similfs frequentat.

semper ah semper dolor ^st malignus :

gatidet in mult6s sua Mta mitti

106 THREE PLAYS OF SENECA

s^que non solum placuisse poenae. 1015

f^rre quam sort^m patiiintur omnes,

n^mo reciisat.
T611e felic^s : misenim, licet sit,
n^mo se credit; remove te multo
divites aur6, remov6te centum 1020

rdra qui scindiint opul6nta bubus :
paiiperi surg^nt animl iacentes —
6st miser nem6 nisi c6mparatus.
diilce in immensis posit6 minis,
n6minem laet6s habulsse vultus : 1025

Hie deplordt queritiirque fatum,
qui secans fluctiim rate slngulari
niidus in portiis cecidit petltos;
a^quior casiim tulit 6t procellas,
mlUe qui pont6 parit^r carinas 1030

6brui vidft tabuMque vectus
naufraga, terris mare diim coactis
fliictibus Conis prohibit, revertit.
qu6stus est Hell6n cecidlsse Phrixus,
ciim gregis duct6r radid,nte villo 1035

aiireo fratr^m simul dc sororem
siistulit terg6 medi6que iactum
f^cit in pont6 ; tenult querelas
6t vir et Pyirhd, mare cum viderent,
6t nihil praetor mare ciim viderent 1040

tinici terris homines relicti.
S61vet hunc questiim lacrimdsque nostras
spdrget hue ilMc agitdta classis,

^ ^ ^ ^ ^ ^ ^ ^

^t tuba iussi dare v^la nautae

ciim simul ventfs properdnte remo 1045

TROADES 107

pr^nderint alttim fugi^tque litus.

quls status mentfs miseris, ubi omnis

t^ira decresc^t pelagusque crescet,

c^lsa cum long^ latitdbit Ide ?

turn puer matrl genetrfxque nato, 1050

Tr6ia qua iacedt regi6ne monstrans,

dlcet et long6 digit6 notabit :

'Ilium est illfc, ubi fumus alte

s^rpit in caelum nebula^que turpes.'

Tr6es hoc sign6 patriam vid^bunt. 1055

NuNTius, Hecuba, Andromacha

O dura fata, sa^va miseranda h6rrida !
quod td,m ferum, tam trfste bis quinfs scelus
Mars vldit annis ? quid prius refer^ns gemam,
tu6sne potius, dn tuos luctiis, anus ?
Hec. Quosciimque luctus fl^veris, flebfs meos : 1060

sua qu^mque tantum, me 6mnium clad^s premit;
mihi cuncta pereunt : qufsquis est, Hecubae 6st, miser.
NuNT. Mactd,ta virgo est, missus e murfs puer;
sed ut^rque letum m^nte generosd, tulit.
Andr. Exp6ne seriem caddis, et duplex nefas 1065

pers^quere : gaudet md,gnus aerumnds dolor
tractdre totas. 6de et enaira 6mnia.
NuNT. Est lina magna turris e Troid, super,
adsu^ta Priamo, ciiius e fastigio

summlsque pinnis Arbiter belli sedens 1070

reg^bat acies. tiirre in hac bland6 sinu
foveiis nepotem, cum metu vers6s gravi
Dana^s fugaret Hector et ferro &t face,
pat^ma puero b^lla monstrabdt senex.

/

108 THREE PLAYS OF SENECA

haec n6ta quondam tiirris et murl decus, 1075

nunc s61a cautes, lindique adfusd ducum
plebfsque turba cingitur; to turn coit
xratibiis relictis viilgus. his coUls procul
aci^m patent! Hberam praeb^t loco,

his dlta rupes, cuius in caciimine 1080

er^cta summos tiirba libravlt pedes,
hunc pinus, ilium laiirus, hunc fagils gerit
et t6ta populo sllva suspens6 tremit.
extr^ma montis file praeruptl petit,
semiista at ille t^cta vel saxum Imminens 1085

murl cadentis pr^ssit, atque aliquls (nefas)
tumul6 ferus spectd,tor Hectore6 sedet.
per spdtia late pl^na subliml gradu
inc^dit Ithacus pdrvulum dextrd, trahens
Priamf nepotem, n6c gradu segnf puer 1090

ad dlta pergit mo^nia. ut summd stetit
pro tiirre, vultus hiic et hue acr6s tulit
intr6pidus animo. qud,lis ingentfs ferae
parviis tenerque f^tus et nondiim potens
saevlre dente id,m tamen tollft minas 1095

morsiisque inanes t^mptat atque animls tumet:
sic file dextra pr6nsus hostilf puer
fer6x superbe. m6verat vulgum d,c duces
ipsiimque Ulixen. n6n flet e turba 6mnium
qui fl^tur; ac, dum v^rba fatidici 6t preces noo

concipit Ulixes vd,tis et saev6s ciet
ad sdcra superos, sp6nte desiluit sua
in m^dia Priami r^gna. —

Andr. Quis C61chus hoc, quis s^dis incerta^ Scytha
commfsit, aut quae Cd.spium tang^ns mare 1105

gens iiiris expers aiisa ? non Busiridis

TROADES 109

puerilis aras sanguis aspersft feri,

nee pdrva gregibus membra Diomed^s suis

epuldnda posuit. quis tuos artiis leget

tumul6que tradet ? Nunt. Qu6s enim praec^ps locus mo

reliquit artus? 6ssa disiecta 6t gravi

elisa casu; signa clari c6rporis,

et 6ra et illas n6biles patrfs notas,

confiidit imam p6ndus ad terrdm datum;

soliita cervix silicis impulsil, caput ms

ruptum cerebro p^nitus express6 — iacet

def6rme corpus. Andr. Sfc quoque est simills patri.

Nunt. Praec^ps ut altis c6cidit e murls puer

flevitque Achivum tiirba quod fecit nefas,

idem file populus dliud ad facinils redit iiao

tumuliimque Achillis. cuius extremism latus

Rhoet6a leni v^rberant fluctii vada;

adv^rsa cingit cdmpus et cliv6 levi

er^cta medium vdllis includ^ns locum.

crescft theatri m6re concursiis frequens, 1125

impl^vit omne lltus : hi classfs moram

hac m6rte solvi r^ntur, hi stirpem h6stium

gaud^nt recidi. m^gna pars vulgi levis

odit scelus, spectdtque; nee Tro^s minus

suiim frequentant fiinus et pavidi metu 1130

partem mentis liltimam Troia6 vident :

cum siibito thalami m6re praecediint faces

et pr6nuba illi T;f ndaris, maestiim caput

demlssa. Hah niibat Hermion^ modo'

Phryg^s precantur 'sfc viro turpis suo 113s

redddtur Helena.' terror attonit6s tenet

utr6sque populos. Ipsa deiect6s gerit

vulttis pudore, s6d tamen fulgent genae

110 THREE PLAYS OF SENECA

maglsque solito spl^ndet extremus decor,

ut 6sse Phoebi dulcius lum^n solet 1140

iam i^m cadentis, dstra cum repetilnt vices

premitilrque dubius n6cte vicind, dies.

stupet 6mne vulgus — ^t fere cuncti magis

peritiira laudant. h6s movet formal decus,

hos m611is aetas, hos vagae rerum vices; 1145

movet dnimus omnes f6rtis et leto 6bvius.

Pyrrhum dntecedit ; 6mnium mentis tremunt,

mird,ntur ac miserd,ntur. ut primum drdui

sublime montis t^tigit atque alte 6dito

iuvenfs paterni v^rtice in bust! stetit, 1150

auddx virago n6n tulit retr6 gradum;

conv6rsa ad ictum stdt truci vultii ferox.

tam f6rtis animus 6mnium mentis ferit

novtimque monstrum est Pyrrhus ad caed^m piger.

ut d^xtra ferrum p4nitus exactum dbdidit, 115s

subitiis recepta m6rte prorupit cruor

per viilnus ingens. n^c tamen morions adhuc

dep6nit animos: c^cidit, ut Achillf gravem

factilra terram, pr6na et irato Impetu.

ut^rque flevit coitus; at timidtim Phryges 1160

mis^re gemitum, cldrius vict6r gemit.

hie 6rdo sacri. n6n stetit fusiis cruor

hum6ve summa fluxit : obduxit statim

saeviisque totum sdnguinem tumuWs bibit.

Hec. Ite, fte, Danai, p6tite iam tutl domos; 1165

optdta velis mdria diffusls secet

seciira classis : c6ncidit virgo d,c puer;

belliim peractum est. qu6 meas lacrimds feram ?

ubi hdnc anilis 6xpuam letl moram ?

natam ^n nepotem, coniugem an patrlam fleam ? 1170

TROADES 111

an 6mnia an me s61a ? Mors votdm meum,

infdntibus, viol^nta, virginibiis venis,

ubique properas, sa^va : me soldm times

vitasque, gladios fnter ac tela 6t faces

quaesfta tota n6cte, cupient^m fugis. 1175

non h6stis aut rufna, non ignis meos

absilmpsit artus : qudm prope a Priam6 steti.

NuNT. Rep^tite celeri mdria, captiva^, gradu:

iam v^la puppis Mxat et elassls movet.

MEDEA

DRAMATIS PERSONAE
Medea

NUTRIX

Greo
Iason

NUNTIUS

Chorus
scaena corinthi

THE PARTS TAKEN BY EACH ACTOR

I Medea
II Jaso
Creo
iii nutrix

NUNTIUS

MEDEA

Di c6niugales Mque genialfs tori,
Lucina, custos qua^que domiturdm freta
Tiph;fn novam frendre docuistl ratem,
et tu, profundi sa6ve dominat6r maris,
clanimque Titan dividens orbi diem, 5

tacitlsque praebens c6nscium sacris iubar
Hecate triformis, qu6sque iuravlt mihi
de6s lason, qu6sque Medea6 magis
fas 6st precari : n6ctis aeterna^ chaos,
av^rsa superis r^gna manesque fmpios 10

dominiimque regni trfstis et domindm fide
meli6re raptam, v6ce non faustd precor.
nunc, mine adeste, sc^leris ultric^s deae,
crin^m solutis squdlidae serp6ntibus,
atrd,m cruentis mdnibus amplexa^ facem, 15

adeste, thalamis h6rridae quondam meis
qualms stetistis: c6niugi letiim novae
letiimque socero et r^giae stirpl date,
mihi p^ius aliquid, qu6d preeer spons6, manet:
vivdt. per urbes ^rret ignotds egens ao

exdl pavens invisus incertf laris,
iam n6tus hospes Kmen alienum ^xpetat,
me e6niugem optet qu6que non aliiid queam
peitis precari, liberos similes patri

simil^sque matri — pdrta iam, parta \iltio est : 25

peperi. querelas v6rbaque in cassum sero ?

115

116 THREE PLAYS OF SENECA

non Ibo in hostes ? mdnibus excutidm faces

cael6que lucem — sp^ctat hoc nostrf sator

Sol generis, et spectdtur, et curru insidens

per s61ita puri spdtia decurrft poli ? 30

non r6dit in ortus 6t remetitur diem?

da, dd per auras ctirribus patriis vehi,

commltte habenas, g^nitor, et flagrdntibus

ignifera loris tribue moderari iuga :

geniin6 Corinthos litore oppon^ns moras 35

^ cremdta flammis mdria committdt duo.
: ;hoc r^stat unum, pr6nubam thalam6 feram

ut Ipsa pinum p6stque sacrifices preces

caeddm dicatis vlctimas altdribus.

per vfscera ipsa quaere supplici6 viam, 40

si vlvis, anime, sf quid antiquf tibi

reman^t vigoris; p611e femine6s metus

et inh6spitalem Caiicasum mente Indue.

quodciimque vidit P6ntus aut Phasis nefas,

vid^bit Isthmos. 6ffera, ignota, h6rrida, 45

trem^nda caelo pdriter ac terrls mala . ...;,„,>

mens fntus agitat : viilnera et caedem 6t yagum

funtis per artus — 16 via memoravf nimis :

haec vlrgo feci; grdvior exurgd,t dolor:

mai6ra iam me sc^lera post partiis decent. 50

accfngere ira t^que in exititim para

fur6re toto. pdria narrenttir tua

repudia thalamis : qu6 virum linqu6s modo ?

hoc qu6 secuta es. nimpe iam segn^s moras :

quae sc^lere parta est, sc^lere linquenda 6st domus. 55

MEDEA 117

Chorus

Ad regum thalam6s niimine pr6spero
qui caeMm superl qulque regiint fretum
ddsint cum populis rite fav6ntibus.
prlmum sc^ptriferfs c611a Tond,ntibus
tailrus c^lsa ferdt t^rgore cdndido; 60

L\icind,m nivel f6mina c6rporis
IntempUta iug6 pldcet, et dsperi
Md,rtis sdnguineds qua^ cohib^t manus,
qua6 dat b^lligerls fo^dera g^ntibus
6t cornil retin^t dlvite c6piam, 65

d6netiir tenerd mltior h6stia.
6t tu, qui facibtis l^gitimls ades,
n6ctem dlscuti^ns aiispice d^xtera
hiic inc^de gradti mdrcidus 6brio,

pra^cing^ns rose6 t^mpora vinculo. 70

6t tu qua^, geminl pra^via tampons,
tdrde, Stella, redls semper amd,ntibus :
t^ matr^s, avid6 t6 cupitint nurus
qudm primum radi6s spdrgere Mcidos.

Vlncit vlrgineiis decor . 7S

16nge C^cropids nurus^ T^uUm. ^ dnju^.

6t quas Td,ygetl iugis

^xerc^t iuventim modo

miiris qu6d caret 6ppidum,

6t quas Aoniils la tex /3c^o-6-^ 80

Alphe6sque sac^r lavat.

si formd, velit dspici,
cedent A6soni6 duci

THREE PLAYS OF SENB

pr61e8 fulmin is fmprobi - ■^< t.-<^...cj^

^ptat quf juga tfgribus,

n^c non, quf tripodas movet,^^?^:^

filter virginis ^sperae, i*'^ <-.<«--^

c^det Cdstore cum suo

P611ux ca^stibua aptior.

Bfc, sic, ca^IicoM, precor,
vfncat fdmina r6niuges,
vir lo!ig6 superb t viros.

Ha^c com f^mme6 constitit In chore
tloius faci^a pra^nitet omnibus.
Aj^ ale cum s61e perit sfdoreus decor,
* 4t densi latitint PMiadum greges

cum Phoeb^^ solidum liimine n6n sue
6rbein clrcuitfs cdrnibiis dlligat.

69tro sic niveds punice6 color
pfirfustis nibultj sic nitidiim iubar
-^-"- luce novd rdseidus aspicit.

*'halaaiis Phdsidis horridi,
' solit^s p6€tora coniugis
^ t^pldtia pr^ndere dcxtera,
A-^oli^j^ e6rripe virgincm
' ^^^^^tri soceris^ spouse^ volant
Lc^^ ^Uven^3, ludite iurgio,
^ ^*"^c, in^^^^a^ mlttite carmina

MEDEA r. 119

y^rsigerl proles gener6sa Lyafei, no

iam t^mpus erat succ^ndere pinum :

mn6m digitis marc^ntibus ignem.

fundd,t convicia f^scenninus,

1 ioc6s — tacitis eat lUa tenebris,

5rin6 nubit fugitiva marito. ** us

-^T^ Medea

s, aures p ^pulit hymen aeils meas. j^

itum, vix &dhuc cred6j malum.^'^^-^ ^
[ason p6tuit, erept6 patre
e regno s^dibus solam ^xteris
rus ? m^rita contempsit mea lao

flammas viderat vinci 6t mare ?
[it omne consumptiim nefas ?
3ors m6nte vaesand feror
nnes; linde me ulcisci queam?
t illi f rdter ! est coniunx : in hanc 125

atur. h6c meis satis 6st malis ?
asgae, si quod urbes bdrbarae
lus qu6d tuae ignorant manus,
randum. sc^lera te hortentiir tua
ideant : f nclitum regni decus 130

lefandae vfrginis parvtis comes
J, funus ingestiim patri
} ponto c6rpus et Pelia6 senis
o membra : funestum fmpie
fudi sdnguinem, et nulliijn scelus
n6vit infelix amor. \^^^(^^ .
en lason p6tuit, alieni drbitri ^
tus? d^buit ferro 6bvium
is — m^Jius, ah melius, dolor

•C.^vx-^tT'^^-CaIxS^ 7»-v-«>^

'^

118 THREE PLAYS OF SENECA

pr61es fulminis lmprobi /^ ^<«"-c^>cJ^^^-cx^ .

iptat qui iuga tlgribus, 85

n^c non, qui tripodds mo vet, ^^-f-o-^^

frdter vlrginis dsperae,o^ ^l.^»u^a-^

c^det Cdstore cum suo

P611ux ca6stibus dptior.

sic, sic, ca61icola6, precor, 90

vlncat f^mina c6niuges,
vir long6 super^t viros.

Ha6c cum f^mined c6nstitit In choro,
liniiis facias pra^nitet 6mnibus.
^ glc cum s61e perlt sldereiis decor, 95

6t densl latitdnt Pl^iadiim greges
ciim Phoebe solidiim lumine n6n suo
6rbem clrcuitls c6rmbus dlligat.

6stro sic niveiis puiiice6 color

p^rfusiis rubult, sic nitidum iubar 100

pdstor Mce novd rdscidus dspicit.

6reptus thalamls PMsidis h6rridi,

6flFrena6 solitiis p^ctora c6niugis

Invitd trepidiis pr^ndere d^xtera,

Klix A^olidm c6rripe vlrginem 105

mine primiim socerls^ sp6ns€v vol6ntibus.

c6ncess6, invents, ludite iurgio,

hlnc ilUnc, invents, mlttite cdrmina :

rdra est In dominds iusta lic^ntia.

MEDEA r. 119

Candida thyrsigerf proles gener6sa Lyafei, ' no

multifidam iam t^mpus erat succ^ndere pinum :

6xcute sollemn6m digitis marc^ntibus ignem.

Ksta dicax funddt convicia Kscenninus,

s61vat turba ioc6s — tacitis eat lUa tenebris,

si qua peregrin6 nubit fugitlva marito. '^ 115

>J aJL^ i-eulrx^ Medea

\pcddimus, aures p ^pulit hymen aeils meas. y^

vix ipsa tantum, vlx Vadhuc cred6j malum.^*^^'^ "V
hoc fdcere lason p6tuit, erept6 patre
patria ^tque regno s6dibus solam 6xteris
des^rere durus ? m6rita contempslt mea 120

qui sc^lere flammas vlderat vinci €i mare ?
adeone credit omne consumptiim nefas ?
inc^rta vaecors m^nte vaesand feror
partes in omnes; unde me ulciscl queam?
utinam 6sset illi frdter ! est coniunx : in banc 125

ferrum ^xigatur. h6c meis satis ^st malis ?
si qu6d Pelasgae, si quod urbes bdrbarae
nov^re facinus qu6d tuae ignorant manus,
nunc 6st parandum. sc^lera te hortentur tua
et ciincta redeant : Inclitum regnl decus 130

raptum 6t nefandae virginis parvtis comes
divisus ense, fiinus ingestiim patri
sparsumque ponto c6rpus et Pelia^ senis
dec6cta aeno membra : funestum Impie
quam sa6pe fudi sdnguinem, et nuUiim scelus
irdta feci : m6vit infellx amor, (^-vi.va/y^.

Quid tdmen lason p6tuit, alieni ^rbitrj ''^
i urlsque f actus ? d^buit ferro 6bvium yj.^.,^.d^pf^^t^ X-v-c^
off^rre pectus — melius, ah melius, dolor f

120 THREE PLAYS OF SENECA

f uriose , loquere. si potest, vivdt meus, . 140

V* ut Mit, lason; si minus, viv^t tamen
}*^^^^!^^3aem6rqu^ostri muneri parcdt meo.
>*^^^^^^ulpa est Creontis t6ta, qui sceptro Impotens

coniugia solvit qulque genetricem ^bstrahit

natls et arte plgnore astrictdm fidem 145

dirimit : petatur, s61us hie poends luat

quas d^bet. alto cinere cumulab6 domum;

vid^bit atrum v6rticem flammls agi

Mal^a longas ndvibus flect^ns moras. »

NuTR. Sile, obsecro, questusque secreto dbditos 150

mandd dolori. grdvia quisquis viilnera

pati^nte et aequo miitus animo p^rtulit,

ref^rre potuit: Ira quae tegitur nocet;

prof^ssa perdunt 6dia vindicta^ locum. '*"''"'^

Med. Levis 6st dolor qui cApere consilium potest 155

et cl^pere sese : mdgna non latitdnt mala.

libet Ire contra. Nutr. Siste furialem Impetum,

alumna : vix te t^cita defendlt quies.

Med. Fortuna fortes m^tuit, ignav6s premit.

Nutr. Tunc 6st probanda, si locum virtiis habet. 160

Med. Numqudm potest non 6sse virtutl locus.

Nutr. Spes niilla rebus m6nstrat adflictls viam. , n

Med. Qui nil potest sperdre, despe r^t nihihW Wi MHT/WMti/'

Nutr. Abi^re Colchi, c6niugis nulla 6st fides
nihllque superest 6pibus e tantls tibi. 165

Med. Med6a superest, hlc mare et terrds vides
femlmque et ignes 6t deos et fulmina.
Nutr. Rex 6st timendus. Med. R^x meus fuerdt pater.
Nutr. Non m^tuis arma? Med. Slnt licet terra 6dita.*
Nutr. Mori^re. Med. Cupio. Nutr. Pr6fuge. Med.
Paenitult fugae. 170

Cui

MEDEA 121

Fiam. Nutr. Mdter es. Med.
slm vides.
Nutr. Profugere dubitas? Med. Fiigiam, at ulciscdr

prius.
Nutr. Vind^x sequetur. Med. Forsan invenidm moras.
Nutr. Comp^fie verba, pd-rce iam, demons, minis
aiiim6sque mi^iie': tampon aptari decet. 175

Med. Fortiina opes auf^rre, non animum potest,
sed ciiius ictu r^gius card6 strepit ?
ipse 6st Pelasgo ttimidus imperi6 Creo.

Creo

Med^a, Colchi n6xium Aeeta^ genus,
nondtim meis exp6rtat e regnis pedem ? 180

molitur aliquid : n6ta fraus, nota 6st manus.
cui pdrcet ilia qu6mve secunim sinet ?
abol^re propere p^ssimam ferr6 luem
equid^m parabam : pr^cibus evicft gener.
conc^ssa vita est, Uberet fin^s metu 185

abedtque tuta. f^rt gradum icontrd ferox
min^xque nostros pr^pnig^ftfmrmf pp>t.i t,
arc^te, famuli, tdctu et accessil procul,
iub^te sileat. r^gium imperium pati
aliqudndo discat. vdde velocl fuga 190

monstnimque saevum honibile iamdudum dvehe.
Med. Quod crimen aut quae culpa multatur fuga ?
Cr. Quae cadsa pellat, Innocens muli^r rogat.
Med. Si iiidicas, cogn6sce. si regnis, iube.
Cr. Aequum dtque iniquum r^gis imperium feras. 195

Med. Inlqua numquam r^gna perpetu6 manent.
Cr. I, qu6rere Colchis. Med. R^deo: qui avexlt, ferat.

^«-^ ""T^-i-^^ fo^v-^^o >*^-^

122 THREE PLAYS OF SENECA

Cr. Vox c6nstituto s^ra decret6 venit.
Med. Qui stdtnit aliquid pdrte inaudita Altera,
aequiidnicelrtstatuerit, baud aequiis fuit. 200

Cr. Audftus a te P^lia supplicium tulit ?
sed'mre^ causae d^tur egregia^ locus.
Med. Difficile quam sit dnimum ab ira fl^ctere
iam c6ncitatum qudmque regale h6c putet
sceptrls superbas qulsquis admovlt manus, 205

qua co^pit ire, r6gia didicl mea. j) / j

quamvfs enim sim cldde miseranda 6bruta,''^^^>^UAr^*^^*^
expiilsa supplex s61a deserta, lindique
affllcta, quondam n6bili fulsl patre

av6que clarum S61e deduxl genus. 210

' quodcumque placidis fl^xibus Phasis rigat
Pontiisque quidquid Sc; f thicus a terg6 videt,*^*^^*^ "* h-Ux^
paMstrijDi^ qua mdria dulcesciint aquis,
armdtjf'^feifeB quidquid exterr^t cohors
inclusa ripis vidua Thermod6ntiis, 215

hoc 6mne noster g^nitor imperi6 regit.
gener6sa, felix, d^core regali potens
fulsi : petebant tiinc meos thalam6s proci,
qui nunc petuntur. rdpida fortuna dc levis
praec6psque regno eripuit, exili6 dedit. 220

confide regnis, ciim levis magnds opes
hue f6rat et illuc cdsiis — hoc reg^s habent
magnificum et ingens, nulla quod rapidt dies :
prod^sse miseris, silpplices fido lare

prot^gere. solum hoc C61chico regno 6xtuli, 225

decus illud ingens Gra^ciae et florem inclitum,
praesidia Achivae g^ntis et prol^m deum
serv^sse memet. munus est Orpheiis meum,
qui sdxa cantu mdlcet et silvds trahit,

MEDEA 123

geminique munus Castor et Pollux meum est 230

satfque Borea qufque trans Pontum quoque
summota Lynceus lumine immisso videt,
omn^sque Minyae : ndm ducem tace6 ducum,
pro quo nihil deb^tur: hunc nuUi Imputo;
. vobis revexi c^teros, uniim mihi. 235

xi>^^nc^sse nunc et cuncta flagitia lnge^ei^K^A/ vv\ irvc
f at^bor : obici crimen hoc solum potest,
Arg6 reversa. vfrgini placedt pudor
pat^rque placeat : t6ta cum ducibiis met
PeMsga tellus, hlc tuus primiim gener 240

tauri ferocis 6re flammanti 6ccidet.
fortuna causam qua6 volet nostrdm premat,
non pa^nitet servdsse tot regum decus.
quodcumque culpa pra^mium ex omni tuli,
hoc 6st penes te. si placet, damnd ream ; 245

sed r^dde crimen, sum nocens, fate6r, Creo :
tal6m sciebas 6sse, cum genua dttigi
fid^mque supplex pra^sidis dextra^ peti ;
iterum miseriis dngulum ac sed^'m rogo
latebrdsque viles : urbe si pelU placet, 250

detiir remotus dliquis in regnls locus.
Cr. Non 6sse me qui sc6ptra violentus geram
nee qui superbo mlserias calc^m pede,
testdtus equidem vldeor haud clar^ parum
generum 6xulem leg^ndo et afflictum ^t gravi 255

terrdre pavidum, qulppe quem poenae 6xpetit
leloque Acastus r^gna Thessalica 6ptinens.
seni6 trementem d^bili atque aev6 gravem
patr6m peremptum qu^ritur et caesl senis
disclssa membra, cum dolo capta^ tuo 260

pia6 sorores Impium auder^nt nefas.

124 THREE PLAYS OF SENECA

potest lason, si tuam causam Amoves,

sudm tueri : niillus innocuum cruor

contdminavit, dfuit ferr6 manus ,

proculque vestro purus a coetu stetit. ' ' "< 265

tu, tii malorum mdchinatrix Mcinorum,

femlnea cui nequltia ad audenda 6mnia,

robur virile est, nulla famae m^moria,

egr^dere, purga r6gna, letal6s simul y "■

tecum aufer herbas, libera civ^s metu, 270

alia sedens telliire sollicitd deos.

Med. Profiigere cogis ? r6dde fugientl ratem

et r^dde comitem — f ligere cur soldm iubes ?

non s61a veni. b^Ua si metuls pati, . ^

utnimque regno p^lle. cur souths duos^ '^^ - 275

distlnguis? illi P^lia, non nobis iacet; s.

fugdm, rapinas ddice, desertiim patrem

lacenimque fratrem, quldquid etiam mine novas

doc^t maritus c6niuges, non 6st meum :

toti^ns nocens suni fdcta, sed numqudm mihi. 280

Cr. lamiexfsse "decuit. quid serfs fand6 moras ?

Med. Suppl^x recedens illud extremiim precorj

ne culpa natos mdtrfs insont^s trahat.

Cr. Vade: h6s paterno ut g^nitor excipidm sinuw ' >' '^^

Med. Per ego adspicatos r^gii thalami toros, 285

per sp6s futuras p^rque regnonim status,

Fortuna varia dubia quos agitdt vice,

prec6r, brevem largire fugienti moramp ' i A^ ,

dum extr^ma natis mdter infigo 6scula,

fortdsse moriens. Cr. Fraudibus tempiis petis. 290

Med. Quae fraus timeri tempore exigu6 potest ?

Cr. Nullum dd nocendum t^mpus angustum ^st malis.

Med. Partimne miserae t6mporis lacrimis negas?

MEDEA 125

Cr. Etsl repugnat pr^cibus infixiis timor,

uniis parando d^bitur exili6 dies. 29s

Med. Nimis 6st, recidas ^liquid ex ist6 licet :

et fpsa propero. Cr. C^pite suppliciiim lues,L^t(i tlMd^J'

clanim priusquam Phoebus attolMt diem ' I

nisi c6dis Isthmo. s^cra nje thalaml vocant,

vocdt precari f6stus Hymenae6 dies. ^ rJ/^J 3°°

a

Chorus

Auddx nimium qui fr6ta primus
rate tdm fragili perflda rupit
terrdsque suas post t6rga videns
animdm levibus credldit auris,
dubi6que secans aequ6ra cursu 305

potult tenui fid^re ligno
int^r vitae mortlsque vias
'Miimitim gracili l\mite**3ucto.

Candida nostri saecilla patres 339

vid6re, procul frauds remota. 330

sua qulsque piger lit6ra tangens
patri6que senex f actils in arvo,
parv6 dives, nisi quds tulerat
natdle solum, non n6rat opes : 334

Mnondtim quisquam sid^ranorat,
stelUsque quibus pmgitur aether

309
310

non 6rat usus, nondum pluvias

Hyadds poterat vitdre ratis,

non 6leniae lumina caprae,

nee qua6 sequitur flectltque senex

Attica tardus plaustrd, Bootes; 315

nondlim Boreas, nondum Zephyrus

126 THREE PLAYS OF SENECA

nom^n habebant.

Ausus Tiphys pand^re vasto
carbdsa ponto leg^sque novas
scrib^re ventis : nunc If na sinu 320

tend^re toto, nunc pr6lato
pede trdnsvejTSos capture Notos;
nunc an'temnas medio tutas
pon^re malo, nunc In summo
religdre loco, cum idm totos 325

avidus nimium navlta flatus
opt^t et alto rubiciinda tremunt
sipdra velo. 8 .. 328

bene dlssaepti foed^ra mundi 335

traxlt in unum Thessala pinus
iussltque pati verb^ra pontum,
part^mque metus fieri nostri
mare s^positum. i

dedit Ilia graves impr6ba poenas 340

per tdm longos ductd timoresj^
cum duo montes, clJ'ifelS^rOTU^
hinc dtque illinc^subito Impufeu
velut a^therio g etner^nt sonitu, '
sparg^ret arces nub^sque ipsais
mare d^prensum. 345

palluit audax Tiphys et omnes
lab^nte manu mislt habenas,
Orpheiis tacuit torp^nte lyra
ipsdque vocem perdidit Argo.
quid cum Siculi virgo Pelori, 350

rabid6s utero succlncta canes,
omn^s pariter solvit hiatus ?
quis n6n totos horruit artus

(KJUlJ^

MEDEA 127

toti^ns uno latrdnte malo ?

quid cum Ausonium dira^ pestes 355

voc6 calloVii mare mulcerent,

cum Pieria resondns cithara

Thracfus Orpheus solitdm cantu

retin^re rates paen6 coegit

Sir^na sequi ? quod fuit huius 360

pretiiim cursus ? aur^a pellis

maiiisque mari Med^a malum,

merc^s prima dignd carina.

Nunc idm cessit pontiis et omnes
patitilr leges : non Palladia 365

compdcta manu regumque ferens
iif81lLta?emos quaeritur Argo —
quaellbet altum cumM pererrat;
terminus omnis motiis et urbes
muros terra posu^re nova, - ^^^

nil qud fuerat sed6 reliquit
perviiis orbis :

Indiis gelidum potdt Araxen,
Albf n Persae Rheniimque bibunt —
veni^nt annis saeciila seris, 37s

quibus 6ceanus vinciila rerum
lax^t et ingens patedt tellus
Teth;fsque novos det^gat orbes^^ ' ^^-
nee sit terris ultima Thule.

NUTRIX

Alilmna, celerem quo rapis tectls pedem ? 380

reslste et iras c6mprime ac retine Impetum.
Inc^rta qualis 6ntheos gressus tulit

128 THREE PLAYS OF SENECA

cum idm recepto mannas insanlt deo
Pindl nivalis v^rtice aut Nysa^ iugis,
taMs recursiat hue et hue motu ^flfero, 385

furoris ore signa Jymphatl gerens.
flammdta faci^s^plritum ex alt6 eitat,
^ procldmat, oculos uberi fletii rigat,-" ' • s
iSH*^^^*^ renldet: omnis sp^cimeiij affectiis capit. 389

quo^6ndus animi v^rgat, ubi pondt minas, 391

haer^t : minatur a^stuat queritiir gemit. 390

ubi se iste fluetifs frdnget? exunddt furor. 392

non Mcile secum v^rsat aut mediiim scelus;
se vincet : irae ndvimus veterls notas.
magnum dliquid instat, 6flFerum immane impium : 395

vulttim furoris c6rno. di falldnt metum !

Medea

Si qua^ris odio, mlsera, quem statuds modum :
imitdre amorem. ^r^gias egone lit faces
inulta patiar? s^gnis hie iblt dies,

tant6 petitus dmbitu, tant6 datus ^ • I 400

dum t^rra caelum m^dia libratiim feretn "•**
nitidiisque certas mundiis evolv^t vices
numenisque harenis d6rit et sol^m dies,
noct^m sequentur dstra, dum siceds polus
versdbit Arctos, flijmina in pontiim cadent, 405

numqudm meus cessdbit in poends furor
cresc6tque semper — qua6 ferarum immdnitas,
quae Sc^Ua, quae Char^bdis Ausoi^um mare
SicuMmque so'rbens (Jtia^ve anli|i1ant5i(n premens
Titdna tantis A6tna fervebft mims ? 410

non rdpidus amnis, n6n procelldsum mare

MEDEA 129

Pontiisve Coro sa^vus aut vis Ignium
adiuta flatu p6ssit imitari Impetum
irasque nostras : st^mam et evertam 6mnia.

Timult Creontem ac b^Ua Thessalicf ducis ? 415

amor timere n^minem verus potest,
sed c^sserit codctus et dederit manus :
adire certe et c6niugem extremo dlloqui
serm6ne potuit — h6c quoque extimult ferox;
laxdre certe t^mpus immitis fugae 420

gener6 licebat — Hberis uniis dies
datus 6st duobus. non queror tempiis breve :
multum patebit. fdciet hie faci^t dies
quod niillus umquam tdceat — invaddm deos
et cuncta quatiam. Nutr. Recipe turbatiim malis, 425
era, pectus, animum mftiga. Med. Sola 6st quies,
meciim ruina ctlncta si video 6bruta :
mecum 6mnia abeant. trdhere, cum pereds, libet.
Nutr. Quam miilta sint tim^nda, si perstds, vide :
nem6 potentes Aggredi tutiis potest. - 430

'^^^^^'- '^ ^^ -^•^-^•^■-

diira fata semper et sortem dsperam,
cum sa^vit et cum pdrcit ex aequ6 malam !
rem^dia quotiens Invenit nobis deus
perlculis pei6ra : si vellum fidem

praestdre meritis c6niugis, let6 fuit 43s

caput 6flFerendum; si mori noll6m, fide
miser6 carendum. n6n timor viclt fidem,
sed tr^pida pietas : qulppe sequeretdr necem
proles parentum. sdncta si caelum Incolis
lustltia, numen Invoco ac test6r tuum : 440

130 THREE PLAYS OF SENECA

natf patrem vic^re. quin ipsdm quoque,
etsl ferox est c6rde nee pati^ns iugi,
consulere natis mdlle quam thalamls reor.
constltuit animus pr6cibus irajaij ^ggredi

atque 6cce, viso m^met exnuitTiurit, 445 W

fert 6dia prae se : t6tus in vultu ^st dolor.

Med. Fuglmus, lason : fiigimus — hoc non 6st novum, ^

mutdre sedes; caiisa fugiendl nova est:

nro t6 solebam fugere. discedo 6xeo,

pfe^Stibus profiigere quam cogls tuis : 450

at qu6 remittis ? Phdsin et Colch6s petam

patriumcHie^tegnum qua^que fratermis cruor

perfiidit arva ? quds peti tends iubes ?

quae mdria monstras ? P6ntici fauces f reti

per quds revexi nobilem regiim manum 455

adiilterum seciita per Sympl6gadas ?

parvdmne lolcon, Th^ssala an Temp^ petam ?

quasciimque aperui tlbi vias, clausl mihi —

quo m6 remittis ? 6xuli exilium Imperas

nee dds. eatur. r^gius iusslt gener : 460

nihil recuso. dlra sujmlicia fngere :

meruf. cruentis pa^icem poenls premat

regdlis ira, vineulis oner^t manus

clausdmque saxo n6ctis aeternae 6bruat :

min6ra meritis pdtiar — ingratiim caput, 465

rev61vat animus igneos tauri hdlitus

hostlsque subiti t^Ia, cum iussu meo 469

terrfgena miles mutua caede 6ccidit; 470

adice ^xpetita sp6Iia Phrixei drietis

somnoque iussum lumina ignoto dare

ins6mne monstrum, trdditum fratr^m neci

et scelere in uno n6n semel factum scelus,

MEDEA 131

ausdsque natas fraude deceptds mea 475

secure membra non revicturf senis :

per sp^s tuorum liberum et certiim larem, 478

per vfcta monstra, p^r manus, pro t^ quibus

numqudm peperci, p^rque praeterit6s metus, 480

per caelum et undas, c6iiiugi testes mei,

miserere, redde supplici felfx vicem. 482

ali^na quaerens r^gna deseruf mea : 477

ex 6pibus illis, quds procul raptds Scythae ^^ -loL^cJ^^Lt-^

usque d perustis Indiae popuUs f ^\x\t ^^^*'^^^ l^

quas quia referta vfx domus gazd capit, 485

orndmus auro nemora, nil exiil tuli

nisi frdtris artul^: h6s quoque impendl tibi; ^JiuJ^ot^j^

tibi p^tria cessit, tfbi pater, frat^r, pudoT;::?- **'^^^^^^'^Cl^

hac d6te nupsi. r^dde fugientl sua.-'''^'''^^]|jo^^ JLIm^v^

Ias. Perimere cum te v^Uet infestus Creo/ v 490

lacrimfs meis evfctus exilium dedit.

Med. Poendm putabam : miinus ut video 6st fuga.

Ias. Dum licet abire, pr6fuge teque hinc 6ripe :

grapis /ra regum est semper. Med. Hoc suad6s mihi,

prSSt^s Creusae : pa^licem invisam Amoves. 495

Ias. Med^a amores 6bicit ? Med. Et caedepi 6t doles.

Ias. Oblcere tandem qu6d potes crimen mihi ?

Med. Quodcumque feci. Ias. R^stat hoc unum Insuper,

tuls ut etiam sc^leribus Mm nocens.

Med. Tua Ilia, tua sunt Ilia : cui prod^st scelus 500

is f^cit — omnes coniugem infamem drguant,

solus tuere, s61us,irisgnt6m voca :

tibi Innocens sit qulsquis est pro t^ nocens.

Ias. Ingrdta vita est cuius accepta^ pudet.

Med. Retin^nda non est ciiius accepta^ pudet. 505

Ias. Quin p6tius ira concitum pectus doma,

132 THREE PLAYS OF SENECA

placdre natis. Med. Abdico eiuro dbnuo —
mels Creusa llberis f ratr^s dabit ?
Ias. Reglna natis 6xulum, afflictls potens.
Med. Non v^niat umquam tdm malus miseris dies 51c
qui pr61e foeda mlsceat prolem Inclitam,
Phoebl nepotes Sfsyphi nep6tibus.
Ias. Quid, mlsera, meque t6que in exitium trahis ?
absc^de quaeso. Med. Siipplicem audivit Creo.
Ias. Quid fdcere possim, 16quere. Med. Pro me? vel
scelus. 515

Ias. Hinc r^x et illinc — Med. ^st et his mai6r metus:
Med^a. nos confllgere. certemiis sine :
sit pr^tium lason. Ias. C6do defessus malis.
et fpsa casus sa^pe iam expert6s time.
Med. Fortuna semper 6mnis infra m^ stetit. 520

Ias. Acdstus instat. Med. Pr6pior est hostls Creo:
utnimque profuge. n6n ut in socenSm manus
arm^s nee ut te ca6de cognata fnquines
Med6a cogit : Innocens meciim fuge.
Ias. Et qufs resistet, g^mina si bella Ingruant, 525

Creo dtque Acastus drma si iungint sua ?
Med. His d4ice Colchos, ddice et Aeet^n ducem,
Scythds Pelasgis iiinge : demers6s dabo. Um^ ^tv.«-*-^*^<-^
Ias. Alta 6xtimesco sc^ptra. Med. Ne cupids vide.
Ias. Susp^cta ne sint, 16nga coUoquia dmputa. 530

Med. Nunc siimme toto luppiter cael6 tona,
intrude dextram, vfndices flamm^s para
omn^mque ruptis nubibus mundiim quate.
nee d^ligenti t^la librentilr manu

vel m^ vel istum : qulsquis e nobis cadet 535

noc^ns peribit, n6n potest in n6s tuum
errdre fulmen. Ias. Sdna meditari incipe

MEDEA 133

et pldcida fare, si quod ex soceri domo

potest fugam levdre solam^n, pete.

Med. Cont^mnere animus r^gias, ut scls, opes 540

potest soletque; llberos tantilm fugae

habere comites Uceat in quorUm sinu

lacrimds profundam. t& novi natl manent.

Ias. Par^re precibus ciipere me fate6r tuis;

piet^s vetat : namque Istud ut possfm pati, 545

non ipse memet c6gat et rex 6t socer.

haec causa vitae est, h6c perusti pectoris

curls levamen. splritu citiiis queam

car^re, membris, Mce. Med. Sic nat6s amat?

bene 6st, tenetur, vUlneri patult locus. — 550

supr^ma certe llceat abeunt^m loqui

manddta, liceat liltimum amplexilm dare :

gratum ^st et illud. v6ce iam extremd peto,

ne, si qua noster diibius effudlt dolor,

manednt in animo v^rba : meliorls tibi 555

mem6ria nostri s^deat; haec ira^ data

oblltterentur. Ias. Omnia ex animo 6xpuli

prec6rque et ipse, f^rvidam ut ment^m regas

placid^que tractes : mlserias lenlt quiee.

Med. Disc6ssit. itane est ? vddis oblitiis mei 560

et t6t meorum fdcinorum ? excidimiis tibi ?

numquam ^xcidemus. h6c age, omnes ddvoca

vir^s et artes. frUctus est scelenim tibi

nulMm scelus putare. vlx fraudi ^st locus :

tim^mur. hac aggr^dere, qua nem6 potest 565

quicqudm timere. p6rge nunc, aude, Incipe

quidquld potest Med^a, quidquid n6n potest.

Tu, flda nutrix, s6cia maerorls mei
varilque casus, mlsera consilia d,diuva.

134 THREE PLAYS OF SENECA

est pdlla nobis, miinus aetheriTim, domus 570

dectisque regni, pfgnus Aeeta6 datum

a S61e generis, 6st et auro t^xtili

monfle fulgens qu6dque gemmanim nitor

distinguit aurum, qu6 solent cingf comae.

haec n6stra nati d6na mibentl ferant, 575

sed dnte diris f nlitaacuncta drtibus. f

voc^tur Hecate, sdcra letifica dppara: Pl?? ',;

statudntur arae, Mmma iam tectfs sonet.

Chorus

Niilla vis flamma6 tumidlve venti
tdnta, nee tell metu^nda torti, 580

quanta cum coniiinx vidudta taedis
d,rdet et odit;

n6n ubi hibem6s nebul6sus imbres
Alister advexit properatque torrens
Hlster et iunct6s vetat 6sse pontes 585

dc vagus errat;

n6n ubi impellft Rhodaniis profundum,
aiit ubi in riv6s nivibiis solutis
s61e iam fortf medi6que vere

tdbuit Haemus. 590

caucus est ignfs stimuldtus ira
n6c regi curdt patitiirve frenos
atit timet mortem : cupit Ire in ipsos
6bvius enses.

MEDEA 135

p^rcite, o divi, venidm precamur, 595

vlvat ut tutiis mare qui subegit.
s6d furit vincl dominiis profundi
r^gna secunda.

aiisus aetern6s agitdre cumis
Immemor meta^ iuvenls patemae 600

qu6s polo sparsit furi6sus ignes
Ipse recepit.

c6nstitit null! via n6ta magno :
vdde qua tutilm popul6 priori,
nimpe nee sacr6, viol^nte, sancta 605

fo^dera mundi.

Qulsquis audacfs tetiglt carinae

n6biles rem6s nemorisque sacri

P61ion densd spolidvit umbra,

qulsquis intra vlt scopul6s vagantes 610

^t tot emensiis pelagi labores

bdrbara fun6m religd-vit ora

rdptor externi reditiirus auri,

6xitu dir6 temer^ta ponti

ilira piavit. 615

^xigit poends mare pr6vocatum :
Tlphys in primls, domit6r profundi,
llquit indoct6 regimen magistro;
lltore extem6, procul d patemis
6ccidens regnfs tumul6que vili 620

t^ctus ignotds iacet Inter umbras.
Aillis amissl memor Inde regis
p6rtibus lentls retin^t carinas
stdre querentes.

136 THREE PLAYS OF SENECA

llle vocalf genitiis Camena, 625

ciiius ad chordd,s moduldnte plectro
r^stitit torr^ns, silu^re venti,
ciim suo canW volucrfs relicto
^dfuit totd comitdnte silva,

Thrdcios sparsiis iacult per agros, 630

At caput tristl fluitdvit Hebro :
c6ntigit notdm Styga Tdrtarumque,
n6n rediturus.

strdvit Alcid^s Aquil6ne natos,
pdtre Neptun6 genitiim necavit 635

Slimere innumerds solitiim figuras :
Ipse post terra^ pelagique pacem,
p6st feri Ditis pateMcta regna,
vlvus ardenti recuMns in Oeta
pra^buit saevfs sua membra flammis, 640

tdbe consumptiis geminl cruoris
mtinere nuptae.

strdvit Ancaeiim viol^ntus ictu
sa^ tiger; fratr^m, Meledgre, matris
Impius mactds morerisque dextra 645

mdtris irata^. meru6re cuncti
m6rte quod crimen tener ^xpiavit
H^rculi magn6 puer f nrepertus,
rdptus, heu, tutds puer inter undas.
Ite nunc fortes perardte pontum 650

f6nte timendo.

Idmonem, quamvfs bene fdta nosset,
c6ndidit serpens Libycfs harenis;
6mnibus verdx, sibi fdlsus uni

MEDEA 137

c6ncidit Mopsiis caniltque Thebis. 655
lUe si ver6 cecinlt futura,

6xul errablt Thetidis maritus. 657

ftilmine et pont6 morions Oileus; 661

. . . patri6que pendet 660
crimine poenas.

igne fallacf nocitiSrus Argis 658

Naiiplius praec^ps cadet In profundum; 659

c6niugis fatiim redim^ns Pheraei 66a

Tixor, impend^s animdm marito.
Ipse qui praeddm spoliilmque iussit
aiireum primd, revehi carina, 665

tistus accens6 Pelids aeno
drsit angustds vagus fnter undas.
idm satis, divf, mare vlndicastis :
pdrcite iusso.

NUTRIX

Pavet d,nimus, horret, mdgna pemici^s adest. 670

immdne quantum aug^scit et sem^t dolor
acc^ndit ipse vlmque praeteritam integrat^^^^''^.^*^'
vidi furentem sa^pe et aggressdm deos,
caeMm trahentem: maius his, maiiis parat c ; ■
Med^a monstrum. ndmque ut attonit6 gradu 675

evdsit et penetrdle funestum dttigit,
totds opes effiindit et quidquid diu . '. <

etiam ipsa timuit pr6mit atque omnem 6xplicat ^' ' * "
turbdm malonim, arcdna secreta dbdita,
et trfste laeva fflfamfiironninn sacrum manu 680

pest^s vocat quasciimque ferventfg creat

^,1

138 THREE PLAYS OF SENECA

har^na Libyae qudsque perpetu^ nive
Taunis cohercet frigore Arctod rigens,
et 6mne monstrum. trd.^liSft'magicis cdntibus
squamffera latebris tiirba desertis adest. 685

hie sa^va serpens c6rpus immensiim trahit
trifiddmque linguam ex^rtat et quaerlt quibus
, f, mortlfera veniat: cdrmine audit6 stupet
tumidiimque nodis c6rpus aggestls plicat
cogltque in orbes. 'pdrva sunt' inqult 'mala 690

et vile telum est, fma quod telMs creat :
cael6 petam ven^na. iam iam t^mpus est
aliquld movere fraiide vulgari d,ltius.
hue lUe vasti m6re torrentis iaeens

dese^ndat anguis, ciiius immens6s duae, 695

mai6r minorque, s6ntiunt nod6s ferae
(mai6r Pelasgis dpta, Sidonifs minor)
pressdsque tandem s6lvat Ophiuchiis manus
4? vinisque fundat; ddsit ad cantiis meos
*^'^'' laci^sere ausus g^mina Python niimina. 700

et H;f dra et omnis r^deat Herculed manu
succlsa serpens, ca^de se repardns sua.
> fcu gu6que relictis p^rvigil Colchis ades,
^' ' isfipfte primum cdntibus, serpens, meis.'

Postquam ^vocavit 6mne serpentiim genus, 705

cong^rit in unum f nigis inf austa^ mala :
quaeciimque generat Invius saxls Eryx,
quae Krt opertis hleme perpetud iugis
sparsiis cruore Caiicasus Prom^thei,
et quls sagittas divites Arab^s linunt 711

pharetrdque pugnax M6dus aut Parthl leves, 710

aut qu6s sub axe frlgido suc6s legunt 71a

lucls Suebae n6biles Herc^niis;

MEDEA 139

quodciimque tellus v6re nidific6 creat

aut rfgida cum iam bnlma discussit decus 715

nemorum &t nivali ciincta constrinxlt gelu,

quodciimque gramen fl6re mortifer6 viret,

quiciSmque tortis siicus in radfcibus

causds nocendi glgnit, attrectdt manu.

Haem6nius illas c6ntulit pest^s Athos, 720

has Pindus ingens, lUa Pangael iugis

tenerdm cruenta fdlce deposuf t comam ;

has dluit altum gurgitem Tigris premens,

Daniivius illas, hds per arent^s plagas

tepidls Hydaspes g^mmifer curr^ns aquis, 735

nom^nque terris qui dedit Baetls suis

Hesp^ria pulsans mdria languentl vado.

haec pdssa ferrum est, diim parat Phoebtis diem,

illlus alta n6cte succisiis frutex;

at hiiius ungue s^cta cantat6 seges. 730

Mortlfera carpit grdmina ac serp^ntium
saniem 6xprimit misc^tque et obscends aves
maestlque cor bub6nis et rauca^ strigis
exs^cta vivae viscera, haec scelerum drtifex
discr^ta ponit; his rapax vis Ignium, 735

his g^lida pigri frlgoris glaci^s inest.
addlt venenis v^rba non illls minus
metu^nda. sonuit ^cce vesan6 gradu
canltque. mundus v6cibus primls tremit.

Medea

C6mprecor vulgiis silentum v6sque feral^s deos 740

6t Chaos caecum dtque opacam Dltis umbrosl domum,
Tdrtari ripls ligatos squdlidae Mortis specus.

140 THREE PLAYS OF SENECA

siipplicis, animal, remissis ciirrite ad thalam6s novos:
r6ta resistat membra torquens, tdngat Ixi6n humum,
Tdntalus seciirus undas haiiriat Pir^nidas. 745

grdvior uni po6na sedeat c6niugis socer6 mei :
Wbricus per sdxa retro Sisyphum volvdt lapis.
v6s quoque, urnis quds foratis fnritus ludlt labor,
Ddnaides, coite : vestras hie dies quaerlt manus. —
niinc meis vocdta sacris, n6ctium sidus, veni 750

p^ssimos indiita vultus, fr6nte non und minax.

• Tibi m6re gentis vinculo solv^ns comam

secr^ta nudo n^mora lustravl pede

et 6vocavi nubibus siccis aquas

egfque ad imum mdria, et Oceanus graves 755

int^rius undas a^stibus victls dedit ;

parit^rque mundus 16ge confusa a6theris

et s61em et astra vidit, et vetitiim mare

tetigfstis, ursae. t^mporum flexf vices :

aestfva tellus fl6ruit cantii meo, 760

codcta messem vfdit hiberndm Ceres;

viol^nta Phasis v6rtit in font^m vada

et Hlster, in tot 6ra divisiis, truces

compr^ssit undas 6mnibus ripis piger.

Sonu^re fluctus, tumuit insaniim mare 765

tac^nte vento ; n^moris antiqui domus

amfsit umbras, v6cis imperi6 meae

di6 reducto ; Phoebus in medi6 stetit

Hyad^sque nostris cdntibus mota6 labant :

ad^sse sacris t^mpus est, Phoebe, tuis. 770

tibi ha^c cruenta s6rta texuntilr manu,
nov6na quae serpens ligat,

MEDEA 141

tibi ha^c Typhoeus membra quae disc6rs tulit,

qui r^gna concussft lovis.
vectoris istic p6rfidi sanguis inest, 775

quern N^ssus expirdns dedit.
Oeta^us isto cinere defecit rogus,

qui virus Herculeiim bibit.
pia^ sororis, impiae matris, facem

ultricis Althaea^ vides. 780

reliquit istas invio plumds specu

Harpyia, dum Zet^n fugit.
his ddice pinnas sailciae StympMlidos

Lema6a passae spicula.
sonuistis, arae, tripodas agnosc6 meos 785

fav^nte commot6s dea.

Vide6 Triviae curnis agiles,
non qu6s pleno lucida vultu
pem6x agitat, sed qu6s facie
lurida maesta, cum Th^ssalicis 790

vexdta minis caeMm freno
propi6re legit, sic Mce tristem
pallida lucem fund^ per auras,
horr6re novo terr^ populos

inque auxilium, Dict;^nna, tuum 795

preti6sa sonent aerd Corinthi.
tibi sdnguineo caespite sacrum
soll^mne damns, tibi d6 medio
raptd sepulchro fax n6cturnos
sustiilit ignes, tibi m6ta caput 800

flexd voces cervice dedi,
tibi filnereo de m6re iacens
pass6s cingit vittd; capillos,

142 THREE PLAYS OF SENECA

tibi idctatur tristis Stygia

ramiis ab unda, tibi nddato 805

pectore maenas sacr6 feriam

bracchia cultro. man^t noster

sanguis ad aras : assu^sce, manus,

string^re ferrum car6sque pati

poss^ cruores — sacnim laticem 810

percussa dedi.

quodsf nimium saep6 vocari

quereris votis, ign6sce precor :

causd vocandi, Pers^i, tuos

saepius arcus una d,tque eadem est 815

semper, lason.

tu nilnc vestes ting6 Creusae,

quas ciim primum sumps^rit, imas

urdt serpens flammd medullas.

ignis fulvo clusiis in auro 820

latet 6bscurus, quern mlhi caeli

qui fiirta luit visc6re feto

dedit 6t docuit cond^re vires

art4, Prometheus, dedit ^t tenui

sulphiire tectos Mulcfber ignes, 825

et vlvacis fulgiira flammae

de c6gnato Phaeth6nte tuli.

habe6 mediae dond Chimaerae,

habe6 flammas ust6 tauri

guttiire raptas, quas p4rmixto 830

fell6 Medusae tacitiim iussi

servdre malum.

add6 venenis stimul6s, Hecate,

donfsque meis semfna flammae

condlta serva. falldnt visus 835

MEDEA 143

tacttisque ferant, meet fn pectus
vendsque calor, still6nt artus
ossdque fument vincdtque suas
flagrdnte coma nova niipta faces.

Votd tenentur : ter Idtratus 840

auddx Hecate dedit ^t sacros
edfdit ignes face Wcifera.

Perdcta vis est 6mnis : hue nat6s voca,
preti6sa per quos d6na nubenti feras.
ite, Ite, nati, mdtris infausta^ genus, 845

placdte vobis miinere et multd prece
dominam dc novercam. vddite et celer^s domum
ref^rte gressus, Ultimo amplexu lit fruar.

Chorus

Quondm cruenta mannas
praec^ps amore sa6vo 850

rapitiir ? quod impot^nti
f aciniis parat fur6re ?
vultus citatus fra
riget 6t caput fer6ci

quati6ns superba m6tu 855

regf minatur liltro.
quis cr^dat exul^m ?

flagrdnt genae rub^ntes,

pall6r fugat rub6rem,

nulMm vagante f6rma 860

servdt diu col6rem.

hue f6rt pedes et lUuc,

144 THREE PLAYS OF SENECA

ut tfgris orba ndtis

cursu furente lustrat

Gang^ticum nemiis. 865

f rendre nescit Iras

Med^a, non am6res;

nunc ira amorque caiisam

iunx^re: quid sequ^tur?

quando 6fferet Peldsgis 870

nefdnda Colchis drvis

gresslim metuque s61vet

regniim simulque r6ges ?

nunc, Phoebe, mitte ciirrus

null6 morante 16ro, 87s

nox c6ndat alma lucem,

mergdt diem tim^ndum

dux n6ctis Hespenis.

NUNTIUS

Peri^re cuncta, c6ncidit regnf status,
nata dtque genitor cinere permixto iacent. sso

Chor. Qua fraiide capti ? Nunt. Qua solent reg^s capi :
donls. Chor. In illis 6sse quis potult dolus ?
Nunt. Et Ipse miror vixque iam fact6 malo
potulsse fieri cr6do. Chor. Quis cladis modus?
Nunt. Avidus per omnem r^giae partem furit 885

ut iilssus ignis : iam domus tota 6ccidit,
urbf timetur. Chor. iJnda flammas opprimat.
Nunt. Et hoc in ista cldde mirandum dccidit:
alit ilnda flammas, qu6que prohibetur magis,
mag'w irdet ignis: Ipsa praesidia occupat. 890

MEDEA 145

NUTRIX

900

Eflf^r citatum s^de Peloped gradum,
Med6a, praeceps qudslibet terrds pete.

Medea

Egone lit recedam? si profugiss^m prius,
ad h6c redirem. niiptias spect6 novas,
quid, d,mme, cessas ? s6quere felicem Impetum. $95

pars tiltionis Ista, qua gaud6s, quota est ?
amds adhuc, furi^e, si satis 6st tibi
cael^bs lason. quaere poenarum genus
haut tisitatum idmque sic tem^t para ;
^fas 6mne cedat, dbeat expulsiis pudor;
Vmaicta levis est qudm ferunt pura6 manus.
inciimbe in iras t^que languentem 6xcita
penittisque veteres p^ctore ex imo impetus
viol^ntus hauri. quldquid admissum 6st adhuc,
pietd,s vocetur. h6c age et faxis sciant 905

quam 16via fuerint qudmque vulgaris notae
quae c6mmodavi sc61era. prolusit dolor
per Ista noster : quid manus poterdnt rudes
aud^re magnum ? quid puellaris furor ?
Med6a nunc sum; cr^vit ingeniilm malis. 910

luvdt, iuvat rapuisse fraterniim caput;
artus iuvat secuisse et arcan6 patrem
spolidsse sacro, iuvat in exitiiim senis
armdsse natas. quaere materidm, dolor:
ad 6mne facinus n6n rudem dextram dfferes. 915

Quo te igitur, ira, mittis, aut quae p^rfido
int^ndis hosti t61a ? nescio quid f erox

146 THREE PLAYS OF SENECA

decr^vit animus Intus et nondiim sibi

aud^t fateri. stiilta properavf nimis :

ex pa^lice utinam llberos hostls meus 920

aliqu6s haberet — quidquid ex ill6 tuum est,

Creiisa peperit. pldcuit hoc poena6 genus,

merit6que placuit : liltimum, agnosc6, scelus

anim6 parandum est — liberi quonddm mei,

vos pr6 paternis sc^leribus poends date. 925

Cor p^pulit horror, membra torpesciint gelu
pectiisque tremuit. Ira discessit loco
mat^rque tota c6niuge expulsd redit.
egone lit meorum llberum ac prolis meae
funddm cruorem ? melius, ah, demons furor I 930

inc6gnitum istud fdcinus ac dinim nefas \ . , ^
a m6 quoque absit ; qu6d scelus miserl luent ?[ M ' I
scelus 6st lason g^nitor et maiiis scelus
Med^a mater — 6ccidant, non siint mei. —
perednt? mei sunt; crlmine et culpd carent. — 935

sunt Innocentes : fateor, et f rat^r fuit.
quid, ^nime, titubas ? 6ra quid lacrimal rigant
ar^mque nunc hue Ira, nunc ilWc amor

iI3ticit? anceps a6stus incertdm rapit;

ut sa6va rapidi b^Ua cum ventl gerunt 940

utrfmque ductus mdria discord^s agunt

dubiiimque fervei p^lagus, haut alitor meum

cor fliictuatur. fra pietat^m fugat

irdmque pietas — c6de pietatl, dolor.
^ Hue, cdra proles, linicum afflicta^ domus 945

soldmen, hue vos f6rte et infus6s mihi

coniiingite artus. hdbeat incolum6s pater,

dum et mdter habeat — urget exilium dc fuga.
/am idm meo rapi^ntur avulsi 6 sinu,

MEDEA 147

flent^s, gementes 6sculis — pered,nt patri, 950

peri^re matri. nirsus increscit dolor

et f^rvet odium, r^petit invitdm manum

antiqua Erinys — Ira, qua duds, sequor.

utindm superbae tiirba Tantalid6s meo

exlsset utero bisque septen6s parens 955

nat6s tulissem ! st^rilis in poends fui —

fratrf patrique qu6d sat est, peperf duos.

Quonam Ista tendit tiirba Furiarum Impotens?
quern quderit aut quo Mmmeos ictiis parat,
aut cul cruentas dgmen infemiim faces 960

int^ntat ? ingens dnguisexcuss6^nat
tortiis flagello. qu^mlEraDe imesmpetfE**"^
Mega^ra ? — cuius timbra dispersis venit
inc^rta membris ? f rdter est, poends petit —
dabimtis, sed omnes. ^^ige luminibiis faces, 965

lanid, perure, p^ctus^aFuriis patet.

Disc^dere a me, frdter, ultric^s deas
man6sque ad imos Ire securds iube :
mihi m6 relinque et litere hac, frat^r, manu
quae strlnxit ensem — vlctima man^s tuos 970

placdmus ista. quid repens aff^rt sonus ?
pardntur anna m^que in exitidm petunt. {

.exp^lsa Mstraa t^cta conscenddm domus
ca53e mcoSat^ /1p6rge tu meciim comes,
tuilm quoque ipsa c6rpus hinc mecum dveham. 975

nunc h6c age, anime : n6n in occult6 tibi est
perd^nda virtus; dpproba popul6 manimi.

148 THREE PLAYS OF SENECA

Iason

Quiciimque regum clddibus fidiis doles,
Conciirre, ut ipsam sc^leris auctorem h6rridi
Capidmus. hue, hue f6rtis,armiferf^eohors 980

Conf^rte tela, v^rtite ex im6 domum.
Med. lam idm reeepi se^ptra, germaniim, patrem,
spolidmque Colehi p6eudis aurata6 tenent;
redi^re regna, rdpta virginitds redit.
o pldeida tandem niimina, o festiim diem, 98s

o nilptialem I vdde, perfeetum ^st scelus;
vindleta nondum : parage, dum faeiiint manus.
quid mine moraris, dnime? quid dubitds potens?
iam c^eidit ira. pa6nitet factl, pudet.
quid, mlsera, feei ? mlsera ?. paeni^edt licet, 990

feel — voluptas mdgna me invitdm subit,
et 6eee erescit. d^rat hoc uniim mihi,
spectator iste. nil adhue factl reor:
quidquld sine isto f^cimus scelerls perit.
Ias. En Ipsa tecti pdrte praecipiti Imminet. 995

hue rdpiat ignes dliquis, ut flammls cadat
suls perusta. Med. C6ngere extremiim tuis
natls, Iason, fdnus, ac tumuliim strue :
conidnx socerque iiista iam functls habent,
a m6 sepulti ; ndtus hie f atilm tulit, 1000

hie t6 vidente ddbitur exiti6 pari.
Ias. Per ndmen omne p^rque communis fugas
tor6sque, quos non n6stra violavit fides,
iam pdree nato. si quod est crimen, meum est :
me d^do morti ; n6xium mactd eaput. 1005

Med. Hae qud reeusas, qud doles, ferrum ^xigam.
J niinc, superbe, vlrginum thalam6s pete.

MEBEA 149

rellnque matres. Ias. TJiius est poena6 satis.

Med. Si p6sset una ca^de satiari ha6c manus,

nuUdm petisset. lit duos perimdm, tamen loio

nimium 6st dolori niimerus angustiis meo.

Ias. lam p^ra^ecDeptum facinus, haut ultrd precor, 1014

mordmque sal^^j^pplicis dond meis. 1015

Med. PerfrudrelSnto^elere, ne proper^, dolor:

meiis dies est ; ttempore accepto litimur.

Ias. Inf^sta, memet p^rime. Med. Misererf iubes.

bene 6st, peractum est. plura non habul, dolor,

quae tibi litarem. Mmina hue tumida dlleva, 1020

ingrate lason. c6niugem agnoscls tuam ?

sic fugere soleo. pdtuit in caeMm via:

squam6sa gemini c611a serpent6s iugo

summlssa praebent^ r^cipeuim nat6s, parens;

ego inter auras^^ntTcurru venar. 1025

Ias. Per dlta vade spdtia sublimi a6there,

testdre nuUos fese, qua veherls, deos.

•o Tt\

5

THE STORY OF HERCULES

Hercules was the son of Jupiter and Alcmena, afterward wife
of Amphitryon. The goddess Juno, always jealous of her rivals
in Jupiter's afifections, was bitterly hostile to Alcmena and her
son from the first. As it had been foretold that a child bom at a
certain time would have the mastery over his neighbors, Juno as
Lucina delayed the birth of Hercules and hastened that of Eurys-
theus, son of Sthenelus, so that the latter was the elder and so
master of the other.

Her persecution of the infant Hercules began in his very cradle.
Two serpents were sent to destroy him, but the child of a few hours
seized them and strangled them to death. When he reached
maturity he was made servant to Eurystheus for a certain time
and required to perform whatever tasks he might impose. With
Jimo's aid tasks were assigned which seemed impossible of per-
formance, and these are known as "the twelve labors." They
were: (1) killing the Nemean lion; (2) the hydra; (3) capturing
the hind of Maenalus; (4) the boar of Erymanthus; (5) cleansing
the stables of Augeas; (6) killing the Stymphalian birds; (7) cap-
turing the Cretan bull ; (8) the mares of Diomede ; (9) the girdle
of Hippolyte, queen of the Amazons; (10) Geryon and his cattle;
(11) the apples of the Hesperides; (12) the capture of Cerberus.

Besides these assigned labors he performed many voluntary
exploits, known as parergay and constituted himself the champion
of the oppressed and the foe of tyrants. In this capacity he is
represented as bringing about peace and happiness throughout
the world.

Meantime he had married Megara, daughter of Creon, king of
Thebes, who was left at home with her three children during his
absence on the last adventure. While he was in the infernal
world Creon and his sons were killed and the royal power usurped
by Lycus, an adventurer from Euboea.

At this point begins the action of the play, which is introduced
by a soliloquy of Juno's, expressing her disgust at his constant
success and resolving to turn his might against himself and so
destroy him.

151

NOTES ON THE HERCULES FURENS

ACT I

Dramatis Personae: In the Greek drama the rule was strictly
observed that not more than three speaking characters might
appear on the stage at once. The classification here given —
which is borrowed from Richter — shows how Seneca probably
had the same rule in mind. It was violated constantly by Plautus
and Terence in their comedies. All the parts were taken by men,
as female actors were imheard of.

Scene 1 (w. 1-124). — The goddess Juno expresses her vexa-
tion at her husband's infidelity and the honors shown her rivals.
Especially is she troubled by the prowess of Hercules, the son of
Alcmena, who has overcome every monster that can be sent against
him, and even has invaded the lower world and captured its guard,
the three-headed dog Cerberus. She resolves to make him his
own destroyer, and smnmons the Furies to her aid.

1. sorer: appositive to the subject of deaerui, 3. — Tonantis :
Jupiter.

2. nomen: soror. She regards her claim to the title of wife as
vitiated by her husband's infidelity (cf. Dido's words, Vergil, A.
4. 323): Hospes, hoc solum nomen quoniam de coniuge restat —
Guest f. since only this name remains from that of husband. — semper
alienum: always another* s lover, — lovem: this and templa are
objects of deserui. She is leaving her home in heaven.

6. colenda est: sc. mihi — / mv^t dwell on the earth. — paelices:
the mortal women whom Jupiter had loved, and who as constella-
tions had been given place in the skies; she names or describes
Callisto (6), Europa (9), the Pleiades (11), Danae (13), Leda (14),
Latona (15), Semele (16) and Alcmena (22).

6-16. hinc, hinc, illinc, hinc, hinc: on this side and on that,
pointing to the constellations which immortalized \\Kt ^c«^i>a.. —

153

154 THREE PLAYS OF SENECA

Arctos: nom. sing. Ursa Major, which according to one account
is the translated nymph CalUsto, who had been loved by Jupiter.
Their son Areas was placed in the heavens with his mother as the
constellation Arctophylax. Ursa Major was known to the Greeks
very early, and hence is said (7) to guide the fleet of Argolis.

8. hinc . . . nitet: on this side, where the day is lengthened in
the early spring, shines the hearer of Tyrian Europa over the seas.
The sun passes out of the zodiacal sign Aries into Taurus about
April 20, when the spring is young.

9. vector: the snow-white bull which carried ofif Europa from
Sidon to Crete (Ovid, M. 2. 833-875), and by way of reward was
made the constellation Taurus.

10. timendum . . . gregem: the Pleiades, daughters of Atlas
(called Atlantides in 11), three of whom — Maia, Electra and
Taygete — had enjoyed the favor of Jove, and were the mothers
respectively of Mercury, Dardanus and Lacedaemon. The poet
here ascribes to them the malign influence upon the weather
which ordinarily belonged to the Hyades (see note on Med. 311),
who also were daughters of Atlas. As their times of rising and
setting varied with the seasons, and they thus appeared to change
position, they are called, in 11, vagantes.

11. exerunt: for exserunt, the superfluous s being omitted
after x.

12. Orion: for his adventures on earth see Classical Dictionary.
As a constellation he is represented as a giant armed with club and
sword and continuing in the heavens the pursuit of the Pleiades
which he had begun while a mortal. Though not a son of Jupiter,
like Areas, Perseus and the others here mentioned, he is looked
upon by Juno as an interloper.

13. Perseus the golden has his own stars. The allusion in suas
Stellas may be to the constellation Perseus alone, or to Andromeda
with it, as her rescue from the sea-monster was one of his greatest
exploits. He was a son of Jupiter and Danae, whom the god visited
in a shower of gold (hence aureus).

14. Tyndaridae: Castor and Pollux, sons of Jupiter and Leda,
known in the heavens as the constellation Gemini, which the an-
cients always associated with fair weather (clara signa; cf . fr aires
Helenae, lucida sidera, Horace, C. 1. 3. 2).

NOTES ON THE HERCULES FURENS 155

15. quibus: sc. n. Apollo and Diana were the twin children
of Jupiter and Latona. As the time of their birth drew near the
ever watchful Juno secured from the earth a pledge that she would
grant the mother no resting-place. In her distress Latona ap-
pealed to the sea, and the island Ortygia, which hitherto had
floated beneath the surface of the Aegean, emerged and became
stationary (mobilis teWua stetit). This island, on account of its
having first appeared at this time, was known thenceforth as
Delos (from Si/Xu), appear), and was a favorite resort of the twin
deities.

16. Bacchi parens: Semele, translated to the skies by her
son.

18. The universe wears the wreath of the Cretan maid. This was
Ariadne, daughter of Minos. Having saved the life of Theseus
by giving him a clew to the windings of the labyrinth, she fled with
him and was abandoned on the island Naxos, where she was found
and loved by Bacchus. Her bridal wreath (serta) was hung in
the heavens as the constellation Corona. Thus not only Bacchus
and his mother (16) but his mistress, too, had invaded the skies.

20. nuribus: in its wider sense of women, with especial reference
to Jupiter's favorites there.

21. novercam fecit: Juno calls herself the stepmother of all the
sons of Jupiter who were not her own; of these Bacchus the son
of Semele, Amphion and Zethus the sons of Antiope, and Hercules
the son of Alcmena all were Thebans. — escendat: not merely
mourU up to heaven (which would be ascendat), but rise out of her
proper sphere.

22. The catalogue of Juno's grievances against her faithless
husband reaches its climax in the mention of Alcmena, the mother
of Hercules. The name here appears in its Greek form Alcmene,
for the sake of long ultima. She is victrix in the person of her in-
vincible son. Translate, Though Alcmena, victorious, should . . .
hold my place, and her son with her possess the promised stars, etc.

24. impendit diem: at Hercules' conception the sun, bidden to
keep his brightness sunk in the ocean, failed to rise at all one day.

27. non sic abibunt: apodosis of escendat licet (22) and occu-
pet (23). — odia: sc. m>ea, and meu^ with animus (28).

30. quae bella: sc. saevu^ dolor geret.

156 THREE PLAYS OF SENECA

32. A striking case of the asjmdeton which is so marked a
characteristic of Seneca's style (cf. 1260, where six nouns without
connectives constitute the line).

33. fractum . . .est: sc. ah Hercule. Hercules is to be under-
stood as subject of the verbs that follow — superat, crescit, fruitur,
vertit. — crescit mails: he thrives upon misfortune.

34. ira fruitur: cf. fruitur dis iratis (Juvenal, Sat. 1. 49), enjoys
the wrath of the gods. — in laudes . . . vertit: he turns my hate to
his own glory by succeeding in spite of it. Throughout his career
Jxmo was the bitter foe of Hercules, devising for him labors that
seemed impossible and doing her utmost to prevent his success.

36. patrem probavi: / have succeeded only in proving Jove his
father.

38. bines . . . Aethiopas: in the Odyssey (1. 22-24) we read of
"The Ethiopians, most remote of men. Two tribes there are:
one dwells beneath the rising, one beneath the setting sun." —
(Bryant's translation.)

40. monstra . . . desunt: the most fearful monsters in the
universe — lion, hydra, and now Cerberus — had fallen before him,
and the goddess was in despair of finding new ones to take their
place.

41. minorque . . . iubere: 'tis a less task for Hercules to do my
bidding than fcyr me to bid (cf . Hercules' own words in Ovid, M. 9.
198 : Defessa iubendo est lovis coniunx, ego sum indefessv^ agendo
— weary of commanding is Jupiter's wifCj hut I am unwearied in
doing) . — Herculi : dat .

43. tyranni: Eurystheus, to whom it was fated that Hercules
should be subject for a time. — violento: forceful, mighty.

46. armatus . . . hydra: after slaying the Nemean lion the
hero constantly carried its impenetrable skin as a shield (cf . 797,
1150), while his arrows were poisoned by dipping into the hydra's
gall (cf. 1195). Hence he is said in 44 to carry as weapons what
he had feared and afterward defeated.

47. infemi lovis: Pluto (cf. diro lovi, 608; lovi Stygio, Vergil,
A. 4. 638).

48. opima: for spolia opima (see 51; and for the origin of the
phrase cf . Livy, 1. 10) ; or perhaps used substantively as in Pliny's
panegjoic, 17, in the sense spoils of honor, — ad super os: to the

NOTES ON THE HERCULES FURENS 157

land of the living as contrasted with the subterranean abode of the
dead (cf. Vergil, A. 6. 481).

50. inferum: gen. plu., here contrasted with superos, 48: /
saw hirrif myself I saw him, after having riven the darkness of the
underworld and vanquished Pluto, displaying to his father the spoils
of that father* s brother.

61. iactantem: sc. Herculem, object of vidi. — patri: Jupiter,
who was Hercules' father and Pluto's brother (hence /ro^erna, 52).

63. ipsum: Pluto. — paria sortitum: in the Iliad (15. 184 fif.)
Neptune says : —

" We are three brothers — Jupiter and I
And Pluto, regent of the realms below.
Three parts were made of all existing things,
And each of us received his heritage.
The lots were shaken, and to me it fell
To dwell forever in the hoary deep;
And Pluto took the gloomy realm of night;
And, lastly, Jupiter the ample heaven
And air and clouds.'' — (Bryant's translation.)

In the same connection the sea-god Neptune claims " rights equal
to Jove's own." His domain repeatedly in these tragedies is called
regna secunda (e.g. Med. 598; cf. secundo sceptro, 599), and Pluto's
"the third lot " (tertiae sortis, 609).

49. foedus: the agreement whereby each of the three domains
was to be inviolable (cf. foedera mundi, Med. 606 n.). A son of
Jupiter now had invaded Pluto's kingdom and carried off the
three-headed dog, thus violating the compact.

66. A way hack from deepest Hades has been opened, and the
mysteries of grim death have been revealed, since Hercules has re-
turned unharmed.

67. ille: Hercules. — ferox: exultant.

68. superbifica: a word found nowhere else, lit., pride-creating,
but perhaps not greatly different in force from superba.

69. atrtun: an attribute rather of the underworld itself, but
transferred by a common license to persons and things belonging
there (cf. ater Cocytus, Horace, C. 2. 14. 17; furvae Proserpinae,
Horace, C. 2. 13. 21).

158 THREE PLAYS OF SENECA

60. At any surpassingly imnatural sight the sun was supposed
to hide his face or retrace his course in horror (cf. 941, 1333),
notably at the feast of Thyestes (cf. Med. 28 n.).

63. timui imperasse: / was alarmed at having given such com-
mand. All the labors of Hercules were imposed upon him by
Eurystheus, but at Juno's suggestion. — levia: trifling when
compared with what may come (cf. Med. 906).

64. caelo: toe must fear for heaven itself. — summa . . . ima:
Olympus and Hades, the respective abodes of the di superi and di
inferi,

66. patri: Hercules will snatch away the scepter from his father,
05 he from Saturn.

66. lenta: with via. Bacchus had established his divinity by
a relatively peaceful conquest, and been admitted to Olympus by
the gods. Juno fears that Hercules will force his way thither
by violence.

70. ferendo: by hearing it up he has learned that heaven can he
overmatched by his strength. When Hercules, in quest of the apples
of the Hesperides, had come to where Atlas stood supporting the
heavens, the latter volunteered to procure the golden fruit if Her-
cules would meantime take his place. The hero consented and
received the burden, which he bore with ease; hence, melius . . .
sedU, 72 (cf. 425, 528, 1101).

72. melius: better than on the shoulders of Atlas.

74. me prementem: Juno, in heaven, had lent her weight in the
hope of crushing the upstart. — meditantem: sc. Herculem.

75. Perge, ira, perge : on, wrath, on I Crush him as he meditates
great plans! Meet him! Tear him yourself with your own hands!
Why do you commit the satisfaction of such hate (to any one else) ?

77. ferae: the monsters overcome (see the labors detailed,
222-248).

78. vacet: he relieved of his precarious mastery over Hercules.
For Eurystheus see 43 n. — fessus: cf. 41 n., especially the quota-
tion from Ovid.

79. Titanas: the sons of Caelus and Terra (Heaven and Earth),
who overthrew their father and set up in his place the youngest
of their number, Kronos or Saturn. Later the majority of the
Titans, including descendants of the original twelve, supported

NOTES ON THE HERCULES FURENS 159

Jupiter in his successful attempt to dethrone Saturn. Only the
family of lapetus, embracing Prometheus, Epimetheus and their
descendants, dared oppose him, and it is to them that reference
is made here.

80. laza: imperative. — Siculi verticis: Mt. Aetna.

81. tellus . . . Doris: Sicily, which was colonized largely by
Dorians from Corinth. — gigante: Enceladus, who, in his flight
after the defeat of the giants in their attack on Jupiter, was buried
imder the island of Sicily, cast upon him by Minerva (cf. Med.
410 n., where he is called a Titan ; Vergil, A. 3. 578-582). Hercules
had been Jupiter's ally on that occasion; hence vicit ista, 83. — tre-
mens: cf. Vergil, A. 3. 581: (Fama est) fessum quotiens mutet
lotus, intremere omnem . . . Trinacriam — The story is that whenever
he turns his weary body, all Sicily shakes. — monstri: Enceladus.

85. bella . . . gerat: an intimation of Juno's plan, serving to
make the hero's madness the natural climax of the plot and to give
unity to the whole. Do you seek a match for Hercules f There is
none but himself; then let him wage war with himself.

89-91. The speaker apostrophizes Hercules.

91. fugisse: sc. te as subject. — hie: here, on earth.

93. discordem deam: Furor, the personification of madness
(see 98), corresponding to Lyssa, introduced by Euripides as an
acting character in his Herakles Mainomenos, which most likely
was Seneca's immediate model. Farnabius suggests that deam
refers to the fury Megaera (102), and this is consistent with the
idea in 94, whom a great cavern of the mountain, set over her, guards,
for in an Orphic hymn the Furies are represented as dwelling in
caverns near the waters of the Styx.

96. quidquid relictum est: whatever is left in Hades since Cer-
berus has been dragged forth. — Scelus, Impietas, Error, Furor :
personifications summoned as more terrible than any concrete
being (cf. Vergil's description of the horrid forms met at the
entrance to the infernal world, A. 6. 273-281). All these now
are to assail the hero and contribute to the horror of his obsession
and his crime

98. in se armatus: Madness, ever armed against itself. Here,
as in 85, we have an intimation of the form Juno's vengeance was
to take.

160 THREE PLAYS OF SENECA

100. famulae Ditis: the Furies — Alecto, Megaera, Tisiphone.

101". pintun: the blazing torch carried by each Fury (cf. trabeniy
103). — agmen: company, a term often used in speaking of the
three sisters.

103. rogo: a torch taken from a funeral pyre would be of evil
omen, and hence appropriate to the fiendish work now contem-
plated (cf. de medio rapta sepulchro fax, Med. 798; faces de funere
raptas, Ovid, M. 6. 430).

104. hoc agite: this do, to the exclusion of all else (cf. Med.
562 n.).

106. pectus, mentem: your heart and mind. — excoquat: the
subject is ignis,

107. animo captus: possessed, maddened. — ut possit . . .
insaniendum est: for both thought and form cf. Horace's dictum,
A.P. 102: Si vis me flere dolendum est primum ipsi tihi — // you
would have me weep, you first must grieve yourself.

110. sorores: not my sisters, but ye sisters three — the Furies.

112. dignum noverca: cf. vota te digna, 1038, said by Hercules
to the same goddess Juno. The cruelty of a stepmother was pro-
verbial. — vota mutentur: hitherto her desire has been to efifect
Hercules' destruction; now it is that he may Uve to return and meet
a more fearful fate.

114. manu fortis: strong of hand to do the deed I purpose for
him. — inveni: perfect tense.

116. capiat mori: see 1245, 1263, 1278.

117. hie: the adverb.

119. tela: the shafts that were to be aimed at his children
(991 fif.). — librabo manu: / wiU aim the arrows with my own hand.

122. genitor: though when the crime is done his father may admit
those hands to heaven (cf. promissa astra occupet, 23; astra promittit
pater, 959).

124. croceo: a stock poetic epithet of dawn (cf . Vergil, A. 4. 585).

Scene 2 (w. 125-204). — The chorus describes the approach
of day and is led to think of the various activities to which men
awake, and so to speak of the last daring labor of Hercules. It
closes with a eulogy of a life spent in repose and retirement. The
measure is the anapestic dimeter.

NOTES ON THE HERCULES FURENS 161

125. rara: fewer stars are visible as the daylight brightens. —
prono: descending ^ describing the western sky where the stars are
setting (cf. Ovid, M. 2. 67: ultima prona via est).

126. languida: growing dim. — vagos . . . ignes: the plan-
ets.

128. Phosphoros: a Greek noun in nom. sing. Both this word
and its Latin synonym Lucifer have the literal meaning light-
hringer, and refer to the morning star, which, inmiediately preced-
ing the advancing sun, brings up the rear (cogit . . . agmen) of the
starry host as it retreats.

129. signum> Ursa Major, often thought of as a wagon on ac-
count of the figiu-e outlined by its brightest stars (see note on Med.
315). This accounts for tem^ne, 131.

131. verso temone: in its apparent revolution about the pole.

133. Titan: the sun, as often (cf. Med. 5). — Geta: Mt. Oeta
was not east but west from Thebes, where the scene of this play
is laid, and was more than sixty miles distant. In Here. Oet. 1440
it is called cubile noctis. No doubt its inconsistent introduction
here as the scene of the sun's rising is due to its constant and close
association with the life and death of Hercules. We must not
scrutinize too closely a poet's geography — or history cither.

134. Now the thickets famed for the bacchantes, daughters of Cad-
mus , flooded with daylight are blushing. Mt. Cithaeron is meant,
which Ovid (M. 3. 702) calls Cithaeron, electus facienda ad sacra
— set apart for celebrating the rites (of Bacchus). — Bacchis: the
bacchantes, Agave, etc.

136. soror: Phoebe, the moon goddess. — reditura: to return
at night.

137. labor: the day's toil for men.

139. Observe the quantities and agreement of the words ending
in a — gelida, cana, pruina, pabula.

140. dimisso: from the fold, where they had been kept over-
night.

142. nondum rupta: by the growth of horns (cf . nondum comibus
findens cutem, Tro. 538; frons turgida comibus, Horace, C. 3.
13. 4).

143. The kine at leisure fill again (loith mUk) their udders, which
were drained this morning.

162 THREE PLAYS OF SENECA

146-149. The nightingale, shrxU-voiced, hangs upon the topmost
houghs and yearns, amid her chirping young, to spread her wings to
the new morning.

149. Thracia paelex: the nightingale. Philomela, fleeing with
her sister Procne from the latter's husband Tereus, was changed
into a nightingale (Ovid, M. 6. 667-670). — turba . . . confusa
sonat: cf. Chaucer, Parlament of Foules, 190 ff.

164. hie: a fisherman.

156. instruit : eUher rehaits his hooks, robbed of their lure (decep-
tos), or excitedly (suspensus) gazes upon his catch, his hand closed
tight upon it.

168. Unea: nom.

169. haec: sc. aguntii — these are the occupations of those who
enjoy the tranquil repose of a guileless life and a home that is happy
with a little, all its own. For laeta . . . parvo, cf. Horace, C. 3.
16. 43.

162. With this the chorus now contrasts the complicated life of
the city. Note in 164-173 the precise alternation of demonstratives
— ille, hie, ilium, hie, and cf . Med. 720-725.

164. ille; the courtier or client. — super bos aditus regum: cf.
Horace, Epod. 2. 7 : superba civium potentiorum limina — the proud
thresholds of the more influential citizens.

166. expers somni: clients at Rome in Seneca's day rose very
early in order to be among the first in paying their respects to their
patrons (cf. Juvenal, 5. 19: Trebius . . . is worried lest the whole
throng of clients may have finished the round of visits while the
stars are just growing faint, or even at midnight; also 3. 126-130).

166. hie: the miser. — beatas: cf . beatis gazis, Horace, C. 1. 29. 1.

167. inhians: cf. saccis indormis inhians, Horace, S. 1. 1. 70.

168. Cf. Horace, C. 3. 16. 28: m^gnas inter opes inops.

169. ilium: the poUtician.

170. The mob, more changeful than the sea (cf. mobUium turba
quiritium, Horace, C. 1. 1. 7).

171. tumidum: puffed up — ace. agreeing with iUum.

172. hie: the advocate. — elamosi . . . fori: cf. Pliny's descrip-
tion of the centmnviral court, Epist. 2. 14.

173. vendens: originally at Rome an advocate received no foe
for Jus services, but felt he was rewarded by the devotion and

NOTES ON THE HERCULES FURENS 163

political support of his client. In time this custom was modified
by the offering and accepting of gifts, and finally pleading became
a profession which many entered for the sake of gain (see Quintilian's
discussion of the proper charge, I.O. 12. 7. 8-12). — iras » . ,
locat: off era for hire his words and his emotions.

176. tempora numquam reditura: a thought which is conmion
in all of Seneca's writings, e.g. Brev. Vitae, 8. 5; cf. 182 below.

177. dum . . . laeti: Horace's philosophy exactly, e.g. C. 1.
9. 13-18; 2. 3. 13-16, and often.

180. rota: nom., cyde.

181. peragunt: carry through to the end. — pensa: tasks as-
signed for spinning, here with reference to the thread of life spun
by the Fates. — sorores: the three Fates, not the Furies as in 110.
The Fates, while hard (durae) and implacable, were not malicious
like the Furies.

185. quaerimus: alluding to Hercules' invasion of the lower
world, as is seen from what follows.

187. properas . . . visere: i.e. before your time. — maestos:
the same epithet is applied to the manes in 647, and is used often
by Vergil in the sixth book of his Aeneid.

189. iusso: when summoned.

190. scriptum: appointed; lit., tmften in the book of fate.

191. uma: a change of figure. Horace (C. 2. 3. 26 flf.; 3. 1. 16)
represents the Fates as shaking an urn in which is a lot for every
living man, who must die when his lot falls out. According to
Vergil (Aen. 6. 432) it is Minos the judge who shakes the urn.

192 ff. A favorite theme with the author of these tragedies
(e.g. Oed. 882-913; Ag. 57-107; Oct. 379-386): Let glory hand
down another to many lands, and prattling fame praise him throughout
the cities and extol him a^ on a plane with the sky and the stars.

198. pigros: unambitious (cf. Med. 331).

199. In lowly sphere, yet safe, abides the mean lot of the dweller in
a cottage.

201. alte: far. The idea is either "from a great height" or
"to a great depth." — animosa: high-spirited, ambitious. For the
thought cf. Horace, C. 2. 10. 9-12: 'Tis the great pine that is
shaken oftener by the winds, and lofty towers fall with a heavier
crash, and thunderbolts smite the mountain tops.

164 THREE PLAYS OF SENECA

203. parvum gr^em: her three small children. The ace. may
be regarded as the object of comitata deponent, or an imitation
(with comitata passive) of the construction with induta. — Megara:
nom., here scanned with long a in the ultima, as a Greek noun.

204. Alcidae parens: Amphitryon, who was the husband of
Alcmena and putative father of Hercules. In the Amphitryon of
Plautus, where the dramatic time is before the birth of Hercules,
Amphitryon is represented as a strong and vigorous warrior; here
he is old and relatively feeble.

ACT II

Scene 1 (w. 205-278). — Amphitryon reviews the labors of
Hercules, laments his absence on the desperate quest of Cerberus,
and prays for his safe return.

207. cladi: this, like aerumnis, refers to the evil fate that al-
lowed Hercules no peace or repose.

209. futuri: used instead of alteriiis, which we should expect
as correlative to alterius in 208. The end of one misfortune only
marks the approach of its successor. — reduci: the adjective, as
shown by U; sc. Herculi.

211. contingat . . . meat: sc. Hercules.

213. dum iubetur: the brief interval in which he is receiving
his new orders. — a prime : from his very birth. As is told in the fol-
lowing verses, two serpents were sent by Juno to destroy the infant
Hercules, but were seized by him and strangled to death.

216. cristati caput : crested as to head, with crested head.

218. reptabat: frequentative for simple verb, common in the
Silver Age.

219. remisso lumine: with eye not strained by fear, i.e. with
fearless gaze and calm.

221. Crushing their swelling necks with tender hand.

222. Cf. the review of the twelve labors by the chorus, 527-546
(Ag. 808-866; Ovid, M. 9. 182-199). The order is given variously
by various authors, but the numbers assigned the labors in these
notes are those of ApoUodorus. — prolusit hydrae: practiced before-
hand for his battle with the great serpent, the hydrae (cf . proludena

NOTES ON THE HERCULES FURENS 165

fatiSj Tro. 182; prolusit per ista, Med. 907). Hydrae is dat. —
fera: the third labor was the taking alive of the hind of Mt. Maena-
lus, which was sacred to Diana. The chase lasted a year and ex-
tended as far as the upper Danube, but was finally successful. The
hind had horns of gold and hoofs of brass.

226. leo: the first labor. As the lion's skin was impenetrable,
Hercules killed it by strangling {'pressua lacertis).

226. Bistonii gregis: the eighth labor was to bring the man-
eating mares of Diomede, king of the Thracian Bistones (not the
Homeric hero), to Mycenae. The king had been in the habit of
feeding these animals with the flesh of strangers who entered his
land. Hercules overcame him and made him the victim of his
own custom (227).

229. suem: the boar of Erymanthus — the fourth labor. Suem
is modified by aolitum and hispidum in the preceding line as well
as by Maenalium here. This verse is notable for its large propor-
tion of short syllables, the scheme being, —

<^W {kJKJ^I^'^KjIkJ \ ^ \J ^ \ \^ KJ.

230. tatirum: the seventh labor. A mad bull which had been
ravaging Crete was brought by Hercules to Mycenae and there
released. — centum . . . populis: dat. The island of Crete,
early settled and thickly populated, often is called " the land of
a hundred cities '' (e.g. urhibus centum spatiosa Crete, Tro. 820; cf.
Phaed. 150; H.O. 27). In the Odyssey (19. 174) it is ninety.

231. greges: as his tenth labor the hero sought the scarlet
cattle of Geryoh, the three-bodied monster who dwelt on the island
of Erytheia in the western ocean (occasu ultimo). Having found
the object of his search he slew the giant keeper (pastor triformis),
and with many adventures drove the cattle through Spain and
Gaul, lUjrricum and Thrace, to Mycenae.

234. pavit: from pasco. As his course naturally would take
him through Boeotia, his cattle are said here to have grazed upon
the Boeotian mountain. Cithaeron is subject and peciLS object of
pavit.

236. soils . . . plagas: Apollodorus (2. 5. 10) tells us that Her-
cules came to the place of the sun's setting and obtained from
him the use of the golden bowl in which as in a boat he crossed the
western sea. Of course the next verse — the parched realms MiViv^Jtv.

166 THREE PLAYS OF SENECA

the midday sun scorches — would naturally suggest the south, but
237 fixes the scene of this adventure at Gibraltar, and reminds us
that the places of sunrise and sunset were thought of as exposed
to the sun's greatest heat (cf. 38 n.).

237. There is a myth to the effect that in the earliest times
there was no communication between the Mediterranean Sea and
the ocean, and that the passage now known as the Strait of Gibral-
tar was made by Hercules' tearing of the mountains asunder
(Pliny, N.H., proem, to 3). With this compare the similar ex-
ploit in opening the Vale of Tempe (283-288).

240. spolia: the golden apples of the Hesperides — the eleventh
labor. They were guarded by a sleepless dragon (vigilis ser-
pentis).

241. Lemae monstra: the hydra — second labor. The plural
monstra and the words numerosum malum allude to the creature's
having had nine heads and to the fact that when one was lopped
off two sprang up in its place. By searing the wound (i^ne, 242)
as each was cut off the hero finally was able to check the multi-
plication and teach it to die.

243. condere: complement of solitas. The killing of these birds
was the sixth labor.

244. petit: perfect, contracted from petiit, as often in these
tragedies (cf. adit, 321; perit, Med. 994, etc.).

246. caelibis . . . tori: gen. of quality. The same idea is
repeated in vidua (246; cf. viduis gentibu^, 542), which means
no more nor less than unmarried, not necessarily widowed. The
ninth labor was the obtaining of the girdle worn by Hippolyte,
queen of the Amazons, who dwelt beside the Thermodon River
(cf. Med. 214).

247. ad . . . f acinus: after audaces — hold for every glorious
deed. Note the antithesis between darum and turpis (248).

248. Cleansing the stables of Augeas was the fifth labor.

249. orbe defense: the same phrase recurs in 633. — caret:
after having defended the world from these monsters and the
oppression of many tyrants, whose destruction constituted his nu-
merous parerga or side-labors, Hercules himself is banished from
it and sent to the imderworld.

251. rursua: as before his achievements.

NOTES ON THE HERCULES FURENS 167

252. virtus: predicate. The reference is to Lycus' successful
usurpation, as is shown in what follows.

256. nates: the sons of Creon, king of Thebes and father of
Megara.

256. ipsumque: Creon.

257. capiti decus: the crown.

259. ferax deorum: Bacchus, Amphion, Hercules (cf. 21 n.). —
quern: for qrialem, used contemptuously of Creon (cf. sordido
iugo, 267; tremitis ignavum exulem, 269). Though Lycus was
a son of Neptune, he speaks of himself (338) as being of lowly
origin as compared with Megara, who was a descendant of Cadmus,
characterized in 256 as nobUis,

261. iuventus: the terrigenaef who sprang full-armed from the
earth on the sowing of the dragon's teeth by Cadmus (Ovid, M. 3.
101 flf.).

262. In the days of Cadmus, its founder, Thebes had no fortifica-
tions. Amphion charmed the stones with his music and led them
to their places, and so reared the walls (Ovid, M. 6. 178).

264. non semel: not once, but often (cf. 20) — a common litotes.

265. haec: sc. terra, from 259, antecedent of cuius in 260,
262, 264.

266. fecit: has given birth to gods; so f octet, 2^7. For a different
sense of facere deos, cf. Oct. 449, where Nero says: Stulte verebor,
ipse cum fadam, deos — / shall be foolish to reverence the gods, when
I create them myself, i.e. when I can decree the deification of whom
I will.

267. sordido: mean, degrading, because imposed by the low-
born Lycus.

268. Ophionium genus: descendants of Ophion, one of the
terrigenae.

269. exulem: the same term is repeated in 274. It refers to
Lycus, who was a native of Euboea (cf . suis carentem finibus, 270;
Euripides, H.F. 32).

271. qui: the antecedent is Hercules, subject of servit and of
fert, 273.

272. Agreements can be determined by scansion.

273. servit: sc. Eurysthei. — quae . . . vetat: o^^x^.'ss^sst^. V5S..
272, 249 n.).

168 THREE PLAYS OF SENECA

276. The subject of tenebit is Lycua; of the next five verbs
Hercules.

276. ad astra: not to heaven j but from the darkness of the
underworld to the Ught of the stars which shine on the earth (cf.
note on ad superos, 48, and Shakespeare's "glimpses of the moon,"
Hamlet, 1. 4. 53).

277. adsis: an apostrophe to the absent hero.

278. Note the alliteration and cf. Med. 360 n.

Scene 2 (w. 279-331). — Megara, the wife of Hercules, unites
with Amphitryon in bewailing the woes of their house and coun-
try and the absence of their natural defender.

280. tenebras: the darkness of Hades. — retro via: cf. 55 n.

281. orbe diducto: abl. abs., rend the earth asunder and return.

283. dirutis . . . iugis: it was a common belief that originally
the Vale of Tempe was separated from the sea by the range of
which Olympus and Ossa are peaks, and that some terrific con-
vulsion of nature cleft the barrier and so gave the Peneus River
an outlet. Here and often the change is ascribed to Hercules.
In his Naturales Quaestionea Seneca gives this (6. 25. 2): " If you
care to believe it, they say that Olympus once was attached to
Ossa, then was separated from it by an earthquake and the one
great mountain cleft in two. Then the Peneus found an outlet,
and dried up the marshes under which Thessaly had labored,
draining their water into itself." For another like exploit of
Hercules see 237 n.

284. praeceps: adverbial modifier of citato — the headlong-rushing
river. — flumini: the Peneus; so Thessalus torrens, 288.

290. terminos: object of efferens. Its meaning may be literally
the physical boundary between the living and the dead (cf. 280-
283), or, figuratively, the limitations imposed on man's activity by
nature and precedent.

293. lucisque pavidos: cf. Cerberus' fear of the unfamiliar
light, 814. — populos: the races of dead men.

294. indigna ... est: the great labors imposed on Hercules
had usually been accompanied by incidental voluntary exploits
(see a. Diet., artt. '^Antaeus," *'Busiris," "Cacus," etc.). These

were called parerga (see note on carei^ 249).

NOTES ON THE HERCULES FURENS 169

296. ilium . . . diem : object of some verb understood, perhaps
petam or exspectem (cf. Horace, S. 2. 5. 102: Unde mihi tarn fortem
tamquefidelem — Where shall I seek one so strong and so faithful?).
So here. Whence shaU I seek that day on which I may clasp thee f

298. nee . . . memores: with reditiLs, thy return, tardy and
forgetful of me.

299. deonmi ductor: Jupiter, to whom the appropriate sacrifice
was a white bull which had never been " broken " to work {in-
domiti). — ferent colla: shall yield their hundred throats — a
hecatomb is promised.

300. frugum potens: Ceres or Demeter, goddess of growth in
nature. Her special worship was celebrated at the Attic village
of Eleusin, and came to be one of the most famous cults of an-
tiquity (see 844 n.). For many centuries it was considered a high
privilege to receive initiation into the " Eleusinian mysteries."
The revelation of any of the secrets of the initiation was visited
with vengeance of the gods (hence secreta sacra, muta fide, Eleusin
tacita; cf. sacris gaudens tadtis Eleven, Tro. 843). Hercules had
sought initiation before setting out on his last labor.

302. longas: alluding to the great procession of torch-bearing
initiates (see 838 flf.).

303. fratribus: the sons of Creon, slain by Lycus (254 flf.).

304. ipsum: here as in 256 refers to Creon.

305. maior: greater than yourself — te: object of tenet.

306. sequimur: to death; present for future, after the analogy
of ire.

308. Her speech ends in a wail of despair.
313. nimis: with volunt, as with metuunt in 314.

318. ad superos: as in 48.

319. quam: the antecedent is viam. — plagam: the desert; per-
haps to be compared with solis aestivi plagas, 235. In this and
the following verses are gathered a group of Hercules' adventures
in or near Africa,

321. adit: perfect (cf. petU, 244 n.); the way he had when he went
through the burning desert and the sands surging like a stormy sea,
and through the sea twice ebbing and twice flowing; and when, caught
in the shoals of the Syrtes, he came to a standstill, and leaving his
vessel abound overpassed the seas on foot.

170 THREE PLAYS OF SENECA

323. Sjn^um: a famous reach of quicksands north of Africa
(Pliny, N.H. 5. 4; Vergil, A. 1. Ill, 146).

324. fixft: with puppe. — pedes: nom. sing.
330. Such in gait as he is in spirit.

Scene 3 (w. 332-523). — The tyrant Lycus, feeling the disad-
vantage of his low origin, proposes to marry Megara, whose high
biriih would add strength to his position. On her spirited refusal
he threatens her and hers with destruction.

333. All that slanting Phocis bounds with its rich lands.

334. obliqua: suggested by the sinuosities of its coast. See the
map.

337. Though master (by usurpation) of all these regions ^ I have
not the ancient rights of an ancestral line (patriae domus). The
same thought is continued in the next two lines.

339. titulis: a Roman word and idea, hence an anachronism
here. — clara virtus: / have not birth, but brilliant courage.

340. qui . . . laudat: this idea is developed at length and illus-
trated in Juvenal's eighth satire.

341. rapta: power usurped is held with trembling hand, i.e. in
constant fear of losing it by another revolution or by assassination.

343. scias: the " general " second person — what you know you
keep against your subjects* wHl, the sword protects.

346. haut: haud. — una: with Megara — only Megara. This
plan of Lycus to strengthen himself by means of a marriage with
the Theban princess is not found in Euripides. It may be an
invention of the Latin author, or he may have borrowed it from
some intervening version.

348. novitas: probably suggested to Seneca by his famiharity
with the suspicion the Roman patricians had of any nows homo
who rose to prominence.

351. Stat: my determination is fixed. — tollere: as he already
had destroyed King Creon and his sons (254-258).

352. WUl the people* s hate and comment check the deed f

353. Cf. Oed. 703: Odia qui nimium timet regnare nesdt — he
knows not how to reign who too much fears men's hatred. The line
as it stands involves an unusual hiatus, but no sure emendation

Ims been offered.

NOTES ON THE HERCULES FURENS 171

354. Then let me try, since chance has given me opportunity
(locum, as in Med. 160). It is at this point that he first sees
Megara, his speech thus far having been soliloquy.

356. velata: her head veiled (veiled as to her head) with the dismxd
covering of her raiment, as it is not unheard of to-day for a woman
to throw her apron over her head in her grief. — praesides: pro-
tecting.

357. verus sator: the usurper was very willing to think of Hercu-
les as mortal, and therefore calls Amphitryon his true father.

359. novi: partitive with quidnam. — trahens: deriving, in-
heriting.

364. The victors retain, the vanquished prepare their weapons, for
a renewal of the conflict.

365. relinquent: the future indicative in the conclusion after
the subjunctive condition represents the result as more imminent
and vivid (cf. Med. 238-241).

366. tectis: dat. after subdita.

368. reduci: contrast this passive infinitive with the adjective
of like spelling in 209, and note the quantity of the u. — expedit:
it is expedient.

369. regno: the rare dat. with particeps. — veni: imperative.

371. He offers her his hand, which she refuses to touch.

372. Egone ut contingam: a question of surprise and horror,
Am I to touch that hand f (cf . egone ut recedam, Med. 893).

374. Sooner wiU the sun reverse his course!

376. And ScyUa unite the Sicilian to the Italian shore, at the Strait
of Messina, where Scylla and Charybdis were supposed to lurk on
opposite sides.

378. Euripus: the strait between Euboea and the mainland of
Greece. Its waters were constantly shifting the direction of their
fiow, under the influence of various winds and ciurents, and the
ancients had the idea that the tide there ebbed and flowed
(vicibus aUernis, 377) seven times each day (Tro. 838; H.O. 779 :
" Euripus shifts its wandering waters, and rolls up seven tides and
ebbs as often"). Livy (28. 6. 10) gives this more rational account
of it: "The strait of Euripus does not ebb and flow, as the story
goes, seven times a day at stated hours, but as the sea turns now in
this direction, now in that after the fashion ol \Jcife^wa^.^,^^»^s»s^-

172 THREE PLAYS OF SENECA

ries along like a torrent rolling down a precipitous mountain
side. Thus no rest is given vessels sailing there, either night or
day."

382. odium tui: my hate of you! appositive to res, 380. -^ quod
. . . doleo: Famabius gives two suggestions as to the meaning
of this: (1) that Megara wishes the universal hatred of Lycus
might be concentrated in herself, so that her loathing of him might
be adequate; and (2) that she grieves over the oppression of her
people, which arouses them to hatred and may bring down further
wrath upon them.

383. How small a part of it is mine! For quota^ cf. Med. 896 n.
386. Pride goeth before destruction.

386. novi: from nosco. — quid . . . scelera: why should I name
the {Theban) matrons who have dared or suffered wrong? — Ino,
Agave, etc.

388. coniugis, nati, patris: by his marriage with Jocasta Oedipus
became his mother's husband and his own stepfather — hence
husband, son and father (cf. Oed. 1009, 1039).

389. fratrum: Eteocles and Poljmices, sons of Oedipus and
Jocasta. Polynices, deprived of his rights by his brother, retmned
with the hosts of the "seven against Thebes" (bina castra). When
all the other leaders were slain the war was ended by a single com-
bat between the two brothers, in which each killed the other.
Their mutual hatred was so implacable that when their bodies were
laid on the pyre for burning the very flames parted, and consumed
the bodies separately (totidem rogos) ; cf. Statins, Theb. 12. 429 flf.:
" Behold, the brothers again I When the devouring flame touched
their bodies the pile quivered and the newcomer was thrust from
the pyre. The flames siu-ged with divided crest."

390. riget . . . Tantalis: Niobe, daughter of Tantalus and wife
of Amphion, tauntingly contrasted her family of seven sons and
seven daughters (cf. Med. 954-956 n.) with Latona's two, Apollo
and Diana. To avenge the insult to his mother Apollo with his
arrows shot to death all the children of Niobe, and she in her
grief hardened (riget) into a rock down whose face trickled (ma-
nat) "tears" of spring water (Ovid, M. 6. 301-312). Mt. Sipylus in
Phrygia, presenting from one point of view the rude outline of a
woman's form, used to be pointed out as the petrified Niobe.

NOTES ON THE HERCULES FURENS 173

392-394. Cadmus finally left the Thebes which he had founded,
became king of Illyricimi, and at last both he and his wife Har-
monia were transformed into serpents (Ovid, M. 4. 563-603).

394. notas: the mark of a serpent's body dragged on the ground.

395. haec . . . exempla: these instances, and hence the fate
they illustrate, will befall you, like all the other kings of Thebes. —
dominare . . . vocent: lord it as you rvillf till the wonted fate of
our kingdom overtakes you.

397-398. rabida: voc; come, now, mad woman, learn submission
from your husband, Hercules, who is and has been the slave of
Eurystheus (430, 432).

399. Though I wield a scepter seized by a victor* s hand, and
govern all things without fear of the laws, which force overcomes, I
will say a few words for my own cause. — victrici: abl., in agree-
ment with manu, which is implied in dextra.

402. He claims that Creon and his sons fell in battle.

406. sed: for at, introducing an anticipated objection to his
reasoning. — ille: pater, 402. Creon, of course, is meant. Supply
the proper forms of pugnare with ille and nos.

407. quaeritur . . . causa: the issv£ of a war is asked, not its
justice, a bit of specious argument not without its illustrations in
history, ancient and modem.

409. et: also, introducing the main clause.

411. petimus: / do not demand that you do homage to me on
bended knee as your sovereign. — hoc: explained by the clause quod
capis, in apposition.

413. ezangues: for exsanguss (cf. exerunt, 11 n.).

418. thalamos tremesco: / do shudder at the thought of marriage.

420. mors . . . lenta: a lingering death. The subjunctives in
gravent and protrahatur are concessive in effect (cf. Med. 417).

421. Alcide: voc. She apostrophizes the absent Hercules, who
is referred to also in coniunx, next line.

423. supera: the reference here is not, as in 48, to the earth's
surface as contrasted with the infernal world, but to the heavens
above, which he was to reach through his promised apotheosis
(cf. 23, 122, etc.). For the antithesis of infema and supera, cf.
note on summa, 64.

425. qui caelum tulit: cf. 70 n.

174 THREE PLAYS OF SENECA

426. cogftre: future, as is moriere, 429.

427. quod . . . parem: indirect question; parent is from
parare.

429. coniugi: Hercules, who though living was already in the
world of the dead. The thought is, if, as you say, I am to die, I shall
simply be going to rejoin my husband.

430. sceptre: abl. after the comparative. — famulus: Lycus
dwells persistently on Hercules' subjection to Eurystheus as the
only counterpoise to his own inferiority of birth (398, 432, 450). —
potior: more to be desired.

431. iste: that slave, as you call him. Note the accurate refer-
ence of iste, the "demonstrative o^ the second person."

432. ergo: the short o is rare in the later poets. — regi: Eurys-
theus.

433. Herewemeet a case of parataxis — two coordinate clauses
to convey a thought more usually expressed by a complex sentence.
The imperative suggests a condition of which quid . . . erit is
the conclusion — take away the harsh commands, and where will be
the valor f

434. Do you suppose that valor is wasted upon (lit. thrown away
upon) wild animals and monsters f The implication is that the
hero's conquests over inferior animals were less glorious than vic-
tories won in war.

436. Virtutis: predicate gen. — His valor^s part.

436. loquentem magna: boaster, braggart. — magna: cognate
ace. (cf. dulce ridentem, dulce loquentem, Horace, C. 1. 22. 23;
Catullus, 51. 5). — premunt: cf. premit, 424.

438. quo patre: cf. 36, 118, 122, 357 n. — domos: mansions.
Here the dialogue between Lycus and Megara is interrupted by
the aged Amphitryon, who claims the right to speak for his house
(partes meae sunt).

442. post pacatum: after the conquest by his hand of whatever the
risen and the sinking sun beholds. Pacatum agrees with the ante-
cedent of quodcumque. — memoranda: memorable.

444. Phlegram: one of the three parallel peninsulas on the coast
of Macedonia. Its later name was Pallene (979). This was the
scene of the battle between the giants and the gods, in which Hercu-
les supported the latter (defensos deos, 445; cf. 81 n.).

NOTES ON THE HERCULES FURENS 175

446. mentimiir: do we falsely daim Jove as his sire? Why
then does Juno hate him so ?

449. ista causa: thai condition {of servitude ^ see famvli, 450, and
cf. 430) which you are harping on is common to many gods, i.e.
many have been in the same position. Observe again the force of
ista, referring the idea to the person addressed (cf. 431 n.).

461. pastor . . . Delius: Apollo, who as punishment for having
slain the Cyclopes was required to tend the flocks of Admetus,
king of Pherae (Pheraeos greges) for a year.

453. profuga: nom. with mater. — terra errante: see note on 15.

466. imbuit: stained with blood. — draco: the python at Delphi.

'456. Having been answered in every attempt to show that the
career of Hercules had been inconsistent with divinity, Lycus re-
minds Amphitryon of the misfortunes that had pursued him from
his very infancy (cf. 213 ff. and note). In reply the elder shows
that Bacchus and even Jove himself had suffered similar trials.
The subject of tulerit, of course, is Hercules.

457. puer: Bacchus. His mother Semele, daughter of Cadmus,
beguiled by Juno, desired that Jove should visit her as he visited
his sister-wife; but when he did appear to her in the midst of thun-
derings and lightning flashes she perished of fright. The child
was cared for by Ino, his mother's sister, and afterward by the
nymphs at Nysa, whence he was called Dionysus. In Med. 84
Bacchus is called proles fulminis improbi.

460. infans: Jupiter, who was hidden in his infancy from his
father Saturn in a cave near the Cretan Mt. Ida.

461. tanti . . . natales: such high birth.

462. It has ever been costly to be born a god. — magno: abl. of
price (see note on Med. 603).

465. leo: the lion's skin. As atonement for having killed
Iphitus, son of Eurytus (see 477 n.), Hercules bound himself for
three years as a servant to Omphale, queen of Lydia. She took
from him and wore herself the lion's skin (hence donum pueUae
factum), while he was clad in soft raiment (veste Sidonia, 467) and
spun among her maids (cf. Phaed. 317 ff.: "The son of Alcmena
laid aside his quiver and the menacing hide of the huge lion . . .
and with his hand, in which but now he had carried the club, he
drew out the threads as the shuttle flew''). The verses that follow

176 THREE PLAYS OF SENECA

here describe the effeminacy of the hero's habit at that time.
Amphitryon in his rejoinder (472-476) points out the fact that
Bacchus, whose divinity was not questioned, had indulged in the
very same luxuries which Lycus had cited as evidence of Hercules'
unworthiness.

470. non; with virilem — unmasculine, effeminate.

471. barbara: not Greek (cf . Med. 612 n.).

473. sparsisse: to have sprinkled his flowing locks with perfume.

474. thjrrsum: the thyrsus was the wand and weapon of Bacchus
and the bacchantes. It was a rod ornamented with leaves of the
grape or ivy, and is supposed to have been originally a spear with
its point thus concealed (cf. 904, bearing a spearpoint covered wHth
the green thyrsus). Vibrare thyrsum is to wave or brandish the
thyrsus., — parum forti: not the bold, free step of a warrior, but
the languid movement of a debauchee.

475. barbarico: outlandish (cf. barbara^ 471 n.).

477. Euryti . . . eversi: Eurytus was a king of Oechalia who
refused his daughter lole to Hercules after the latter had fulfilled
the conditions imposed, and who was slain by him, with all his
house. — Hoc fatetur: a sarcastic indorsement of Amphitryon's
last statement, that valor must be relaxed.

478. pecorum ritu: like the beasts of the field. — virginum greges:
the fifty daughters of Thespius, king of Thespiae, all of whom were
given to Hercules.

480. ipsius: sc. Herculis. Note the sneer — no Juno, no Eurys-
theus imposed this task; these are labors of his own.

482. Eryx: a son of Butes and Venus, who challenged all comers
to fight with the caestus (at boxing). Hercules on his way home
with the cattle of Geryon accepted the challenge and in the fight
killed Eiyx suis caestibus — that is, with the weapons of Eiyx's
own choosing. His name was given to a mountain in western
Sicily, made famous afterward by Hamilcar's defense in the first
Pimic war (Med. 707 n.). — Antaeus: an African (Libys) giant,
invincible as long as he was in contact with his mother earth.
Hercules wrestled with him and overcame and killed him by lift-
ing him up and strangling him.

483. qui: in agreement with its antecedent foci, here incor-
porated in the relative clause. — hospitali caede: Busiris, to insure

NOTES ON THE HERCULES FURENS 177

good harvests, offered on the altar of Jupiter all strangers who
entered Egypt. Hercules, visiting there, was about to be sacri-
ficed when he burst his bonds and laid the king on his own altar
(iustum sanguinem).

484. bibSre: perfect, with ^wi /oci as subject. — iustum: justly
shed,

486. Cycnus: our author here confuses two mythical characters
of this name. The first was a son of Mars and was killed by
Hercules with a spear; while the second was a son of Neptune,
slain at the siege of Troy by Achilles (Tro. 183; Ag. 215). It
was the second who was invulnerable {wlneri . . . invius, 485),
and Achilles was obliged to strangle him (hence integeTf un-
wounded; see Ovid, M. 12. 72-145 for the story in detail).

487. Nee unus: Geryon had three bodies (pastor triformis, 232).
— una . . . manu: single-handed.

488. ens inter istos: you will share their fate. — tamen: yet they
were less guilty, for they never assailed his honor, as you are
doing.

489. quod lovi: sc. licet.

490. You gave your wife {Alcmena) up to Jove, he {Hercules)
shall give wp his to a king (Lycus).

491. hoc: explained by the infinitive clause meliorem sequi,
appositive to it. — nurus: Megara.

493. taedis: in lawful wedlock.

495. Labdaci: a Theban king, father of Laius. An evil fate
pursued the whole line, culminating in the incestuous marriage,
blindness and death of Oedipus (388 n.).

496. Oedipodae: an o- declension form for the more regular
Oedipodis (Oed. 943).

498. nur^: the daughters of Danaus, who slew their husbands
(Med. 749 n.).

499. manfls: ace. of specification.

600. dest: for deest (cf. derat, 832). — una: one of the fifty
Danaides, Hypermnestra, had spared her husband. Megara
determines, in case of being forced into a marriage with Lycus, to
take his life and so qualify herself to take her place with the
guilty forty-nine (cf. H.O. 948: Vacat una Danais, has ego
expUbo vices — one of the Danaides is missing ; I vM. fli hfs^ '^^iKA.

178 THREE PLAYS OF SENECA

602. terres: attempt to terrify by your threat — conative use of
present.

503. complectere: said tauntingly as he sees Megara lay her
hand upon the altar, claiming the right of asylum.

604. nee: not even. — remolito: a passive use of the participle
from the deponent remolior. In Tro. 682 the simple verb has its
regular active force, molire terras — force open the earth.

606. congerite silvas: said to his attendants. For the phrase
cf. congeriem sUvae in Ovid's account of Hercules' cremation on
Oeta (M. 9. 235), and nemore congesto, 1216. — templa: though
plural (so in 521, 616, etc.) this refers to the one temple in which
she was seeking to take refuge with her children. Let the temple
be cast down upon its suppliant worshipers, and let one pyre, with
fire applied, consume his (Hercules*) wife and children. — gregem:
the children.

609. genitor Alcidae: appositive to the subject of peto. Hoc
munus anticipates the clause ut . . . cadam.

612. diversa inroga: impose various penalties — forbid the wretched
man to die, but compel the happy man. These imperatives are in
the "general" second person and are used to enunciate the policy
of a tyrant.

613. While the pyre is being buUt by my servants I wiU pay to
'Neptune the offerings I vowed for the success of my war against
Creon. — trabibus: abl. of means or of material. Lycus had
appealed for success to Neptune, his own father, as larbas prayed
to Jupiter Hammon (Vergil, A. 4. 205 flf.), and as Hercules does
to his father in 914 flf.

616. pro: the interjection, often spelled proh (cf. and oh).

618. tells: the thunderbolts.

620. nate: Hercules, Why do I make vain appeal to the gods?
Wherever thou art, hear thou, my son! — cur: he hears the sound
of Hercules' approach. — mugit solum: an expression often used
to describe the soimds attending the coming of one from the lower
world (cf. terra mugitu fremens, Tro. 171; sub pedibvs mugire
solum, Vergil, A. 6. 256).

Scene 4 (w. 524r-591). — The chorus recounts the deeds of
Hercules, recalls the return of Orpheus from the land of shadows,

NOTES ON THE HERCULES FURENS 179

and expresses the hope that Hercules also will come back. The
measure is the minor asclepiadean.

626. quam non aequa . . . praemia: what unequcd favors.

628. caeliferam manum: the hand that bore the heavens (cf.
70 n.; 425). Vergil (A. 6. 796) applies the same epithet to
Atlas.

629. serpentis: the hydra. — colla feracia: see 241 n.

530. mala: apples (Greek /tt^Xa). — sororibus: the Hesperides
(240).

633. multivagas: nomadic (cf. vagi passim Scythae, Thy. 631).

634. patriis . . . hospitas: strangers to the homes of their fathers.
For hospita see Harper's Dictionary under hospes, II. D. jS. The
statement imder hospitus in the same dictionary that "only the
form hospita^ fem. sing, and neut. plu., occurs," is manifestly in-
correct.

636. terga rigentia: the frozen surface. The adjectives in the
next two lines, miUis, tacitum, dura, also express effects of the
intense cold. With this description cf . Ovid, T. 3. 10: Quaque rates
ierant, pedibus nunc itur, et undas \ frigore concretas ungvla pulsat
equi; . . . durum calcavimus aequor — where vessels had gone we
now go afoot, and the horse's hoof pounds the waters made solid by
the cold; . . . / have walked on the hardened sea.

639. intonsis: unshorn, hence uncivilized, barbarous. The
Romans of the late republican and imperial days as a rule were
smooth-shaven — though Seneca himself wore a beard — and
often spoke of their forefathers by contrast as intonsi (Ovid, F. 2.
30). The elder Pliny (N.H. 7. 59. 211) says that " Barbers came to
Rome in the year of the city 454 (300 b.c), and before that the
Romans were intonsf It is a Roman idea unconsciously assigned
by the author to a Greek chorus. — semita : a footpath across the
frozen sea (541).

640. vicibus mobilis: changing with the seasons.

641. facilis pati: easily able to bear now the ship, now the horse-
man. For the construction of paii cf . facilis perrumpi, Tac. H.
4. 39; audax ire, 548.

542. quae . . . imperat: Hippolyte, queen of the Amazons
(cf. 245 n.).

180 THREE PLAYS OF SENECA

644. spolium nobile: the far -famed spoil — the girdle (balteo,
543) of Hippolyte, given her by Mars on account of her surpassing
bravery. When a Roman leader killed his foe in battle he would
strip off the dead man's armor and carry it home in triumph as
spolia opima (48 n.). Our author here employs the same term,
though in the singular, to designate the prize taken by Hercules
from a woman.

546. Looking up, on bended knee, to her conqueror.

647. praecipites: the epithet is transferred from the road
(cf. 675 ff.) that must be traveled to the travelers themselves, the
spirits of the dead.

648. vias: cognate object with ire. — irremeabiles: cf. Vergil,
A. 6. 126 flf. : FacUis descensus Avemi; sed revocare gradum super-
asque evadere auras, hoc opus, hie labor est. — audax ire: cf. audax
perpeti, Horace, C. 1. 3. 25.

649. vidisti: the subject is Hercules, here apostrophized. —
Siculae: so called because stolen from Sicily by Pluto (Ovid,
M. 5. 385 flf.).

660. There is no breeze; the air, like all else in that world of
the dead, is sluggish and heavy (cf. 703). — Noto: not the participle
of nosco.

662. geminum Tyndaridae genus: a favorite arrangement of
appositives in Seneca (cf. fortis armiferi cohors, Med. 980; turba
captivae mea, Tro. 63). Sidera is another appositive. For the
meaning of 553 see 14 n.; Horace, 0. 1. 3. 2.

664. pelagus: the Styx. — nigro: cf. note on atrum, 59. —
languidum: see note on 550 and for the adjective cf. languido
flumine, Horace, C. 2. 14. 17.

666. Mors pallida: Horace uses the same phrase (C. 1. 4. 13).

666. manibus: dat. Note the quantity of a. — innumeras:
Vergil (A. 6. 706) has innumerae gentes.

667. remige: Charon (Vergil, A. 6. 298-304).

668. O that thou mayst overcome the laws of the cruel Styx and
the irreversible spinning of the Fates. The reference is to the
thread of life, whose length was determined by the Fates with no
possibility of appeal.

660. hie: Pluto. This incident is mentioned by ApoUodorus
(2. 7. 3. 1), who says that Hercules woimded Hades (Pluto) as the

NOTES ON THE HERCULES FURENS 181

latter was bearing aid to the Pylians. Homer (II. 5. 395) tells
us the god was wounded by the arrows of Hercules ip xtfXy,
which some have interpreted as meaning not at the city of Pylos
but in the gateway of Inferno. — populis pltiribus: cf. 556.

662. Conseruit mantis is common enough in the sense joined
hatUe ; the novel thing here is the adjective with manusj making it
loathsome battle.

663. tergemina cuspide: abl. of quality. The trident properly
belonged to Neptime (triplice ciispide, Ovid, M. 12. 594).

667. prospectus . . . lucis: a view of the light.
672-674. Cf. Med. 625-629.
676. non solitis: unwonted.

676. surdis: sUent Git. deaf; cf. the double sense of caecus).

677. Threiciae: the reading is doubtful and the sense obscure.
Famabius suggests that the souls of Thracian women, Eurydice's
neighbors, are meant.

678. lacrimis: dat. with difficUes (cf. difficilem precibtLs,
Ovid, Ex Ponto, 2. 2. 20). The whole expression is not very differ-
ent from Horace's illacrimdbUem Plutona (C. 2. 14. 6). — dei: Pluto
and Proserpina, of course.

679. qui: relating to iuridicij 581. — nimis: with tetrica, the
phrase meaning with brow too stem.

680. Cf. 727-729; VergU, A. 6. 567-569.

681. Eurydicen: ace. sing. (Greek), object of flentes. — iuridici:
Minos, Rhadamanthus and Aeacus.

682. mortis . . . arbiter: Pluto.

683. lege: condition.

684. 686. tu, tu: Eurydice, Orpheus. — ante: the adverb,
followed by qiiam in 586.

686. decs: the heavens, with the divinities of the sim, moon and
stars.

687. Taenari: the Greeks placed the entrance to the lower
world at Taenarus, a promontory in Laconia (cf. 663), as the
Romans did near Cumae (Vergil, A. 6. 441-460).

689. perdidit: Orpheus did look back as they neared the en-
trance, and so lost the wife he had regained.

691. viribus: the strength of Hercules; what a mere song cotUd
accomplish, his power can surely do.

182 THREE PLAYS OF SENECA

ACT III

Scene 1 (w. 592-617). — Hercules enters, rejoicing at his
escape from the horrors of the underworld.

692. rector, decus: the sun-god, Phoebus (595).

693. altema . . . spatia: above the earth by day, beneath it at
night.

594. ezeris: exseris (see 11 n.).

695. si . . . videre: if thine eyes have seen aught that is not
permitted. The eyes of the sun were supposed to see all that is on
earth, but never to penetrate the realm of Pluto. The reference
here is to Cerberus, whom the speaker had brought with him
from below (cf. 60-63, 813-827, and arcana mundiy 597).

696. iussus: imder orders (cf. twsso, Med. 669 n.).

698. parens: Jupiter. — visas . . . tege: veil thine eyes behind
a thunderbolt.

699. Neptune (cf. 53 n.).

600. imas . . . undas: hide in deepest ocean to escape this
sight. — quisquis ex alto : whoever from on high looks upon the
things of earth, let him, fearing to be defiled by this strange sight,
turn ba^k his gaze.

604. qui, quae: Hercules and Juno, respectively.

605. non . . . patent: Jimo's own words (46).

607. ignota Phoebo: cf. 595 n. — quae . . . lovi: dark regions
which a lower heaven has yielded to a grim Jove. The comparison
of the infernal king with the king of heaven is a common one
(cf. inferni lovis, 47 n. ; nigri lovis, H.O. 1705 ; lovi Stygio, Vergil,
A. 4. 638).

609. tertiae sortis: see 53 n., 833. — placerent: sc. mihi.

612. redi: for redii.

614. Just returned from his greatest labor the speaker challenges
his persecutor: if there is any task greater than this, impose it, and
adds, ironically, you have let my hands rest idle too long, Juno
(cf. 208).

616. He sees the unwonted condition of things and takes
Alarm.

NOTES ON THE HERCULES FURENS 183

Scene 2 (w. 618-640). — Hercules leams from Amphitryon
what has happened and leaves the stage in search of Lycus.

618. vota: desires (cf. quod . . . credunt, 313).

620. That silent abode, with its dismal atmosphere — Hades.

622. sera: because he had not returned in time to save Creon
and his sons.

623. edittim: sc. te. — vana umbra: empty apparition,

625. trunco: the great club, cut in the Nemean wood.

626. squalor: mournful sight. — lugubribus: mourning garb.
630. leto: dat. of end or piirpose.

633. defensus orbis: cf. orhe defenso, 249; ingrata teUus, 631. —
tero: why do I waste the day in idle lamentation f

634. Hercules' contempt for Lycus is shown in several strokes
here. He calls him not hostis, but hostia, helpless victim; notam
suggests that he considers it a shameful thing to deal with such
a foe; and the sentence ends with their two names in anti-
climax — Alcidae Lycus — let this victim be offered up, let my
valor accept this mark of shame, and let the last and greatest foe
of Hercules be — Lycus!

637. Theseu: voc. Euripides does not introduce Theseus till
near the close of his tragedy (v. 1154), after the madness of
Hercules has passed away. — resiste: in its literal sense, storui
hack, stay here, and the reason is added, lest any sudden violence
assail my wife and children,

638. me: emphatic; *tis I the war demands. — differ: postpone.

639. nuntiet Diti: a common figure in such threats (cf. 988:
This hand will restore you to your haled father, who was dead;
Vergil, A. 2. 547-549 : " You shall be my messenger to my dead
father . . . now die '')•

Scene 3 (w. 640-829). — Theseus, at the request of Amphi-
tryon, gives an account of the lower worid and the capture of
Cerberus.

640. fugft : imperative — drive that mournful look from your eyes,

641. regina: Megara. — tu: Amphitryon.

644. dabit: subject of est, with lentum as predicate. Though
not yet accomplished the deed is so certain that Theseus \a t^<5^.

184 THREE PLAYS OF SENECA

satisfied to say it will be done, or even that it is doing — /< has been
done.

646. May the god who can second our desire and favor our fallen
estate.

647. virtuttim: his valorous deeds ^ abstract for concrete.

648. 649. Indirect question clauses, how long a road leads down
and how {ut) Cerberus bore his bonds.

660. securae . . . menti: dreadful even to a mind at ease.
Theseus long before this time had aided his friend Pirithous in an
attempt to carry off Proserpina, but they had been detected and
placed by Pluto on an enchanted rock from which they could not
stir. Hercules on his visit to the underworld released Theseus,
but could not do the same for Pirithous. Theseus here represents
his escape as too recent to enable him to contemplate the afifair
calmly.

666. fructu optimo: do not cheat yourself out of the best fruit of
your sufferings, the recalling of them. With this passage to
dulce est cf. Vergil, A. 1. 203: forsan et haec olim meminisse
iuvabit.

668. Fas omne: here almost in the sense of numen, divinity
(cf. audiatfas, Livy 1. 32. 6). — te: Pluto.

669. regno: dat. after dominantem. — te: Proserpina. —
amotam: carried away by Pluto. — inrita: nom. with mater;
translate vainly sought. The Latin often uses an adjective with
the subject where we should use an adverb.

660. Enna: abl. of place from which. Enna was the chief seat
of the worship of Ceres in Sicily, and it was near there that her
daughter Proserpina was seized and carried off by Pluto (Ovid,
M. 5. 385-401). The mother sought far and wide and finally
learned from the tale of Arethusa where her daughter was (Ovid,
M. 5. 504). — ut liceat: cf. Vergil's prayer, A. 6. 264r-267.

663. Taenarus: see note on 587. — premit: borders close upon
the sea.

664. ora solvit: opens its jaws, affords an entrance. This
expression together with hiat, vorago and faudbvs in the following
lines represents the unseen world as a voracious monster eager to
devour the nations (populis). — invisi: "AiSiys, unseen; to be dis-
tinguished from the participle met in 824.

NOTES ON THE HERCULES FURENS 185

668. Cf. Vergil, A. 6. 268-272, where the light is described
as like that of the moon half hidden by the clouds.

671. ludit aciem: mocks the sight. — nocte sic mixta: the night
thus mingled with the day — twilight (cf. gemini temporis, Med. 71).

672. primus . . . dies: dawn or evening.
675. See 548 n.

677. proniis aer: downward current. — avidum: see 664 n.

679. umbrae: shadows or shadowy regions, not shades of the
dead. — tenaces: unwilling to yield up what has come into their
embrace. — immensi sinus: gen. of quaUty, of measureless
sweep (cf. Tro. 178 n.).

6fiK). With the cumulative idea in placido, quieta, Idbitur, cf . 762
and Vergil's aequora tuta sUent, A. 1. 168. For Lethe and its
function cf. Vergil, A. 6. 703-715, 749-751.

682. gravem . . . amnem: winds its sluggish stream.

684. Maeander: the well-known stream in Asia Minor, famous
for its winding course and taken by classic writers as the type of
sinuosity (Strabo, 577). — cedit sibi: makes way for itself , one
bend appearing to have no other purpose than to leave space for
another within it.

687. For the horrors of the entrance to Hades cf . Vergil, A. 6. 273-
289, where many of the personified ills here named (Sopor, Fames,
Metus, iMctus, Morbus, Bellum, Senectv^s), together with others
{Curae, Egestas, Letum, Labor), and various mythological mon-
sters, such as the centaurs, Scylla, the hydra, the chimaera, the
gorgons and the harpies, are given. — vultur: repulsive, as being
a carrion bird. — bubo: the horned owl, whose presence was of evil
omen (Pliny, N.H. 10. 16; cf. Vergil, A. 4. 462, ferali carmine bubo).
Both the bubo and the strix (688) were associated with the lower
world and the powers of darkness, and were addressed in incanta-
tions (Med. 733; Ovid, M. 7. 269).

689. opaca, nigrantes: note how the idea of darkness is dwelt
upon and reiterated in this scene and the following chorus. We
meet furmjLS (693), ater (694), obscurus (709), caligo (710), um-
brante (718), caecos (834), nigra (836), noctem (856). — comae:
the foliage, as often.

690. Cf. VergiPs elm, with a dream imder every leaf (A. 6.
283).

186 THREE PLAYS OF SENECA

691. tabido rictu: vrith starving motUh agape.

692. serus: because the virtue should have been practiced in
life and not left till after death (cf. Vergil, A. 6. 569).

697. Cereris aut Bacchi: grain or wine. Lucretius (R.N. 2.
652 flf.), in protesting against the superstitious belief of men in the
gods, says: " If one has determined to call the sea Neptime and
grain Ceres, and prefers to misuse the name of Bacchus rather than
to utter the appropriate word ' wine,' let us grant him the privi-
lege, provided he refrains in fact from defiling his mind with base
superstition."

699. Zephyro: in 550 the absence of wind is noted, here the
want of both wind and fields of grain (cf. 704). Note the aptness
of the verb fluctuat.

702. situ: probably with suggestion of a twofold thought —
reptdsive in appearance, and abhorrent for its uselessness (Harper's
Diet. 8.V. II. A. 1; II. B. 1.).

708. leves: incorporeal (cf. Vergil, A. 6. 292). Of course iUe qui
regit is Pluto.

712. quieto: sc. latici — like a stream asleep. — hunc iurant dei:
the only oath that was binding on the gods above was one sworn by
the St3rx (Vergil, A. 6. 324); hence sacram Styga.

714. hie: for alter, correlative with alter in 712; agrees with
Acheron,

716. renavigari: an instance of the rare complementary in-
finitive with invius. — duplici vado: with double moat. — ad versa:
turned toward, i.e. facing those who approached.

719. hoc . . . iter: this is the road for the spirits.

721. digerit: separates, appoints each to his place.

722. recentes: newly come (cf. recens Dido, Vergil, A. 6. 450). —
dira maiestas dei: Claudian (de Raptu Proserpinae, 1. 79-83) thus
describes Pluto : Ipse rudi fultus solio nigraque verendus maiestate
sedet; squal^nt immaniafoedo sceptra situ, sublime caput maestissima
nvbes asperat et dirae riget inclementia formae; terrorem dolor
augebat — Pluto himself sits supported on a rude throne, a being to be
feared for his dark dignity ; his enormous scepter is covered vrith foul
grime, a gloomy doud adds fierceness to his lofty head, and the stem-
ness of his grim form is unchanging; his own gloomy expression
augments the terror he inspires.

NOTES ON THE HERCULES FURENS 187

723. fratrum: Jupiter and Neptune. — quae . . . gerat: a
characteristic clause modifying frons,

725. fulminantis: he has the face of Jove — biU Jove when hurling
his thunderbolts, i.e. Jove in anger.

726. aspectiis: ace. plu.

727. quidquid timetur: the monsters of Inferno.

728. reddi iura: their dues are awarded, rewards to the pious,
punishment to the guilty (cf . Vergil, A. 6. 566-627, especially 567-
569).

732. sera: tardy, not following inmiediately upon the sin (cf.
728 n.). — sortitur: aUots.

733. foro: a Roman word and idea (cf. tUtdis, 339). As the
Roman courts were about the forum (hence " forensic ") it is a
natural word for Seneca to use. — illo, illo, hoc: this, that, the
other. The three judges here named were traditional.

734. Thetidis socer: Aeacus, father of the Peleus who married
Thetis, the goddess of the sea, and became father of Achilles.

736. quod . . . patitur: what each has done he suffers (Vergil,
A. 6. 743 : quisqu^ sv^s manes patimur — v}e suffer each his penalty) ;
the doctrine of stern retribution, retaliation, " eye for eye, tooth
for tooth." — auctorem . . . repetit: cf. our proverb, "Curses
are like young chickens, and still come home to roost."

738. terga . . . tyranni: the hack of a tyrant scourged by a
plebeian hand in retaliation for oppression.

740. innocuas: predicate, has kept his hands free of guiU.

741. imperium: cognate — wields power withovi bloodshed.

742. animo parcit: spares his own soul, guards it from the con-
tamination of wrong doing. Another reading here is animae,
spares life.

743. caelum petit: is deified, like Bacchus, Castor and Pollux,
etc.

745. futurus iudez: like Minos, Aeacus and Rhadamanthus,
all of whom had lived on earth. — sanguine . . . vestra: abstain
from bloodshed, ye who reign; your sins are judged more sternly than
those of men in humbler station.

760 ff. These are the stock examples of pimishment in the after
life, and are repeated over and over by the poets (e.g. Med. 744-
749; Oct. 619-623; H.O. 942-948, 1068-1078; Vergil, A. 6.

188 THREE PLAYS OF SENECA

595 flf., etc.), and to them Theseus now adds the names of Theban
women who had sinned — Agave, Ino and Autonoe — and also
Phineus, a brother of Cadmus, the founder of Thebes.

760. rapitur: emphatic from its position — it is true that Ixion i«
whirled, etc.; so praebet, 756.

762. senez: Tantalus.

764. decepto: dat. — when it has held out its promise (of drink)
to hinif already often disappointed.

756. aetemas dapes: his liver, which grew as fast as it was con-
sumed by the vulture (cf. viscere feto, Med. 822; fecundum iecur,
Ag. 18; fihris renatis, Vergil, A. 6. 600).

768. Cadmeides: Agave, Autonoe and Ino, daughters of Cad-
mus. When the worship of Bacchus was introduced they became
his devotees, and when Pentheus, son of Agave and king of Thebes,
opposed the new cult they tore him to pieces in their frenzy (Ovid,
M.S. 511-733). Here they are represented as wandering forever
in their madness in the other world.

769. avis: the harpy (Vergil, A. 3. 210-218). — mensas Phineas:
the table of Phineus, whose food the harpies either stole or
defiled.

761. patrui: Pluto, as the brother of Jove, of course was pairwt«
to Hercules. It is noteworthy that Amphitryon in 760 says nati
meiy and in the very next line calls Hercules the nephew of Pluto and
so the son of Jove. Like inconsistencies are common throughout
the play. — volentis: Amphitryon assumes that Hercules has been
successful, and asks only whether he received the dog as a willing
gift of his uncle or had to take it by force as from an enemy in
war (spolium).

762. Note the cumulative effect of tardis, stupent, segne, torpescUf
and cf . 680 n.

766. vectat: frequentative. — senex: Charon (Vergil. A. 6.
298-304).

767. nodus: a knot confines his iU-fttting tunic. — squalent:
are rough, unshaven, shaggy. The reading is doubtful, and for
squalent various editors have conjectured lurent, lucent or fulgent.

769. onere: abl. of separation with va^mam.

770. poscit . . . turba: Hercules cries out, " Make way I** as
the throng of spirits falls back before him.

NOTES ON THE HERCULES FURENS 189

776. cumt)a . . . bibit: The boat had carried whole nations of
disembodied spirits, but the fleshly body of one man was too heavy
for it (cf. Vergil, A. 6. 413). Our author has followed Vergil in
many details throughout this description.

777. Lethen: here confused with the Styx (see also 680), from
which Vergil is careful to distinguish it (A. 6. 323, 705).

779. Lapithae: a rude Thessalian people. At the marriage of
their king Pirithous with Hippo damia some of the centaurs present,
being^ heated with wine, tried to carry off the bride, and a fierce
battle ensued (Ovid, M. 12. 210 flf.). Here the shades of both
parties are pictured as trembling at sight of Hercules, who often
had defeated the centaurs. Cf. the terror of the ghosts of the
Greeks at seeing their old foe Aeneas (Vergil, A. 6. 489-493).

781. fecunda . . . capita: cf. coUa ferada, 529; numerosum
malum, 241. — Lemaeus labor: the hydra, whose ghost now, at
sigh^ of its conqueror, flees to the farthest pools of the St3rx.

782. avari: so called because he keeps the precious metals close
in the earth. Cf. the Greek name IIXojJtwi', Pluto, " rich," and
the Latin DiSf Dives , which has the same meaning. Cicero (N.D.
2. 26. 66) says, " He is called Dives, among the Greeks Pluto,
because all things fall to the earth and spring from the earth."
Possibly allusion is made in avari to the fact that none of the dead
who came under his sway were released.

783. territat: frequentative (cf. 765). — canis: Cerberus.
With the line cf. Vergil's ingens ianitor . . . terreat umbras
(A. 6. 400). Like the Furies and the Gorgons he had live serpents
for hah- (786).

791. sentire et umbras: wont to hear even the shades.

794. muta: any one who has visited a great cavern, like those
found for example in the Ohio valley, can appreciate the stress
laid upon the two features of darkness and silence by the poets
who try to describe the underworld.

795. per armos: aU over his shoulders, the serpents in his mane
(iubae, 786).

796. felices quoque: even the blest, who had no need to fear him.
798. ipse: Hercules. — rictus: ace, lit. the open jaws of the

lion, whose hide and head he wore as a shield on his left arm
(a laeva, 797; cf. 1150). — Cleonaeum: Nemean.

190 THREE PLAYS OF SENECA

799. tegmine: cf. tegimen, 1151, the lion's hide, which was
impenetrable.

600. robur: the club (cf. trunco, 625; clava, 1024; tela, 1153).

802. domitus: with canis, subject of the next three verbs. In
the preceding sentence the subject was Hercules.

805. uterque . . . dominus: Pluto and Proserpina. — duci:
sc. canem — hade him take the dog.

806. me: cf. 650 n. — munus: appositive to me. According to
ApoUodorus (2. 5. 12. 6) Hercules released Theseus without Pluto's
permission, and was deterred only by an earthquake from freeing
Pirithous in the same manner.

808. vincit: from vincire, not vincere.

809. Note the alternation of the words in agreement.

812. Cauda . . . anguifera: quantities determine the case.

813. Taenari: the gateway of Hades (663 n.).

814. oculos: sc. canis.

818. respexit: looked to me for aid.

821. orbi: for orbi terrarum (Med. 5), here the earth's surface as
distinguished from the underworld.

824. invisum: hated. For the other invisus see 664.

826. petit: perfect. — omni . . . cervice: cf. ore summisso, 811.

827. umbras: Hercules^ shadow, the old "plural of preemi-
nence." — venit: present. Theseus has finished his narrative
and now sees the throng of jubilant Thebans approaching.

Scene 4 (w. 830-894). — Thinking of the scene of the hero's
latest exploit the chorus is led to sing of the countless number of
the dead and to pray for long life on earth; and then celebrates
the return of peace and happiness under the rule of Hercules.
The measure to 874 is the sapphic, from there to the end glyconic.

830. properante partu: through the agency of Juno as Lucina
the birth of Eurystheus had been hastened and that of Hercules
retarded in order that the former might be the senior and so mas-
ter of the other.

832. derat: for deerat, a common contraction (cf. dest, 500).

833. tertiae . . . sortis: see 53 n.; 609.

834. caecos aditus: dark entrance. With the double meaning of
caeciLS, blind and dark, cf . surdis locis, 576 n.

NOTES ON THE HERCULES FURENS 191

836. nigra . . . silva: abl., giving the cause of metuenda.
Both metuenda and frequens modify via.

838-847. The- crowds thronging to the games of the amphi-
theater (quantus populus, 838), to the Olympic games {quarUuSy
840), and to the celebration of the Eleusinian mysteries {quanta
. . . turba, 842), are used by the poet to convey to the minds
of his (Roman) readers some idea of the multitudes of spirits con-
stantly traveling the road to Pluto's domain. All this is in illus-
tration of frequens, 837.

840. Eleum . . . Tonantem: the Olympian Jove, represented
in classic art by a famous chryselephantine statue, the work of
Phidias, which was counted one of the seven wonders of the world.
The temple of Zeus (Jupiter) stood in Elis, near which town the
Olympic games were celebrated, and it is to these games that the
crowd is supposed to be hastening in this verse.

841. quinta . . . aestas: the olympiad consisted of four years,
yet quinta aestas is correct according to the Roman method of
coimting, which reckoned both the summer of its beginning and
that of its close. On the same principle they would call a week,
say from Simday to Simday, eight days (e.g. Gospel of St. John
20:26). In music we still retain a like notation, speaking of
"thirds," "fifths" and "octaves." — sacrum: the Olympic
games, which were sacred to Jupiter.

842. cum . . . crescere: when the season returns for the night
to lengthen. — longae: proleptic. — hora: equivalent to tempus
with the following infinitive. The time of the autumnal equinox
is meant, when the nights begin to exceed the days in length.

844. libra . . . aequa: the even balance between day and night,
which then are equal. Libra is subject of tenet, and is modified
by cupiens. It can be said to be desirous of peaceful slumber
in the sense that the longer nights conduce to rest. — Phoebeos
currus: the chariots of both sun and moon. The celebration of
the Eleusinian mysteries (see 300 n.) was in commemoration of
Proserpina's descent to Hades as the bride of Pluto (660 n.) and
the sorrowing search of her mother Ceres for her. There were two
degrees, the lesser and the greater. The former was celebrated
in the early spring, and its initiates were known as mystae (847).
Only these were eligible to the final initiation, which Q<ic.\i^\ftyi.

Id2 THREE PLAYS OF SENECA

nine days, beginning about the middle of September. On the sixth
day of the celebration (the night of the equinox) the mystae in
countless numbers marched in procession to Eleusin, where the
final initiation took place in the succeeding nights.

845. secretam Cererem: the mysteries of Ceres (300 n.; secreta
sacra f 301). These mysteries were so sacred that one who divulged
them was accursed in the sight of gods and men.

847. Attici: Eleusin was in Attica, twelve miles from Athens. —
noctem . . . celebrare: to throng the night. We should expect
quot or qtLam muUi with mystae, which, however, may be thought
of as a loosely connected elaboration of the collective noim turha
in 845.

848. tanta . . . turba: so great a multitude; the main clause,
to which all from 838 to this point is subordinate. Vergil (A. 6.
305-312) enumerates the same classes, old and yoimg, youths and
maidens and the infant.

851. meliorisaevi: gen. of quality — youth (cf. honaaetas, Cicero
de Senectute, 14). Note also the verbs used, graditur for old age,
currit for youth.

853. comis nondum positis: Seneca is writing with Rom^
customs in mind. At an age not rigidly fixed the Roman boy
exchanged his boyish garments for the toga virilis, and at the same
time the hair, which till then had been worn long, was trimmed
short. These words therefore characterize those who were still
boys. — ephebi: the Greek ^0i?i8ot, here corresponding nearly to the
Latin pueri.

854. The infant, just taught to lisp the name of mother.

855. To these alone, that they may he less afraid, it is permitted to
temper the darkness with a torch, borne before them. In early times
it was customary at Rome to bury the dead at night, and the
practice was continued in the case of poor persons and children.

857. ceteri: the rest, excepting the children.

868. The chorus suddenly apostrophizes the dead.

862. color malus: black.

863. otium: lethargy of the silent world (cf. 550-554, 699, 702-
705).

865. Even the latest hour comes too soon for such a jour-
ney.

NOTES ON THE HERCULES FURENS 193

867. Why does it please us to hasten our cruel fate f i.e. by rushing
into needless dangers, or even by suicide.

868. vaga: equivalent to voyarw. — omnis . . . turba: aU that
live must die.

870. Coc3rto: abl. Here is more geographical confusion (see
777 n.). — tibi: mors (872). — crescit: for accrescU — is added to
your possessions.

871. The ends of the earth (cf . 883).

874. The hour of birth, which gave us life, also plucks it away
(cf. Oed. 988: primusque dies dedit eztremum — the first day has
given the Uist; de Prov. 5. 5: quantum cuique temporis restat,
prima nascentium hora disposuit — our first hour at birth has
determined how much time remains for each). This is the Stoic
doctrine of causation.

876. The lighter glyconic verse corresponds to the change in
thought.

876. supplices: nom.

881. The tillers of the fertile fi^ld.

882. By Hercules* might there is peace from the rising to the
setting of the sun, and (in the south) where the sun overhead refuses
the body a shadow.

887. Tethyos: Greek gen. sing, of Tethys, whose name here
stands for sea (cf. Tethys, 1328).
889. vada Tartan: the Styx.

892. An unconscious answer to 614.

893. sacrificus: used, for the sake of quantity, in place of the
ordinary vocative form sacrifice. Stantes com^is represents the
priest's frenzy of inspiration.

894. pOpulo: the poplar was sacred to Hercules (cf. 912;
populus Alddae gratissima, Vergil, E. 7. 61).

Acrr IV

Scene 1 (w. 895-1053). — Hercules returns in triumph from
his slaying of the usurper Lycus, and is on the point of offering
sacrifice himself to Jupiter when he is seized with madness, shoots
to death his wife and children, and finally falls into a deep sleep.

896, cecidit: from caedo, lit. has smitten the earth.

194 THREE PLAYS OF SENECA

897. et poenae: a sharer of his punishment as well.

902. saxifico: the aegis, or round shield of Pallas (Minerva),
had at its center the face of Medusa the Gorgon, which Perseus
had given her.

903. Lycurgi domitor: Bacchus. Lycurgus, son of Dryas, was
a king of the Thracian Edoni, who expelled Bacchus from his king-
dom and in consequence was stricken with madness and afterward
slain. — rubri maris: not what we call the Red Sea, but that part
of the Indian Ocean lying west of Hindostan, including the Persian
Gulf (cf. rubentifreto, Tro. 11; pelagirubentis, Oed. 120). Bacchus
is said to have made a triumphal progress along its coasts.

904. a. 474 n.

906. geminum numen: see 15 n. Med. 700 has the plural, gemina
numina.

907. frater: whatever son of Jove (cf. Juno's wrathful declara-
tion, 5-18).

908. non ex noverca: a child of Juno's might be expected to
share her hatred of the hero. For the word noverca see 112. —
appellite: he orders that victims and incense be brought for a
sacrifice.

909. quidquid . . . seges: whatever the fields of the Hindus
(yield), cinnamon, cassia and other spices. Note the literal
meaning of seges here, grain field. The reading here is doubtful;
if it be correct a verb such as dat or reddit must be supplied.

910. odoris quidquid: ^i^, frankincense. — arboribus: frankin-
cense is a kind of gum resin that oozes from certain trees in Arabia
(cf. dnnami sUvis Arabes beatos, Oed. 117 — the Arabs, fortunate
in their forests of cinnamon).

912. populea . . . arbor: see 894 n.

913. te: Theseus. — gentili: the olive was the national tree of
Athens, the home of Theseus, and was sacred to Pallas Athene.

916. conditores urbis: Cadmus, who founded the city, and
Amphion and Zethus, who reared its walls (262 n.).

916. trucis . . . Zethi: of the twin brothers, Amphion devoted
himself to the art of music, Zethus to the care of cattle, living in the
wilds (silvestria antra), and from his uncouthness is called trucis. —
nobilis Dircen aquae: Dirce, of the far-famed water. Queen Dirce
had been killed by Amphion and Zethus on account of her cruelty

NOTES ON THE HERCULES FURENS 195

to their mother, and at death was converted into a great spring,
the pride of Thebes. Dircen is a Greek form, ace. sing.

917. advenae: Cadmus was a Phoenician by birth, but came to
Boeotia in the course of his search for his sister Europa, and there
imder direction of the gods built the city Thebes (Ovid, M. 3. 1-130).

919. expia: purification before performing sacrifice was re-
garded as essential (cf. Vergil, A. 2. 717-720; Livy 1. 45. 6).

921. libare: it was customary to make a preliminary offering
of some liquid, usually wine; here Hercules wishes he could make
a libation of his enemy's blood. — capitis invisi: Lycus.

924. finiat : sc. ut, omitted after opta. — genitor : Jupiter — pray
that your father may put an end to your labors.

927. lov^ . . . dignas: instead of the purely personal petition
suggested by Amphitryon, Hercules offers a prayer for universal
peace — may heaven ^ earth and sea abide each in its own place , i.e. not
invade one another's rights.

928. inoffensos: unobstructed.

930. Cf . Isaiah 2 : 4, repeated in Micah 4:3: " They shall beat
their swords into plowshares, and their spears into pruning
hooks."

934. nutritus: swollen. — trahat: lay waste.

938. // earth is to produce any wickednesSy may she hasten to do it
while I am living; and if she is creating any monster, may it be mine
to meet and kill.

039. quid hoc: ^c. est. In the midst of his haughty challenge
he is overtaken by madness. The passage that follows gives in
bold strokes the visions of his distorted imagination.

941. quis . . . fugat: he sees the sun darkened, though there
is no cloud, and moving back toward its rising as if it saw some
imnatural sight on earth (cf. 60 n.).

944. primus . . . labor: the Nemean Kon (225 n.), now the
constellation Leo, which in Thy. 855 is called Leo Herculeus.

946. Shines in no small part of the sky. It is one of the twelve
signs of the zodiac.

949-962. At one bound will spring over all that fruitful autumn
and chill winter yield, and will attack and crush the neck of the Bull
of spring. The sun enters Leo in July and Taurus in April (verni;
cf. 8 n.). Hercules imagines that the starry lion is crouching tot

196 THREE PLAYS OF SENECA

a leap which will carry it over all the intervening constellations
and enable it to attack the Bull.
964. acieque turbida: loith eye confused. — falsum: unreal.

966. Perdomita: sc. est. — cesserunt freta: in the afifair of
Geryon and several of the parerga.

967. Earth has been suhduedj two of the three realms of the gods
have felt my prowess j and only the heavens remain (cf . Jnna's fear,
64-74).

968. sublimis: nom. — ferar: subjunctive (cf. petatur).

969. promittit: cf. astra promissa, 23. The story of Hercules'
choice between the two careers offered him in the wilderness by
Virtue and Pleasure respectively, and of the former's offer of im-
mortality as a prize, is told by Prodicus, as quoted in Xenophon's
Memorabilia, 2. 21-34.

960. capit: contain.

963. una vetante: Juno, who is addressed in the question that
follows — a question which implies a threat — Are you going
to admit me, or must I force my way f In recipis and reseras, also
traho and duhitatur, the present is used where we should expect the
future.

966. Satumo: dat. of interest. Satimi had been dethroned
by his sons (53 n.), and according to one account confined in
Tartarus (Ovid, M. 1. 113). Hercules in his frenzy proposes to re-
lease the fallen god (avum resolvam) and aid him in recovering Jiis
kingdom.

966. patris: Jupiter. — impii: unfitial toward his own father,
Saturn. — impotens: best taken with regnum, in the sense of
violently won.

967. avum: Saturn. — Titanes: these had dethroned Uranus,
or Caelus, in favor of Saturn (79 n.). Hyginus (Fab. 150) repre-
sents Juno as trying to incite the Titans against her husband, as
Hercules here speaks of doing.

969. With my right hand I will catch up the mountains fuU
of centaurs, i.e. the moimtains of Thessaly, where the centaurs
dwelt.

970. monte gemino: Ossa and Pelion, which with Olympus
(972 n.) were piled one on the other to make a ladder whereby the
Titans might reach heaven.

NOTES ON THE HERCULES FURENS 197

971. Chiron: nom. — suum: the centaur Chiron dwelt in a
cave near the summit of Mt. Pelion (Tro. 830 flf.; Statins, Ach.
1. 106-108; Ovid, F. 5. 383 flf.), where he received as pupils such
heroes as Jason, Hercules, Aesculapius and Achilles, teaching them
the arts of music and of healing and giving them the fruits of his
long experience in life and war.

972. Cf. Tro. 829: Pelion . . . tertius caelo gradus; Vergil, G. 1.
281: Ter sunt conati imponere Pelio Ossam \ scilicet atque Ossae
frondosum involvere Olympum — thrice they tried to place Ossa on
Pelion, you see, and to roll the leafy Olympus on Ossa. As the
mountains were piled one upon the other, Olympus was the third
step ascending. Apollodorus (1. 7. 4. 2-4), in telling of the attempt
of the Aloidae (Otos and Ephialtes), has the mountains piled in
inverse order.

974. averte: a prayer — avert these dread imaginings. — parum:
modifies sani — not sane, yet great.

976. quid hoc: a continuation of the vision (939 n.). In the
following verses the attack of the Giants on heaven is described
(cf. Thy. 805-812).

977. profiigit: perfect. The madman imagines that Tityos has
escaped from Tartarus. For his torment there see 756 n. and
Vei^il, A. 6. 595-600.

978. inane: empfr/, the liver gone. — quam . . . caeio:. how near
to heaven his giant stature has raised him. Vergil makes him cover
nine iugera.

979. Pellene: perhaps better written Pallene, the peninsula
also known as Phlegra (444 n.), where the conflict of the gods and
Titans took place. It shakes here with the shock of battle.

980. Macetdm: Macetarum, the Macedonians. Though the
Vale of Tempe was in Thessaly, not Macedon, it was so near the
border as to make the expression easy. — rapuit: one (giant) has
caught up the range of Pindus, another Oeta, with intent to pile them
up as a ladder to the sky (971 n.).

981. Mimans: Mimas, mentioned by Horace (C. 3. 4. 53) as
one of the Giants. — horrendum: a cognate ace. with saevit (cf.
belua Lemae horrendum stridens, Vergil, A. 6. 288).

982. Erinys: the Fury. With this and the next verse cf. 102,
103.

198 THREE PLAYS OF SENECA

984. in ora tendit: holds up the torches (sudes) in my face (cf.
fige luminibus faces, Med. 965). — Tisiphone: since Cerberus has
been stolen away cruel Tisiphone, her head wreathed with serpents,
has guarded the vacant portal, with torch presented.

987. ecce: he catches sight of his children and thinks they are
his enemy's.

989. reddet: see 639 n.

990. sic: he draws his bow and aims an arrow at one
of the little children (cf. same scene in Euripides, H.F. 962-
1010).

992. coactis comibus: the tips drawn forcibly together in string-
ing the bow (for this sense of cornu see Ovid, M. 1. 455). Translate:
He has strung his mighty bow, he opens the quiver, the speeding shaft
whizzes in its rash — the point flees from the child's mid neck,
leaving the wound behind it. This is Amphitryon's description of
the first child's fate. It is not quite certain whether we should
think of this tragic scene as actually occurring on the stage as
does the killing of Medea's two sons (Med. 970, 1017), or whether
the action itself took place behind the scenes. In favor of the
latter view is the fact that it all is described by Amphitryon as
facundia praesens, but on the other hand Hercules himself speaks
repeatedly, and in 1015 we hear his wife's appeal. The best Roman
critics condemned the presentation of such horribly unnatural
scenes, e.g. Horace, A.P. 183-188: "Remove from the sight of the
audience many incidents which a messenger (facundia praesens)
may later narrate. Don't have Medea kill her boys in the people's
presence, nor the wicked Atreus publicly prepare human flesh
for the banquet. . . . Whatever you present to me so I reject
with loathing incredulity." In Thy. 970-1034 and Med. 970,
1017, our author does precisely what Horace declares he ought not
to do. Euripides (H.F. 870-1010) leaves it to chorus and messen-
ger to tell the tale.

994. harundo, spiculum: the shaft (lit. reed) and tip of the
arrow respectively. — fugit: present — has passed through the neck
and is coming out, as if fleeing from its horrid work.

996. eruam: this verb has two related meanings here, one with
each object (a case of zeugma) : / will unearth the rest of my enemy's
oj^spring, and will overturn their every hiding place. Megara and

NOTES ON THE HERCULES FURENS 199

her two remaining children had fled for refuge into the temple,
whither Hercules now follows.

997. bellum: against Eurystheus, whose mastery now is ended
(830 n.). His home was at Mycenae. — Cyclopia . . . saza: the
massive masonry of the ancient buildings at Mycenae and Tuyns
is described by Schliemann (chapters 1 and 2 of his Mycenae), and
mentioned by Pausanias (2. 16) and Euripides (H.F. 939, 940).

999. eat . . . valva: let one of the double doors fly this way and
the other that. He is attacking the doors of the temple in order to
come at his victims. — obice: the same noun is used in 237 of
natural moimtain barriers.

1000. rumpat: the subject is valva — it is to be flung open with
such violence as to carry away its supports and even cause the roof
to totter. This is accomplished when in the next line he exclaims,
The whole temple (regia) is exposed to the light.

1002. patris: Lycus. He sees one of his own little boys, but
still supposes it the child of his enemy. — blandas: coaxing,
caressing.

1003. manus . . . tendens: cf. Med. 247 n. and Tro. 691 n. —
rogat: entreats.

1006. bis . . . misit: has swung it twice or thrice about his head
and hurled it from him. The object, of course, is the child, who is
referred to also in iUi , . . sonuit — his head crashed against the
stones.

1010. Tonantis: Jupiter's very bosom instead of his temple. —
condaris: middle voice — though you hide yourself.

1012. misera: Amphitryon here, as Hercules in 1010, addresses
Megara.

1017. habitusque reddit: reflects your intake. She holds the
child up to his father in the hope of arousing some recognition
in the madman's mind. — ut manus: how he holds out his little
hands to you.

1018. Teneo novercam: he fancies it is Juno who is before him,
and proposes by destroying her to relieve the king of the gods
from her espionage. The next instant, however, he imagines that
the woman before him is the mother of his enemy's (Lycus') chil-
dren, and in 1036 he speaks, perhaps ironically, of the whole
massapre as a sacrifice to Juno.

200 THREE PLAYS OF SENECA

1020. hocmonstrum: the infant, which Megara had been guard-
ing in her bosom (1008).

1021. tuum: your own blood ^ flowing in the veins of your
child.

1026. nee usquam est: her head is utterly annihilated by the
blow.

1027. vivaz senectus: addressing himself (cf. same phrase in
Tro. 42 n.). — luctus: gen.; sc. te, ace.

1028. pectus in tela: courage against those deadly weapons.

1029. istuc: turn upon yourself that club, stained with the blood
of our children. Istuc is used instead of hue because the speaker
is addressing himself in the second person. Note the inconsistency
of nostrorum in connection with istuc.

1031. remove parentem: do away with your false and earth-
bom (turpem) father, lest he sound a discord in the chorus of your
praises. This is said to Hercules.

1033. quo: whither f In 1032 it rather meant to what purpose f
— latfi: imperative.

1034. unum . . . scelus: save him the one sin yet possible —
parricide.

1036. bene habet: it is well. — regis: Lycus, whose children
the hero still thinks he has slain (987 n.).

1038. te digna: vows worthy of thee. — Argos: For Mycenae,
the home of Eurystheus, who was to be the next victim.

1040. hostia: the speaker himself (cf. 1027-1031).

1041. praebeo: / offer myself, I hasten to meet my slayer, I even
follow him up in my eager desire to be sacrificed.

1042. The frenzy leaves Hercules and with it his strength and
his consciousness. Euripides (H.F. 997-1001) makes Pallas
appear and cast the hero down senseless.

1047. The fall of Hercules is compared with that of a tree in the
forest (cf. Vergil, A. 2. 626-631), or of a mass of rock slipping from a
chff into the sea in such a way as to form a breakwater and create
a harbor. Vergil's more elaborate simile for the fall of Bitias
(A. 9. 710-714: "So falls sometimes a pier of rock which, reared
beforehand in mighty mass, men cast into the sea," etc.) evidently
refers to an artificial structure, and Seneca here may have had the
same idea in mind.

NOTES ON THE HERCULES FURENS 201

1048. vivis: the verb, as appears from the quantities. — dedit:
sc. te. The subject, of course, is idem furor.

1049. tuos: object of misit. Hercules* wife and children are
meant.

1060. reciprocos . . . agit: the breath causes the breast to rise
and fall. Spiritus is subject and motus object.

Scene 2 (w. 1054r-1137). — The chorus, gazing on the sleeping
Hercules, prays for his release from the evil spell that has befallen
him, anticipates the agonies of his remorse, and closes with an
apostrophe to the slain children. The meter is the anapestic
dimeter.

1064. aether: heaven, and so the gods. — parens: Jupiter.
Heaven, earth and sea are called upon to mourn this tragedy.

1066. unda: nom. It is a rare thing for a dimeter in these
tragedies to close with a trochee, except in the OctaviOf whose
authorship is doubtful.

1068. tractus: ace. plu.

1060. Titan: here as often for Phoebus or Sol.

1062. utrasque demos: both the rising and the setting, as aboye.

1068. matris . . . Astraeae: Somnus, as well as Mors (frater,
1069), is represented usually as the son of Erebus and Nox. Far-
nabius suggests that Astraea is here called his mother because it is
by the favor of justice that we sleep in safety and security.

1069. frater . . . Mortis: cf. Vergil, A. 6. 278: Consanguineus
Leti Sopor.

1070. veris . . . falsa: in dreams. — futuri certus: in all ages
belief in the prophetic character of dreams has been prevalent.
Often, too, they have so impressed the dreamer's mind as to lead
him into the act suggested, hence idem pessimus auctor, 1071.

1073. lucis: objective gen. with requies. In 1066 the same
noim is followed by animi, subjective. The genitives in this sen-
tence are worthy of study.

1076. pavidum leti: the human race, so fearful of death (cf. lucis
pavidos, 293).

1076. longam . . . noctem: death, as if our sleep were but a
preparation (prolusio) for the longer sleep which it so nearly
resembles.

202 THREE PLAYS OF SENECA

1077. fessum: sc. Herculem; so with devinctum,

1085. clavae: as a 'pillow.

1086. vacua: abl., with dextra.

1089. aestus: the hot surgings of fever and madness.

1091. vento cessante: abl. abs. of concession.

1092. To complete the sentence, whose conclusion evidently is
wanting, Leo has suggested 8ic prisHna adhuc quatit ira virum — so
does his late frenzy still shake the hero. Pelle then will begin a new
sentence.

1094. vel sit potius: a new thought occurs to the chorus, that
such a crime could be venial only if the criminal were insane
(1097, 1098); with the additional idea that the next best thing to
innocence is ignorance of one^s guilt (1098, 1099). Therefore the
petition is changed, may the madness continue.

1100. percussa . . . palmis: for this mode of expressing deep-
est grief or despair see Tro. 64, 79, 93, etc. Note the alliteration
here and in Tro. 64.

1101. mundum . . . lacertos: see 70 n., 528.

1106. atri regina poll: Proserpina (cf. inferni lovis, 47 n.).
Translate, let his mighty moans he heard in heaven and heU, The
subjects of audiat are aether, regina and Cerberus.

1114. tria regna: heaven, sea and hell (53 n.).

1116. cello: after suspensa. — decus, telum: appositive to
harundo. The arrows and their quiver are exhorted to lash their
master and aid in the expression of his boundless despair.

1119. robora, stipes: the club (cf. robur, 800; trunco, 625).

1136. Ite: the chorus apostrophizes the dead sons of Hercules.
Leo's arrangement of the verses is retained in spite of its apparent
violence.

1136. noti: with laboris — along the gloomy path of your father's
far-famed labor (the taking of Cerberus), i.e. the road to Pluto's
realm.

1123. As Hercules had done in many cases, most recently in
that of Lycus (895).

1126. Between the two halves of this verse Leo has inserted
1130 entire (nondumque . . . iubatae), and has assumed a further
lacuna whose sense he attempts to supply as follows: vulnere gaesi
frangere torti. Accepting this we shall have as the general sense

NOTES ON THE HERCULES FURENS 203

of 1124-1128: You who have not been trained in the heavier exer-
cises of the arena nor taught to hunt the lion, stUl have ventured
already to aim with sure hand the light arrow such as boys can use,
i.e. though not yet able for manly sports they have indulged in
such as their years and strength permitted (cf. Andromache's
lament over her son in Tro. 775-782). — fortes: with vos (1122),
as are uUi, docti and ausi. The infinitive frangere, supplied by
Leo, depends on docti, while the two that follow (librare and
figere) depend on av^.

1131. Go to the haven of the Styx, ye shades, go as innocent
spirits, whom a father*s sin and madness have overwhelmed on the
very threshold of life.

1137. iratos . . . reges: Pluto and Proserpina, angered at
Hercules' invasion of their world. Famabius suggests as an alter-
native meaning that iratos here may be equivalent to tristes in
611 (but cf. lovis, sed fulminarUis, 724). It is possible, too, that
reges may refer to the shades of the many tjn-ants {reges, 1123)
whom Hercules had slain.

ACT V

Scene 1 (w. 1138-1343). — Hercules awakes in his right mind,
learns what he has done, and in his despair proposes self-destruc-
tion, but finally is induced to seek purification instead.

1138. This whole passage, depicting the hero's awakening from
his trance, is admirably done. With it cf. Euripides, H.F. 1079-
1099.

1139. cardine: the pole star.

1140. Hesperii: western — am I in the far east, the north, or the
west?

1142. fesso: sc. mihi.

1143. redimus: perfect — surely I returned from Hades. The
plural may be "editorial," or it may include Theseus with the
speaker.

1144. an . . . infema: am I still dreaming of what I saw there f
1146. turba fetalis: the countless throng of the dead (838-849).
1149. grege animosa: proud of her brood (cf. vobis animosa

creatis, Ovid, M. 6. 206).

204 THREE PLAYS OF SENECA

1161. spolio leonis: the lion's skin, which he had worn on his
left shoulder and arm as a shield (tegimen; cf. 797 ff.). — abit:
perfect, for abiit.

1162. torus: the.lion's skin was his shield by day (45) and his
couch by night; so his club was his weapon of offense (45 n.) and
also his pillow (1085).

1164. spolia: properly the arms of an enemy slain in battle
(cf. opima, 48 n.).

1167. exurge: for ezsurge. — virtus: brave hero, abstract for
concrete, and in that sense followed by a masculine relative, quem,
— novum: later born than I.

1169. nox longior: cf. 24 n. Hercules imagines he has been
mastered in his sleep by some hero, still unseen, who can be the
son of none other than Jupiter, and whose generation must have
cost more than the day involved in that of Alcmena's son. —
quod cemo: he begins to recognize the scene, which before had
seemed to him but a horrid nightmare or a lingering impression of
what he had witnessed in the world of the dead (cf. 1143-1146).

1161. Lycus had usurped the throne of Thebes in Hercules'
absence; what greater Lycus had now done the same after his
return?

1163-1166. He appeals for aid to the men of Thebes, of Athens
(Actaea arva), and of Corinth. — gemino mari: the Aegean Sea and
the Corinthian Gulf, separated near Corinth by a narrow isthmus
(cf. gemino litore, Med. 35 n.).

1169-1171. He fancies he has been despoiled of his weapons by
the successor and avenger of some one of his victims. — Thracis
cruenti: Diomede (226 n.). — Geryonae: see 231 n. This name
is more usually of the third declension (487). — Libyae: Africa in
general. — dominos: Atlas, Antaeus, Busiris, etc.

1172. nudus: unarmored and unarmed. — meis armis: which
had been taken from him as he slept.

1176. He has noticed the averted faces of his father and his
friend, and now appeals to them to postpone their lamentations
and tell who has done the bloody deed.

1177. tua . . . fide: on your honor (cf. mea fide spondeo ego,
Pliny, Epist. 1. 14 fin.).

1181. dominator: Eiuystheus.

NOTES ON THE HERCULES FURENS 205

1183. per : with laudem and numen — hy the glory of my deeds. —
te: object of precor.

1186. numen secundum: next after that of Jove; yet the phrase
may well mean favoring divinity.

1186. cui . . . iacui: to whom have I fallen prey f I acere often
means lie slain, and here the figiire is carried a step further.

1187. ut . . . sim: indignant question (cf. 372 n.).
1191. quota: how small (cf. Med. 896).

1193. refiigit: perfect — he shrunk from my touch.

1194. hie cruor: he sees a blood stain on his own hand.
1196. Lemaea nece: the hydra's deadly poison (45 n.).
1196. The terrible truth begins to dawn upon him.

1198. vix recedentem: which hardly yields to my own strength.

1199. nostrum: my.

1200. luctus: emphatic — nonscelussedluctus. It is contrasted
also with crimen — the sorrow is yours, the guiU is Juno*s. — istic:
in that act to which you point.

1202. genitor: Jupiter. In 1176, 1184, 1192, 1199, Amphitryon
is so addressed.

1203. oblite: the participle often implies a concession — though
thou hast forgotten me, at least avenge with tardy hand thy grand-
sons. In leaving him to Juno's persecution the king of the gods
had seemed to forget his great son.

1204 ff. Let all the forces of nature conspire to punish this
crime.

1206. rupes Caspiae: the rock in the Caucasus (scopuli, vertice,
1208; latus, 1209) to which Prometheus had been bound while a
vulture (ales avida, feras volucres) preyed upon his liver. He had
been released by Hercules.

1207. For the aposiopesis cf. Vergil, A. 1. 135: quos ego —

1208. vertice immenso: abl. of quality with latus.

1210. The Symplegades, two islands in the Euxine, identified
by Pliny (N.H. 4. 13. 27) with the insulae Cyaneae, just north of
the entrance to the Bosporus. Whenever any object passed
between them they dashed violently together (cf. Med. 342 n.).
In his agony Hercules demands that he be bound with one hand
fast to each of these islands, that he may be alternately racked
and crushed by their oscillation.

206 THREE PLAYS OF SENECA

1214. mare: object of expriment. For the sense cf. Med.
345 n.

1216. mora: an obstacle to be crushed between them.

1216. quin: in its literal sense, why notf — nemore: forest
(cf. congerite ailvas, 506). He here forecasts the fate that finally
did befall him.

1218. reddam: restore him who had braved the infernal gods
and escaped.

1220. quod: the antecedent is the clause in se ipse saevit (cf.
in se semper armatus Furor , 98).

1228. hie . . . nescit: this countenance of minCy hardened by ill
fortune, knows not how to weep,

1231-1234. tibi, tibi, tuis, tuos: addressing in turn each of his
victims — the three children and their mother (see 990, 1004,
1022, 1025) . For one he would sacrifice the arrows, for another
the bow, for a third the club, and for the last the quiver.

1233. umbris: for thy shade my club shall bum. — frequens: full.

1236. novercales manus: his own hands, which had done this
deed at Juno's instance (cf. 1297). — cremabo: cf. 1216, 1217.

1239. Amphitryon appeals to Hercules' pride by reminding him
of how he had relieved Atlas and borne the heavens on his shoul-
ders (see 70 n.).

1240. My sense of shame has not been so far quenched by madness
as to let me shock and repel all men by the sight of my unnatural
self. He fears that all would shrink from him as his own father
had done.

1246. Cf. 1218, and Jimo's purpose as stated in 116.

1246. per . . . nostri: by the rights implied in either name,
father or foster father.

1249. senectae parce: not spare my life (see 1039-1041), but
spare yourself to me (cf. 1252, 1256, 1257, 1303).

1260. unicum: all the rest of his line were gone.

1261. afliicto: sc. mihi.

1266. aris: alluding to Busiris (483 n.).

1267. fructum: enjoyment; so in 1253.

1268. cur ... est: there is no reason why I should live longer,
1261. etiam furorem: / have lost all . . . even the madness

which alone could render me innocent (cf. 1097). Note the

NOTES ON THE HERCULES FURENS 207

asyndeton in 1260. — polluto . . . mederi: minister to a mind
diseased,

1263. In reply to Amphitryon's cry, you wiU destroy your
father (by destroying yourself), Hercules answers, / mill die that 1
m,ay not he able to destroy you (in some new fit of madness).

1265. Rather consider your great deeds, which are worthy to be
sung by all men, and seek from yourself forgiveness of your one sin.

1268. iussus: by Eurystheus and Juno. — hoc est: cf. 477-
480.

1271: vincatur . . . dextra: let my iU fortune be overcome by
my own hand.

1272. patriae: an adjective.

1274. movere: imperative.

1276. tuum . . . male: a match for any misfortune.

1278. tuli: sc. scelera.

1280. que, et, ac: the force of these conjunctions was practically
leveled in the Silver Age.

1282. To destroy the hero of the twelve labors would be a
labor greater than all the twelve.

1283. ignava: feminine because it is dextra that is addressed. —
fortis . . . matres: brave only against women and children (cf.
fortis in pueri necem, Tro. 755).

1286-1287. Cf. 506-508, 1216, 1217. — domlbus: households. —
suis: their, referring not as is usual to the grammatical subject,
but to the nearest substantive for its antecedent.

1290-1294. And if the falling walls shall come as a trifling weight
upon my mighty shoulders, and if I shall not be crushed sufficiently
when covered by the seven gates, I will overturn upon my head the
whole ma^s which rests at the center of the universe and separates sky
from sky. — condar: be buried. — septem: Boeotian Thebes had
seven gates; Thebes in Egypt a hundred.

1297. manibus: abl. of means; ^Twas Juno^s deed, not thine
(cf. 118).

1299. pectus: ace, object of ferit, smites.

1300. Aptata . . . est: sc. nervo. — iam: emphatic; now you
wUl commit a crime willingly and knowingly.

1301. Pande . . . lubes: Parataxis, in place of the more com-
monplace indirect question, quid iubeas.

208 THREE PLAYS OF SENECA

1302. Sorrow is assured for me in any case.

1304. nee tu: sc. potes — not even you can take him from me, i.e.
I will share your lot, be it life or death.

1306. Make your decision, knowing thai your cause and your
fame are at stake,

1308. aut . . . occidis: sc. me; either you live, or you slay me.

1310. in ore primo: on my very lips, ready to let it go (cf. Tro.
952 n.). The aged man has declared that Hercules' death would
involve his own, and now, seeing him hesitate, asks, Does any one
grant life so reluctantly to his own father f

1312. / will deck my breast, resolved on death, with the steel
pressed home (cf. induere se hastis, Livy 44. 41. 9, and with a
different sense pectus in tela indue, 1028). Amphitryon here
threatens to kill himself with one of Hercules' arrows.

1313. Here, here wiU rest the crime of Hercules sane, a deadlier
sin because committed without the excuse of madness (cf . 1094-
1099, 1300).

1316. eat: he added. — hie . . . labor: in a kind of loose
apposition to vivamus.

1318. dextra . . . refugit: cf. 1193, 1241, though there the
others shrunk from him and here the relation is reversed. In
1319 Amphitryon clasps the hand of his son and gives utterance
to his joy.

1323 ff . The rivers named are at the ends of the earth — in
Scythia, Egypt, Armenia, Germany, Spain.

1325. Hibera . . . gaza: the golden sands which were thought
to aboimd in the bed of the Tagus.

1326. abluere: purify with flowing water (cf. 919 n.).
1330. recedes: said to himself.

1333. obliqua: askant. A poetical fancy based on the fact that
the apparent motion of the stars is not directly over our heads
but includes a swerve toward the south. In his guilty self -con-
sciousness Hercules imagines that the very stars are turning out
of their way to avoid passing near him. — Titan . . . vidit:
cf. 60, 61.

1336. semper . . . arbiter: Theseus had been witness of
Pirithous' impious attempt upon Proserpina, and now of Her-
cules^ fearful crime.

NOTES ON THE HERCULES FURENS 209

1337. Show gratitude and make return for my service to you, hy
delivering me to Pluto in your stead. Hercules had rescued Theseus
from his imprisonment by Pluto (806 n.).

1341. ille: sc. locus. Even Hades knows me. — nostra . . .
tellus: Attica (cf. 913).

1342. solutam caede: acquitted of the charge of murder. —
Gradivus: Mars, who was tried before the gods, sitting as a court
in the Areopagus at Athens, for the murder of Halirrothius, a son
of Neptune, and was acquitted. Reading restituit (perfect) we
must take manum as the hand of Mars and read, " There Mars
restored to the sword his hand, acquitted of murder; and that
land, which is wont to prove gods innocent, is calling you."
This is better than to read restituet and understand the sense to be
that Mars will acquit Hercules.

1343. superos: in using this word Theseus delicately flatters
his friend, implying that he is entitled already to rank as a god
(cf. 121, 122, 959).

THE STORY OF THE TROADES

Paris, the Trojan prince, had decided that the beauty of Venus
surpassed that of her rivals, Jimo and Minerva, and was to receive
as his reward the most beautiful woman in the world. This was
Helen, who already was the wife of the Spartan Menelaus. Under
the guidance of Venus Paris visited Sparta and persuaded Helen
to elope with him. All Greece united to avenge the wrong, and
"the thousand ships" assembled at the Boeotian port of AuUs.
There they were detained by opposing winds imtil the .com-
mander-in-chief, Agamemnon, sacrificed his daughter Iphigenia
to the offended divinity, when they sailed and presently landed on
the Trojan coast.

The siege lasted for ten years, with many deeds of valor on both
sides. Achilles being the strongest champion of the Greeks and
Hector of the Trojans, at length these two met in single combat.
Hector was slain and his body dragged away behind the victor's
chariot. The corpse was ransomed by King Priam and given
decent burial.

Without its chief defender the city could not long hold out. It
was taken by a stratagem at night and sacked and burnt. Most
of its men were slain and its women made captive. It is at this
point that the play begins.

210

NOTES ON THE TROADES

ACT I

Scene 1 (w. 1-66). — Queen Hecuba mourns the misfortunes
of her house and kmgdom, showing from what a height to what a
depth they have fallen.

1. Whoever pubs his trust in royal power and lords it mightily in
his proud palace, and has not feared the fickleness of the gods btU has
committed his trustful soul to prosperity, should look upon me and thee,
O Troy, A similar thought is elaborated in Oct. 34 ff.

5. documenta: warnings. — quam . . . loco: in what perilous
position,

6. columen: Troy, here thought of as the bulwark of the Orient
against aggression from the west.

7. caelitum . . . labor: the walls of Troy were built by Nep-
time and Apollo. The perfidy of King Laomedon, who after the
work was finished refused to pay the promised price, provoked
Neptune to send a sea monster which ravaged the Trojan coast.
The exposure of his daughter Hesione as an expiatory victim,
her rescue by Hercules, Laomedon 's second breach of faith and
Hercules' destruction of the city in revenge (133 n., 718 n.), are
familiar myths, for which see articles Laomedon, Hesione, etc., in
Classical Dictionary.

8. ad . . . venit: as auxiliaries. Those most commonly
named of the allies who came to the aid of Troy are Rhesus,
Memnon and the Amazons. Leo's retention of quae, with his
deletion of w. 12, 13, results in the entire omission of any mention
of the first, and therefore I follow Richter and the older editors in
this place. — qui . . . bibit: Rhesus, king of Thrace (cf. Vergil, A.
1. 469-473). It is true the king of Thrace can hardly be said to
"drink the waters of the Don," which river is far to the east and
was regarded as the boundary between Asia «jid "Smxq^^. ^V^

211

212 THREE PLAYS OF SENECA

happens, however, that Seneca in another place (N.Q. 6. 7. 1) has
made the same mistake of confusing the Don with the Danube,
which did border upon Thrace. He speaks of " the Danube, which
checks the inroads of the Sarmatians and separates Europe and
Asia." — frigidum Tanain: this river, now known as the Don,
empties into the Palus Maeotis (Sea of Azov) by two principal
mouths (Pliny, N.H. 6. 7). The number given in the text,
septena, is traditional, being the number of branches ascribed to
the delta of the Nile and thence transferred to other rivers as if it
were a standard (Med. 763 n.).

10. qui . . . immiscet: Memnon, son of Tithonus and Aurora
(cf. 239), who is said to have led the Persians to the aid of Priam,
his father's brother (patrui, 239 n.). Memnon often is described
as black (Ag. 212; Vergil, A. 1. 489), and sometimes as king of the
Ethiopians. — renatum: yesterday's sun, reborn to-day (cf. Hor-
ace's address to the sun god, Aliusque et idem nasceris, C.S. 10:
Thou art bom another and yet the same).

11. rubenti . . . freto: the Mare Rubrum, Greek 'EpvOpdv,
^Epvdpaiov, not the modern Red Sea, but the Indian Ocean west of
Hindostan, and especially the Persian Gulf. Pliny (N.H. 6. 28)
quotes four theories as to the origin of the name: (1) From a
mythical King Erythras; (2) from the color caused by a peculiar
reflection of the sun's rays; (3) from the reddish tint of the sandy
bottom; (4) from some peculiarity of the water itself. The
Tigris does not fall directly into the sea, as suggested by the text,
but into the Euphrates. Noticing the absurdity of saying that
Memnon "mingles the Tigris with the sea," Leo suggests mere
in place of freto,

12. quae . . . ferit: the Amazon leader, who, looking forth as a
neighbor upon the nomadic Scythians, scourges the Pontic shore with
her unwedded troops. The Amazons were generally assigned to a
region on the southern shore of the Black Sea, along the Thermodon
River (H.F. 246; Med. 215; Vergil, A. 11. 659). They came to the
aid of the Trojans (673; Ag. 218; Vergil, A. 1. 490-493), and their
queen Penthesilea was slain by Achilles.

14. excisa est: sc. Troia, implied antecedent of cuiu^ (8).
The same thought is repeated in Pergamum incubuit sibi, with
which cf. Vergil's description in A. 2. 624-631.

NOTES ON THE TROADES 213

15. congestis . . . tectis: heaped together, as if to form a funeral
pjrre for the city and its people (cf. congerite silvas, H.F. 506;
nemore congesto, H.F. 1216).

17. Assaraci: Assaracus, an early king of Troy.

19. diripitur . . . Troia: the inversion adds emphasis to the
thought — Troy is being pillaged even while burning. — nee . . .
patet: is enshrouded.

22. avidus irae: greedy of {the gratification of) his wrath. —
lenttun: slow to yield (cf. the ideas in decern annis and haud credit
below).

24. ignoscit annis: forgives the long delay, because of what it has
brought him at last. — horret: the victor shudders with fear at
sight of Troy, even though she is prostrate. — afflictam: sc.
Troiam; so with victam, and as subject of potuisse (26).

27. mille: not to be taken too literally, but as a round number
often used by the poets in speaking of the Grecian fleet before
Troy {e.g. mille carinis, 708; mille velis, 370; mille carinae, Vergil,
A. 2, 198, etc.). Homer's catalogue of the ships (II. 2. 484-759)
gives a total of 1186, and the numbers stated by Hyginus and
others vary considerably. — non capiunt: the thousand ships do
not {cannot) contain the booty.

28. tester: / call to witness the divinity of the gods, ever hostile to
me, I call to witness Priam and Hector and all my children . . . thai I
foresaw and foretold all this (36). Testor takes one or more personal
objects and a secondary object which here is the independent clause
beginning with prior.

29. te: Priam.

30. toto conditum regno: buried beneath a whole kingdom (cf.
the idea in 158).

31. quo . . . stante: abl. abs. ; during whose lifetime Troy
lived, i.e. while he stood Troy stood, and at his fall the city fell.
Hector, of course, is meant (cf. 204-206).

32. magni greges: cf. turba, 958. Priam was the father of
many children. In the Iliad (24. 495 ff.) he is made to say: —

" Fifty were with me when the men of Greece
Arrived upon our coast; nineteen of these
Owned the same mother." — (Bryant's translation.)

214 THREE PLAYS OF SENECA

"The same mother," of course, was Hecuba. Hyginus (Fab. 90)
gives a list of fifty-four sons and daughters of Priam, and other
Greek and Roman writers give various numbers {e.g. Vergil, A. 2.
501-503). In the Hecuba of Euripides (v. 421) the aged queen
is made to speak of herself as "bereft of fifty children."

33. umbrae minor es: shades less than those of Priam and
Hector (manes j 31).

34. Phoebas: nom. sing. Cassandra, who had rejected the
suit of Phoebus after having received from him the gift of prophecy,
and as pimishment was doomed to see all her predictions disbe-
lieved and disregarded {credi deo vetante, 35; vana vaies ante
Cassandram, 37; falsa votes, Ag. 725; Vergil, A. 2. 247, etc.). She is
called Phoebas, priestess of Phoebus, by Ovid also (Am. 2. 8. 12;
Trist. 2. 400), and in Ag. 588, 710. Prophetic inspiration was
regarded as akin to madness, hence ore lymphato f wrens.

35. credi: dependent on vetante. — deo: Phoebus.

36. prior: before Cassandra (see next line). — gravida: nom.
sing. — nee tacui metus: nor did I keep my fears to myself Before
the birth of Paris his mother dreamed that she had borne a fire-
brand which was destined to be the destruction of Troy (see 40).
She told her fears, and on the advice of prophet Aesacus the child
was exposed on Mt. Ida as soon as it was bom; but like Romulus
and Remus of Roman legend he was found and brought up by a
shepherd (see note on 66).

38-40. It was not Ulysses nor Diomede nor Sinon that kindled
this fire; it is mine. — cautus . . . Ithacus: Ulysses, the type of
craft as opposed to brute force in war. His Homeric epithet is
iroXiJ/xiyrts, while his enemies, of course, employed terms less com-
plimentary. In all, however, was the same general idea (see
notes on 613, 614, 750 flf., 857, etc., and cf. fallacem, 149, and
VergiPs pellax, A. 2. 90). — Ithaci comes: Diomede, who was
Ulysses' comrade in several notable exploits, such as the cap-
ture of the spy Dolon and of the Palladium, the attack upon
Rhesus and the adventure of the wooden horse. As a rule these
adventures occurred in the night (riocturnus)', hence Ovid
(Met. 13. 100) makes Ajax say of Ulysses, Luce nihil gestum,
nihil est Diomede remx)to — no deed vxis done by day, none apart
from Diomede,

NOTES ON THE TROADES 215

39. For the story of Sinon and the wooden horse see Vergil, A. 2.
57 ff.

42. vivaz senectus: an abstract noun for concrete, old age for
aged woman (cf. nimis vivaz senectus, H.F. 1027). She is ad-
dressing herself. — respice: not literally look hack but have regard
to,

43. Troia . . . vetus . . . malum: the downfall of Troy was
now an old story, because of the more personal sorrows that had
crowded upon her since.

44 ff. For the death of Priam see Vergil, A. 2. 533-558, where
many of the same details are given.

46. Aeacidis: Pjnrhus (Neoptolemus), son of Achilles and de-
scended from Aeacus. The reading is doubtful, and is accepted
merely as a makeshift. Aeacidis properly is a feminine patro-
nymic. The proper masculine form occurs in 253, Aeacidae, but
would be impossible metrically here. — scaeva . . . torta: the hair
twined about his left hand.

47. reflectens: here in its literal sense, bending hack.

48. vulneri: the poetical dative with abdidit (cf. Vergil's lateri
cMidit ensem, A. 2. 553, in describing the same scene).

50. siccus: hloodless, unstained (cf. Ag. 656-658: Vidilsenis in
iugvlo telum Pyrrhi\ vix exiguo sanguine tingui — / saw that Pyrrhus'
sword in the old king's throat was hardly stained with his scanty
blood). This is an exaggeration based on the well-known
fact that in old age the blood flows more sluggishly than in
youth. Seneca's own death supplies an illustration (Tac. Ann.
15. 63, 64). The reading of one MS., tinctus, gives a very differ-
ent sense.

51-64. Whom could such a sight not appease and hold hack from
cruel murder? The subjects of potuit are Priamus (implied with
premens)y superi and quoddam sacrum, in the sense of " a kind of
inner sanctuary of the fallen kingdom." The altar at which the
aged king had sought refuge, and the sight of his grief and his
humiliation should have given his murderer pause.

64. regum: princes (see 32 n. and cf. Med. 56).

66. flamma: the flame of the funeral pjnre. The king's body
could not be burned as it should, though the city was blazing all
about him. Ardente Troia is abL abs. concessive.

216 THREE PLAYS OF SENECA

56. superis: the gods, not satisfied with the destruction of the
city and the death of its king, are permitting the reduction of its
noble women to the rank of slaves and concubines. For the
agency of. the gods see Vergil, A. 2. 604-623.

67, 68. The captives are being apportioned by lot among the
victors (cf. 974 ff.).

58. praeda: appositive to the subject of sequar — / shall follow
my new master as an unprized captive. — vilis: cheap, unprized,
in comparison with the younger women (cf. 62, 980).

59. hie, hie, hie: one of the victors, another and a third. — Hec-
toris coniugia: Andromache. In coniugia is met another instance
of the use of an abstract for a concrete noun (cf. senectus,
42; and coniugio, Vergil, A. 3. 296, where it is said of this same
Andromache). Hector's wife fell into the hands of Pyrrhus
(976), and after his death became the wife of her brother-
in-law Helenus (Vergil, A. 3. 294-297). — despondet sibi: in
Roman phrase the father betrothed {spopondit) his daughter
to her husband. Here the victors ask the consent of none but
themselves.

60. Helenus and Antenor are named here simply as representa-
tive Trojans. The name of Helenus* wife is not known; An te-
nor's was Theano (II. 6. 298).

61. dest: a common contraction for deest (cf. derai, Med. 992;
derit, Med. 403). — tuos . . . petat: Agamemnon (see 978;
Ag. 191).

62. Each fears that the lot may assign to him the old and
feeble Hecuba; she alone remains a terror to the Greeks (cf. vUis,
58; Ithaco nolenti, 980).

63. turba captivae mea: a favorite arrangement of appositives
in Seneca (cf. alta muri decora, 15; maesta Phrygiae turba, 409;
fortis armiferi cohors, Med. 980). The queen here addresses the
chorus of Trojan women.

64. planctus: the beating of the breasts in utter abandonment
of grief (cf. 79, 93, etc.; H.F. 1100-1103). The alliteration here is
noticeable.

65. iusta Troiae: the service, here the formal lamentation, due
the fallen city and its dead (cf. iusta functis, Med. 999; iusta
vatri, Oed. 998). — sonet: let Mt, Ida reecho our wailing.

NOTES ON THE TROADES 217

66. Ide : the Greek form corresponding to the Latin Ida, used
when a long ultima is desired. — iudicis diri: Paris, who when
exposed (see 36 n.) had been found and reared as a shepherd on
Mt. Ida and there had given the verdict upon the relative beauty
of Juno, Minerva and Venus which had proved so fatal to his
coimtry (hence fatalis Ide; cf. fatalis 'pastor, Ag. 730). In Ide
the Greek form is used for the sake of its long ultima (cf. 74;
Polyxene, 367; Alcmene, H.F. 22, etc.).

Scene 2 (w. 67-164). — The chorus of Trojan women, respond-
ing to Hecuba's direction, laments the fate of Troy, of Hector and
of Priam. The meter is the anapestic dimeter, with several
monometers interspersed.

67. non rude: not wanting in experience (cf. non indocilis
lugere, 81; non rudem, Med. 915). — vulgus: a company of people
sharing a common lot (cf. vulgiLs vile, 80).

69. ex quo: sc. anno or tempore. *

70. Phrygius . . . hospes: Paris, who employed his oppor-
timities as Menelaus' guest to alienate his wife's affections. —
Amyclas: a Laconian town near Sparta, here named in place of
the latter.

72. Cybebae: a form used for CJybele when the meter requires a
long penult. This goddess was worshiped extensively in Asia
Minor and especially among the Phrygians (see Lucretius, R.N.
2. 600-643, where an extended accoimt is given; cf. Vergil, A. 9. 80;
Catullus, 63). High places were sacred to her, and here the timber
(pinus) which had stood on Mt. Ida also is called sacra Cybebae.
Here, as often, pinus stands by metonymy for ship.

74. nudata regis: denuded of its woods for our funeral pyres.

76. decumas . . . aristas: his tenth harvest. The form decumas
for decimas illustrates the interchangeability of the two close
vowels when they are short — seen also in the dative and ablative
plural of the foiu^th declension, e.g. artubUrS or artibus.

77. ut: temporal, while.

79. leva . . . manum: lift your hand to lead the chorus (cf.
the handling of his baton by the conductor of a modem orchestra).

84-89. Common manifestations of grief or despair (cf. our
familiar "sackcloth and ashes '')•

218 THREE PLAYS OF SENECA

86. tepido: still warm from the burning of the city.
10^ b. complete manus: sc. piUvere or pulveris.

103. Ashes we may take, though the enemy claim all else.

87. paret: let the chorus make ready their bared shoulders, for
the planctus detailed in 93 flf. Scansion will determine mood and
meaning of paret. — exertos: for exsertos.

88. Having loosed the robe {from its position about the shoulders)
bind its folds {to prevent its falling too far) and let the body be un-
covered a^ far as the waist.

90. coniugio: husband (see note on coniugia, 59) — what call
for modesty now,' when our husbands are slain and aU is lost?

92. Let the palla bind the loosened tunic. This is a more par-
ticular form of the instruction given in 88. The tunic was a long,
loose, sleeveless gown worn under the more formal articles of
dress. The palla, instead of being employed as usual for orna-
ment, here is to be bound aroimd the waist as a girdle to keep
the loose tunic in place and leave the hand, which otherwise must
hold it up, free {vacet) to beat the breast.

94. placet . . . turbam: this guise meets my approval; I
recognize now the Trojan chorus, in its appropriate garb of mourn-
ing. — Troada: ace. sing., used as an adjective modifier of turbam.

96, 97. veteres, solitimi: old and habitual, from the ten years
of terror and woe (cf. solitus ex longo est metus, 632). — vincite:
outdo.

99. solvimus: perfect, as is seen from the following coordinate
verbs — we have loosed our hair and sprinkled it with ashes as bidden
(in 83-95).

101. cinis fervidus: cf. tepido pulvere, 85.

104, 105. Our raiment falls away from our shoulders, thus un-
covered, and hangs about the waist (cf. 92 n.), — suffulta: girt up by
the palla.

108-115. The planctus mentioned in 93, 108, 114, etc. — vocant:
invite.

109. Echo: originally a beautiful nymph, but changed by Juno
into a stationary echo, unable to speak of itself or to remain silent
when another spoke (Ovid, M. 3. 339-401). This is a good example
of the personification which lies back of most of our mythology.
Let Echo not, as she is wont to do, briefly repeat the last words only,

NOTES ON THE TROADES 2ia

but let her give back Troy^s whole dirge (cf . the very similar pas-
sage in H.F. 1100 ff.).

115. The chorus's response (antistrophe) closes in nearly the
same terms as Hecuba's invitation (strophe) in 97, 98.

117. tibi: Hector is apostrophized. — ferit: not from /ero.

121, 122. Whatever scar I made on my body at your burial , let
it break open anew and flow and weU with plerUeoiis blood. — fluat,
manet: the subject is cicatrix, 123. Mood and meaning of manet
are determined by scansion.

124. mora fatorum: Hector's heroism could only delay, not
avert, the fall of Troy.

126. praesidium: followed here by the dat., like its primitive
praesideo.

127. ilia: sc. patria, found in 124 and 129.

128. tectun cecidit: cf. 31 n.

130. Hecuba now suggests a new theme, which the chorus
takes up in 132.

133. bis capte: first by Hercules (7 n.), when Priam alone was
spared of the royal family (cf. 718, 729), and now by the
Greeks.

134. nil , . . semel: there is no iU that Troy has suffered but
once in your reign, having twice endured the battering of its walls by
Grecian steel and twice felt the arrows of Hercules.

137. Herculeas: the Greeks learned from the oracle that they
could hope to take Troy only with the aid of Hercules' arrows,
which then were in possession of Philoctetes. He therefore was
sent for and contributed materially to the final result (see 824,
825). — post . . . partus: after the burial of Hecuba's sons.

138. regum: cf. 54 n. — gregem: cf. magni greges, 32 n.
Gregem is to be read with elatos, like partus.

139. pater: voc, or appositive to subject of cludis and premis,

140. Priam was slain near the altar of Zeus (Jupiter).

141. tnmcus: appositive to the subject of premis; for the same
word, used in the same connection, cf. Vergil, A. 2. 557.

144. felix Priamus: the phrase as a whole is the thought object
of dicite, as of dicimus in 157. For a similar construction see
Horace, C. 3. 24. 27: Si quaeret " pater urbium'^ subscribi statuis —
if he desire the inscription *^ father of cities " carved beneath his bust.

220 THREE PLAYS OF SENECA

148. duos . . . Atridas: Agamemnon, commander-in-chief of
the Greek forces, and Menelaus, the husband of Helen, both
naturally mentioned as foremost enemies of Troy.

149. fallacem . . . Ulixen: cf. 38 n., 568, 613, etc.

150. praeda: appositive to Priamus, easily understood as
subject of feret.

152. manus . . . dabit: submit to be bound.

153-156. Suggested by the Roman triumphus.

155. fiet pompa: be made a spectacle.

158. a. 30 n.

162-164. Cf. Vergil, A. 1. 94-101.

ACT II

Scene 1 (w. 164-202). — Talthybius, the Greek herald, in
response to a request of the chorus, tells of the apparition of
Achilles' ghost and his demand for the sacrifice of Polyxena.

Talthybius: the herald plays a much more conspicuous part in
the plays of Euripides than in those of Seneca. This is his only
appearance here, while in the Troades of Euripides he appears
repeatedly and in the Hecuba describes to the aged queen the
death of her daughter Poljrxena — a task assigned in the present
piece to an unnamed nuntius. In the Medea of the two poets we
note the same difference in the importance of the herald.

164, 165. As the Greeks had been detained at Aulis in setting
out for Troy (petere bellum) till the offended Diana had been
appeased by the sacrifice of Iphigenia, so now they were delayed
in beginning their homeward voyage {petere patriam) by the
necessity of appeasing the angry shade of Achilles (see 191-196,
360-370; Euripides, Hec. 35-44; Ovid, M. 13. 441 ff.).

167. reduces: homeward, in agreement with vtos.

168. This verse opens with the rare proceleusmatic, never found
in Seneca except in the first place. The same words are found at
the beginning of Med. 670.

170. vidi ipse, vidi: seeing is believing, and it is thus that the
herald solves the doubt expressed in the preceding verse. This

NOTES ON THE TROADES 221

apparition is described as having occurred at dawn instead of
midnight, when ghosts are commonly supposed to walk (cf.
Andromache's vision of her dead husband, 438).

171. caeco: whose source was unseen.

172. The precise meaning of this verse is open to question.
Perhaps the most satisfactory solution is that offered by Grono-
vius, who explains totos . . . sinus as meaning earth uncovered
and brought to light her inmost recesses,

173. m5v6re: perfect. — nemus: on Mt. Ida; so lucus, VIA:.

176. suum Achillen: as the son of Thetis, who was one of the
daughters of the sea-god Nereus (cf . te , . . tot pelagi deae . . .
suam vocabunt, 879).

177. stravit: stilled (cf. stravere ventos, Horace, C. 1. 9. 10; and
for the sense cf. immoti iacent tranquilla pelagi, 199).

178. immensos specus: caverns measureless to man (cf. immensi
specus, H.F. 679).

179. superos: living men, as in H.F. 48, and often.

180. tumulum: the tomb of Achilles (Euripides, Hec. 37).

181. Thessalici duels: Achilles, whose home was at Larisa in
Thessaly. The following verses mention his principal exploits.

182. proludens . . . fatis: practicing for thy destruction (cf.
prolusit hydrae, H.F. 222; Med. 907). — Threicia arma: referring
to Cisseus, father of Hecuba, who came with his Thracian forces
to the relief of Troy and was defeated by Achilles.

183. Neptunium iuvenem: Cycnus (Ovid, M. 12. 72-145), who on
his death at the hands of Achilles became a swan; hence cano . . .
coma (cf. nivea proles Cycnus aequorea dei, Ag. 215).

185. Marte: war, battle (so in 1058).

186. • In the Iliad (21. 7 flf.) we read that "The roaring stream of
Xanthus thus was filled before Achilles with a mingled crowd of
steeds and men."

187. tardus: because its usually swift current was checked by
the bodies.

189. Hectorem et Troiam: the story of Hector's having been
dragged behind his conqueror's chariot is familiar (II. 22. 395 ff.;
24. 14-21; Vergil, A. 1. 483; 2. 272). The coupling here of his name
with that of the city implies that his fate necessarily involved the
like destruction of his country (cf. 31, 124).

222 THREE PLAYS OF SENECA

190. irati: sc. AchUlis. In the Hecuba of Euripides (37) he
appears above his tomb (ifirkp ri^fipov) with the same demand.

191. manibus: the quantity of a determines the meaning. —
meis: monosyllabic by synizesis.

192. honores: the spoils that should have been his (cf. 292-
294, 360-370).

193. nostra maria: cf. suum, 176 n. — luit: perfect; Greece
has paid for the wrath of Achilles at no small price, and shall atone
for it now at great cost. The allusion is to the hero's withdrawal
from the Greek camp before Troy (II. 1 init.) and its disastrous
consequences to the besiegers, and it is threatened that their
present neglect of his rights shall prove as costly. — non parvo,
magno: abl. of price.

195. Polyxene: a daughter of Priam and Hecuba. Achilles
had been attracted by her beauty and made repeated proposals
for her hand, but the terms oflFered him were too hard. Finally,
according to one account, he was invited to a conference on the
subject, led into an ambush, and slain by Paris (347). His shade
now demands that the maiden be offered by Pyrrhus as an expiatory
sacrifice to his manes (Ovid, M. 13. 441 flf.), which demand is reen-
forced by the decision of the seer Calchas (360-370). The name ap-
pears throughout this play in its Greek form Polyxene for the sake
of the long ultima (cf. Ide, 66 n.). Andromache ^ on the other
hand, is met in both forms, with final e in 968, and with final a in
533, where see note.

196. riget: from rigare.

197. Text and sense are doubtful. We have retained the
reading of the Florentine MS. {codex Etruscus), whose authority in
most cases is decisive. The explanation has been offered that the
apparition, occurring after dawn and accompanied by a darkness
of its own, divided the day with its deep night. Another version
has voce dimisit — with deep voice he hade farewell to the day.

198. specum iunxit: closed the cavern, by bringing its walls to-
gether. This is the converse of aperit . . . specus, 178.

199. immoti: gen. with pelagi. It would be more natural, if it
were possible metrically, to read immota, with tranquilla — the
tranquil deeps lie motionless. Such hypallage is common, how-
ever, and does not alter the sense.

NOTES ON THE TROADES 223

202. hymenaeum: the wedding song of Achilles and Polyxena.
The last three lines of the scene, with their smooth movement and
abounding liquids, echo the change of spirit from the fierce wrath
of the hero to the peace that followed his departure.

Scene 2 (w. 203-359). — Pyrrhus recounts the deeds of his
father Achilles, and when his declared purpose to sacrifice Polyx-
ena is opposed by Agamemnon a violent quarrel ensues. The
matter at last is referred to Calchas the seer.

204. excidit: was forgotten, lit., fell from the memory (cf. 714;
Med. 561 n.). In this sense excidere may be followed by an abl.
with de or ex, or by a simple abl., or may be used absolutely as
here. In Med. 561 a dative of the person forgetting occurs.
— cuius . . . stetit: Troy received her death blow when Hector
fell before Achilles, and though her final destruction was de-
layed a little by the removal of her greatest foe (quidquid . . .
remoto) the issue never was in doubt.

206. dubia quo caderet: like a tree, which stands tottering after
its stem is cut through, as if hesitating in what direction it should
fall. Vergil (A. 2. 624-631) compares the downfall of Troy with
that of a great tree.

207. dare: with velis as well as properes. — quod petitur: what
the shade of Achilles demands.

208. iam . . . pretium: the living leaders have made their
choice of the spoils and left little for Achilles.

211 flf. Thetis, the mother of Achilles, did all in her power to
prevent his going to the Trojan war (see 214 n.). Among other
things she foretold that if he went his life would be short and
glorious, while if he remained at home he would enjoy a long and
peaceful old age (II. 9. 410-416).

212. Pylii senis: Nestor, whose great age and wisdom were
proverbial (II. 1. 247-252).

214. falsasque vestes: his feminine disguise {sumptae fallacia
vestis — the trick of a dress put on, Ovid, M. 13. 164). Placed by his
mother at the age of nine in the court of Ly comedos, king of Scyros,
the future hero grew up there as a maid among maids until he
was detected by an artifice of Ulysses (570 n.). The latter brought

224 THREE PLAYS OF SENECA

gifts of laces and jewels for the girls, and also some pieces of
armor. While they were examining their gifts a trumpet suddenly
sounded, and Achilles, forgetting his assumed character, seized
the armor and hastily put it on (Jassus est armis virum). The
whole story is told briefly by Hyginus (Fab. 96), and in greater
detaU by Statins (Achilleis 1. 207 flF.; 670-674).

216-218. Telephus, king of Mysia, opposed the landing of the
Greeks and was wounded by Achilles. When at the point of
death he was told by an oracle that the wound could be healed
only with the weapon that had inflicted it. In answer to his
appeal Achilles applied some rust from the spear point and the
patient recovered (Ovid, M. 12. 112: opusque meae bis sensit Tele-
phus hastae — Telephus twice felt the power of my spear.)

217. rudem: cf. 67 n. and Med. 908. This was Achilles' first
warlike exploit. — r§gio: an adjective. — dextram: sc. AchUlis;
Telephus stained the heroes unpracticed hand with the blood of a
king (his own), and found the same hand strong {in battle) and gentle
(in healing).

219. Thebae: Thebe, a city of Mysia, ruled by Andromache's
father, Eetion (II. 1. 366). Achilles took the town and slew its
king (II. 6. 414-419; Ovid, M. 12. 110).

221. L3n:nesos: a town of the Troas, the home of Mines, who
was the husband of Briseis. The latter was a native of Pedasus,
a neighboring village, referred to in 222 as the land renowned
for the captive Briseis. This was the captive over whom Aga-
memnon and Achilles quarreled (II. 1).

223. Chryse: the home of the priest Chryses, whose repulse by
Agamemnon when he came to reclaim his daughter provoked
Apollo to send a pestilence upon the Greeks and led finally to the
rupture between the two leaders (causa litis regibus). — iacet:
lies prostrate by Achilles' hand.

224. Tenedos: Taken by Achilles (II. 11. 624). — quae . . .
nutrit: It seems that our poet here carelessly ascribes to Scyros
the characteristics assigned by Homer (Od. 15. 515 ff.) to Syros,
another island in the Aegean: —

" It is not large,
But fruitful, fit for pasturage, and rich
In flocks, abounding both in wheat and wine."

NOTES ON THE TROADES 225

The taking of Scyros by Achilles is referred to by Homer (II. 9.
668), and possibly by Ovid (M. 13. 175), though the common
reading there is Syron. It is not unlikely that the present passage
was suggested by the one just referred to in Ovid, as the latter
names many of the same places — Thebae, Tenedos, Lesbos, Chryse,
Cilia, Scyros (?), Lyrnesos — and mentions the fate of Telephus.

226. Lesbos: Achilles' capture of this island is referred to by
Agamemnon (II. 9. 129).

227. Cilia: a town in the Troas, sacred like Chryse to Apollo
Smintheus (Chrysenque et CUlaniy Apollinis urbes, Ovid, M. 13.
174). — quid: sc. memorem terras (or urhes) — why should I tell
of the lands that the Caycus laves f

228. vemis . . . aquis: the river Caycus (in the Troas)
swollen by the rains and the melted snowS of spring.

230. sparsae: the wrecks of so many cities , scattered by him as by
a tornado.

232. iter est Achillis: what would have constituted another's
fuU claim to renown (231) is but the preparation of Achilles for
greater achievements (see next verse, and cf. prolvdens, 182 n.).

236. Would not his defeat of Hector alone have been sufficient?
Yet my father conquered all Troy — and you have plundered it.

237. sequi: pursue (the subject of) my father^ s deeds. Sequi is
the subject of the impersonal iuvat.

239. patrui: sc. ante oculos. Both patris (288) and patrui here
refer to Priam — Hector lay slain before his father's eyes, Memnon
before his uncle's. Both Tithonus, the father of Memnon, and
Priam were sons of Laomedon, hence either would be patruus
to the other's children. — parens: Aurora, goddess of the dawn.
With her manifestation of grief on this occasion cf . that of Phoebus
thesun-god over the fate of Phaethon (Ovid, M. 2. 329-331): "The
father, pitiable in his sickening sorrow, had covered and hidden his
face; and, if we believe the tale, they say that one day passed
without the sunlight."

242. et: even. — dea natos mori: that even the sons of a goddess
may die. As the son of Aurora had fallen, so might his slayer, the
son of another divinity.

243. Amazon: see 12 n. — ultimus . . . metus: appositive to
Amazon. These female warriors came to the aid of the Trojans

226 THREE PLAYS OF SENECA

in the last year of the war, and with their defeat disappeared all
hope of relief from without.

244. debes : sc . earn from virginentf 245 — even if he should demand
(the sacrifice of) a Grecian maiden instead of a Trojan, you owe U to
him to grant his desire. This, like iam placita below, may contain
an allusion to the sacrifice of Agamemnon's daughter Iphigenia at
Aulis (cf. 164 n.).

246. improbas: the verb. Pyrrhus here addresses Agamemnon,
who though he had not yet spoken may be supposed to have given
some token of dissent — Do you disapprove now, all at once, such an
a^t as met your favor awhile a^go at Aulis f

247. ferum . . . credis: deem it cruel.

249. Helenae: for Helenas sake, because the sacrifice of Iphi-
genia was ipade in ordfir that the fleet might be permitted to sail
to Troy for the recovery of Helen. — solita . . . ezpeto: / am
asking {no new thing, hut) what is customary with you and has been
done before.

261. aetatis . . . fervor: the glow of youth (cf. iuvenUe, 250;
and Horace's pectoris in dulci iuventa fervor, C. 1. 16. 22). The
stately Agamemnon assumes an attitude of contemptuous toler-
ance toward the youthful Pyrrhus, whose natural ardor as a yoimg
man was intensified by his inheritance of his father's fiery spirit
(palernus, 252). Agamemnon could speak from experience of
Achilles' wrath.

263. lentus . . . tuli: / bore unmoved, on occasion of the
famous quarrel.

264. possis, feras: the "general" second person — the greater
your power the m^yre should you patiently bear, Sc. eo correlative to
quo.

266. caede dira: of Poljrxena.

266 flf. We should consider first the rights of victor and vanquished.
These, however, were not carefully defined in ancient times (see
333, 335). The tone of this speech is not quite consistent with
the spirit displayed by " the king of men" in the first Ilicui, and we
cannot help suspecting that he is indulging in a bit of special plead-
ing against his old foe.

269. quo: correlative to hoc, 261. The higher fortune Aoa raised
him the m^ore does it befit a man to hold himself in check.

NOTES ON THE TROADES 227

262. casAs tremere: this transitive use of tremere is poetic and
late (cf. hostem tremens, 317).

263. nimitiTTi faventes: too indiUgent (cf. vento nimium secundo,
Horace, C. 2. 10. 23).

264. vincendo: the final o in the ablative is naturally long, and
unless we regard it here as shortened in arsi, having neither word
accent nor metrical ictiLS, this is a notable exception to the rule
that the second foot of a dipody must begin with a short syllable
(cf. ^tflreon, 932n.).

265. hoc . . . loco: at the zenith of 'power and warlike re-
nown,

266. ilia: Troia (from 264). — impotens regni: carried away
by the possession of power, not self -controlled (as if impotens sui).

267. altius memet tuli: have borne myself too loftily, e.g. in
dealing with Achilles.

268. My pride has been humbled by this cause — the favor of
fortune — which might have been a source of pride to other men.

270. superbum, timidum: in antithesis, to emphasize the lesson
of Priam's fall — proud at once, and fearful.

271. nisi: with vano, not with putem — am I to consider kingly
power aught but an empty name, a brow adorned with a coronet whose
promise of happiness is delusive ?

274. My power perhaps may vanish in less time and for less cause
than Priam^s. For mille see 27 n.

277. afiUgi . . . volui: / would have had Troy humbled but not
destroyed.

279. sed . . . ira: cf. H.F. 404, 405; Med. 591-594, where
the subject is love spurred on by wrath. — regi: the infinitive; note
the quantity of e.

281. commissa nocti : the sack of a city by night, when the dark-
ness conceals and encourages excesses (cf . tenebrae below).

284. felix: victorious. — infecti: sc. sanguine. Observe the
personification — the sword, the lust of which, once stained with blood,
is frantic.

289. thalamos: predicate — call the foul deed marriage.

291. A fine expression of the responsibility that goes with power.
— cum . . . possit: to be connected with vetat.

296. levatur . . . infuso: appeased by the shedding of blood.

228 THREE PLAYS OF SENECA

296. opima: may be taken literally, rich, fat (cf. greges opimosj
H.F. 909), or may mean rich spoils of battle (cf. H.F. 48 n.). Aga-
memnon proposes to release Polyxena and substitute a sacrifice
of cattle. — colla: appositive to greges.

297. matri: no human mother,

298. iste: that which you propose. — quando . . . hominis:
when was a human victim ever offered to the shades of a man ?

301, 302. Note the antithesis between the two vocatives tumide,
timide.

303. tyranne: used here in its original Greek sense of usurper,
as if Agamemnon had no valid claim to the title he boasted, " king
of kings" (cf. regum rector, 978; rex regum, ductor ducum, Ag. 39).
— iamne . . . novae: do you now wear a heart fired with a sudden
love, and love of a new object f Pyrrhus intimates that the true rea-
son for Agamemnon's opposition may be a newly kindled desire to
possess Polyxena himself — as formerly he had taken Briseis from
Achilles (cf. 305).

308. dignam: sc. victimam (also with maiorem, 307). This
is a veiled threat against Agamemnon himself. He would be a
victima digna quam det Pyrrhus and par Priamo (310). The same
menace is implied in nimium . . . manus — His long since I have
slain a king, the allusion of course being to the death of Priam
at his hands (44-56; Vergil, A. 2. 550 flF.).

310 ff. baud . . . paternus: intensely sarcastic — yes, it is true
that your greatest warlike achievement was the slaughter of a helpless
old man; one, furthermore, who had knelt at your father's feet, i.e.
in seeking to recover the body of his son Hector (II. 24. 571-601;
Vergil, A. 1. 483-487).

313. supplices . . . novimus: / recognize my father's suppliant
(spared because he was a suppliant), and the same man as an enemy
(whom I slew because he was an enemy in arms). Though plural,
supplices and hostes refer to Priam.

316. praesens: yet Priam came in person to Achilles, a thing
you dared not do (see next note).

316. nee: emphatic, not even. — Aiaci . . . clausus: when
disaster to the Grecian fleet had followed Achilles' withdrawal
Agamemnon sought a reconciliation; but instead of venturing
himself into the offended hero's presence he sent an embassy com-

NOTES ON THE TROADES 229

posed of Ulysses, Ajax and Phoenix (II. 9. 165 ff.). — hostem:
Achilles. For the construction with tremens cf. castis tremere,
262 n.

318. tunc: at the time of the embassy. — fateor: ironical, as
is the whole sentence — of course your father was not afraid. . . .
He lay idUy forgetful of war and arms, thrumming the tuneful lyre
with polished plectrum.

321. levi: note the long e. For the sense cf. II. 9. 150 flf.:
Achilles there drew solace from the music of a harp, sweet-toned and
shapely y in a silver frame. ... To soothe his mood he sang the
deeds of heroes.

322 flf . Though Hector despised your warlike efforts, he feared this
very music {because it indicated the presence of Achilles, whom alone
he dreaded), and, secure in this fear of his, my father's ThesscUian
naval camp enjoyed deep pea^e.

326, 326. Agamemnon retorts that in that same Thessalian
camp an enemy (Priam) was permitted to go and come in safety.

327. spiritum: life (so in 328, 379). Pyrrhus maintains that it
was a kingly act to spare a king's life, and so lays himself open to
his opponent's next thrust, why then did you not spare him too f

330. Is it in mercy now that you seek to sacrifice this maiden f

331. lainne : emphatic, as in 303 — have you come now to believe f
The allusion is to the ofifering of Iphigenia to Diana (see 249 n.).
The father's defense is given in 332.

336. libere: infinitive of the impersonal libet; lit. it should please
him to do least (in the way of cruelty to the vanquished) to whom much
is permitted, i.e. the more power one has the less should he use it
wantonly (cf. Seneca's words to Nero, Oct. 450: Hoc plus verere
quod licet tantum tibi — you should fear the gods all the more because
so much is committed to you) .

337. Do you make these boasts to the Greeks, whom I (by my part
in ending the war, and now by my defiance of you) have just released
from your ten years' tyranny f The implication is that Agamem-
non's actions and the lofty sentiments just uttered are not in har-
mony.

339. hos . . . animos: Does tiny Scyros assume such airs?
The reference, of course, is to Pyrrhus' native place (342, 343 n.;
Scyrius iuvenis, 976). — Scelere . . . caret: in allusion to tha

230 THREE PLAYS OF SENECA

tragic feast of Thyestes (Ag. 26. 27; Thy. 970-1034, etc.), prepared
by Agamemnon's father, Atreus. The antecedent of gtLoe is
Scyrus — it is clear of such sins of brothers as has stained your house
(cf. 341).

340. inclusa: in agreement with iSct^rws. Pyrrhus interrupts. —
maris: dependent on ^uc^w. It is called co^naii as being the home
of Achilles' mother (Pyrrhus' grandmother), Thetis (cf. suum,
176 n.).

341. Cf. 339 n. — nobilem: ironical (cf. the like double mean-
ing of famosus).

342. 343. Pyrrhus was the son of Achilles and Deidamia, one
of his associates in the court of Lycomedes, where he lived dis-
guised as a girl (see 214 n. and the references there given); hence
nondum viro,

346. omne . . . regnum: each of the three realms into which
the universe (mundumf 344) was divided on the fall of Saturn
(see H.F. 53 n.). These are mentioned in the following verse,
where the groimd of Achilles' claim to recognition in each is given
— the sea through his mother Thetis (176 n.), the underworld
through his paternal grandfather Aeacus, who was a judge there
(Ovid, M. 13. 25; Horace, C. 2. 13. 22), and the heavens through
Jupiter, the father of Aeacus.

347. lUo ex Achille: sc. no^e from 343. — manu Paridis: ac-
cording to the usual account Achilles was wounded in his vulnerable
heel by Paris, the arrow being guided by ApoUo (cf. II. 22. 359 flf.,
where the djdng Hector foretells his conqueror's fate; Ovid, M. 12.
597-606; Vergil, A. 6. 56 : "Phoebus, who didst guide the arrows of
Paris into the body of Achilles "). The speaker says contemp-
tuously. That Achilles whom the effeminate Paris slew.

348. Though the gods often baffled Achilles by rescuing his
intended victims {e.g. Aeneas, rescued by Neptune, II. 20. 318-329;
Hector by Apollo, II. 20. 443-446), they did not meet him in direct
conflict. — petit: perfect.

349. male: cf . the familiar malum and mala res of the comedy —
/ could check your speech and tame your hold self with punish-
ment,

360. captis quoque: even captives, another allusion to P^hus'
cruel proposal regarding Polyxena (cf . 333).

NOTES ON THE TROADES 231

362. Calchas: the chief diviner of the Greeks, to whom all
important questions regarding the will of the gods were referred
(II. 1. 68; Vergil, A. 2. 122 ff.). — poscent: sc. Polyxenam; also
with dabo,

363. Tu: Calchas. — qui . . . solvisti: by arranging for the
sacrifice of Iphigenia at Aulis and so appeasing the angry Diana.

366. viscerum: the entrails of animals offered in sacrifice, a
common method of divination. — mundi fragor: thmider.
356. a. Vergil, A. 2. 693-698. — longa: abl.

368. mercede: abl. of price — whose responses are of great cost to
me. The allusion probably is to the requirement through Calchas
of the sacrifice of Agamemnon's daughter (249 n.), and perhaps
to the enforced return of Chryse to her father (II. 1. 92-100). In
n. 1. 106 Agamemnon protests to Calchas, Prophet of evil, never
hadst thou yet a cheerful word for me. — era: for oracula.

Scene 3 (w. 360-370). — The seer's response.

360. Cf. Vergil, A. 2. 11^119 — with blood and a maiden's death
you appealed the winds when first you came to Trojan shores; with
blood your return must he sought^ and atonement must be made with
a Grecian life.

362. Let her be clad in Grecian marriage robes (cf. 865, 1132).

369. nepos Hectoreus: Astyanax (461-474, 503-512; Hectorea
subolesj 528). In the Iliad (6. 400) he is described as an infant in
arms.

Scene 4 (w. 371-408). — The chorus speculates concerning a
future life, and concludes that there is none. The measure is
the minor asclepiadean, the last verse incomplete.

372. corporibus conditis: abl. abs. of concession — is it true that
the souls live on though the bodies are buried, or does a myth beguile
usf

374. When the last day of life has stood in the way of the sun,
and prevented its rising again for us. — solibus: plural, as if a
new one rose each day (cf. Horace's ativ^que et idem nasceris — art
bom another, yet the same, C.S. 10).

232 THREE PLAYS OF SENECA

377. miseris: dat. — longius: i.e. after death. In their de-
spair immortality seems to the Trojan women a curse instead of a
blessing.

378. Cf. Horace's declaration, in a somewhat different sense,
non omnia moriar, mtUtaque pars mei vitabit Lihitinam, C. 3.
30. 6.

379. spiritus: K/e, as in 327 — when with the fleeting breath the life
has flsd into the air, mingling with the vapors.

381. subdita fax: the torch applied to the fimeral pyre.

382-386. Cf. Epig. 7: Devouring time feasts upon aU things,
grasps all things, removes all things from their place j lets nothing long
exist. . . . Death claims aU things. . . . Sometime this universe
will he nothing.

384. bis . . . fugiens: in the ebb and flow of the tides.

386. Pegaseo . . . gradu: with the swift pace of Pegasus, the
flying horse.

386. bis sena . . . sidera: the twelve signs of the zodiac. —
turbine: the apparent revolution of the heavens about the earth.

388. astrorum dominus: the sun (cf. dux astrorum. Thy. 836),
whose apparent motions give us the day and the year, and so the
saecula (387).

389. Hecate: Luna (Med. 7 n.). — obliquis . . . flezibus: in
the sidelong curve of her orbit. The moon does not pass westward
directly overhead at this latitude, but apparently swerves to the
southward (cf. H.F. 1333 n.).

390. hoc: sc. modo from 388. — nee amplius . . . usquam est:
nevermore does he exist. For the phrase cf. H.F. 1025: caput abest
nee usquam est.

391. iuratos superis . . . lacus: the Styx, by which the gods of
heaven swore and were boimd inviolably (Vergil, A. 6. 324: di cuius
iurare timent et fallere numen — the Styx, by whose divinity the gods
fear to swear and prove false, tetigit: has died and been ferried
over the Styx.

396. dissicit: for disicU (cf. Lucretius, R.N. 3. 639).

397. Cf. Lucretius, R.N. 3. 830: nil igitur mors est, ad noa neque
pertinet hilum — therefore death is nothing, and concerns us not at all;
Seneca, Epist. 54. 3: Mors est non esse,

398. The final goal of a swift race.

NOTES ON THE TROADES 233

401. indi vidua: explained by noxia . . . nee parcens — Death is
indivisible; it is fatal to the body and does not spare the soul. The
idea, consistent with the thought of the whole passage, is that
death cannot attack the body and leave the soul alive. In his
third book Lucretius gives an elaborate argument, based in part
on the soul's nature as conceived by the Epicureans, and in part
on analogy drawn from physical existence, to prove the soul's
mortality.

402. Taenara: the Greeks (H.F. 662 flF.) located the entrance to
the lower world near Spartan Taenarus (here in the neuter plural
form), as Vergil did in the volcanic region about Cumae. — aspero
domino: Pluto. Taenara, regnum, Cerberus (with custos in appo-
sition) are the subjects and rumores, verba and fabula predicate
nouns with sunt, suggested by est in 401. Limen is object of
obsidens, and itself is modified by the descriptive ablative non
facili ostio, of no easy passage.

405, 406. Idle tales, empty words, a myth of no more weight than
a troubled dream.

408. quo: sc. loco. — non nata: the unborn, things not created.

ACT III

Scene 1 (w. 409-425). — Andromache, the widow of Hector,
declares that the woes of Troy are too deep for tears, and that only
her duty to her son induces her to live on.

409. maesta Phrygiae turba: addressing the chorus. Maesta
turba is appositive to Phrygiae {qI. turba captivae mea, 63 n.).
Phrygiae, meaning Trojan women, is found in Vergil, A. 6. 518.

411. levia . . . patimur: we have suffered light evUs if we suffer
what can be expressed with tears.

413. olim: for me Troy fell long ago, when Hector fell. One of
the finest passages in the Iliad contains Andromache's lament over
the death of her husband (22. 437-515).

414. mea membra: in the person of Hector.

416. Peliacus: i.e. of Achilles, son of Peleus. For the dragging
of Hector's body see 189 n. — pondere . . . tremens: cf. gravi
gemeret sono, 414. It was a common thing to represent the heroes
of the epic as gigantic in size and strength.

234 THREE PLAYS OF SENECA

416. tunc . . . fero: since then I have home.

418. erepta Danais: rescued from the Greeks by death. The sense
of erepta is proleptic. — sequerer: / would have followed him to the
tomb.

419. hie: pointing to her child, Astyanax, who now constituted
the only tie holding her to life (mori prohibet, 420).

422. He ha^ stolen from me the greatest good of misfortune —
the ability to fear nothing (cf. 632, 633; fructus est scelerum tibi
nullum scelus putare, Med. 563).

424. qua veniant: but sorrow has a place where {a side on which)
U may assail me — in the person of my son.

426. A general statement, but with special reference to her
own position.

Scene 2 (w. 426-523). — Andromache expresses her fears for
the safety of her son, and on consultation with an aged man hides
the boy in his father's tomb.

428. stetit: paused — it has not yet attained its full measure.

429. What new calamity will the god find for w« even if he desire it f
430 flf . From this it would appear that the apparition of Achilles,

described by Talthybius in 170 ff., was known to Andromache and
the other Trojans, though not its precise object (927 flf.).

432. hostes . . . conditi: the enemy, though dead and buried.
As but one is meant, hostes perhaps is the "plural of preeminence "
(cf. supplicesj hostes, 313), though it is not unlike the plural of
proper names often used in English in general statements.

433. retro: Back from the land of the dead (cf. H.F. 55 for a
similar expression). The thought is, Could not Hector have re-
turned as well as his enemy f (cf. redit Achilles, 806 n.).

434. Surely death is impartial! — turbat . . . terror: that
terror {Achilles^ appearance), common to Greeks and Trojans alike,
troubles and disturbs us,

436. hie . . . sopor: this dream terrific my soul in partum-
lar,

438. It is not always certain whether Seneca's phrases refer to
Greek or to Roman customs : if to the latter, here the time would
be midnight; if to the former, it would be near dawn, when two of
the three watches had elapsed. This would correspond to the

NOTES ON THE TROADES 235

time of the apparition of Achilles (170 n.). — alma: a common
epithet of sol, dies, lux, and words of kindred meaning, here applied
to nox, as in Med. 876.

439. septem . . . stellae: in the constellation Ursa Major. —
iugum: wagon, cart (cf. curtum temone iugum, Juvenal, Sat. 10.
135). The same constellation is called plaustra by the Latin
writers (e.g. in Med. 315), and in England is still known as " Charies'
wain."

440. ignota: unfamiliar. — afflictae: sc. mihi, or take in a
general sense, unfamiliar to one stricken with grief

442. somnus: a predicate noun. Compare the account of this
vision with that given of another apparition of Hector by Vergil
(A. 2. 268 ff.), which is similar in several details and may have
been Seneca's model.

446. E.g. in II. 15. 704 to end (cf. Danaum Phrygios iaculatus
puppibus ignes, Vergil, A. 2. 276) .

447. While still unwilling to aid the Greeks in person, Achilles
was persuaded at a critical point in the siege to lend his armor
(vera spolia) to his friend Patroclus (Achille simulato), who, after
creating dismay among the Trojans by his appearance, finally
was encoimtered and slain by Hector (II. 16. 783 to end). Hec-
tor's triumphant donning of Achilles* armor is described in II.
17. 188 flf. (cf. Vergil, A. 2. 275: he returned clad in the spoils of
Achilles).

448. His eye flashing fire. Vultus is nom. sing.

460. nostro: sc. vultui; like my own. — squalida: Vergil (A.
2. 277) has squalentem harbam et concretos sanguine crines.

466. utinam . . . tota: there was a tower still standing, and
from this the boy was to be cast (368, 621, 1068).

466. quocumque: as if quocumque possis.

468. The feminine adjectives, of course, modify ego, subject of
quaesivi — Trembling, turning my eyes this way and that, forgetful
of my son, I sought, unhappy woman that I am, to clasp Hector in
my arms.

460. fallax: elusive (cf. Aeneas' experience, A. 2. 792-794;
6. 700-702: Thrice I tried to cast my arms about her neck; thrice
the apparition, vainly clasped, fled through my hands like the light
winds and very like a fleeting dream).

236 THREE PLAYS OF SENECA

461. Here for the first time Andromache addresses her son,
Astyanax, who of course has been with her throughout the
scene. — carta progenies: note the points of resemblance enumer-
ated below: vultus, 464; incessu, 465; habitu, manuSy 466; umerisy
fronte, 467 ; cervice, comam, 468.

462. Observe the two different constructions with apes, dative
in Phrygibus, genitive in domus.

464. similis: what case? — hos . . . Hector: my Hector had
these features, i.e. the same which are now to be seen in his son.

467. celsuS; minax: sc. fuit.

468. iacta: thrown proudly hack,

469. Born too late to save Troy, too soon for your mother's good,
i.e. so soon as to share these perils and add to her anxieties (cf . 418-
425).

472. rediviva . . . Pergama: restore the towers of Troy,

474. sed . . . vivamus: remembering my condition, I fear to

cherish such high hopes — life is all a captive can expect (cf.

732-735).

478. deum: gen. Apollo and Neptime are meant (see 7 n.).

479. invidiae gravis: this may be a genitive of quality, char-
acterized by the burden of envy it bore ; or gravis may be nom. and
invidiae a kind of specifj^ng genitive, which was used so freely
in the Silver Age.

481. ne . . . infans: not even so much as will serve to conceal a
child.

482. quo lateat: result. — fraud! : stratagem, the concealment
of the boy.

483. coniugis: Hector. The genitive with saeer is the classical
usage.

484. verendushosti: which the enemy should reverence. — quem:
the antecedent is tumulus. — parens: Priam.

486. in luctus . . . non avarus: liberal in spending money
upon the objects of his grief. Another illustration is found in
his ransoming of Hector's body (II. 24. 571-601; Vergil, A. 1.
484).

486. credam patri: intrust the boy to his father,

488. To hide the child in a tomb was too suggestive and
ominous.

NOTES ON THE TROADES 237

497 flf. Verse numbers here represent their arrangement in the
oldest MS., but the sense was so obscure that modern editors have
rearranged them.

497. The sense is general — LfCt the unfortunate take what refuge
he can; let him choose who is safe. In this case, of course, there
was no choice.

492. doli: same idea as fraudi, 482 — exclude all witnesses of the
act.

493. perit: Perfect. The sense is, // an enemy seek him, give it
out that he lost his life in the sack of the city. This is the course the
mother actually attempted (556 flf.).

489. causa: explained by its appositive, credi perisse — that they
were believed to have perished.

490. est super: for superest (cf. 507, 960, 1068).

491. pondus: appositive to nobUitas.

494. redituro: conditional in force; what will it avail him to
have hidden, if he is to fall again into their hands f

496. His safety lies in the cooling of the victor's rage after its
first flush.

498. te: again addressing the boy. — invia: inaccessible.

600. qui semper: sc. tuitu^ es.

601. furtum: abstract for concrete, like senectus, 42; coniugia,
59, etc. It here stands for the boy himself, stolen from the enemy
and hidden (cf. the same word in 706). The sense is. Guard
our son, thus stealthily intrusted to thy keeping.

602. victurum : from vivo ; note its antithesis to cinere.
606. fugd.: imperative.

606. quos: sc. animos — assume the spirit fate has permitted.

607. See what a company of us remain — explained by tumulus,
puer, captiva — dead father, infant son, and captive mother. — simus
super: see 490 n.

612. claustra . . . tegimt: the boy has been hidden and the
entrance to the tomb closed. — commissum: sc. eum tumulo; or
commissum may be regarded as a neuter substantive, your trust
(cf. depositum, 521; furtum, 501).

613. The old man fears that the mother's agitation may arouse
suspicion if she is seen lingering near the tomb. — quem: ante-
cedent is eum, implied in commissum.

238 THREE PLAYS OF SENECA

617. cohibe . . . ora: be silent , do not speak.

618. dux Cephallanum: Ulysses, who enters at 524. Cephal-
lania was a large island near Ithaca, and its inhabitants are spoken
of by Homer (II. 2. 631) as subjects of Ulysses.

619. tuque: she appeals to her dead husband, as in 500 — Cleave
asunder the earth, riven from its deepest abyss. In 684 she fancies
he has come.

621. depositum: a technical term in Roman law denoting an
object of value intrusted to another for safe-keeping. Here, of
course, it is said of Astyanax (cf. commissum, 512).

622. dubio: the hesitating step of one approaching a diflScult
task and debating within himself the manner of its perform-
ances.

623. astus callidos: the characteristic of Ulysses at all times
(cf. 38, 568, 613, 750, 857, 927).

Scene 3 (w. 524-813). — On Ulysses' demand for the surrender
of her son Andromache pretends, almost successfully, that he is
dead; but finally, when he proposes to demolish the tomb of Hec-
tor, she yields and gives up the child.

624. sortis: the response given by Calchas, 360-370.

627. seras: cf. 164. Quos is subject and domos object of petere.

628. banc: sc. subolem, i.e. Astyanax. — fata: speaking through
Calchas.

631. arma . . . sinet: and will not permit their weapons to be
laid aside.

633. Andromacha : the Latin form of the name, used for the sake
of the short ultima. In other cases {e.g. 968), where a long syl-
lable is required, the Greek form Andromache is written. For
accusatives in -am and -en see 576 and 804.

636. dicebat Hector: An instance is found in D. 6. 476-
481: —

" O Jupiter and all ye deities.
Vouchsafe that this my son may yet become
Among the Trojans eminent like me.
And nobly rule in Ilium. May they say,
' This man is greater than his father was I*

NOTES ON THE TROADES 239

When they behold him from the battlefield

Bring back the bloody spoil of the slain foe —

That so his mother may be glad at heart."— (Bryant.)

et: intensive; even.

636. generosa . . . semina: the children of those nobly bom. —
exurgunt: exsurgunt.

637. ille . . . parvus comes: the calf following its dam.

639. subito: speedily. As the young bullock soon reaches ma-
turity, so will Hector's son.

641. The figure is changed, and an illustration taken from the
v^etable world — the sprout that shoots up from a fallen tree
or its stump soon grows into a great tree, the nucleus of a
forest.

644. A third illustration, from the rekindling of a smoldering
fire. The sense of the whole passage is this: as a young bullock
soon develops into the strength and spirit of his sire; as a tiny
shoot quickly grows to be a tree; as the coals of a fire apparently
dead may be fanned into new life, so may this infant become
another Hector, and be the scourge of Greece.

646. iniustus: with aestimator. — dolor: your present grief unfits
you to weigh considerations fairly. In the Hecuba of Euripides
(299-331) Ulysses makes a very similar plea to Hecuba.

646. ezigas: consider.

647. bella: object of timet, next line.

649. numquam bene . . . iacentem: Troy had been prostrate
before (718-731), but had recovered.

661. futurus Hector: see 461-474; here appositive to magna
res.

662. deductas: launched, ready to sail. During the war they
had been drawn on up the beach.

663. hac: sc. causa. — crudelem: sc. me. — neve . . . putes:
prohibitive.

664. sorte: as in 524.

666. petissem Oresten: sc. si sors iussisset. Orestes was the
son of Agamemnon, and Ulysses says in substance. Had the fates
demanded, I should have sought for sacrifice the son of the Greek
instead of the Trojan leader. The idea was suggested, of course^

240 THREE PLAYS OF SENECA

by the fact that Agamemnon had ofifered up his daughter at AuKs
(249 n.), and there is the same allusion in quod victor tulit. —
patera: imperative.

666. Andromache attempts to deceive Ulysses, as had been
advised in 493.

669. confossa: in agreement with the subject of exuissem, 562;
so praestricta and cincta. Pectus and latv^ are adverbial accusa-
tives.

560. secantibus: that cut into the flesh.

664. patriae vapor: the heat of the burning city.

566. numquid: can it he that — f

570. etiam dearum: alluding to Thetis, the mother of Achilles,
whose attempt to save her son from his fate at Troy by concealing
him at the court of Lycomedes had been defeated by the cunning
of Ulysses (see 214 n., and cf. Statins, Ach. 2. 166 fif.).

673. coacta: nom. sing.; you shall tell under compulsion what
you will not of your own accord.

674. perire: complement of the three verbs that follow.
676. Andromacham: see note on 533.

577. Threaten me with life, not death.
579. invitam: sc. te.

685. istis: this body which you threaten, /sh's is used in prefer-
ence to his because the speaker is addressing the man who had
threatened the torture, and in a sense is repeating his thought. —
caeci: as black as blindness.

686. iratus timens: the victor, enraged at the resistance he has
met, and still fearful of its renewal (530, 548, 551).

590. Because Astyanax grown up may avenge the woes of his
parents upon the Greeks of the coming generation (cf . Telemacho
bella paras, 593).

596. premis: are concealing (cf. curam premebat, Vergil, A. 4.
332).

696. gaudete Atridae: apostrophe. — laetifica: glad tidings,
object of refer. — ut soles: Ulysses had been a conspicuous actor
in nearly all the spectacular exploits of the Greeks — the repulse
of Sarpedon, the capture of Rhesus, the taking of the palladium,
etc. (38 n.).

697. obit: for obiit (cf. peril, 493).

NOTES ON THE TROADES 241

699. So may the greatest ill the conqueror can threaten (i.e. death,
which to her would seem a blessing, 418 fif., 577) befall me . . , as
he lies among the dead. This imprecation is constructed very in-
geniously so that while the speaker is telling the literal truth she
conveys a false impression.

604. debita exanimis: what is due the dead, i.e. the funeral
rites (cf. iusta Troiae, 65; iusta functis, Med. 999). — exanimis:
dat. plur., though usually of the consonant declension.

606. rU gladly bear word to the Greeks that the oracle ha^ been
fulfilled by the removal of Hector's offspring. For the moment
Ulysses is convinced, but doubt returns immediately (607).

607-618. Spoken aside.

608. tu cui: sc. credis. — fingit . . . pavet: to the Greeks and
Romans the thought of death was so abhorrent that periphrases
were commonly used in order to avoid direct mention of it {e.g.
Si quid mihi humanitus accidisset, Cicero, Phil. 1.4). Here Ulysses
can hardly believe that Andromache would dare pretend so hor-
rible a thing as the death of her own son, as if the very pretense
might prove an omen {auspicium) of its reality (cf. the mother's
own fears, 488).

610. Ulysses answers his own question — They fear omens who
have nothing worse to fear.

614. totum Ulixen: as the incarnation of craft.

616. maeret: she does show signs of grief, as might a mother
bereft of her child, but her gait and anxious listening to every
soimd suggest another emotion.

618. It is more fear of something still to come than grief for the
past.

619. alloqui in luctu: commiserate.

621, 622. He states for the first time his precise purpose, and
watches the efifect. For sola . . . manet cf . 1068. Andromache's
speech which follows and the first two lines of Ulysses' next speech
(625, 626) are aside.

627. ite celeres: to his attendants.

630. Aside, bene est; tenetur: she is caught! (cf. Med.
550).

631. Tauntingly to Andromache, iam certe perit: in mocking
allusion to her attempted deceit (556-567). — perit: perfect.

242 THREE PLAYS OF SENECA

632. Would my son were living, thai I might fear for him. What
you take for signs of terror are but the result of long habit.

633. Long familiarity with any emotion often begets insensi-
bility to it (cf. 422 n.).

634-641. We need not suppose that Ulysses had any suspicion
as to where the boy was hidden, but merely that he seizes on this
idea as a means of torturing his victim into some expression that
may supply a clew. It is ingeniously conceived. — lustrale sacnun :
rites of purification.

638. placet: from placare. — sparsi: in agreement with Hec-
toris by hypallage (cf. 643). The real idea of course is "the scat-
tering of Hector's ashes."

640. ille: Astyanax. — efffigit: perfect.

642-662. Aside, quid agimus: what am I to dot We should
expect the subjunctive in such a question, but the connection shows
clearly enough what is meant.

644. pars utra vincet: by giving up her son she might save her
husband's ashes from profanation; by remaining silent she might
possibly find opportunity to spirit away the boy and leave the tomb
to its fate. A modern mother would not hesitate long between the
living and the dead; but to Andromache, believing that burial
was essential to the happiness of the dead, it was a fearful dilemma.
Hence it is not strange that she wavered, inclining now to save the
child (647, 651, 655, 659, 662), and now to guard the father's
ashes (648, 653, 658), finally deciding upon the latter (691 flf.). —
immites decs: the gods who have permitted all the woes that have
befallen her.

646. manes: appositive to deos veros.

646. non aliud . . . quam te: His his likeness to you that most
endears my son to me (cf . 461-468). This infinitive clause is object
of the "witness" idea in testor.

649. mergetur : shall his ashes be sunk in the sea f — as proposed
in 638.

660. hie: Astyanax (so in 655, 659).

662. poteris: sc. videre. fastigia: cf. turre, 368, 622, 1068.

664. fata: death.

666. ilium: Hector; he is beyond their reach.

669. sensus: gen. with potens (cf . mentis potenti, Ovid, Tr. 2. 139).

NOTES ON THE TROADES 243

660. Cf. 470-474, 550, 551.

663. responsa peragam: / vnll fulfill the oracle (639).

664. quae vendidistis: alluding to the ransom of Hector's body
by his father (485 n.). Note the number of vendidistis — destroy
the tomb which ye Greeks have sold f Quae, of course, is relative,
with btista for its antecedent.

666. Caelitum fidem: the protection of the gods; fidem Achillis,
on the other hand, may mean the good faith of Achilles as pledged
in restoring Hector's body for burial.

667. munus tuere: protect your father's gift, do not desecrate the
body which he gave up for burial.

669. deos . . . faventes: In II. 20. 38-40 Mars, Apollo,
Diana, Latona, Xanthus and Venus are named as taking the side
of the Trojans; while Juno, Minerva, Neptime, Mercury and
Vulcan favored the Greeks. In the sack of the city the temples
of all suffered alike (Vergil, A. 2. 763, 764), and in particular was
Minerva insulted by the attempt of Ajax Oileus to drag Cassandra
from her shrine. Up to this time, however, the resting-places of
the dead had been respected {husta transierat furor). Note the
force of the tense in fuerat and transierat.

673. Amazon: see 12 n. In Phaed. 399-403 the Amazons are
spoken of as having invaded Attica. The reference here may be
to that or to their attempt to relieve Troy, in the course of which
they may be said to have " laid low many of the Grecian (Argolicas)
troops." The gentle Andromache threatens to play the Am-
azon.

674. maenas: the maenades were female devotees of Bacchus,
famous for their wild orgies. With deo percussa cf . recepto maenas
insanit deo, Med. 383; and with entheo gradu cf. entheos gressus,
Med. 382.

676. armata thyrso: cf. H.F. 474 n. — expers stii: beside her-
self.

676. Talis is understood with the subject of ruam, correlative
to qualis, 672, 673.

678. To his attendants.

681. repellor: Andromache is thrust aside, and her outburst of
martial energy gives way to despair.

682. moUre terras: heave up the earth.

244 THREE PLAYS OF SENECA

683. vel umbra: even as a shade (ghost) you are equal to the task
— arma . . . ignes: in her frenzy she imagines that her desire is
reaUzed and that Hector is coming.

686-691. Spoken aside, to herself.

688. conditum: sc. natum — the enormous weight of the falling
tomb will straightway crush him, buried there.

690. ubicumque: any wheresoever.

691. ad genua: she prostrates herself at the feet of Ulysses,
clasping them, or his knees, with the hand that no one^s knees have
ever known before (for this mode of expressing submission and
appeal see Med. 247 n.).

696. mitius: sc. eo, correlative to quo in 695. For the senti-
ment cf . 336 n.

697. " He that hath pity upon the poor lendeth to the Lord,"
Proverbs 19: 17.

698. coniugis sanctae: chaste wife — Penelope.

700. Laerta: Latin form of the Greek Laertes, which latter is
found in Thy. 587 (cf. Andromacha, 533 n.). — iuvenis tuus:
Telemachus (cf. 593).

702. avum, patrem: Laertes, famous for his great age, Ulysses
for his imrivaled craft and wisdom. Her adjuration is, according
as you pity me, so may you see wife and father and son again.

704. hie: the child; so in 707. — ezhibe . . . roga: produce
the boy, then ask your boon.

706. The change of measure indicates the speaker's agitation,
and the passage, in anapests, has almost the efifect of a chorus. —
precede: come forth — addressed to Astyanax.

706. furtum: as in 501.

707. This, Ulysses, this helpless babe, is that source of terror to
the thousand ships/ (cf. 550).

708. submitte : to Astyanax — lower your hands, and with appeal-
ing touch entreat your master* s feet (691 n.).

712. Put away from your thoughts your royal ancestry (Horace
has atavis regihus, C. 1. 1. 1).

713. senis: Priam.

714. excidat: be forgotten (cf. 204 n.).

715. gere captivum: play the captive (cf. dedisce captam,
884).

NOTES ON THE TROADES 245

718 ff. Troy was taken and its king Laomedon slain on account
of his breach of faith with Hercules (7 n., 133 n.). Priam, then a
child {pueri regis), known as Podarces, was spared by the victor
(or, according to Apollodorus, was ransomed by his sister Hesione
and hence called Priam from irpiaadai, to ransom), and ascended
the throne.

721, 722. Cf. H.F. 30-42, and the enumeration of Hercules'
labors in H.F. 215-248 and Ovid, M. 9. 182-199.

723, 724. In quest of Cerberus (H.F. 46-56, 807-827).

726. hostisparvi: Priam (puen re^is, 718).

727. sedfi: imperative.

728. fide meliore: the treachery of Laomedon was proverbial,
and his name was applied as a term of reproach to his descendants
(e.g. Laomedontiadae, Vergil, A. 3. 248; Laomedonteae periuria
gentis, 4. 542).

729. Yhis it Wds to be taken by such a conqueror,

731. Will you emulate only his prowess {and not his
mercy) f

732. non minor . . . supplex: a suppliant (Astyanax) not in-
ferior to that suppliant {Priam) whom Hercules spared.

737,738. a. 529-535, 550-553. — crescit: see 534-545.

739. Shall this child fan to life these ruins of the city, now reduced
to ashes ? (cf . Ulysses' figure of the supposedly dead fire in 545). —
ezcitabit: cf. vires resumit, 545.

742. non sic: we Trojans do not yield while we have any strength
left to harm our foes.

743. spiritus: pride (so animos, 745). — genitor: Hector — does
the thought of his father give him pride f But surely he was dragged
behind his chariot by Achilles.

747. Let the yoke of a slave be placed upon his highborn neck;
let the privilege of being a slave be granted him — does any refuse
this to a prince f Note the antithesis between famulare and nobili,
servire and regi.

761. Andromache is unfair to Ulysses here, for he had courage
as well as cunning (see 757).

763. etiam Pelasgi: e.g. Iphigenia (249 n.), Palamedes (Vergil, A.
2. 82), and Ajax, who killed himself in a fit of insanity after being
defeated by Ulysses in the contest for the arms of Achilles (Ovid,

246 THREE PLAYS OF SENECA

M. 13. 382-^98). — vatem praetendis: do you screen yourself behind
a seer and the blameless gods ?

764. This is the deed of your own hearty i.e. you have controlled
the response you quote. Vergil (A. 2. 122 flf.) makes Sinon
ascribe to Ulysses a similar mastery over Calchas.

766. nocturne miles: brave only in secret attack (cf. Ovid, M. 13.
100, quoted in note on 38).

766. No other would dare (i.e. be shameless enough) to attack an
infant in the light of day ; or, This is one deed you dare do alone,
without Diomede's help (see 38 n.).

758. non vacat: there is not leisure.

769. ancoras . . . legit: is weighing anchor (cf. naves deductas,
652 n.).

762. miser eri: so far as to spare the child.

766. implere: used as a middle.

767. summum: last (see 418-425).
768-770. Cf. 700-702.

770. demens: a doubtful reading, repeated from 768; MSS.
have mediosy while Leo suggests toties.

774. caedes: the verb. — terga: impljdng their cowardly flight.
— non Pyrrhum trahes: in retaliation for his father's treatment of
your father's body.

776. tenera, parva: agreement may be determined by scansion.
For the thought cf. H.F. 1126 n.

777. sequeris: tense is shown by scansion. — lustri: a Roman
word and idea (cf. 782 n.).

778. referens: reproducing. — sollemne . . . sacrum: the
Lusus Troicus or Ludus Troiae was very popular in the time of the
early Empire at Rome. It consisted of an exhibition of skillful
riding by boys or youths of the noblest families (see Vergil's
description, A. 5. 545-603).

780. The reference is to the wild worship of Cybele, which had
its origin and chief seat near Troy, and in later times was intro-
duced at Rome. The spirit of it is well reproduced in the Attis
of Catullus (C. 63).

781. flexo . . . comu: while the curving trumpet echoes back
the stirring measures.

782. barbarica: Phrygian. To the Greeks, and to the Romans

NOTES ON THE TROADES 247

who copied their literature, barbarus, barbaricus, etc., meant simply
not Grecian. Of course the word is hardly appropriate iq the
mouth of a Trojan woman.

783. So inglorious a form of death was worse than the cruelties
of war.

786. muri videbunt: the towers on the walls of Troy had been a
favorite vantage point for those who would watch the combats in
the plain beneath (II. 3. 145-153; Ovid, M. 13. 415-417 — "Those
towers from which Astyanax used often to see his father, pointed
out by his mother, as he fought for himself and his ancestral king-
dom"). It was from the wall that Hector's parents had seen his
fall, and there Andromache had fainted at sight of his body
dragged away by his victorious enemy (II. 22. 462 fif.). Here, by
an easy figure, the walls themselves are said to see. — rumpe . . .
fletus: Ulysses forgets the promise implied in his words arbUrto
tuo implere lacrimis, 764.

788. paucas: sc. lacrimaa. — condam: close.

789. viventis: sc. pueri. — occidis: .said to her son.

790. expectat: awaits you in the land of the dead. — tua: the
Troy that is worthy of you; all who survive are slaves (cf. liber os
Troas),

792. The only speech of Astyanax. His fellow-victim, Polyxena,
does not speak at all.

793. cassa praesidia: appositive to manus.

802. perfer: carry to your father. — si . . . priores: in Oct. 138
it is declared that "To the dead, among the spirits, remains no
care of their offspring. " — flammis: the funeral fire, which con-
simied the body.

804. Andromachen: see 533 n. and cf. Andromacham, 576.

806. redit Achilles: i.e. his ghost (181-186). The thought is,
If Achilles has been able to return, why may not Hector f (cf . 433 n.,
434 n.). — redit: for rediit. — sume . . . comas: cf. laceros
crines excipe, 800. The reference is to the tearing of the hair in
grief (99, 100). — iterum: now, over our son, as formerly at your
death.

807. viri: my husband.

809. parenti: Hector. — hanc . . . vestem: as a memento.

810. tumulus . . . meus: cf. mea membra, 414,

248 THREE PLAYS OF SENECA

811. siquid . . . ore: if any of his ashes remain in this gannentt
I will search it out with my kisses.

813. abripite: to his attendants. — moram: with a double
reference — to the actual delay, which he is impatient to see ended,
and to Astyanax as the cause of the delay (552).

Scene 4 (w. 814-860). — The chorus wonders to what part of
Greece each of the captive women will be dragged, and prays that
the lot may not send any to Sparta, Mycenae or Ithaca, the homes
of Troy's worst foes. The measure is an irregular arrangement of
sapphic and adonic verses.

814. vocat: the subject is not only sedes, but each nominative
place-name in 815-843. The whole is little more than a list of
names, taken with the exception of four — Tempe, Peparethos,
Eleusin and Pisae — from the Homeric catalogue of the ships
(II. 2. 484-789). A similar choral passage, much less extended, is
met in the Hecvba of Euripides (444-481). — captas: sc. Troadas.

817. Phthifi: Ionic Greek form of Phthia, the birthplace of
Achilles — hence viros tellus dare militares aptior,

818. lapidosa Trachin: cf. a^pera Trachin, H.O. 195; a village
near the most rugged portion of Mt. Oeta, said to have been founded
by Hercules.

819. maris . . . domitrix: it was from lolcos that the Argo
sailed, the first Greek vessel to attempt a long sea voyage (cf.
Med. 596, where Jason, its captain, is characterized as mare qui
suhegit).

820. Crete, early settled and thickly populated, is often called
"the land of a hundred cities" (see H.F. 230 n.). This, of course,
as well as "the thousand ships" (27 n.), is merely a round niunber,
like the trecenti so often used by the Romans. In the Odyssey the
number of cities is given as ninety.

821. Gortynis: Gortyn, Gortyna, Gortyne (all these forms are
met) was a Cretan town. As its introduction here after the whole
island has been characterized seems awkward, it has been con-
jectured that G3rrtone was meant, which, like Tricce in the same
line, was a Thessalian town. Both are mentioned by PJiny (N.H. 4)
in his account of their respective regions.

NOTES ON THE TROADES 249

822. Mothone : this is hard to explain. There was a Mothone
in Messenia, but it was not the home of Philoctetes (137 n.)
and so did not send the bow twice for the ruin of Troy (824).
Another reading is Methone, described in II. 2. 715-719 as the
home of Philoctetes, but in the first place its initial syllable is long
and will not fit the measure, and in the second place it was nowhere
near Mt. Oeta. Gronovius suggested making the question end
with this line and a new one begin with quae.

826, 827. Olenos, Pleuron: towns in Aetolia. — virgini . . .
divae: Diana. Oeneus, king of Calydon, the portion of Aetolia
in which these towns stood, neglected this goddess while ofiFering
sacrifice to all the others, and in punishment his lands were ravaged
by a monstrous boar (845), whose capture was the object of the
famous Calydonian himt, described at length by Ovid (M. 8.
260-439).

828. Troezen: situated on a fine bay of the Aegean, hence
maris lati sinuosa.

829,830. regnum . . . superbum: Prothous was leader of the
Magnesians, in whose territory Pelion stood, against Troy. —
tertius . . . gradus: the third step in passing from earth to heaven.
The Titans of the line of lapetus attempted to dethrone Jupiter,
who had succeeded his father Saturn, and in order to scale the
heavens piled one mountain upon another to make a ladder (see
note on H.F. 972).

830-836. A digression suggested by the fact that on Mt. Pelion
the terrible Achilles had received his early training (see H.F. 971 n.).

831. antro: in Statins, Ach. 1. 106, we read that "A lofty hall
penetrates the mountain and supports Pelion on a long arch.
Part was excavated by hand and part was the work of time."
In this cave dwelt the centaur Chiron, who was tutor of both
Hercules and Achilles. lam trucis pueri refers to the latter.

836. Carystos: a town of Euboea, noted for its marble (varii
lapidis).

838. Chalcis: also in Euboea, at the narrowest part of the
channel Euripus, whose current, flowing swiftly and changing
direction repeatedly under the influence of wind and tide, was
believed to ebb and flow seven times each day (see note on H.F.
378 for fuller explanation).

250 THREE PLAYS OF SENECA

839. Calydnae: a group of islands near the coast of Caria,
especially exposed to winds from all directions.

840. Gonoessa: called by Homer a/xeii^, lofty y and so assailed
by every wind that blows.

841. Enispe: a town of Arcadia, called by Homer "wind-swept."

842. Peparethos: there is an island of this name ofif the coast
not of Attica but of Thessaly. Some have explained the name here
as that of an Attic deme instead of the island.

843. Eleusin: not in the Homeric catalogue, but probably
selected in place of its old and successful rival, Athens, as repre-
sentative of Attica. It was the seat of the celebration of the
mysteries of Ceres (cf. notes on H.F. 300, 844). To reveal the
Eleusinian mysteries to any but a regular initiate was an offense
against gods and men (hence sacris tacitis),

844. The abrupt change of construction here suggests the pos-
sible loss of one or more verses. Hitherto the geographical names
have been nominative, but from here on are accusative. Scaliger
attempted to supply the thought-connection thus: Quove iactatae
pelago feremur exulea ? ad quae loca, quas ad urhes f — Tossed on
what sea shall we he borne as exiles — to what places, to what cities f
This will make Salamina, etc., appositives to urbes. — Salamina:
the island near Athens, as the Cyprian city was not founded till
after the Trojan war. — veri: a doubtful reading. As printed
Aiacis veri would mean the greater as distinguished from the lesser
Ajax, son of Oileus. Veramy which has been suggested, would
agree with Salamina and mean the original as contrasted with the
later Salamis, in Cyprus. This would involve an anachronism in
the speech of the Trojan chorus.

846. fera: the great boar (see note on divae, 827). — Calydona:
ace. sing.

846. quas . . . terras: Thessaly. — Titaressos: an affluent of
the Peneus. Its current was less rapid than that of the larger
stream {segnibiis undis). — subiturus aequor: as the Titaressos
entered the Peneus but a short distance from its mouth this may
be understood as meaning soon to enter the sea, which is suflSi-
ciently commonplace. A more satisfactory sense is suggested by
the old belief that it had its source in the infernal world (Lucan,
Phars. 6. 378: Hunc fama est Stygiis manare paludihus amnem,

NOTES ON THE TROADES 251

The story is that this stream flows forth from the Stygian waters), and
is destined to plunge beneath the sea in returning.

848. Bessan et Scarphen: towns in Locris. — senilem: belong-
ing to Nestor, who was noted for his great age.

849. Pharin: in Laconia. — Pisas: Pisae or Pisa, situated near
EUs and an old rival of that city for the honor of celebrating the
Olympian games. It is mentioned often in that connection, either
with Elis as here, or as a substitute for it (e.g. Thy. 123; Juvenal
13. 99). — lovis: belonging to Jupiter, whose temple, containing
the famous Phidian statue of the Olympian Zeus, stood near the
athletic field. — coronis: the prizes took the form of wreaths.

860. Elida: Elis, the scene in classic times of the Olympic
games (hence coronis claram). Of course all this reference by
the chorus to the Olympic games is anachronistic.

861-^67. Let it be any land but Sparta (the home of Helen and
source of all the woes of Troy), or Argolis (the realm of Agamemnon,
who commanded the besiegers), or Ithaca (whence came the cunning
Ulysses, most dreaded and hated of all). — procella mittat: let the
wind bear us where it will.

863. dum . . . absit: conditional. — luem: either destruction
in the abstract, or Helen as the concrete cause (cf. lues, 892,
applied to the same Helen; luem, Med. 183, applied to Medea).

864. Sparte: Sparta, in its Greek form.

866. saevi Pelopis: father of Atreus and so ancestor of the two
Greek leaders, Agamemnon and Menelaus. His particular act of
perfidy and cruelty was the killing of Myrtilus, son of Mercury,
who had helped him win his bride, Hippodamia.

866. Neritos, Zacyntho: two islands near Ithaca and employed
to suggest it and its king, as was Cephallania in 518. — brevier:
smaller.

867. dolosis: the stock epithet of Ulysses, here and often applied
to places and things associated with him.

869. Hecuba: the ultima is long, either arbitrarily so in thesi
or from retaining the quantity of its Greek form 'E/ca/SiJ.

252 THREE PLAYS OF SENECA

ACT IV

Scene 1 (w. 861-887). — Helen comes to lead Polyxena away
on pretense of marriage to Pyrrhus.

Helena: according to Euripides (Hec. 218) it is Ulysses who
brings the news to Hecuba.

861-^63. Whatever marriage , fatal and joyless, involves mourn-
ing and bloodshed, deserves Helen for its priestess. — ever sis quoque:
even when overthrown.

864. Pyrrhi toros: for Polyxena (see 871-887).

866. cultus, habitus: dress, costume (cf. cultu, 362 n.; 1132).
For the bride of a Greek general this naturally would be Grecian
(Graios).

868. fallatur : let her be lured to death under pretext of marriage. —
ipsi: Polyxena. — levius: a less evil than otherwise she would
suffer. In 967, 968, her sisters, doomed to live, are represented as
envying her.

869. mors, mori: predicate and subject respectively with est.
Note the alliteration.

870. iussa: nom. sing. — why, when bidden, do you hesitate to act t
The fault of a crime that is forced recoils upon its author. This is a
comfortable evasion of responsibility, with which may be com-
pared the chorus' prayer for Jason in (Med. 669: Parcite iusso —
Spare him; he acted under orders. In cessas the speaker addresses
herself.

872. virgo: Polyxena, who here is addressed. Euripides
(Hec. 175-437) assigns her a spirited part in the dialogue between
herself and her mother on the one side, and Ulysses, who has
come to lead her away, on the other; in this play she does not speak
at all.

876. sospes: Troy in her best days (lit. when safe) could not give
you such a match, nor could Priam.

876. decus: Achilles had been and Pyrrhus now was the glory
of the Greeks. There is a double sense running through this
passage. On the surface Helen's proposition appears to be that
Polyxena shall be wedded to Pyrrhus; yet all die says is equally

NOTES ON THE TROADES 253

true on the supposition that the captive is to become the bride of
the dead Achilles.

879. deae: the Nereides, sisters of Thetis, the mother of
Achilles.

882. Peleus, Nereus: the fathers respectively of Achilles and
Thetis.

883. PtU off your mourning, don your festal garb.

884. dedisce captam: unlearn the rdle of captive (cf. gere captv-
vum, 715 n.). — deprime: smooth, arrange the hair, disheveled in
mourning.

886. crinem . . . distingui: in allusion to the Roman custom
of parting the bride's hair into six locks (Festus, p. 339: Senis
crinibv^ nubentes ornantur — Brides are adorned with six locks of
hair; Ovid, F. 2. 560: Comat virgineas hasta recurva comas — The
hooked pike dresses her maiden locks; cf. Browning, Sordello,
Book II: —

" A Roman bride, when they'd dispart
Her imbound tresses with the Sabine dart,
Holding the famous rape in memory still,
Felt creep into her curls the iron chill."

patere: imperative.

886. excelso magis: more exalted than that of Troy.

Scene 2 (w. 888-954). — To Andromache's reproaches and
laments Helen replies that her own lot, hated by all and forced to
mourn in secret, is the hardest. The former then renews her
lamentation.

888. Though Helen had addressed Polyxena it is Andromache
who replies.

889. gaudere: a marriage was regarded as an occasion essen-
tially festive and joyous, with which death and mourning were
utterly incongruous. Hence a wedding amid the ruins of Troy
would be out of place, an aggravation of their misery, and might
fittingly be characterized as a new kind of marriage (novis thala-
mis, 900; cf. Med. 743, and nuptias novas, Med. 894).

890-892. Note the keen irony.

254 THREE PLAYS OF SENECA

892. lues utriusque populi: the bane of both Greece and Troy
(cf . Troiae et patriae communis Erinys, applied to the same Helen
by Aeneas, Vergil, A. 2. 573).

896. The ancients believed that if the body were not buried
the soul must stray about in outer darkness for a hundred years
before it could be admitted to its proper place in the other world
(Vergil, A. 6. 327-330), and so inhumata suggested a greater horror
to them than it would to us. — haec . . . tuus: your own marriage
(to Paris) has sown these bones broadcast (cf. Helen's own expres-
sion in 861-863).

897. dimicantes . . . vires: you joyfully beheld your two hus-
bands fighting. The reference is to the combat between Menelaus
and Paris, described in II. 3. — prospiceres: Heleii viewed the
combat from the city wall near the Scaean gate (see 785 n. ; cf . H.
3. 145-153, 383, 384).

898. incerta voti: undecided as to your desire^ i.e. for whose vic-
tory she should wish.

900. igne: in post- Augustan Latin this form prevailed over the
earlier igni. It here depends on opus. — thaiamis no vis: see
889 n. — Troia praelucet: no need of specially prepared torches
(taedis, face, igne) when the whole city, burning, lights up the
bride's path.

902. planctus . . . sonet: these expressions of grief would
celebrate fittingly (digne) the marriage proposed. Distinguish
the sense of planctus and gemitus.

903-906. Cf. Ulysses' words, 545, 546.

906-926. A fine bit of special pleading, in which Helen makes
out that her own lot is the hardest of all and that she herself is
wholly innocent (cf. Euripides, Tro. 920 ff.).

906. / can maintain my cause, even before a hostile judge. — iudice
infesto: concessive abl. abs. The iudex, of course, is Andromache,
who had received Helen's proposal with such sarcasm.

907. graviora passa: cf. Aeneas' address to his men, O passi
graviora, Vergil, A. 1. 199.

908. occulte: you can mourn your dead; I dare not mourn my
Paris (cf . Octavia's lament that she dares not show her grief for
father and brother, Oct. 65-69; Tac. Ann. 13. 16. 7).

910. patior . . . captiva: / have borne this yoke (of slavery)

NOTES ON THE TROADES 255

long, a captive for ten years. Annis is abl. of time within
which.

913. gravius timere: had as it is to lose one's native land, it is
worse to fear it as I do. — levat tanti mail comitatus: cf . our prov-
erb, "Misery loves company," in a slightly different sense (cf.
lOOJ ff.).

916. me . . . dominus: Helen complains that she was deprived of
the pleasant suspense (incerto . . . pependit) of being assigned to a
husband by lot, which the Trojan captives had enjoyed (67, 974),
but had been fated from the first to return to Menelaus.

919. Spartana puppis: of course it was in Paris' ship, not Spar-
tan but Trojan, that Helen had been brought to Troy; and she
had come undeniably as praeda (920, 922; cf. captiva, 911),
though certainly as the willing prize of her lover.

921. donum: appositive to me, understood as the object of
dedit. — iudici: Paris, whose award of the prize of beauty to
Venus (victrix dea) and her gift to him of Helen had led to the war
and the downfall of Troy (cf. 66 n.).

922. ignoscepraedae: sc. mihi — forgive me, the passive prize. —
iudicem iratum: Menelaus. Euripides (Tro. 862 ff.) represents
Menelaus as seeking Helen after the capture of the city with the
avowed intention of giving her up to death as the cause of all the
sufferings of the Greek besiegers — and as relenting when he came
under the influence of her charm.

924. hanc . . . flecte: leave off your mourning for a little and
persuade this maiden (Polyxena) to accede to my proposal; I can
scarce restrain my tears at the thought of my own misfortunes,
and so cannot argue the matter with her myself.

927. fare . . . nectat: Andromache sees through Helen's
assumption of sympathy and bluntly demands that she tell her
errand and reveal what new mischief Ulysses has devised.

929. Is the maiden to share the fate of my Astyanax f (see 368-
370,621, 1068-1117).

931. latere scisso: of sheer side — the sheer-faced cliffs which
Sigeon rears, as he looks forth from his shallow bay upon the deep.

932. Sigeon: the penult of this Greek name is property long
(cf. Slgeis, 75), which gives us a spondee in the fourth foot, in
violation of all the laws of the iambic trimeter (cf . vincendo^ 264V

256 THREE PLAYS OF SENECA

In pure Latin words a vowel before another is usually short, and
it may be that the poet "felf the e to be so here. As a rule
Seneca's verse is very accurate.
934. quam . . . Pyrrhus: than that Pyrrhua should he, etc.

937. falli: appositive to hoc unum. — paratas: sc. noa.

938. Helen here throws oflF the mask and with real or pretended
feeling reveals the plot of which she is the agent (861-867). — in-
terpres: Calchas.

939. lucis invisae: hated life (cf. Vergil's Itbcem perosi, 6. 435).
941. occidere: the i is short. — comitantem: agrees with me,

938.

946. animus: of Polyxena (cf. 1146-1152, where her courage in
death is described). — necem: doom.

946. cultus decoros: the becoming garb. With 946, 947, cf.
883-885 n.

948. illud, hoc: the marriage with Pjnrhus, and actual death.
Note the accurate use of the demonstratives.

949. Andromache's* attention is attracted to the aged Hecuba,
who now approaches. — luctu . . . audito: abl. abs. — at word of
this new grief.

952. quam: best taken with levi — on how slight a thread hangs
the frail life.

963. minimum: a very little thing, i.e. the snapping of the
thread.

964. prima . . . fugit: death is the first to flee.

Scene 3 (w. 955-1008). — Hecuba and Andromache lament the
hapless fate imposed upon them by the fall of Troy and the issue
of the lot. Pyrrhus enters and drags away Polyxena, followed by
her mother's cry of despair.

966. rebellat: does he still renew the war? — o . . . levem:
too light the hand that smote Achilles, if he still return to plague us
(347 n.).

967. cinis, tumulus: cf. Hecuba's words in Ovid, M. 13. 503:
Cinis ipse sepulti \ in genus hoc saevit; tumulo quoque sensimtts
hostem — The very ashes of the buried foe are fierce against our race;
from the tomb itself we have felt our enemy.

958. turba: see 32 n., and cf . gregem, next line.

NOTES ON THE TROADES 257

960. matrem: motherly care and affection. — haec: Polyxena,
as in 924, 962, 971. — est super: for superest, as in 490, 507, 1068.

963 flf. She calls upon her soul to flee away by the gate of death
and spare her (remitte) the sight of this last cruel deed — the mur-
der of her daughter.

970. hue et hue: with sparsas (cf. the chorus, 814-860).

972. invidebis: sc. huic. — si: almost temporal in its force.

974. uma: see 57, 58, and cf. sorte, 917. In the Troades of
Euripides (230 fif.) it is the herald Talthybius who annovmces the
issue of the lot to the captives.

976. Seyrius iuvenis: Pjorhus (339 n.).

977. furor . . . Phoebusque: in reference to her well-known
inspiration and supposed madness (34 n.), which it is assumed will
exempt her from the common fate.

978. regum . . . reetor: Agamemnon (cf. Pyrrhus' phrase,
regum tyranne, 303). In all accounts Cassandra is represented as
having fallen into Agamemnon's hands on this occasion, and
having shared his fate at Mycenae.

967. nata: Polyxena. — quam vellet: how Cassandra and
Andromache would choose your marriage {to the dead) in preference
to that assigned them by the lot! (cf . Vergil, A. 3. 321-323 : " O maiden,
happy above all others, who wast bidden to die at the enemy's
tomb, not subject to the outcome of the lot ! '')•

980. nolenti brevis: two words which give a peculiarly brutal
tone to the speech, as the one implies that Hecuba had been forced
upon her future master and the other reminds her of her worn-out
life. — brevis: short-lived.

982. regibus reges: has made princes the slaves of princes. Of
course the word means royal personages in general, women as well
as men (Med. 56).

985. matrem . . . miseet: gives Hecuba to the man who had
won the arms of Achilles, her son's slayer. After Achilles' death
Ulysses and Ajax argued their respective claims to his armor,
and the former won (Ovid. M. 13. 1-383).

991. sterilis . . . meos: barren Ithaca does not contain my
tomb, i.e. I am not to be buried in Ithaca. The common story of
her fate is that she was transformed into a dog before the Grecian
fleet left the Chersonesus, leaped into the sea, and was drowned

258 THREE PLAYS OF SENECA

near a point of land which from that circumstance was knowTi
thereafter as Cynossema, "the sign of the dog" (Ovid, M. 13. 567).

994. me . . . sequentur: my Ul fortune (cf. mea . . . malaf
996) shall follow me and involve all those about me (cf . 1006-1008).
non . . . mare: a prophecy of the disastrous storm that befell
the Greek fleet on its homeward way (Ag. 460-578).

After 995 there appears to be a break in the sense, due probably
to the loss of one or more lines. Leo attempts to restore the gen-
eral meaning by supplying the line, sociosque merget, obruent
reducem quoque. If this be adopted we must make reducem agree
with te (Ulysses) supplied, and take the nouns in 996 as subjects
of obruent. The whole then will read. The sea shall rage and over-
whelm your comrades, and war and fire and my fate and Priam's
shall overtake you, even when restored to your home.

997. ista: sc. mala. — hoc: explained by its appositive, the
sentence in 998: Meantime this serves iristead of vengeance: th/tt
I have fallen to you in the drawing of lots, and so prevented your
securing a more desirable prize (cf. praeda vilis, 58; praeda brevis,
980).

999. Pyrrhus enters in quest of Polyxena, to complete the sacri-
fice.

1001. reclude . . . pectus: cf. Vergil's pectus mucrone recludii,
A. 10. 601; reserat . . . pectora, Oct. 367). With pectus sc. meum.

1002. coniunge soceros: reunite Achilles* parents-in-law, i.e., As
you have slain this maiden's father (310-312; Vergil, A. 2. 550-558),
so slay her mother now. The word soceros is used of the same per-
sons, Priam and Hecuba, by Vergil (A. 2. 457; cf. Med. 106). —
mactator senum: the same taunt is uttered by Agamemnon, 310-
312.

1003. hie: this blood of mine. — decet: the very rare personal
use of this verb. — abreptam: sc. Polyxenam. The change of
thought is abrupt, but may be explained by the intense emotion
of the speaker.

1005. vobis: you Greeks.

1006. his . . . aequora: a sea cruel enough and trecu:herous
enough to match your cowardly murder of this maiden.

1008. meae . . . rati: sc. accidat — whatever befalls my ship,
when I am carried away as a captive, may the same befall the whole

NOTES ON THE TROADES 259

fleet. The allusion is to her prophecy (992) that she would not
live to see Greece, and amounts to a prayer for destruction upon
her foes.

Scene 4 (w. 1009-1055). — The chorus finds comfort in the
thought that the calamity of the Trojans is universal, none faring
better than his neighbor. The measure is sapphic, with one
adonic.

1CX>9. For the sentiment cf. 913, 1016 and notes — To a mourner
the sight of a nation of mourners is pleasant^ that is, misery loves
company.

1011. Tears which a multitude unite in shedding sting less
sharply.

1016. ferre: depends on recusal. The younger Pliny, in de-
scribing his experience during the eruption of Vesuvius, a.d. 79,
utters much the same sentiment : " I might boast that I uttered no
groan, no cowardly word, amid such perils, if I had not believed
that all things were perishing with me — a pitiful but powerful
solace in mortal peril'' (Epist. 6. 20 fin.).

1018. The imperatives in this and the following verses suggest
a conditional idea, with credet and surgent as apodoses.

1020. centum: with huhus. Supply eos as object of removete
and antecedent of qui.

1022. iacentes: downcast.

1024. posito: dat.

1027. singulari: one alone as compared with the thousand
vessels of 1030.

1029. aequior: with greater equanimity.

1032. terris: poetic dat. of place whither.

1034. Hellen: ace. sing. For the story see artt. Phrixus and
Helle in Classical Dictionary.

1035. gregis due tor: the ram of the golden fleece.

1037. iactum fecit: like iacturam fecit — threw overboard.

1038. tenuit: restrained. Phrixus, having suffered bereavement
which left him alone, had mourned; but the two survivors of the
deluge, being together in misfortune, did not.

1039. Pj^rha: though nom., this word retains its long a from
the Greek. — vir: Deucalion. The succession of two verses of

260 THREE PLAYS OF SENECA

like ending here probably is imitated from Ovid's account of the
situation of Deucalion and Pyrrha in M. 1. 361, 362: —

Namque ego, crede mihi, si te quoque pontus haberety
te sequereTf coniunx, et me quoque ponttts haberet.
1042, 1043. The fleet, driven hither and thither, vnll break up this
assemblage of mourners (questum), and scatter vnde our tears. —
hue, illuc: possibly with sparget, better with agitata,

1044. Some editors have regarded nautae as a second subject of
sparget. To avoid the awkwardness of the sense thus made, Leo
has suggested supplying some such line as this: Caede cum porvtus
fuerit piatus — When the sea has been appeased by the slaying
of Astyanax and Polyxena. Nautae then becomes the subject of
prenderint. — tuba: case can be determined by scansion.

1045. simul : practically equivalent to cum (cf . simul his, Horace,
S. 1. 10. 86). — properante remo: abl. abs. The sense is, When the
sailors shall steer out irvto the deep, with wind and oar both aiding,
and the shore slip away from our sight, etc.

1047. miseris: sc. captivis.

1049. When even lofty Ida shall sink beneath the horizon.

ACT V

Scene 1 (w. 1056-1179). — A messenger annoimces that he
bears woeful tidings. In response to Andromache's command he
describes in detail the death of Astyanax and Polyxena; Hecuba
gives voice to her hopeless woe; and the captives are ordered to
embark for exile in Greece.

1058. quid: equivalent to utrum, which of the two, as is shown by
the degree of prius. — referens: relating.

1059. tuosne: sc. luctus. The first tuos is addressed to Androm-
ache, the second to Hecuba {anus).

1061. sua: sc. dodes. — tantum: only.

1062. miser: predicate with the first est; whoever is unfortunate
is Hecuba's.

1063. The double sacrifice (duplex nefas, 1065) commanded by
Calchas has been consummated. In this instance Seneca has
followed the Greek poets and complied with the law enunciated

NOTES ON THE TROADES 261

by Horace forbidding the representation of such unnatural scenes
on the stage (see note on H.F. 992).

1064. generosa: with noble spirit, such as befits one highly bom.

1067. tractare: to dwell upon.

1068. una: cf. turre sola quae manet, 622. — magna: with
Troia.

1069-1071. Cf. 785n.

1070. pinnis: pinnacles or battlements (cf. Vergil, A. 7. 159).
— arbiter: sitting as witness of the war.

1072. nepotem: Astyanax.

1073. face: torch, with which attempts were made to fire the
fleet (cf. facibtLS, 445 n.).

1076. cautes: a precipitous mass of stones — a ruin.

1078-1087. A very natural picture of a crowd eager to see what
is going on. — his, his, hunc, ilium, hunc, iUe, iUe, aliquis: several
groups or individuals in the crowd.

1079. aciem: a view.

1081. Stood on tiptoe (lit., balanced tiptoes). — erecta: either in
its literal sense of erect, stretched to their full height, or, figuratively,
cUert, atterit.

1085. imminens: with saxum.

1087. ferus: unfeeling.

1088. plena: thronged with people.
1090. trahens: leading.

1098. superbe: the reading is doubtful. One conjecture is
superbus, another superbit. The latter has the advantage of com-
pleting the sentence and the formal, balanced comparison so
characteristic of the Latin. Of course it is possible to retain the
adverb and supply some such verb as stetit or se tulit. Translate,
bore himself proudly.

1100. qui fletur: Astyanax; he alone of all the multitude re-
frains from tears. — fatidici . . . vatis: Calchas.

1103. in . . . regna: cf. 158: Priam, passing away, bore his
kingdom with him. The verse is incomplete, as if interrupted by
the exclamation of the victim's mother.

1104-1106. What barbarian, in the uttermost parts of the earth!
— sedisincertae: gen. of quality, nomadic (cf. Scythiae multivagas
domx>s, H.F. 533).

262 THREE PLAYS OF SENECA

1106. gens: probably referring to the Hyrcani, who from their
remoteness were often taken as typical barbarians (cf.Hyrcanae
tigresy Vergil, A. 4. 367). — Busiridis: Busiris, the Egyptian king who
offered human sacrifices to Jupiter and finally was slain at his own
altar by Hercules (H.F. 484 n.). Yet not even he, cruel as he was,
murdered young children as the Greeks were doing. The same is
said of Diomede in 1108.

1108. parva . . . membra: bodies of children. For the tale of
Diomede and his flesh-eating mares {gregibus suis) see H.F. 226;
Ovid, M. 9. 194-196. This of course is not the Diomede men-
tioned in 38 n., but a mythical king of Thrace.

1109. tuos: apostrophizing Astyanax. For the supposed neces-
sity of burial see 895 n.

1113. patris notas: see 461-468.

1117. sic . . . patri: so, too, is he like his father ! The body of
Hector had been disfigured by being dragged behind his con-
queror's chariot (189 n.; 744), and now his son is crushed and
mutilated too.

1118. ut: temporal.

1119. Wept over the wrong themselves had done.

1120. aliud f acinus: the sacrifice of Poljrxena. Euripides
(Hoc. 35) lays the scene of this event in the Thracian Chersonesus,
where Achilles' ghost appears and demands it as the price of the
fleet's freedom to proceed on the voyage already begim. With the
narrative here given cf. that in Eur. Hec. 516-580, where Tal-
thybius the herald relates it to Hecuba (cf. also Ovid, M. 13.
449-480, where Euripides is followed closely).

1123. adversa: neuter plural, object of cingit — the parts facing
toward the city are bounded by the plain and valley. Another
reading is aversa, meaning the opposite side from the sea.

1130. suum: i.e. of one of their own people (cf. mea membra,
414).

1132. thalami more: as ordered by Calchas (362-365, 865).

1133. pronuba: a matron of honor who walked with the bride
in the marriage procession. — Tyndaris: Helen, as in Vergil, A. 2.
569 and often.

1134. Hermione: Helen's daughter. The prayer is that Helen's
own return to her husband, and her daughter's marriage, may be

NOTES ON THE TROADES 263

as sad as this scene. Hennione was married to Psnrrhus, though
betrothed to Orestes, son of Agamemnon. Pyrrhus was killed by
his disappointed rival, who then married Hermione.

1136. viro; Menelaus (cf. dominus, 917).

1137. ipsa: Polyxena; for her behavior cf. Eur. Hec. 541-568;
Ovid, M. 13. 453, where the scene is described at some length.

1138. pudore: modesty. — fulgent: glow,

1144. peritura: neuter plural. We should expect perituram,
but the meter forbids. It may have a general sense, Most men
praise the things that are passing away^ Blessings brighten as they
take their flight (cf . Horace, C. 3. 24. 30, " Alas, we hate virtue
when it is with us, and mourn it when taken away")-

1146. vagae . . . vices: vicissitudes of fortune.

1146. animus: of the victim (cf. 945; Eur. Hec. 342-382,
541-568). It may be, however, a general statement, Such courage
affects men always.

1148. mirantur, miserantur: note the assonance.

1160. iuvenis: nom., Pyrrhus. — patemi: of Achilles.

1164. est: the subject is the composite idea Pyrrhus ad caedem
piger.

1167. moriens: concessive, as is shown by tamen. — nee . . .
adhuc : nondum .

1160. uterque coetus: Greek and Trojan.

1161. mIsSre: uttered, clarius: more loudly, victor: with col-
lective sense.

1164. saevus: not in absorbing the blood but in requiring the
sacrifice.

1166-1168. Intense irony and sarcasm are seen in the reiteration
of the idea in tuti and secura, and in the antithesis of concidit virgo
ac puer and helium per actum est (cf. 705 fif.).

1169. ezpuam: for exspuam — put from me with loathing.

1171. The Florentine MS. {Etruscus) has solam, which is good
grammatically but metrically impossible (cf. peritura, 1144).
Gronovius makes the question end with me, taking sola with mors.
As it stands we may read, Shall I mourn all, or, being left alone,
bewail myself? — votum: appositive to m^rs.

1172. infantibus, virginibus: she is thinking of Astyanax and
Polyxena.

264 THREE PLAYS OF SENECA

1175. quaesita: in agreement with mora, as are violenta and
saeva above.

1177. qtiam prope . . . steti: how near I stood to Priam,
when he was slain — yet death passed me by.

1179. movet: in its rare intransitive use (cf. Livy 35. 40. 7).

THE STORY OF MEDEA

The introduction of the sorceress Medea to the western world is
traceable ultimately to the flight of Phrixus and his sister Helle
from Orchomenus. They were carried on the back of a flying ram
with fleece of gold. Helle fell off and was drowned in the strait
now known as Hellespont, but Phrixus rode safely on to Colchis, at
the eastern end of the Euxine (Black Sea), where the ram was
sacrificed to Jupiter and its fleece nailed to a tree.

At the Theban city of lolcos the aged king Aeson had been
displaced by his brother Pelias, to the exclusion of his son Jason.
The latter protested, and Pelias promised to restore the throne to
the rightful heir if the latter would find and bring him the golden
fleece. A vessel, the Argo, was built imder the direction of Pallas,
was manned by fifty heroes, and under the captaincy of Jason set
out on its long voyage. After many perilous adventures they
reached Colchis and demanded the fleece.

The Colchian king Aeetes did not refuse outright, but imposed
certain conditions — that Jason should harness a team of fire-
breathing bulls and with them plow a piece of land; should then
sow a quantity of dragon's teeth and garner the crop that should
result. The very first condition seemed impossible, for the fiery
breath of the bulls was deadly to any mortal.

At this point the king's daughter Medea enters the story. She
saw the young leader of the Argonauts and loved him at sight.
Mistress of all magic, she made and gave him an ointment to protect
him from the fiery exhalations, and then advised and aided him
at every step till he had fulfilled all the conditions. It still re-
mained to secure the fleece, which was guarded by a sleepless
dragon. This was drugged by Medea, and the Argo sailed away
with its prize and the princess as well. Her father followed, but
Medea had taken her young brother along and now she killed him
and cut his body into pieces, which she threw one aftcY ^^Nss^Jwet

265

266 THREE PLAYS OF SENECA

•into the water as the pursuers drew near. They stopped to collect
the fragments and thus the Argo escaped and finally reached
Greece, where Jason and Medea were married.

At lolcos Medea with her magic arts restored old Aeson to
youth. Pelias' daughters desired the same gift for their father,
but when on her direction they had cut up his body Medea refused
to do her part. Before the vengeance of Pelias' children she fled
with her husband to Corinth, where presently he saw opportunity
to better his fortunes by wedding the daughter of King Creon.
It is here, on the wedding day, that the play begins.

NOTES ON THE MEDEA

ACT I

Scene 1 (w. 1-55). — Medea invokes the vengeance of the gods
above and beneath on King Creon and his daughter, who have
won her husband from her, and at the close vows that her repudi-
ation shall be marked by scenes as terrible as had attended her
marriage with Jason.

2. Lucina: a name often applied to Juno and to Diana, here to
the former. — quaeque . . . docuisti: sc. tu as antecedent of quae;
Pallas (Minerva) is meant. It was under her direction that the
materials of the Argo were chosen and the vessel built (cf . 365-
367).

3. Tiphyn: the pilot of the Argo. For his fate see 616-624. —
novam: the Argo was thought of as the first Grecian vessel to
attempt a long sea voyage.

4. profundi . . . dominator maris: Neptune (cf. dominus pro-
fundi, 597).

6. Titan: Helios, the sun god. In 410 TUan refers to Encela-
dus. — orbi: sc. terrarum, Orhi is indirect object of dividena
(cf. feminis , . . carmina divides, Horace, C. 1. 15. 14); tr. appor-
tioning clear light to the world.

6. tacitus . . . iubar: lending thy bright face os witness to the
silent mysteries {of night).

7. Hecate triformis: cf. fronte non una, 751; triceps Hecate,
Ovid, M. 7. 194; diva triformis, Horace, C. 3. 22. 4. This goddess
was thought of as having functions in heaven, on earth and in the
infernal world, and accordingly was identified or confused with
Selene or Phoebe (Luna), with Artemis (Diana) and with Perseph-
one (Proserpina). — quosque: ace. after iuravit: tr. by whom
Jason swore. The antecedent is deos, attracted from the vocative,
in which it naturally would be, to the case of the relative.

267

268 THREE PLAYS OF SENECA

10. manesque impios: ghosts of the wicked dead, invoked with
their rulers, Pluto and Proserpina, named in next line.

11. dominum: Pluto. — dominam . . . raptam: Proserpina,
who had been carried off by Pluto and made his bride (Ovid, M. 5.
359-424), but not deserted later, as Medea had been. Hence the
phrase, with better faith. — voce non fausta: because invocation of
the powers of darkness was of evil omen.

13. adeste: he present to aid, a common form of invocation (cf.
odes, 703). — deae: the Furies (Alecto, Megaera and Tisiphone),
whose function it was to torment men for their evil deeds (cf.
959-961; H.F. 100-106).

14. crinem: ace. of specification, defining squalidae. — ser-
pentibus: the hair of the Furies, like that of the Gorgons, waa
composed of living serpents.

16. thalamis: os once you stood for my marriage.

17. coniugi . . . novae: the princess Glauce, or Creusa, whom
Jason was about to marry.

18. socero: King Creon. — regiae stirpi: the whole royal house
of Corinth.

19. mihipeiusaliquid: having called down destruction upon her
rival's family, she now prays that a fate still worse may befall her
faithless husband (with 20-25 cf . Dido's curse on Aeneas, VergU,
A. 4. 612-620).

20. 21. Cf. frag. X of the Medea of Accius (foimd in Ribbeck,
V. 415) : Exul inter hostes, exspes, expers, desertus, vagus — An exile
amid enemies , hopeless and portionless, a lonely wanderer. . Note
in 21 the asyndeton (or omission of conjunctions), which is very
common in these tragedies. — incerti laris: gen. of quality — of no
certain home, hence homeless.

22. Known as an alien, may he seek another^ a door.

23. quo: abl. after the comparative — than which I can pray
for nothing worse.

24. liberos: object of optet and antecedent of quo (23). — similes
. . . matri: like their father in faithlessness, like their mother in
wickedness.

26. peperi: the mention of her children suggests the thought
that in some way (not necessarily definite yet) she may punish
their father through them; hence her exclamation, Vengeance is

NOTES ON THE MEDEA 269

horn, I have borne it! (cf. 40, 549, 550). — querelas . . . hostes:
it is time for action, not for mere words.

27. manibus: dsX., from their hands, — faces: torches, carried
in the procession from the bride's home to that of her new husband.

28. caelo: same construction as manibus. Medea was credited
(Ovid, M. 7. 207-209) with power to darken the heavens (see her own
account of her control of natural phenomena in 754-769). — spec-
tat . . . poll: does the sun god, my ancestor, see this, and does he
still show his face and glide on in his wonted course f The allusion
here and in 31 is to the sun's having hidden his face and retraced his
course in horror at sight of the feast of Thyestes. — nostri sator
generis: Phoebus, who was the father of Aeetes and so Medea's
grandfather.

32-34. An evident allusion to Phaethon's adventure (Ovid, M.
2. 1-328). 'Ar A./^j

36. Corinthos: Greek form of noijL sing.; the Latin is Corin-
thus. — gemino . . . litore: abl. <«|iMilifeer (cf. gemino mari jmlsaia
, , . regna, H.F. 1164). — opponens moras: by compelling vessels
to sail around the Peloponnesus (cf. flectens moras, 149). Many
attempts were made in ancient times to pierce the Corinthian
isthmus, but it was not till our own day (1894) that a canal was
completed. It follows the line surveyed in a.d. 67 for Nero, who
himself broke ground for it (Suetonius, Nero 19).

36. cremata: nom. with Corinthos. — flammis . . . duo: unite
the two seas with flame.

Zl. pronubam . . . pinum: a torch {d. faces, 27) borne in the
marriage procession by a young matron. Pronubam here is
adjective, and the same phrase occurs in the pseudo-VergUian
Oris, V. 439.

39. Slay the victims on the consecrated altar. Such a sacrifice was
an essential part of the Roman marriage ceremony.

40. per viscera ipsa: in your very offspring. The idea already
hinted at in peperi, 26. Another rendering suggested by the con-
nection is, Through the very entrails of the victims (39) seek a way
for your revenge, i.e. divine the future by augury.

41. anime: apostrophizing her own spirit (cf. 895).

43. Caucasum: i.e. the coldness and hardness of the rugged
range near whose base her childhood had been spent.

270 THREE PLAYS OF SENECA

44. Pontus, Phasis: the Euxine (Black Sea) and the river Phasis,
familiar features of her native land, Colchis.

46. Isthmos: nom. sing., like Corinthos, 35. — effera, ignota,
etc. : neuter.

47. vulnera, caedem, funus: appositive to mala, — vagiun
funus per artus: death (or burial) limb by limb, in allusion to her
treatment of her brother (130 n.).

49. haec . . . feci: all this I did as a girl (cf. 909). — eztirgat:
ezsurgat (cf. exerunt for exserunt, H.F. 11).

61. accingere: the so-called "middle'' use of the passive, gird
yourself,

62. paria . . . thalamis: her marriage with Jason had involved
her betrayal of coimtry and father and the murder of her brotber.
She now proposes to celebrate her rejection with crimes as dread-
ful.

64. hoc: sc. m^do.

Scene 2 (w. 56-115). — A chorus of Corinthian women ap-
proaches, chanting the epithalamion, or marriage song, of Jason
and Creusa. First the gods above are invoked (56-74), then the
beauty of the bride (75-81, 93-101) and of the groom (82-89) is
praised, the youth are challenged to make the most of the unusual
license granted them by the occasion (107-114), and a parting
taunt is flung at the rejected wife (114, 115). The meter to 74
and again in 93-109 is the minor asclepiadean, 75-92 glyconic,
110-115 dactylic hexameter.

66. May the gods above, who rule the sky, and they who rule the
seas, attend with their divine favor this marriage of princes, together
with their peoples, duly silent.

68. faventibus: at Rome a solemn ceremony was opened with
an exhortation to all present to refrain from any speech which
might offend the gods and so invalidate the rites. As the only sure
way to effect this was not to speak at all, the formula Ore favete
omnes (Vergil, A. 5. 71; cf. Favete Unguis, Horace, C. 3. 1. 2)
came to be imderstood as a call for silent attention.

69. Tonantibus: the proper epithet of Jupiter here is made
plural to include his sister-wife Juno as well, though she is men-
tioned as Lucina in 61. The white bull and white cow (femina, 61,

NOTES ON THE MEDEA 271

is adjective with bos understood) were the appropriate victims
for sacrifice to Jupiter and Juno respectively. Furthermore they
must never have been used for draught or burden, hence intemp-
tata iugoy 62. The victims to the infernal gods were black.

62. placet: from placare, not placer e.

63. quae . . . retinet: Pax, the personification and goddess of
peace. Lucretius, however (R.N. 1. 31), invoking Venus declares,
" Thou alone canst bless mortals with peace, since Mars controls
the functions of war, and he . . . feasts his eager eyes upon
thee."

66. Holds plenty in her bounteous horn. There are still extant
coins of Augustus and of Vespasian representing Pax with her
comu copiae. Ovid (M. 9. 86-88) makes the river-god Achelous
conclude the story of his struggle with Hercules thus: " As he held
my horn he broke it and tore it from my brow. The Naides filled
it with -fruits and sweet-scented flowers and consecrated it; and
Bona Copia, the goddess of plenty, now is enriched by my full
horn."

66. tenera . . . hostia: abl. The tender victim was a lamb.
— mitior: agrees with the subject of donetur, implied in the rela-
tive quae, 63.

67. tu qui . . . ades: Hymen (see 110 n.). — facibus legiti-
mis: dat. The phrase, of course, means /ot^/ixZ marriaflfe. Catullus
(61. 6-15) thus invokes Hjrmen: Bind thy brows with the blossoms
of the sweet smelling marjoram; take the bridal veil and hither come
with rejoicing, wearing on snowy foot the saffron-colored sandal; and,
inspired by this joyous day, chanting the wedding song with high,
dear voice, beat the earth with thy feet and with thy hand wave (quate)
the pine-torch. So our author in 68: Dashing aside the night with
au^pidou^ hand.

69. Hither come, reeling with drunken step (cf. 110-112, where
Hymen is called the son of Bacchus, the god of wine, and is ex-
horted to light his torch and brandish it with languid fingers).

71. tu quae . . . redis: Hesperus (Vesper), the evening star
(cf. Catullus 62. 2: Vesper . . . expectata diu vix tandem lumina
toUit — The evening star at length tardily lifts up his long-expected
rays). — gemini praevia tempdris: forerunner of the twilight (cf.
dux noctis, 878).

272 THREE PLAYS OF SENECA

76-109. A passage arranged in strophe and antistrophe, as in a
Greek chorus (cf. Catullus, 62; Horace, C.S.). One part of the
company sings the strophes, 75-81 and 93-101, in praise of the
bride, the other the antistrophes, 82-92 and 102-109, in honor of
the groom.

76. Cecropias nurus: daughters of Cecrops, i.e. Athenian
maidens.

77. Those whom the city that lacks walls (Sparta) trains like
young men on the slopes of Taygetus. Sparta was famous for the
vigor of her women as well as her men. — Taygetus: four syllables;
a mountain range near Sparta.

80. Aonius: Boeotian or Theban.

81. Alphfios: an Arcadian stream. The bride is said to outshine
the maidens of all these regions, the fairest of all Greece.

82. form&: abl. of respect.

83. Aesonio duel: Jason, so called as the son of Aeson..

84. proles fulminis improbi: Bacchus; the allusion is to the
manner in which Jupiter visited Semele, with lightning flashes
and thunder, before the birth of the wine-god (Ovid, M. 3.
253-315).

86. Bacchus is represented as driving a team of tigers with har-
ness of vines (cf. Vergil, A. 6. 804: Qui pampineis victor iugaflectit
habenis \ Liber , agens celso Nysae de vertice tigris — Liber, who vic-
toriously guides his chariot with reins of vine, driving tigers^ down
from the high crest of Nysa) .

86. qui tripodas movet: Phoebus Apollo, the god of prophecy,
who inspired especially the oracle at Delphi, where the priestess
occupied a tripod, or three-legged seat, while uttering her re-
sponses. In 785 tripodas is used in a more general sense.

87. virginis asperae : Diana.

89. Of the Dioscuri or Gemini Homer (II. 3. 237) calls "Castor
the horse-tamer and Pollux good with the fist." Horace (Sat.
2. 1. 26) declares that "Castor rejoices in horses, his brother in
boxing" (lit. "in fists").

90-92. Having lauded the beauty of Creusa and set Jason above
the four gods most noted for youth and beauty, the chorus prays
that this preeminence of both may continue. — vincat, superet:
surpass, excel.

NOTES ON THE MEDEA 273

93. haec: the bride; her beauty is compared with the sun's
brilliance. — constitit: has taken her place.

96. cum sole: with (at) the coming of the sun.

97. Phoebfi: note the long e (cf. the words in 770 and 874 and
distinguish them by quantities). When Phoebe, with a light not
her own, incloses a solid disk with her circling tips, i.e. with the
extended tips of the crescent. — non sue: reflected.

98. The sense here appears to be incomplete, and Leo suggests
two lines to restore the probable connection: Talem dum iuvenis
conspicit, en rubor \ perfudit subito pwrpureus genas — While the young
husband regards her thus, to, a glowing blush has suddenly suffused
her cheeks. So does the snowy hue {of wool or linen) blush when
drenched with the scarlet dye; such does the shepherd behold the rising

101. luce nova: at dawn. — roscidus: moist with dew after his
night watch in the open air.

102-109. The new-made husband is exhorted to forget Medea
and fearlessly receive his bride. — Phasidis horridi: gen. The
river's name here represents the country, but the reference is to
his marriage with Medea. Ereptus, solitus and trepidus, like felix,
modify tu, the implied subject of corripe, 105.

106. Aeoliam virginem: Jason's bride, Creusa, was a descendant
of Aeolus, the son of Hellen — not the ruler of the winds.

106. Medea's father had been hostile to Jason; this time his
intended father-in-law is willing. The plural soceris may be
meant to include both Creon and his wife, as soceros in Tro. 1002
and Vergil, A. 2. 457 refers to both Priam and his wife Hecuba.

107. iurgio: cf. fescenninus, 113 n.

108. hinc illinc . . . mittite carmina: sing responsively.

110. Fair and noble scion of Bacchus. Hjrmen, the god of
marriage, is sometimes called the son of Bacchus and Venus, wine
and love, though other accounts are given of his parentage (see
Classical Dictionary, art. Hymen).

111. multifidam . . . pinum: a stick of pine /rai/cd out at the
end so as to burn readily (cf. muUifidas faces, Ovid, M. 7. 259).

113. dicaz . . . fescenninus: cf. procax fescenninus, Catullus
61. 126, where an example is given. The fescennine verses, con-
taining rude banter {iurgio, 107) and coarse jests, were used in

274 THREE PLAYS OF SENECA

very early times by the rustics of central Italy on various occasions
of public merrymaking, but later were restricted to the wedding
feast. To make a Corinthian chorus of Medea's time use the word
of course involves an anachronism. V. 113 is spondaic.

114. tacitis . . . marito: let her pass away in silent gloom who
runs away and weds a foreign husband. The reference, of course,
is to Medea, but the indefinite si qua makes it more general than
the relative qua^ would have been.

ACT II

Scene 1 (w. 116-178). — Medea, hearing the hymenaeus,
reahzes that she actually has been deserted, calls to mind her
claims on Jason's gratitude and repeats her vow to seek revenge.
Her old nurse cautions her against speaking too freely, but in vain.

116. h3rmenaeus: the chant of the marriage procession in the
last scene.

118. hoc: explained by its appositive deserere, 120. — erepto . . .
regno: after having deprived me of father , native land and royal state,

119. solam: sc. me,

121. scelere: a term which Medea does not hesitate to apply
to her own acts, e.g. in 129, 135, 500, 1016 (cf . nefasy 122). —
flammas: the fiery breath of the bulls, igneos tauri halitus, 466.

122. Does he forsooth think all my resources of evil are spent t

123. Scansion easUy determines agreement of incerta and of
vaesana,

126. Would he had a brother , who might be slain in retaliation
for my own (see 130 n.). — est coniunx: sc. illi. — in hanc ferrum
ezigatur: into her let the sword be plunged. For the sense, cf.
Seneca, Consolatio ad Marciam 16. 3: Tela quae (Fortuna) in
Scipiones . . . exegit — The weapons which fortune thrust into the
Scipios; also ferrum exigam, 1006.

128. tuae: addressing herself; so tua, next line.

130-134. The noun-participle phrases decus raptum, comes
divisus, funus ingestum, corpus spar sum and decocta membra are
appositive to scelera, 129. It is worthy of note that the Latin
commonly uses a concrete noun with an adjective modifier, glory
stolen, companion cut to pieces, etc., where our idiom would be an

NOTES ON THE MEDEA 275

abstract noun with a prepositional phrase, the theft of our kingdom* s
glory, the cutting to pieces of the maiden's companion, etc. — incli-
tum decus: the golden fleece, the recovery of which was the pur-
pose of the Argonautic expedition. — parvus comes: Medea's
brother, not named in the play, but commonly called Absyrtus.
Seneca follows the more conamon of several versions of his story,
that while still a boy he was carried off by his sister in her flight
from Colchis, and, when her father was about to overtake them,
was cut to pieces and his limbs thrown one by one into the sea,
that the pursuit might be delayed while they were gathered up
(cf. 47 n., 473, 963). This was the crime which troubled her most.

132. funus ingestum patri: his burial imposed upon my father.

133. Peliae senis: Jason's imcle, who had deprived him of his
father's throne and sent him in search of the golden fleece in hope
he would not return {qui iussit, 664). On reaching lolcos with
her lover Medea had shown her magic power in restoring the aged
Aeson to youth (Ovid, M. 7. 162-293), and the daughters of Pelias
desired her to do the same for their father. Medea agreed, but
when by her direction they had cut up his body and placed it in
a caldron {aeno), she refused to do her part. It was in their flight
from the wrath of Pelias' son Acastus (415, 475, 664-667) that
Medea and Jason had come to Corinth.

134. funestum . . . sanguinem: lifehlood. — nullum . . .
amor: not anger, but love, had prompted all her crimes.

136. movit: sc. scelera or me.

137. By a sudden turn of thought she is led to seek excuses for
her husband. — alieni . . . f actus: brought under another's will
and authority (cf . the common phrase sui iuris, meaning independ-
ent of any other's authority). — arbitri: gen. of arbitrium.

139. a: the interjection ah.

142. nostri . . . meo: this confusion of number in the first
personal pronoun is frequent, especially in colloquial Latin. — •
muneri . . . meo: my gift, i.e. his life.

143. impotens: headstrong, insolent, as if impotens sui.

144. genetricem . . . natis: according to Euripides (Med. 275)
Medea is commanded to take her children with her into exile.
Seneca (cf. 284, 541-546) represents her as desiring to do so, but
forbidden by Jason. — natis: dat.

276 THREE PLAYS OF SENECA

146. petatur: sc. Creon.

149. Malea: a promontory at the southeastern extremity of
the Peloponnesus, a hundred miles from Corinth. — flectens
moras: cf. opponens moras, 35.

153. referre: repay, take vengeance. — nocet: does harm to its
object.

166. clepere: a rare verb meaning steal, here vyithdraw or hide.
This is its only certain occurrence in the tragedies, though one MS.
has clepU instead of tegit in H.F. 799.

167. ire contra: sc. hostes (cf. non ibo in hostes, 27).

169. Fortuna fortes metuit: a proverbial expression, quoted
with imessential variations by Terence (Phormio 203, fortes
fortuna adiuvai), Vergil (A. 10. 284: audentes fortuna iuvat),
Ovid (M. 10. 586: audentes deus ipse iuvat) and Pliny (Epist. 6. 16:
fortes fortuna iuvat).

160. est probanda: the subject is virtus, courage. — locum:
opportunity.

166. hie: here, in me.

169. sint . . . edita: no, though they spring from the earth — in
allusion to the terrigenae (469, 470), whom Jason had vanquished
by her aid.

171. fiam: in the nurse's unfinished speech Medea doubtless is
vocative, but her mistress interrupts and makes it predicate with
fiam — I shall become Medea (cf. Medea nunc sum, 910). — cui sim
vides: you see whose mother I am, i.e. no one's, since my sons have
been taken from me.

173. Forsan . . . moras: alluding to the manner in which she
had delayed her father's pursuit (see 130 n.).

176. animos: spirit, pride. — aptari: middle voice, adapt
one's self.

177. cardo strepit : the door of a Greek house hung not on hinges
but on upright pivots (cardines), usually of wood, whose turning
in their stone sockets was far from noiseless. In Plautus and
Terence the Entrance of an actor dften is heralded by some refer-
ence to the creaking of the pivot.

Scene 2 (w. 179-300). — King Creon appears, declaring that
Medea must leave his realm at once. She boldly accuses him of

NOTES ON THE MEDEA 277

having wronged her and claims Jason's guilt at least equals her
own. The king asserts that his own power is endangered by her
presence, and repeats his order to depart: Finally, in response to
her entreaties, he grants a respite of one day.

179. Aeetae genus: for Aeeta nata, as often.

183. luem: off scouring, a term of contempt applied here to
Medea and in H.F. 358 to Lycus.

184. gener: Jason. For the truth of the statement, cf. 490.
186. liberet . . . metu: cf. 270, 872.

186. contra: to meet me.

189. iubete sileat: a post- Augustan usage for the classical
iubete earn sUere.

192. fuga: exUe.

193. Either innocens is ironical here, or it is said as a general
truth — (only) an innocent woman asks. Quae . . . pellat, of
course, is indirect question.

194. // you are sitting as judge, hear the case; if you are acting
the despot, issue your orders.

197. Colchis: dat. — complain to your countrymen. — qui avezit:
Jason. This demand is repeated in substance at 246, 272, and to
Jason himself, 489.

199. parte . . . altera: loithout having heard the other side.

200. Though he may have given a fair decision, he has not been fair.

201. Pelia: the Latin form of the Greek Pelias. For the mean-
ing, cf. 133 n. As a retort to Medea's last speech Creon asks.
Had Pelias a hearing ?

203-206. / learned in my royal home how hard it is to bend from
wrath a mind orice roused, and how kingly one who has laid his
proud hand upon the scepter considers it to persist in a course once
entered upon.

207. Read miseranda with clade and the next six adjectives,
obruta . . . affiicta, with the subject of sim. . *

209. fulsi: from fulgere; °/»^^ 9i«l0^^, ^f^^^jU^^— 1

211. placidis flezibus: somewhat" inconsistently she spr
its current in 762 as violenta vada.

212. a tergo videt: sees astern. There is a strong current from
the Black Sea (Pontus) to the Aegean, and one sailing with the

278 THREE PLAYS OF SENECA

current would naturally leave Colchis, at the head of the Pontus,
a tergo.

213. maria dulcescunt: the Black Sea, naturally saline, receives
a considerable amount of fresh water from the numerous rivers
that flow into it. Pliny (N.H. 4. 24) asserts that the Danube, on
account of its powerful current, sweetens the waters of the sea for
forty miles out. See also Polybius, 4. 41.

216. vidua: unwedded. — Thermodontiis: the Amazons, accord-
ing to the usual accounts, dwelt near the Thermodon River, in
Asia Minor (cf. regina gerUis vidtui Thermodontiae, H.F. 245).

218. Then I was sought; now I myself am forced to woo my hus-
band.

219. rapida: this adjective contains the same root as eripuit
(220) and erepto (118), and here suggests the same idea of snatch-
ing away (cf. rapax fortuna, Horace, C. 1. 34. 14). — levis: fickle,
as often (cf. levis castis, 221).

220. eripuit, dedit: sc. me.

222. hoc: explained by its appositives prodesse, protegere: so
in 225 solum hoc anticipates its appositive servasse, 228.

226. decus, florem, praesidia, prolem: the Argonauts — fifty
heroes, the very fUrwer of Greece, some of whom she proceeds to
eniunerate.

228. memet: subject of servasse. — Orpheus: for his story see
625 n.

231. sati Borea: Calais and Zetes (cf. AquUone natos, 634). —
quique: and Lynceus, who with far-flung gaze beholds objects
removed (summota) across the sea.

233. ducem . . . ducum: Jason, who was commander of the
Argo.

236. vobis: for you Greeks. — tinum mihi: him alone for myself.

237. obici . . . reversa: only this one crime can be charged
against me (by you) — that the Argo came back. — Argo reversa:
appositive to crimen.

238. The tenses in 238-241 suggest the rhetorical figure of
vision — she is dwelling upon the scene as if it were now before
her eyes and the consequences were still in the future. — placeat:
suppose it should please. QaJUaa/^^a^/v*-^ A v^vOLx'

240. gener: Jason, as in 184() V

NOTES ON THE MEDEA 279

242. Let what fortune will, overwhelm my cause. A parallel ex-
pression occurs in Seneca's Brev. Vit. 7. 5 : Fora fortuna ut volet
ordinet.

244. All the reward of all my crimes is now vnthin your power,

246. damn&: an imperative.

246. redde crimen: condemn the accused if you will, hub restore
the object for which the crime was committed (cf. 197, 272, 489).
Jason is meant.

247. genua attigi: in token of submission and appeal (cf. ad
genua accido . , , deztramque pedibu^s admoveo, Tro. 691; genua
tangentes, Brev. Vit. 8. 2).

248. peti: petii, petivi (cf. redit, 984). Such contraction is fre-
quent.

260. urbe . . . placet: sc. me tibi — if it please you that I be
' driven out.

262-266. By choosing an exUe as my son-in-law I seem to have
shovm clearly enough thai I am not one to . . . spurn the unfortunate.
— miserias: an abstract noun used concretely (cf. senectus, H.F.
1027; Tro. 42).

266. quippe: this word, in connection with a relative as here,
or alone as in 438, regularly introduces a clause of cause or
reason.

267. Acastus: son and successor of Pelias as king of lolcos
(133 n.). Jason's fear of him is expressed in 521, 526.

268. trementem: shaking with palsy — Acastus complains that
his father, palsied by feeble old age and heavy vnth years, was slain
and his members cut asunder (133 n., 475, 664-667).

261. piae: affectionate (see note on pietas, 438). Note the
antithesis between piae and impium, and cf . Ovid (M. 7. 339) on
the same scene: His, ut quaeque pia est, hortatibv^ impia prima
est — In these exhortations each is foremost — unnatural daughter! —
in proportion as she is fond of her father.

266. vestro: the plural idea in this possessive serves to identify
Medea with the powers of evil she had invoked.

267. You . . . who have a woman's recklessness, ... a man's
strength, and no regard for reputation, go!

270. libera : imperative. For the thought cf. 185, 872. —
herbas: those employed in her magic rites (see 706 ff.).

280 THREE PLAYS OF SENECA

271. soUicita: impBrative. For the thought cf. invadam deos,
424; vidi aggressam deos, 673. ^*oi7 ''^ r

276. For Aim, not for me, was Pelias slain. Medea argues that
Jason, who had profited by her acts, was at least as guilty as her-
self, who had done them. She puts it still more strongly to Jason
himself in 500 (cf. sontes duos, 275). The kindred idea that not
the agent but the principal is responsible is implied in parcUe
vusso, 669, and distinctly stated in Tro. 870: Ad auctorem redit
scderis coacti ctUpa — The guilt of a compulsory crime recoils upon
its author,

277. To the murder of Pelias add my flight from hom>e, my theft
of the golden fleece, etc.

279. Whatever crime even now he is teaching his new wife, as
if any marriage of Jason's must involve the necessity for crime.
The plural coniu^es implies a reflection on his fickleness.

281. ezisse: sc. te.

282. iUud: explained by the appositive clause, ne . . . trahat.

284. utgenitor: as a father.

285. Per . . . status: by this marriage, of happy omen, etc. —
ego: subject of precor, 288.

287. Fortuna dubia: both words are known to be nom. because
their final syllables, in the arses of the second and fourth feet
respectively, must be short. Final a in varia, in the arsis of the
third foot, may be either quantity, here no doubt long, making it
abl. in agreement with vice.

292. mails: masculine — for wicked people.

293. Do you deny me a respite, even one which is too short for my
tears {at parting with my children) f

296. ^Tis more than enough, though you should strike off a
portion.

297. propero: of course hasty flight would be necessary after
the deed she was planning. — Capita . . Isthmo: in a fragment
of Ennius' tragedy, Medea ExuL (Ribbeck, 226, 227), Creon says :
Si te secundo lumine hie offendero moriere — // / find you here at the
coming dawn, you shall die. — lues: a verb.

299. Isthmo: abl. of place whence. — sacra thalami: the mar-
riage rites.

NOTES ON THE MEDEA 281

Scene 3 (w. 301-379). — The chorus sings of the daring of him
who first sailed the seas, the bliss of the Golden Age, the perils of
the Argo's voyage, and the final conquest of the ocean. The meter
is the anapestic dimeter.

308. Having drawn too narrow a bound between the ways of life
and death. The old Latin note of Famabius will bear translation
here: "When Anacharsis had learned that the thickness of the
ship's bottom was only foiu* inches, he exclaimed, ' So far from
death are they who sail the seas ! ' "

329--334. These lines seemed out of place in their MS. position,
and modern editors usually, though not invariably, insert them
after 308.

329. Candida: pure, unspotted. — patres: forefaihers. The
Golden Age, of which some features are described in the following
lines, was a favorite theme with the Latin poets of the Empire,
who found pleasure in dwelling upon the simple life of primeval
man by way of contrast and relief from the complex and corrupt
society of their own day.

331. piger: unambitious, content (cf. H.F. 198).

333. parvo dives: the philosophy of contentment was much
preached by the Latin poets, and by Seneca and Horace in par-
ticular. — nisi . . . opes: knew no riches but those his native soil
had yielded.

309. sidera: the constellations, from whose positions the ancient
sailor determined the points of the compass.

311. pluvias Hyadas: a constellation whose setting, when it
came at the evening or morning twilight, in April or November,
coincided with a rainy season. Ovid (Fasti, 5. 166) says: Navita
quas Hyadas Graecvs ab imbre vocat — The Greek sailor calls them
Hyades, from rain, the Greek verb rain being veip (hyein). The
form hyadas is ace. plu. of the Greek third declension.

313. Oleniae . . . caprae: Amalthea, nurse of the infant
Jupiter, described now as a beautiful woman (see Classical Dic-
tionary, artt. Aega, Amalthea), now as a she-goat, in either case
translated to the skies and made a constellation.

316. plaustra: the constellation Ursa Major (Greek arctos,
405), often called "wagon" by the ancients from its shape and still

282 THREE PLAYS OF SENECA

known in England as "Charles' wain." From its position near
the pole it was an object of deep interest to the mariner. — Attica:
one form of the myth makes Bootes identical with Icarius, an
Athenian. This would justify the epithet Attica, transferred
from Bootes to the wagon he seems to be driving. — tardus:
because the constellation, close to the pole, appears almost mo-
tionless.
318. Tiphys: see v. 3, and for his fate 617 ff.

321. tendere: sc. avsus eat. — toto sinu: with yards squared to
catch the stern wind. Vv. 320-322 refer to the angle at which the
yards and hence the sails are set to catch the breeze from astern
or from either quarter, while 323-328 regard the extent to which
the sail was unfurled by hoisting the yard to midmast or topmast.
— prolate . . . Notes: catch the breeze with yards trimmed, tack,
sail close to the wind.

322. pede: the pedes were "sheets" or ropes attached to the
lower corners of the square sail and used in making them fast to
the vessel's sides. In the position here indicated they were not-
fastened amidships, but the sheet on one side was carried aft and
the other forward, holding the saU obliquely across the deck,
so as io catch the side vrind. — captare: infin. of purpose.

326. avidus nimium: too eager to reach his destination, and
therefore reckless in carrying sail.

328. sipara : small topsails, thought by some to have been tri-
angular and set with the apex below. They showed ruddy (rubi-
cunda) in the sunlight.

336. bene: modifies dissaepH, not traxit — the Thessalian vessel
has drawn together lands well separated before (cf. Horace, C. 1.3. 22 :
Deus absddit \ prudens oceano dissociabUi \ terras — God in his provi-
dence separated the lands by means of the estranging ocean). Foedera
mundi by association of ideas suggests the regions which under
these laws of the universe had been separated from one another
(cf. 606 n.).

336. Thessala pinus : the Argo, conmianded by Jason, of lolcos
in Thessaly.

338. partem metus : natiu'e had terrors enough for man before,
but his conquest of the sea added new ones.

339, mare sepositum : (formerly) an element apart.

NOTES ON THE MEDEA 283

340. ilia-. . . improba: that impioua hark; the Argo, of course.

342. duo montes: the Symplegades, floating islands of rock
which dashed together and crushed whatever tried to pass between
them. The Argo barely escaped, with the loss of her rudder (cf .
456; scopvloa vagantea, 610; H.F. 1210 n.), and ever after the rocks
remained fixed.

344. aetherio sonitu: with thundering sound.

346. mare: subject of spar^ere^ — when the sea, caught (between
the moving rocks), splashed their tops and the very clouds (cf. H.F.
1213, 1214).

347. Let slip the tiller from his faltering hand.

349. vocem perdidit: referring to the Argo's figurehead, hewn
from the speaking oak of Dodona and itself possessed of the power
of speech.

360. Virgo: Scylla, once a beautiful maiden, transformed into
a monster which dwelt in a cave on the shore of Sicily opposite
the maelstrom Charybdis. Her story is told by Ovid (M. 14. 1-74).
Vergil (A. 3. 426-428) thus describes her appearance: "First the
face of a human being, a maiden, of beautiful form as far as the
waist, but at last a sea monster of huge size, uniting the tails of
dolphins with the bellies of wolves."

364. male: monster; Scylla.

366. dirae pastes: the sirens.

367. resonans: sounding back, in rivalry with the sirens.

360. sirena: ace. sing. (Greek form). Orpheus almost compelled
the siren to follow him, though she was wont to hold ships captiv§
with her song. For the power of Orpheus see 626, 629, and Ovid, M.
10. 86 fif. — huius cursus: this voyage. The alliteration in 359-362
may be accidental, but it is by no means uncommon in these plays
and doubtless is sometimes intended.

362. Medea, an evil greater than the sea, a cargo worthy the first
ship. The sin of overstepping the bounds appointed by the Crea-
tor (335 n.) has brought its own punishment. The use of the word
merces suggests that the myth of the Argo and the golden fleece
may represent allegorically the beginning of foreign commerce for
the Greeks.

364. Nunc iam: now, transferring the thought from the Argo 'a
own time to that of the chorus.

284 THREE PLAYS OF SENECA

366. PalladiA: built by Pallas (2 n.). Abl. in agreement with
manu — no far-famed Argo, wrought by the hand of Pallas and bearing
the oars of princes, is required — any little boat now sails the deep.

369. motus: sc. est, with orbis as subject.

372. pervius: become traversable. — orbis: like orbi, 5 n.

373. The Hindu drinks of the cold Araxes, the Persian of the
Elbe and Rhine. The names are selected to show how the ends
of the earth are brought together by commerce.

376-379. This passage would be still more remarkable if we
could suppose that Seneca meant by it anything more than a
vague reference to some ideal Atlantis, such as Plato had described.
One fanciful critic long ago suggested that the Spaniard Seneca is
here foretelling the discovery of America by his coimtrymen under
Christopher Columbus I Still more interesting is a marginal note
written by Ferdinand Columbus in his copy of the tragedies,
opposite these lines: Haec prophetia expleta e per patre meuj
Cristoforu Colo almirante, anno 1492 — This prophecy was fulfilled
by my father, the Admiral Christopher Columbus, in the year 1492.

379. Thule: an island, not now positively identified, lying to
the north and west of Britannia, and assumed to be the remotest
fragment of land in the great ocean that rolled round the ancient
world.

ACT III

Scene 1 (w. 380-430). — The nurse describes Medea's fierce
passion as shown by her features and behavior. Medea expresses
her contempt for Jason's cowardice, reiterates her purpose, and
overrides the nurse's timid protest.

380. tectis: cf. Isthmo, 299 n.; penatibus, 450.

381. resiste: pause.

382. incerta: possibly to be taken with Medea, understood as
subject of recur sat (385), but better with maenas — as the maenad
guides her frenzied steps uncertainly when she raves on the coming
of her god . . . so Medea runs this way and that with frantic motion.
— entheos: a Greek adjective meaning literally God in, and hence
inspired. This form may be nom. sing, with the subject of tulit,
but better ace. plu. with gressus (cf . entheo gradu, Tro. 674).

NOTES ON THE MEDEA 285

383. recepto deo: the poets appear to have thought of the in-
spiration of the bacchantes, the pythoness, the sibyl, etc., as an
actual indwelling of the god (cf . pleno Bacchi pectore, Horace, C. 2.
19. 6; Quo me rapis, Bacche, tui plenum^ Horace, C. 3. 25. 1). —
maenas: the maenadea {bacchantes, thyiadea) were the female
devotees of Bacchus, noted for their wild orgies. In 806 Medea
applies the term to herself, and in 849 it is given her by the
chorus.

384. Nysae: a city in India, where according to one account
Bacchus was reared. One of his Greek names (Dionysus) has
been supposed to be a derivative of this.

386. One of the two fragments certainly preserved of Ovid's
tragedy of Medea, which was highly praised by Quintilian and
Tacitus, reads thus: Feror kdc Uluc, vae, pUna deo — / am hurried
this way and that, ah me, possessed by the god. The speaker is a
woman (plena). The meter is anapestic.

387. fades: though the plural of this noim when it denotes the
human coimtenance is rare, the sense is much simpler if we take
it as ace. of specification and supply Medea as the subject of citat,
as we do with the verbs that follow. Tr. her face aflame (lit. aflame
as to her face), she fetches her breath from deep, i.e. sighs, sobs.

389. omnis . . . capit: every passion claims expression.

391. quo . . . haeret: she hesitates on which side to incline the
weight of her wrath. The figure is that of a balance whose opposing
weights are so nearly equal that it is doubtful which will go down.

393. facile: adjective with sceZus.

394. vincet: outdo. — irae . . . veteris: as displayed in the
cases of Pelias and her brother Absjn-tus.

397. odio: dat. — misera: voc, addressing herself. — quem . . .
modum: what limit you should set — indirect question.

398. imitare amorem: copy your love, which knew no limits, but
sacrificed all to itself.— regias . . . faces: the marriage of Jason
and Creusa (cf. regum thalamos, 56).

399. Shall this day pass idly, this day obtained by such solicita-
tion and granted for such solicitation (ambitu)? She means the
day of respite she had obtained from Creon (288-295).

401. As long as Earth at the center shall bear the heavens poised
(cf. Ovid, M. 1. 12: Circumfv^o pendebat in aere tellu^\ponderibus

286 THREE PLAYS OF SENECA

librata auis — Earth hung in the enveloping atmosphere , poised by her
own weight).

403. derit: deerit (cf. derat, 992). — dies: sc. sequetur (from
sequentur).

404. siccas: never setting (lit. dry). In the latitude of Greece
and Rome, as in our own, the Arctoe (Ursa Major and Ursa Minor)
are always above the horizon — do not dip into the surrounding
ocean as constellations farther from the pole were thought to do
(cf. vetitum mare, 758).

407. quae: interrogative — What ferocity of beasts, what ScyUa,
. . . what Aetna, shall burn with such threats as 1?

410. Titana: a Greek ace. sing. (cf. sirena, 360). The reference
is to Enceladus, who was confined under Mt. Aetna (Vergil, A. 3.
578-582; cf. H.F. 80 n.) after the attempt to captiu*e the heavens
and dethrone Jupiter. Ovid (M. 5. 348) follows Aeschylus in
making it Typhoeus who was thus punished. The myths of the
Titans and the Giants are greatly confused.

413. impetum irasque: the sweep of my wrath, a case of hen-
diadys.

415. timuit: sc. lason. — Thessalici duels: Acastus (257 n.),
who was demanding that Medea be given up as guilty of the
murder of his father.

417. cesserit . . . dederit: suppose he has (cf. placeat, 238).

418. certe: at least. — coniugem: Medea.

419. ferox: said in irony, and rendered very emphatic by its
unusual position and its antithesis to extimuit.

420. certe: surely a king's son-in-law might defer the time of my
cruel exile. For the meaning of laxare cf. Quintilian, 10. 5. 22:
laxare dicendi necessitatem — postpone the necessity of speaking.
There is a sneer implied in the use of genero here as in regius gener,
460.

422. non queror : note the sudden change of tone — I do not com-
plain that the time is (too) short; it will go far (cf. Seneca, Brev.Vit.
15. 3: Sapientis multum patet vita — A wise man's life goes far).

424. nuUus: sc. dies. — invadam deos: cf. 271, 673.

428. pereas: the " general " second person. With the thought
cf. Tro. 1009-1041, especially 1016 n. — trahere: to drag down
others (cf . Samson's death, Judges 16 : 28-30).

NOTES ON THE MEDEA 287

Scene 2 (w. 431-578). — Jason enters, lamenting his hard fate,
which has placed him in such a position that he must either desert
Medea or lose his own life. Medea urges him to fly with her, re-
counts her services and sacrifices for him, declares him equally
guilty with herself, and, when he confesses his fear of the king and
leaves her, bm-sts forth into a torrent of passionate reproaches
and at once begins preparation for the consummation of her re-
venge.

432. malam: with sortenij ace. in exclamation — evU alike when
it smites and when it spares.

434. fidem praestare: show fidelity, i.e. be faithful.

437. misero: sc. mihi; apparent agent.

438. pietas: reverent affection, commonly that of a child for its
parents, here of a father for his children. In 779 piae is said of
Althaea's love for her brother; in Oct. 52 and 737 it stands for
the nurse's love for her foster child; and in Oct. 844 for the pre-
fect's devotion to his imperial master. See also w. 545 and 943
of this play. — quippe: causal as in 256, but here without the
relative. — sequeretur: ]it. follow, hence share.

439. parentum: dependent on necem.

441. ipsam: sc. Medeam; so with iratam, 444.

443. Would rather have regard for her children than for her
marriage.

446. vise memet: abl. abs. — at sight of me.

446. fert prae se: displays, exhibits. — odia: the plural of an
abstract noun, where we should use the singular.

451. at quo: MSS. have ad quos. Sc. me as object of remittis —
You send me back, but whither f A fragment of Ennius' Medea
Exul (Ribbeck, 231) reads: Quo nunc me vortamf qudd iter in-
cipiam ingredi ? \ Domum patemamne dnne ad Peliae filias f —
Whither now can I turn? What course shall I begin to pursue?
To my father's house or to Pelias^ daughters ?

463. quas peti terras lubes: cf. Euripides, Med. 502 ff. This
question is quoted by Quintilian (I.O. 9. 2. 8) to illustrate one use
of the rhetorical question, which he says is employed, to cast odium
on the person addressed, as Medea says in Seneca, Quas peti terras
iubes ?

288 THREE PLAYS OF SENECA

464. fauces: object of mon^tras. She asks, What lands (453),
what seas (454), and then in reverse order particularizes — the nar-
rows of the Pontic sea, the Symplegades, lolcos, Tempe f

457. Shall I seek little lolcos (where Pelias was slain), or Thes-
salian Tempe ? — Tempe: a Greek ace. plu., the name of a beauti-
ful valley in Thessaly.

459. exuli: you impose exile on one already an exile — and
give no place to dwell.

460. eatur: impersonal. — gener: as in 421.

461. nihil: cognate object — / make no protest.

462. paelicem: a favorite word in the speech of Seneca's hero-
ines. Here and in 495 Medea applies it with pathetic irony to
herself, but usually it is a term of reproach to a rival, as in 920.

464. saxo: a prison of stone, perhaps suggested to Seneca by
the famous Tullianum. — noctis aeternae: gen. of quality, of
everlasting darkness.

466. ingratum caput: voc. — ungrateful man!

469. hostis subiti: the terrigenae, warriors who sprang into life
fully armed when Jason had sown the dragon's teeth (169 n.;
Ovid, M. 7. 130).

470. miles: used collectively (cf. Vergil, A. 2. 20, milite).

471. For thought and form in the following passage cf . 130 n. —
spolia . . . arietis: the golden fleece. It was Phrixus who was
carried on the ram's back to Colchis, losing his sister Helle on the
way — see these names in Classical Dictionary — arietis: a trisyl-
lable, pronounced as if spelled ar-ye-tis.

473. monstrum: the sleepless dragon which guarded the fleece
in Colchis. It was drugged by Medea (Ovid, M. 7. 149-156), who
thus enabled^her lover to seciu-e the prize (see also 703). — fratrem:
Absyrtus (see 130 n.).

474. Crime done not once (but many times) in one act of crime —
not only was her brother slain, but his body was mutilated and
cast imburied into the sea.

475. natas: sc. Pelia (or Peliae); see 133 n.

476. revicturi: from revivo.

479. monstra: the flre-breathing bulls, the terrigenae and the
guardian serpent enumerated just above. — manus: these hands of

NOTES ON THE MEDEA 289

481. coniugi: gen. of coniugium.

482. miserere: used absolutely, ^ave p%. — redde . . . vicem:
reciprocate.

483. Scjrthae: a name of rather vague application, here given
by Medea to her own people, the Colchians (cf. 528).

485. quas: = et eas — and, as the palace, filled with riches, could
hardly contain this treasure, we decked the woods with gold. The
reference is to the golden fleece, which was hung upon a tree and
there guarded by the dragon.

488. The first dipody may be treated as composed of anapest-
anapest (tibi pat | ria ces), but better as proceleusmatic-iambus
(tibi patri \ a ces); cf . 670.

489. redde . . . sua: for the reference of sua cf. Vergil, A. 1. 461 :
sunt hie sua praemia laudi. For the idea cf. Medea's demand
from Creon in 197, 246, 272.

490. The truthfulness of this pitiful plea is confirmed by Creon's
statement in 184.

492 . poenam putabam : sc . fugam — / thought exile a punishment.
Note the antithesis between poenam and munus, and the strong
irony of the latter. This is one of many places where Seneca has
followed Ovid — cf. M. 2. 99: poenam pro munere poscis.

494. Hoc . . . Creusae: you urge this upon me and offer it
(as a wedding gift) to Creusa. Hoc means Medea's departure, lu-ged
in 493.

496. obicit: ^^roio wp to me as a reproachful reminder. Caedem
and dolos, like amores, are objects of obicit.

500. tua . . . fecit: cf. 275-278.

501. arguant: subjunctive with concessive force — though all
should accuse.

603. You should hold him guiltless who for your sake is guilty.

604. cuius acceptae pudet: which one is ashamed of having re-
ceived (cf. 130 n. and the familiar ab urbe condita of Livy).

607. placare natis: calm yourself for the children's sake — middle
voice. — abdico: / reject, forswear, disown them.

609. regina: sc. fratres dabit.

510. non: with the optative subjunctive we should expect ne,
but cf. non Teucros agat, Vergil, A. 12. 78. — miseris: for my un-
fortunate boys.

290 THREE PLAYS OF SENECA

612. Phoebi: see 28 n. — Sisyphi: the royal house of Corinth
was descended from Sisyphus, whose ancestry ran back through
Aeolus (105 n.), Hellen, Deucalion, Prometheus to lapetus, one of
the original Titans. Compared with the divine progeny of Phoebus,
son of Jupiter, his offspring would hefoeda (511).

614. supplicem: sc. me.

617. nos . . . sine: the reading here is corrupt and the sense
obscure. Of nos confligere nothing can be made. The rest then
will mean let us {myself and the kings you fear) contend, and let
Jason be the prize.

621. Acastus . . . Oreo: these are the king on this side and on
that of 516.

622-624. Medea does not require that you arm your hands against
your father-in-law, nor that you stain yourself with a kinsmxin^s
blood. — caede cognata: Jason and Acastus were cousins.

628. demersos dabo: / will overwhelm them aU. The verb do
often is used with a participle in the ace. in a causative sense.

629. ne cupias vide: sc. sceptra. To his statement that he
feared the royal power she retorts, See that you do not desire it, i.e.
that your true motive be not ambition rather than fear.

634. Let not thy bolts be hurled with a hand that discriminates
between us (cf . 275 : cur sontes duos distinguis f).

641. tantum: only.

645. pietas: see 438 n. — ut possim: cogat here has two objects,
one memet, representing the person, and ut possim, the act required.
Two accusatives, or ace. and infinitive, would be more usual.

647. perusti: seared. In 484 perustis had its more literal
meaning, sunburnt, swarthy.

660. tenetur: I have him! The same expression, borrowed from
the arena, occiu-s in Tro. 630. — Sic . . . locus: this idea of attack-
ing him through his children has been hinted at repeatedly (26, 40),
but has not perhaps even yet taken definite form in her mind.
With vulneri . . . locu^ cf . 565, 1006.

651. abeuntem: in agreement here with the subject (me) of
the infinitive. The most common construction after licet would
have been abeunti loqui.

553. et: even that, i.e. if I may not keep my children, even a last
embrace wHl be grateful.

NOTES ON THE MEDEA 291

656. melioris . . . nostri: my better self.
556. haec: sc. verba.

661. excidimus: sc. memoria — have I been forgotten Qit. fallen
from your recollection) f The same expression occurs in H.O.
1332 {cf .^excidat Hector, Tro. 714).

662. hoc age: do this to the exclusion of every other interest.
She is addressing herself.

563. fructus . . . putare: the fruit of sin is to deem no act a
sin (cf. malorum fructum . . . nihil timere, Tro. 422).

666. hac . . . timere : attack on a side where none can dream of
danger, alluding again to the inhuman purpose now maturing in
her mind (cf. hxic qua . . . doles, 1006).

671. decus: appositive, like munus and pignus, to paUa — / have
a robe, a gift from heaven, the glory of our house and kingdom, etc.
In 130 the golden fleece is referred to as regni decus. — pignus . . .
generis: as an earnest of his birth (cf. the pignora demanded of the
same god for the same purpose by Phaethon, Ovid, M. 2. 8).

673. quodque . . . comae: a third gift of gold which the
sparkle of jewels adorns, with which the hair is bound.

676. nati: sc. mei. — nubenti: the bride, who was said by the
Romans to veil herself for her husband.

678. arae: in preparation for her invocation of the powers
of darkness (740 fif.).

Scene 3 (w. 579-669). — The chorus likens a woman's fury to
the fiercest forces of nature, then recalls in detail the fate that has
befallen many of the Argonauts, and prays that the gods may
consider their pimishment sufficient expiation and spare their
leader, Jason. The meter is the lesser sapphic, with an adonic at
the close of each stanza.

580. metuenda: not predicate, but attributive with vis — no
fearful force of hurtling spear is so great.

585. iunctos . . . errat: sweeps away the bridges (of boats) and
wanders afield, i.e. overflows its banks.

690. Haemus: a moimtain range to the north of Thrace, be-
lieved by the ancients to be of amazing height (Pliny, N.H. 4. 18,
says six miles, but may mean one must txavel that distance to

292 THREE PLAYS OF SENECA

reach the top). The disappearance of the white snow on its sum-
mit in spring would produce for rustic onlookers at a distance much
the same effect as if the moimtain itself were melting away.

691. ignis: the fire of passion (love) — Love spurred on by wrath
is blind, cares not to be controlled, etc. •

596. parcite: used absolutely, i.e. without an object — Show
mercy f ye gods ; we beseech your favor, that he may live in safety
who vanquished the sea. Jason, of course, is meant.

697. vinci: the subject is regna. — dominus profundi: Neptune
(cf. 'profundi . . . dominator maris, 4).

698. regna secunda: the sea (for the meaning of secunda see
note on H.F. 53, and cf. secunda maria sceptro regis, H.F. 599;
secundum fluctibv>s regnum moves, Phaedra 904). Pluto's share,
the third {tertia sors), is mentioned in H.F. 609.

699. ausus . . . iuvenis: the youth who dared, to drive the ever-
lasting chariot of the sun was Phaethon, whose story is told at length
by Ovid (M. 2. 1-328).

600. metae: course (lit. goal). Forgetful of his father* s course
he caught himself the fire which he madly scattered in the sky.

603. constitit . . . magno: the beaten track has proved cosily
to none. Constare gives us the English word cost, and magno here
is abl. of price.

604. tutum: sc. fuit. — populo priori: former generations.
606. sacro . . . sancta: sacrosancta, divided by tmesis; the

sense is inviolable, immutable. — violente: voc, best translated by
an English adverb.

606. foedera mundi: the laws of nature (cf. 335, where the same
phrase occurs, in a different shade of meaning; see also foedus
umbrarum, H.F. 49 n.). For the sentiment cf. Ovid, M. 10. 353:
Neve . . . naturae pollue foedus — Do not dishonor the law of nature.
The particular law referred to was that by which the gods were
supposed to have confined man's sphere of conquest to the land
and forbidden him the sea (cf. 335 n.; Horace, C. 1. 3. 21 fif.).
In the following stanzas is detailed the pimishment inflicted on the
various Argonauts for their part in this sin.

610. scopulos vagantes: the S3rmplegades (342 n.; 456).

612. funem: the cable with which the vessel was moored. —
barbara: anything not Greek was barbarian (Romans 1: 14: ''I

XOTES OX THE MEDEA 293

mm ^iAfuyr both to the GvkIs mzid to tbe baibaziuis *" V &HiBr«
om. d oofOTsie. here meuis GokMs.

fits, ry^i^*™ son: the sodden fleece.

614- cadtn: abLcrf means viih pwrd — ^ « ^nucMtrv^ «9mL —
teoiccala.: ^v^^no^eJ.

617. in frimts: this mxy be taken litenlhr, among the first m
tzn^. or as the phrase CatprtJHtw. egperioB^. Tiph3rs lotst his liie
bef oie the Areo reached Cddiis. azKl vas succeeded ai the
helm bj Expnus { im do ef o wtogiiiro^ 61S>, or, accoixling to some
aocounts. by AxMiaeos, a son of Xeptune.

622. AnSs . . . rednet: this imphes that the Gre^ fleet whidi
iras to sail against Tray had assemUed at AuUs while Medea and
Jason were still at Coiinth. Tiphjrs was a Boeotian, and the
Boeotian port of Aulis, here personified, is lepresented as detaining
the ^lips from mnning into the same perils that had cost him his
hfe. — memor inde: mindfvl tktncefarlk.

624. stare qnerentes: lamtfUirtg tkat tkey musi siamd idU^

e25. me: Orpheus, who is said to have been the son of ApoUo
and the muse (Caaieaa) Calliope. The instances given here of
his power to diarm inanimate objects with his hne are familiar.
Ovid (M. 10. 1-77) tells <rf his passicMiate love for Euiydice and his
descent into Hades to rescue her from death. It is told further that
the women of Thrace, incoised at the bard's devotion to his lost
wife's m«n<My and his consequoit ne^ect of thenis«l\'es, toie him
in pieces (hence sparsus . . . per agros, 630). The head floated
down the river Hebrus (631) and across the sea to the island Les-
bos (Chid, M. 11. 1-60), thus transporting the power of hrric song
to that island, where Alcaeus and Sappho, the earliest of Gi^k
Ijrric poets, afterward lived and sang.

628. When the bird, leaving off its otpn song, stooJ near to
listen.

631. tristi: saddened by the burdoi it bore.

632. notam: because he had crossed it before, in his quest of
Eurydice (of. Chid, M. 11. 61: qtiae loca viderat ante), — Styga:
ace. sing.

634. Akddcs: Hercules. — Aquilone natos: Calais and Zetes,
the Boreades, called in 231 sati Bore&, They were among the
numerous victims of Hercules' prowess. «

294 THREE PLAYS OF SENECA

636. Neptuno genitum: Periclymenus, who like Proteus had
the power to change his form. His story is told by Ovid (M. 12.
556-572).

637. pacem: Hercules is pictured in these tragedies as the slayer
of tyrants and defender of the feeble. He established peace by
putting an end to oppression (cf. H.F. 882: Pax est Herculea
manu\ Auroram inter et Hesperum — By Hercules' might' there is
peace from the sunrise to the evening star; see also H.F. 250).

638. After having opened up the kingdom of Pluto, in his quest
of the dog Cerberus. In H.F. 55 Juno complains that Patefacta

' ab imis manibus retro via est — A way from the deepest abode of the
dead has been opened.

640-642. When the centaur Nessus attempted to carry off Her-
cules* wife, Dejanira, the hero shot him with one of his poisoned
arrows. The dying centaiu* wiped away the blood as it flowed
from his wound, mingled with the hydra poison (hence gemini
cTUoris, 641), with a garment which he then gave to Dejanira with
the statement that it contained a powerful love charm, and if given
to one she cared for would revive his waning affection. Some time
later, when she thought her husband was forgetting her, she gave
him the robe {munere nuptae, 642). When he had put it on the
venom with which it was saturated ate into his flesh and caused
such agony that to escape it he built a huge funeral pyre on Mt.
Oeta and had himself burnt alive upon it (cf. 777). Ovid tells
the story (M. 9. 141-272). Seneca's tragedy, Hercules Oetaeus,
has this closing scene of Hercules' life for its theme.

644. saetiger: the Calydonian boar.

645. impius: unnatural, in slaying his kinsman. — moreris:
from morior. — dextra matris: at Meleager's birth it had been
foretold that his life would last only as long as a stick that then
was biu-ning on the hearth. It was removed from the fire and
preserved, but when his mother learned that Meleager, grown to
manhood, had killed her own brother, she threw the stick again
into the fire and as it was consumed he slowly died (cf . 779; Ovid,
M. 8. 445-525).

646. meruere . . . expiavit: a confusion of two thoughts: (1) all
were guilty of the crime for which Hylas atoned with his death;
and (2) all deserved the death by which he atoned for the crime.

NOTES ON THE MEDEA 295

In either case the idea is that in having ventured on the forbidden
element all had deserved the fate that befell Hylas, i.e. drowning.

648. puer: Hylas, a handsome boy who was drawn by the
njrmphs into the spring to which he had gone for water, and
drowned.

649. tutas: not the stormy ocean, but the quiet waters of a
spring.

661. fonte timendo: abl. abs. of cause — since it is the spring
that is to be dreaded, go, plow the sea fearlessly (fortes).

653. condidit: killed (lit. laid away in the tomb). The more
common version of the story represents the seer Idmon as having
lost his life in a boar hunt in Bithynia (Apollodorus, 1. 9). All
accounts make him foretell his own fate.

667. Thetidis maritus: Peleus, father of Achilles, who after
great vicissitudes died in wretchedness on the island of Cos, an
exile.

661. It was Ajax, the son of Oileus, here called by his father's
name, who perished fulmine et ponto on his way homeward from
Troy (cf. Vergil, A. 1. 43 fif.). Our poet here intimates that the real
reason for his destruction was his father's offense in joining the
Argonautic expedition (patrioque pendet). To preserve the Sapphic
measure a hemistich (half line) must be supplied. Leo suggests
occidet proles. If instead we read ocddetque Aiax, it will remove
all difficulty about the name, for we shall have Aiax Oileus, as in
Vergil, A. 1. 41.

659. Nauplius: there are three of this name in the old mythol-
ogy. Seneca here identifies the Argonaut with another of the
name, the father of Palamedes. Incensed at the treatment his son
received from the Greek leaders (Vergil, A. 2. 82 ff.), in revenge he
lured their returning fleet upon the rocks by means of a false
beacon (igne fallad, 658). He himself met a like fate later. In
the story of the wreck, told by the courier Eurybates in Ag.
558-570, the expression perfida face is used.

662. coniugis . . . Pheraei: Admetus, king of Pherae, whose
wife Alcestis voluntarily gave up her life to save his (impendes
animam marito), and thus helped atone for the sin of her father,
Pelias, who had caused the expedition of the Argo (664, 665).
It is worthy of note that the tenses in 634-656 are perfect, implying

296 THREE PLAYS OF SENECA

that the heroes there named had already met their fate, whUe
Peleus, Ajax, Nauplius and Alcestis are spoken of in the future
as if still to meet their doom. The chorus then closes with a refer-
ence to Pelias' end and a prayer for Jason.

664. ipse . . . Pelias: see 133 n.

667. angustas . . . undas: not the mighty waves of ocean, but
the bubblings of a caldron, a most unheroic fate (cf. 651 n.).

669. Spare Jason . . . who merely obeyed his orders. — iusso :
Tro. 870: Quid iussa cessas agere? ad auctorem redit sceleris
coacti culpa — Why do you hesitate to do what is ordered f The guilt
of a sin that is forced recoils upon its author.

ACT IV

Scene 1 (w. 670-739). — The niu-se describes Medea's gather-
ing of deadly herbs and animal poisons from heaven and earth and
hell, and her preparations for the magic rites that follow.

670. The first dipody may be read as tribrach-anapest (pavit a |
nimus hor)^ but better as proceleusmatic-iambus (pavet dni | mus
hor). It is questionable if Seneca ever admits the anapest in the
second place of this measure (cf. 488).

671. immane . . . augescit: His monstrous j how it swells (cf.
immane quantum discrepat, Horace, C. 1. 27. 6, and the frequent
use of mirum in like connection).

673. furentem: sc. Medeam; so with aggressam and trc^entem.
— aggressam deos: cf. 271, 424.

674. caelum trahentem: invoking the gods with magic incanta-
tions (cf. te quoque Luna traho, Ovid, M. 7. 207).

676. penetrale funestum: the unholy shrine, the arae of 578 (cf.
triste sacrum, 680).

677. totas . . . efhindit: is lavishing aU her powers. All the
principal verbs in the sentence {effundit, promit, explicat, vocat)
are present tense. The nurse is looking on and describing what
she sees.

678. etiam ipsa: there were powers which even Medea had
shrunk from invoking before, but now scruples and fears alike are
forgotten.

680. JaevA: touching the altar with the left hand instead of the

NOTES ON THE MEDEA 297

right, which would have been used in lawful worship of the
gods.

681-683. Libyae, Taurus: extremes of climate; Medea's power
ranged over them all (cf. 373 n.).

686. squamifera . . . turba: the serpent kind.

687. exertat: for exaertat, — quaerit . . . veniat: is searching
for those at whom it may come dealing death. — quibus: may be
relative with antecedent omitted, or perhaps better interrogative.
It is dat. after mortifera.

693. fraude vulgari: such arts as the common herd can use.

696. anguis: the constellation Draco. Cicero (N.D. 2. 106)
quotes the Greek astronomical poet Aratus (translated) thus: Has
(arctos) inter, veluti rapido cum gurgite flumen, torvus Draco serpit —
Between the great and little hears, like a river with rushing current ,
creeps the grim dragon.

696. ferae: the Arctoe, Ursa Major and Ursa Minor. The former
was known to the Greeks of Homer's time (II. 18. 487; Od. 5. 275),
while the latter, though long known to the Phoenicians, was not
pointed out to the Greeks till the age of Thales, about 600 b.c.

698. solvat Ophiuchus: let the serpent holder loose his tight
grip, and so release the serpent. Cicero (N.D. 2. 108) translates
Ophiuchus into the Latin AnguUenens, Quern claro perhibent
Ophiuchum nomine Graii. | Hie pressu duplici palmarum continet
Anguem — The serpent holder, whom the Greeks call by the splendid
name Ophiuchus. He holds the Dragon with the twofold grip of his
hands.

699. virus: ace; one of the few neuter o-stems in -i^.

700. ausus: which dared. — gemina . . . numina: Apollo and
Diana. It was the former who slew the python, and the oracle at
Delphi, where the encounter occurred, was sacred to him alone,
though here his twin sister is assigned a share in the exploit (cf .
the inclusion of Juno in tonantibus, 59 n.).

702. serpens: omnis serpens may mean every serpent that has
fallen by Hercules^ hand, including the two that attacked him in
his cradle (H.F. 214-222), the guardian of the garden of the
Hesperides (H.F. 531), etc., but its position between Hydra and
reparans, which certainly must be taken together, makes it more
probable that the reference is to the many heads and lives of tha

298 THREE PLAYS OF SENECA

hydra itself, which in H.F. 241 is called numerosum malum. —
caede . . . sua: re-creating itself by its own destruction; whenever
one of its nine heads was lopped ofif, two sprang up in its place.

703. tu . . . serpens: the sleepless dragon (insomne monstrumf
473 n.) which guarded the golden fleece in Colchis.

706. frugis: to the venom of serpents she now adds the juices
of poisonous plants.

707. invius . . . Eryx: the famous moimtain in western Sicily,
which in the first Punic war was the last stronghold of the Car-
thaginians in that island.

711. quis: abl. The antecedent is mala (706). — divites: an
epithet often applied to the inhabitants of Arabia Felix, which was
supposed to be exceedingly rich in its natural resources (cf . the-
sauris Arabum, Horace, C. 3. 24. 2). — linunt: sm^ar with
poison.

713. Suebae: feminine, as if those who dealt in witchcraft and
poisons would naturally be women.

716. rigida: s^i^ with cold. — decus nemomm: the leaves.

720. pastes: baneful herbs. Athos, which was not really
Thessalian {Haem^nius)^ but Macedonian; Pindus, on the western
boimdary of Thessaly; and Pangaeus, near Philippi, all were
moimtains well known to Seneca's readers. He next names four
rivers which roughly represent the points of the compass — Tigris
south, Danube north, Hydaspes east and Baetis west — to em-
phasize again the world-wide range Medea covered in her search
(cf. 373, 681 n.).

723. premens: the Tigris, noted for its swift ciurent, is pictured
here as checking its deep torrent so as to water the plants that
grew in or near its bed (cf. Hister . . . compressit undas, 764).

726. gemmifer: the river Hydaspes, near the northwest border
of India, was supposed to be rich in diamonds; Claudian, a fourth-
century court poet, speaks of the gemmae Hydaspeae (III Cons.
Honorii, 4).

726. nomen . . . dedit: Seneca's native town, Corduba (modem
Cordova), was in the Provincia Baetica, which took its name from
the river Baetis.

727. Hesperia: a general term for western, i.e. in the direction
of Hesperus, the evening star. To the Greeks it commonly sug-

NOTES ON THE MEDEA 299

gested Italy (e.g. in Vergil, A. 1. 530); to the Romans it often
meant Spanish, as here (cf. Horace, C. 1. 36. 4).

728-730. Some herbs must be gathered at dawn, others at
midnight; some must be cut with a knife (cruenta falce, 722),
others pinched ofif with the finger nail (ungue).

731 ff. Cf . the contents of the witches' caldron in Macbeth
(4. 1. 4-38), "Fillet of a fenny snake," etc. — serpentium: the
regular form of the gen. plu. In 705 it was written serpentum for
metrical reasons.

734. vivae: the heart and other vital organs cut from a living
screech owl. — scelerum artifez:. Medea (see 121 n.).

736. discreta ponit: separates, distinguishes.

737. verba: incantations. — illis: abl. after the comparative.
739. mundus . . . tremit: nature shudders.

Scene 2 (w. 740-848). — Medea invokes the aid of the infernal
gods, the shades of the wicked dead and Hecate, patron of magic
arts, in a rhapsody of sustained intensity, and expresses her assur-
ance and satisfaction that her prayer is answered. The meter is
trochaic to 751, iambic trimeter to 770, alternately trimeter and
dimeter to 786, anapestic to 842 and iambic trimeter to the end.

740-761. Medea begins her invocation with a passage in the
long, swinging trochaic septenarius, which, making due allowance
for the difference between quantitative and accentual meter, may
be illustrated by referring to Tennyson's Locksley HaU.

742. ligatos: bounded (cf. alligat, Vergil, A. 6. 439) as well as
hound.

743. supplicis: for suppliciis, abl. abs. with remissis. The
lines that follow give details (cf. Theseus' account in H.F. 750-
759, where the same stock examples are used). — thalamos novos:
of Jason and Creusa; for the special meaning of novos in this con-
nection see note on 894.

746. Pirenidas: ace. plu. of Pirenis, adjective from Pirene,
the name of a famous fountain at Corinth. Tantalus is variously
described by authorities as having been king of Lydia, of Phrygia,
of Argos and of Corinth; evidently the last view is adopted
here.

300 THREE PLAYS OF SENECA

746. sedeat: remain for, i.e. await. — socero: dat. of in-
terest after sedeat. Creon is meant, his name suggested by
mention of Tantalus, one of his predecessors on the Corinthian
throne.

749. vestras . . . manus: the daughters of Danaus had slain
their husbands, and the crime which Medea meditated was worthy
of them.

750. vocata . . . veni: the participle agrees not with the
neuter sidus but with tu, the subject of the imperative veni, with
Hecate as antecedent; induta and minax, 751, have the same
agreement. — sidus: appositive Jo tu.

761. fronte non una: cf. note on triformis, 7.

762. Having finished her solemn invocation, Medea recounts
(in iambics) the wonders she has wrought by the aid of these
powers. — tibi: for thee, Hecate. — moregentis: modifies solvens —
loosing my hair from its bonds in the manner of my people.

753. nudo . . . pede: on a similar occasion Ovid (M. 7. 183)
describes Medea as being nvda pedem — bare of foot.

766, 756. Two opposite movements of the sea are described:
/ have driven the seas back to their deepest recesses, and (conversely)
the ocean has sent its mighty waves farther inland, otUdoing the tides.
With the examples of her power cited below cf. Ovid, M. 7. 199-
209.

758. et solem et astra: at the same time. — vetitum . . .
tetigistis: see 404 n.

759. temporum. . .vices: the seasons — I have caused the flowers
of spring to bloom in summer, grain to ripen in the winter, water to
flow up hill.

763. Hister: the Danube in its lower course. — tot era: as the
delta of the Nile had seven recognized branches, ancient writers
seem to have taken it for granted that all great rivers had the same
number. Thus Tacitus, writing of the Danube, says (Germ. 1. 1):
Danuvius . . . plures populos adit, donee in Ponticum mare sex
meaiibus erumpat; septimum os paludibus hauritur — The Danube
. . . visits many nations, till it bursts forth into the Black Sea in
six channels ; the seventh mouth is swallowed up in the marshes.
Cf . Tro. 9, where the seven mouths of the Don (Tanais) are spoken
of.

NOTES ON THE MEDEA 301

766. tacente vento: abl. abs. concessive — thoitgh the wind is
still. — nemoris . . . domus: the heart of the ancient wood.

768. die reducto: that is, bright daylight enters the recesses
of the dense forest. — Phoebus: the sun has stood still in mid
heaven.

770. It is time to attend thy sacred riteSf Phoebe. Note the
final e in PhoebCy which distinguishes this feminine form from the
masculine Phoebe in 874 (see note on 97). Phoebe here, as often,
is identified with Hecate (7 n.). Other of her names used in this
same passage are Trivia (787), Dictynna (795) and Perseis (814).

771-786. In alternating trimeters and dimeters she enumerates
the horrid ofiferings she brings. — tibi: as in 752. — cruent^: abl.

772. no vena . . . ligat: each bound with nine serpent coils.
Novena agrees with serpens, while quae is ace. plu.

773. membra: the giants had feet like serpents. — discors:
rebellioiLs. — Typhoevis: one of the Giants who attacked the
heavens in the attempt to dethrone Jupiter (see 410 n.).

776. vectoris: the centaur Nessus (640 n.), who served as ferry-
man on the river Evenus, and there tried to carry off Dejanira,
one of his passengers.

777. Oetaeus . . . rogus: the pyre on Mt. Oeta, where Hercules
ended his life (640 n.). This is the theme of the Hercules Oetaeus
of Seneca.

779. impiae: cf. impius, 645. — facem: the firebrand on whose
preservation Meleager's life depended (645 n.). With uUricis
Althaeae cf . matris iratae, 646. It is natural for Medea, about to
slay her own children, to think of Althaea, who had caused the
death of her son.

782. Harpyia: a trisyllable, pronounced Har-pyi-a. — dum
fugit: the harpies were driven by Calais and Zetes, sons of the
north wind, from the house of the blind Phineus and pursued as
far as the Strophades islands (Ovid, M. 7. 3; Vergil, A. 3. 211-213).

783. Stymphalidos : a Greek gen. sing. , here modified by passae —
the wounded bird of the Stymphalian lake, which had felt (lit. suffered)
the Lernaean arrow, i.e. an arrow poisoned with the hydra's gall.

785. sonuistis: some phenomenon of sound or motion on the
altar satisfies Medea that her invocation has been heard. —
tripodas: ace. plu. of the Greek noim tripus. The words / see my

302 THREE PLAYS OF SENECA

tripods have been shaken involve an allusion to the oracle at
Delphi, where the three-legged seat was an important part of the
paraphemaUa, and mean simply that the goddess (Hecate) has
given some token of her presence and favor.

787-642. Here follows a rhapsody in anapests which fairly
entitles Medea to the epithet maenas which is used by herself in
806 and is applied to her by the chorus in 849.

787. Triviae: Hecate, so called because her shrines were com-
monly placed where three roads met. In the following lines she
is identified completely with the moon goddess: / see the chariot of
Trivia — not that which the clear f all-night moon with full round face
is wont to drive, but that of the darkened luminary, with sorrowful
countenance, when, assailed by the threats of Thessalian witches, she
sweeps the sky with close-drawn rein. She desires not the bright
full moon, but one in eclipse. For some details see below.

790. Thessalicis minis: it seems that Thessaly was noted for the
number and ability of its witches who like Medea had learned to
control the forces of nature. Pliny (N.H. 30. 1) speaks of the.
" Thessalian matrons whose name this art long held in our part
of the world." One feat much practiced, according to popular
belief, was to darken the moon by magic. So we read in Seneca's
Phaedra, 420, this prayer addressed to the moon: Te , . . detrahere
nunquam Thessali cantus queant — May Thessalian incantations
never avail to draw thee down; and again (Phaedra, 791): Tractam
Thessalicis carminibus rati — Thinking she had been drawn down by
Thessalian charms. Thessalicis minis then will mean the menaces,
mingled with entreaties, with which the efifort to draw the
moon was made (cf. 674 n.). Lurida in 790 is nom. sing, and
maesta abl., as is shown by the meter.

791. caelum . . . legit: for the meaning cf. pontum legit
(V.A. 2. 207).

793. pallida: nom. sing. — funde: shed.

795, 796. An eclipse was the occasion of great terror, and
efforts were made to counteract the magic which was supposed to
cause it by beating on brazen vessels in auxUium, for the assistance,
of the threatened luminary. Tacitus gives an instance from his-
tory (Ann. 1. 28. 3), when he says mutinous soldiers aeris sono,
tubarum cornuumque concentu strepere — made an uproar with the

NOTES ON THE MEDEA 303

sound of brass and the concerted blare of fifes and trumpets, in order
to end an eclipse of the moon a.d. 14. Of course it is an anach-
ronism for Medea to speak of precious Corinthian bronze, which
was not known till B.C. 146, when Corinth was captured and
burnt by the Romans.

7wr7. caespite: an altar of turf.

799. A torch caught from the midst of a funeral pyre would be ill-
omened and hence appropriate here (cf. H.F. 103: Vastam rogo
flagrante corripiat trabem — Let her catch a great brand from the
burning pyre; Ovid, M. 6. 430).

800. caput: ace. of specification with mota, or object of the same
participle in a " middle*' sense: Having tossed my head, I offered
thee with bended neck the words of the magic ritual.

803. vitta: officiating as priestess Medea would wear a wreath,
perhaps of cypress, which was associated with things funereal.

804. Stygia ramus ab unda: the rapta sepulchro fax of 799.

806. maenas: appositive to the subject oi feriam (cf. 383 n.;
787 n.; 849). — sacro: with cwttro — accursed.

807. manet: from manare, not manere. — noster sanguis: my
own blood.

808. assuesce: a trisyllable, as-sues-ce. Tr. accustom yourself,
my hand, to draw the knife and be strong to shed blood that is dear
to me. The poet makes her gash her own arms (bracchia) that her
hand may be the more ready to shed the same blood flowing in
the veins of her children {caros cruores). In 810 (sacrum laticem
dedi) she has accomplished this preliminary sacrifice. Laticem
there, of course, means her own blood.

812. vocari: sc. te.

813. votis: by my prayers. — ignosce: sc. mihi, or take abso-
lutely.

814. Persei: voc. of the patronymic Perseis. Hecate is so
called as being daughter of Perses, a brother of Medea's father
Aeetes, and granddaughter of Persa and Sol. Ovid (Rem. Am.
263) used the same word as an adjective, Perseides herbae, mean-
ing plants used in magic. — tuos arcus: object of vocandi.

818. quas: equivalent to ut eas, ut introducing urat in a clause
of purpose and eos object of sumpserit — That when she has donned
them the creeping flame may consume her very marrow.

304 THREE PLAYS OF SENECA

820. auro: the material of her gift to the bride (572-574).
In 820-830 the effect of the poison she is concocting is described as
if it were liquid fire, and this leads her to enumerate the mythical
sources of fire — that stolen from heaven by Prometheus, the forge
of Vulcan, the thimderbolt that killed her kinsman Phaethon,
the breath of the Chimaera and of the fire-breathing bulls of Col-
chis, to all of which she adds "the gall of Medusa."

822. furta: the stealing of fire from heaven for man (cf . Horace, C.
1. 3. 27). — viscere feto: Prometheus' pimishment was confine-
ment on the barren rock of the Caucasus, where a vulture tore
constantly at his liver, which grew as fast as it was consumed
(cf. fihris renatis, Vergil, A. 6. 600).

823. condere: store up, here in the golden gift (cf. condita,
835).

826. Mulciber: Vulcan, god of fire. The name is derived from
the verb mulceo, referring, of course, to the power of fire to soften
(melt) metals.

827. cognate: Phaethon was son and Medea granddaughter of
Phoebus (28 n.). His adventure with the sun's chariot ended
with his being struck by lightning in order to prevent further dis-
aster to the imiverse (Ovid, M. 2. 321).

831. tacitum: laterU.

836 ff. visus, tactfls: ace. — artfis: nom. plu. All the verbs
are optative.

840. tenentur: are heard (lit. received). — latratus: Hecate was
represented sometimes as having three heads (triformis, 7; triceps,
Ovid, M. 7. 194), one of a horse, one of a lion, one of a dog; more
often as merely attended by a pack of hounds, whose barking pro-
claimed her approach {latravit Hecates turba, Oed. 569; visaeque
canes ululare per umbram, adventante dea, Vergil, A. 6. 257 — " Dogs
seemed to howl through the darkness as the goddess drew near").

843 ff. The violence {vis) of her frenzy is gone, and only sullen
determination remains. — vocft: to the nurse.

846. placate: win to yourselves . . . your mistress — and step-
mother,

848. tiltimo: to her hearers this would naturally mean the last
before her own departure, but for herself it has another and deeper
sense.

NOTES ON THE MEDEA 305

Scene 3 (w. 849-878). — The chorus describes the frenzy of
Medea, expresses its dread of her power, and prays for the speedy
coming of night. The meter is iambic dimeter catalectic, each
stanza closing with a verse one syllable shorter.

849. cruenta: nom. The sense may be literally blood-stained
(cf. 806-810, where she had gashed her own arms with the sacri-
ficial knife), or it may refer to her past crimes.

860. amore saevo: her fierce passion for Jason (398 n.).

864. riget: is set.

866. Does not stand on the defensive, but dares attack.

867. Sc. earn esse.

868-866. The chorus observes Medea's intense emotion, evinced
by change of color and imcertain gait (cf. 382-389).

866, 867. Cf . Medea's own expression, 397, 398.

874. Phoebe: note the short e final, and cf. Phoebe, 770 n.—
mitte . . . loro: drive the sun chariot swiftly. Medea's reprieve
was to end with the day (295, 297-299, 421, 1017), hence the prayer
that night might come quickly.

876. alma: the epithet commonly applied to dies^ sol, lux and
words of kindred sense here is given to nox (cf. Tro. 438).

878. duznoctis: cf. geminipraeviatemporis, 71.

ACT V

Scene 1 (w. 879-890). — A messenger narrates the destruction
of Creon and his daughter by the imquenchable fire kindled by
Medea's deadly gift, the chorus prompting him with questions.

884. quis cladis modus: modus may mean either manner or
measure, probably the latter here (cf . omnenif iota, urbi timetur).

890. praesidia: the water. The fire is so fierce as to devour
what ordinarily is a safeguard against it.

Scene 2 (w. 891-977). — The nurse urges her mistress to flee
for her life, but Medea exults in the success of her plans thus far,
recalls with satisfaction her past deeds, wavers in her purpose to
destroy her sons but decides upon it, sees the apparition of her
murdered brother, and finally ascends to the house top, there to
finish her work.

306 THREE PLAYS OF SENECA

891. Pelopea: Pelops was a son of Tantalus (745 n.), and be-
came king of Pisa, in Elis. From his name the whole southern
peninsula of Greece came to be called Pelops' Island, Peloponnesus.
Here the adjective is applied to Corinth either as his father's home
or in the general sense of Grecian (Vergil, A. 2. 193).

893. Egone ut recedam: am I to retreat f — an indignant ques-
tion, implying that the proposed act is inconceivable (cf. 929).

894. nuptias novas: cf. thalamos novos, 743; thalamis novis,
Tro. 900. It is a new kind of marriage in that it is to be a scene of
mourning instead of rejoicing.

896. quota: how small, lit. whath! (cf. H.F. 383 n.).

897. You love him still if you are content with simply depriving
him of his new-made wife. — furiose: masculine, with anime; so
violentu^, 904.

898. caelebs: both caelehs and viduus are used indifferently of
persons widowed and those who never have been married.

899. haut: haud.

902. incumbe: bend to, lend all your force and weight. — languen-
tem: if you waver in your purpose.

906. pietas vocetur: i.e. in comparison with what is contem-
plated now. — faxis: feceris, perfect subjunctive used impera-
tively — Cause them to know how trivial and of what common stamp
are the crimes I have done hitherto.

907. prolusit: took exercise in preparation for greater deeds
(cf. proludens fatis, Tro. 182).

910. Medea nunc sum: cf. 171 n. — crevit: from cresco — my
nature has developed through misfortune (or through evil deeds).

912. arcane . . . sacro: the golden fleece, called in Thy. 226
arcanus aries, though referring there to another ram.

913. senis: Pelias (133 n.).

915. non rudem: not inexperienced (cf . rudes, 908; non rude, Tro.
67 n.).

916. perfido hosti: Jason, as in 920.

918. nondum: yet it is clear that the idea had occurred to her
at least as far back as her interview with Jason (549), and hints
of her growing purpose are given in 565, 848.

920. paelice: Creusa; for another use of the word see 462 n.

922. Creusa peperit: she first wishes that her rival had left

NOTES ON THE MEDEA 307

children behind her, then exclaims that any children of Jason's,
though her own as well, must now be thought of as Creusa's.

923. ultimum: crowning.

926 ff. With this wavering between right and wrong impulses
cf. Ovid's account of Medea's reflections at first sight of Jason
(M. 7. 9-99) and Dido's hesitation in yielding to her passion for
Aeneas (Vergil, A. 4. 1-55).

928. The fury of the outraged wife gives place to the tender
affection of a mother (cf. 443). — tota: probably nom.

931. incognittun: unheard of.

936. frater: sc. mens. Absyrtus had been innocent and yet
was sacrificed, why not her sons as well?

938. variam: seme; so with incerto?7i, 939.

950. osculis: the reading is doubtful and consequently the sense.
We may translate lamenting with their farewell kisses as a make-
shift. — pereant: he lost to.

953. antiqua Erinys: cf. 13-17 n. In 959-966 her frenzy leads
her to imagine that she really sees the Furies and the ghost cf her
murdered brother.

954. turba Tantalidos: the brood of Niobe, daughter of Tantalus,
who was the mother of seven sons and as many daughters (Ovid,
M. 6. 182). Tantalidos: Greek gen. of Tantalis.

956. sterilis fui: my two are not enough. Another shade is
given the thought in the next line, that in slaying her two sons
she was sacrificing one each for the father and the brother she had
wronged.

959. quo . . . parat: against whom are they preparing their
fiery blows f

961. anguis: each of the Furies wielded a whip whose lashes
were living serpents (cf. viperea verbera, H.F. 88). — sonat: hisses.

962. trabe: the torch with which the Fury tortured her victims
(cf. atram facem, 15; ramus, 805).

964. incerta: dimly seen (cf. incertam lunam, Vergil, A. 6.
270).

965. omnes: best taken as ace. with poena^, supplied from pre-
ceding line as object of dabimus — Pll grant it, but my atonement
shall be complete, i.e. it shall not be hasty, but shall include all that
I can offer. — fige faces: thrust firebrands into my eyes, tear, burn.

308 THREE PLAYS OF SENECA

The sudden apparition of her murdered brother throws her into
a new paroxysm of fury and despair.

967. ultrices deas: the same phrase occurs in 13, where uUrices,
there substantive, is followed by an objective genitive (cf . ultrices
Dirae, Vergil, A. 4. 473).

970. victim^ . . . ist&: one of her sons, who is slain at this
point.

972. petunt: the subject is general — they, the people.

974. tu: the living child; tuum corpus, 975, is addressed to the
dead body of the other (cf. hie, hie, 1000, 1001).

976. hoc age: as in 562.

Scene 3 (w. 978-1027). — Jason enters, calling on all good
subjects to assist in avenging the murder of their king. Medea
from her house top taunts him with the loss of his bride and his
helplessness to save his sons, and in his sight kills the second of
them, then flies away in her winged chariot.

978. quicumque . . . doles: an exhortation more individual
and personal than the plural would have been. Jason does not
see Medea till 995, and is not recognized by her before 992. —
regum: Creon and his daughter.

980. armiferi: voc. — fortis cohors: appositive to arwt/en.

982-984. / have recovered all I gave up for my lover, i.e. this
moment of vengeance is worth them all. In her interview with
Jason she had reminded him of what she had lost for his sake,
enumerating essentially the same details as are given here (477-
489 ) . — germanum : brother.

984. redit: contracted from rediit, as peti from petii in 248.

986. placida: propitious. — tandem: at last, aiter opposing me
so long.

987. perage: sc. vindictam.

988. quid . . . potens: having the power why do you hesitate f

989. A momentary feeling of regret, which gives way almost
immediately (991) to a fierce joy as she sees her husband and thinks
of his suffering.

991. invitam: in spite of myself .

992. derat: for deerat (cf. derit, 403 n.). — hoc: explained by

NOTES ON THE MEDEA 309

its appositive spectator iatCf Jason, whom she now sees ap-
proaching.

993. nil . . . r«or: as he had not witnessed the death of the
first child it counted for nothing in her vengeance (see next line
and cf. 275-280, 500, 501).

994. perit: perfect, like peti^ 248, and redit, 984 — is lost, is
wasted.

996. ipsa: Medea; Zo, she herself is above tiSf on the hoxise top. —
parte praecipiti: this means simply the street wall of Medea's
house, from the top of which she looked down upon the gathering
crowd.

997. suis: the fire was to be brought from the king's house,
which had been destroyed by flames of Medea's devising.

998. funus: for rogum.

999. iusta . . . functis: the services due the dead (cf. iusta
TroiaCf Tro. 65). Functis is for defunctis. In sending her fiery
gift to Oreusa and by that means destroying the royal house and
all it contained, Medea had provided for the cremation of Jason's
bride and father-in-law (a me sepultif 1000). She now taimtingly
challenges him to do as he had threatened (996) — bum her house
and so provide a funeral pyre for his sons.

1000. 1001. hie, hie: pointing to the dead and to the living
boy (cf. 974 n.).

1003. fides: see 434-441 for the reasons he gave Medea for his
desertion.

1006. hac: here, in the body of our son (cf. vulneri . . . locu^
550; and, for form of expression, hac, qua, 565).

1010. nullam: sc. caedem, — ut perimam: concessive, as shown
by tamen.

1011. nimium angustus: too small, but cf. 957.

1016. moram: seeing it useless to plead with Medea for the
child's life he begs for delay in the hope that " something may turn
up" to save it. — supplicis: suppliciis. — donA: imperative.

1017. meus dies est: i.e. the day granted her by Greon (295);
so tempore accepto. At this point she kills the second boy and so
provokes Jason's despairing cry, memet perime, 1018.

1022. sic: in a chariot drawn by winged dragonB (cf. 1023;
Ovid, M. 7. 220).

310 THREE PLAYS OF SENECA

1024. recipe . « . parens: parent, take back your children now!
With this parting taunt she throws the bodies down to Jason and
herself mounts the chariot and flies away.

1027. qua veheris: from its position this clause would most
naturally modify esse — Bear witness that wherever you go there are
no gods. Taking it with testare — Wherever you go, hear witness that
there are no gods, we have a stronger climax in the atheism into
which Jason is driven by the tragedy.

MACMILLAN'S

LATIN CLASSICS

PREPARED UNDER THE DIRECTION OF

JAMES C. EGBERT

Professor of Latin in Columbia UNivERsrrY
FOR THE YOUNGER STUDENTS IN COLLEGE CLASSES

Although great progress has been made during recent years in the
scholarly editing of Latin texts, the result has been books too cumbersome
and expensive for the younger students. Not finding helpful information
in the elaborate introduction with its extensive data as to usages, quota-
tions, and references, the student naturally turns to translations for aid.
The volumes in this new series will endeavor to combat this tendency by
presenting notes which, while scholarly, shall be brief and concise. Each
book will have a short introduction and standard text and a commentary
for the interpretativm of the text. The series will contain the most useful
works available for class use and will be issued at prices sufficiently reason-
able to make the adoption of the volume pq^sible in large general classes.
Arrangements for editing the various texts hive been made as follows :
Tacitus* Agricola, by Mr. Duane Reed Stuart of Princeton Uni-
versity. J
Adelphoe of Terence, by Prof. Helen M. Searles of Mt. Holyoke

College.
Selecfions FRONf Seneca, by Mr. Allan* P. Ball of the College of the

City of New York. ^

LiVY, Book I and Selections, by Prof. Walter Dennison of the Uni-
versity of Michigan.
Horace's Odes and Epodes, by Prof. Nelson G. McCrea of Colum-
bia University.
Tacitus' Histories, I and III, by Prof. Frank G. Moore of Dartmouth

College.
LiVY, Book XXI and Selections, by Prof. James C. Egbert of Colum-
bia University.
Tacitus* Annales, Books I to III, by Miss Susan Fowler of Brearley

School, New York City.
Cicero, Selected Letters, by Dr. Ernest Reiss, De Witt Clinton

High School.
Plautus* Trinummus, by Prof. H. R. Fairclough, Leland Stan-
ford Jr. University.
Pliny's LpriTERS (Selections), by Prof. George M. Whicher, New York

Normal College.
Seneca, Three Tragedies, by Prof. H. M. Kingery, Wabash College.

Others to follow.

(

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