The Male Characters of Euripides by Professor E M Blaiklock M A
Continues from page 55:
SONS OF ERECHTHEUS
To continue Demophon, firm as he is in his determination to do right, is far from being an emotionalist, and he returns soon from an inevitable consultation of religious authority with news that the situation demands the sacrifice of a virgin to Persephone.
He declares flatly that no Athenian girl shall die. Athens' respect for the decencies of civilised living has its owpoonóvŋ.
At this, Macaria, daughter of Heracles, offers herself, goes proudly to death, and after this brief appearance as one of Euripides noble women, is heard of no more. At this point a servant of Hyllus arrives to announce the coming of help.
Iolaus, in a scene which is little short of broad comedy, struggles in spite of jibes and protests, into armour, and sallies forth to the fray with the armies of righteousness.
Says he:
Shameful it is—this loitering at home,
That some should fight, some, craven souls, hold back.
(Heracl. 700, 70I. Way)
In the battle Heracles and Hebe grant the old soldier a miraculous restoration of youth, and like the hero in some Victorian melodrama, waving the Union Jack and capturing the wicked slave-trader, Iolaus ends by securing the villain of the Heracles myth, Eurystheus, no less. Over Eurystheus Alcmena gloats in the final scene. She is a thoroughly unpleasant person, no Athenian in short, for all her social standing. The king of Argos is to die. But Athenians, remonstrates the messenger, are not in the habit of executing their prisoners. Eurystheus intervenes, speaking for Euripides. Hera, he says drove him to his deeds. The slayer, if he is slain for obedience to Hera's will, will bear the curse. Almena secures the compromise that Eurystheus shall be killed, and his corpse handed back to his friends. Eurystheus, second-sighted like Polymestor at such an hour, recites an oracle which declares that his spirit shall be hostile to the Heracleidae, when, forgetting this ancient benefit, they invade Attica. For the usefulness of this obviously topical reference in dating the play see Pearson, Intro. Pearson's acceptance of Wilamowitz' dates (430-427 B.C.) seems reasonable.
Jerram (Intro., p. s) would date the play as late as 418 B.C.
Exit Eurystheus to the block.
The play therefore ends on a patriotic note, but what does Euripides mean? "The upshot seems to be', says Norwood," giving a Verallian twist to his interpretation 'that Eurystheus had a bitter quarrel with a powerful, so bitter that when his enemy dies, the king dares not leave his children at large.
Through the sentimental weakness of her ruler, Athens is drawn into the dispute, and history shows that she made a frightful mistake. This approach to the play is patently wrong.
Euripides has no criticism to offer of Demophon. Pearson’s view of 'the honest and courageous Demophon who represents the liberal spirit of Athens' , is the correct one. The play is vibrant with patriotism. Athena moves behind the scenes, wrought in the gold and ivory of every democratic excellence.
Athens is the home of liberty. Says lolaus:
God's altar shall avail,
And the free land whereunto we have come.
And the Chorus to the arrogant Copreus:
Thou shouldst have shown respect to this free land.
And Iolaus again:
If this shall be, if she but ratify
Thine hests, free Athens then no more I know.
Nay, her sons' nature know I, know their mood:
They will die sooner; for in brave men's eyes
The honour that fears shame is more than life.
And Demophon concluding all the argument:
This city which I hold
Is not to Argives subject: she is free.
(Heracl. 62, 63, II3, I97-20I, 286, 287. Way)
There, too, men could speak their mind:
King, this advantage have I in your land, I am free to speak and in my turn to hear:
None, as from other lands, will first expel me.
(Heracl. I8I-183. Way)
Her very enemies bear testimony to Athens' humanity. Says Copreus:
Do not err,
As oft ye do, taking the weaker side
When ye might choose for friend the stronger cause.