The Heracleidæ[442] (Ἡρακλεῖδαι) or Children of Heracles, is a short[443] play of uncertain date, usually referred to the early years of the Peloponnesian War (431-404) and by some to the date 422 B.C. Nothing is known as to the companion plays, or the success obtained by the tetralogy.
The scene is laid before the temple of Zeus at Marathon in Attica. The young sons of Heracles are discovered with the aged Iolaus, their father’s comrade, who explains how, after Heracles departed to Heaven, Eurystheus of Argos has hunted the hero’s family through Greece. They have taken refuge in Attica; Alcmena, mother of Heracles, and the daughters are now within the temple; Hyllus, the eldest son, has gone to seek another refuge in case Athens fails them. Copreus,[444] a herald from Argos, enters and is dragging the suppliants away when the chorus of aged Athenians enter. Copreus disregards their remonstrances, but is confronted by the king, Demophon, and his brother Acamas. He insists that the Heracleidæ are Argive subjects: let not Demophon risk war with Argos. Iolaus appeals for protection, and is granted it; Copreus retires with threats of instant war. After an ode of defiance by the chorus, Demophon returns with news that a noble virgin must be sacrificed to Persephone, and he will not slay an Athenian girl. Iolaus is in despair, when Macaria, one of Heracles’ daughters, comes forth and offers herself. After a proud but melancholy farewell she goes. A serf of Hyllus arrives, bringing, he says, good news. At this Iolaus joyfully summons Alcmena, who imagines that another herald is assaulting him; but he announces that Hyllus has returned with a large host of allies. Iolaus, despite the serf’s rueful gibes, insists on going to the fray and, dressed in ancient arms from the temple, totters off. The chorus proclaim the justice of their cause, invoking Zeus and Athena. The attendant returns with news of complete victory. Iolaus was taken into Hyllus’ chariot and being (by favour of Heracles and Hebe) miraculously restored for a while to his youthful vigour, captured Eurystheus. The chorus celebrate the glory of Athens and acclaim Heracles, who is now proved (despite report) to be dwelling in Heaven. Eurystheus is led in and Alcmena gloats over him, promising him death. The messenger intervenes: Athenians do not kill prisoners. She insists. Then Eurystheus breaks silence: it was Hera who forced him to these persecutions, and if he is now slain in cold blood, a curse will fall on the slayer. The chorus at length accept Alcmena’s evasion that he be killed and his corpse be given to his friends. Eurystheus presents Athens with an oracle which declares that his spirit shall be hostile to the Heracleidæ, when, forgetting this kindness, they invade Attica.[445] Alcmena bids her attendants convey Eurystheus within and destroy him. The chorus[446] briefly express satisfaction at being free from this guilt, and the play ends.
The Heracleidæ is one of the least popular[447] among Euripides’ works. It has indeed unmistakable beauties. The heroic daughter of Heracles and her proud insistence on no rivalry in her sacrifice have always moved admiration. The Greek style, moreover, though not equal to that of the Medea, has all the Euripidean limpidity and ease. Such lines as
τίς δ’ εἶ σύ; ποῦ σοι συντυχὼν ἀμνημονῶ;[448]
in Iolaus’ conversations with Hyllus’ thrall, and the lyric phrase
ἁ δ’ ἀρετὰ βαίνει διὰ μόχθων[449]
haunt the ear. Moreover, the chivalry with which Demophon and his citizens champion the helpless must have stirred Athenian hearts. But our pleasure is repeatedly checked by incidents grotesque, horrible, or inexplicable. To the first category belongs the absurd scene in which Iolaus totters away amid badinage to do battle with Argos. There is a comic note, again, in the scene where Alcmena for the first time appears and supposes that Hyllus’ messenger is another hostile herald from Argos. As we know who he is, her attack on him shows that painful mixture of the pathetic and the ludicrous which so often marks Euripides’ work; here the comic prevails over the touching. Secondly, the interview in which Eurystheus is presented to Alcmena, who gloats at her ease over him, is horrible, however natural. And finally the inexplicable or at least puzzling features are perhaps the most striking of all.
The first difficulty concerns the personality which forms the background of the whole; the apotheosis of Heracles is treated in equivocal fashion throughout. Iolaus[450] alone seems entirely convinced. Alcmena, after news of the victory to which her son has given miraculous aid, utters the candid words:—[451]