As Hercules, in this play, raises to life the dead Alcestis, we are freed from the necessity of discussing the legal aspects of such a problem. The whole plot of this play belongs to the supernatural rather than to the natural order. The murder laws of Greece made no provision for such contingencies.
The ‘Troades’
In the Troades Cassandra foresees the murder of Agamemnon and the vengeance of Orestes, and connects these tragic misfortunes with the woes which were brought by the Atreidae upon the house of Priam. Aeschylus has a suggestion of this sentiment in the Agamemnon.[366] To represent Clytaemnestra and Orestes as mere instruments in the hands of Destiny may be religiously orthodox to a superstitious people, especially in the Dark Ages of prehistoric Greece, but it has no legal validity. Such sentiments are really antagonistic to legal sanctions. Applied to Achaeans, they are, we think, anachronistic. Murder is distinct from war, and murder is not conceived as begetting murder, in the course of Destiny, until post-Homeric times. In the decision of the Greeks to slay Astyanax, the son of Andromache, as a reprisal for the adultery of Paris,[367] we see an instance of hyper-vengeance, which is characteristic of hostile belligerents. We cannot infer that amongst the Achaeans the punishment for adultery was more severe than amongst the Pelasgians.[368] Astyanax was not an adulterer! His punishment was a reprisal, and has therefore no legal significance. Talthybius refers to a strange proposal on the part of the Greeks, namely a proposal to set up a spear in the tomb of Astyanax.[369] Now this spear is a symbol of future vengeance. It is strange that such a symbol should have been set up by the party who deserve and anticipate punishment. Moreover, we have seen[370] that this custom was probably post-Homeric. The Achaeans did not credit their dead spirits, after burial, with any local habitation in the tomb or with any effective desire for vengeance. Here, the suggestion is clearly intended by Talthybius, and possibly by Euripides, to bring some slight comfort to Hecuba, the bereaved mother. We have referred to a passage in Demosthenes,[371] in which a plaintiff, who was debarred from a prosecution for bloodshed, because of his not having been akin in blood to the deceased, was advised by the Exegetae to carry a spear at the funeral. It was therefore rather a cruel piece of irony for Euripides to suggest that by the setting up of this symbol—which had come, in historical times, to indicate the absence of avengers—the Greeks intended to express at once to Hecuba the hope of retaliation and to themselves the hope of immunity from vengeance.
The ‘Helen’
The scene of the Helen is laid in Egypt. We are told that the ubiquitous Helen escapes with Menelaus from Egypt, having deceived by a stratagem her amorous protector, Theoclymenus. She was aided in her plans by Theonoe, the sister of Theoclymenus, and he, therefore, in the anger of disappointed passion, proceeded to slay his sister. The Dioscuri intervened in time to prevent the realisation of his purpose, and all ends happily! Technically, Theoclymenus is guilty of attempted kin-slaying, but the poet leads us to suppose that an ungovernable fit of passion would, in such a case, be regarded as a complete extenuation. We may infer from the words of the Chorus that the slaying of one’s kindred was regarded with horror by races which were outside Greece. The Chorus will not permit the death of Theonoe, even though they intervene at their peril. They say to Theoclymenus[372]:
Kill me. Your sister you with my consent
Shall never slay: I rather would yield up
My life on her behalf. It is most glorious
To generous servants for their lords to die.