THE l AGAMEMNON^ AND <TRACH1NI&> 23 



Sophocles had thought the sentiment artistically right we 

 should have found it here. The revulsion of feeling in favour 

 of Deianira would give rise to a sort of attendrissement wholly 

 out of keeping with the situation. To make this softening 

 effective, much love must have been shown by Heracles to 

 Deianira previously, whereas the hero fell by his ungoverned 

 passions, and we have no hint that he was romantically attached 

 to his wife. Hyllus, in giving his explanation, names Nessus 

 as author of the charm ; then a great awe falls on Heracles, he 

 remembers the oracle and accepts his fate. Now we see the 

 hero once more noble and strong, resolved to face death with 

 dignity. On the summit of Mount (Eta, on a funeral pyre, he 

 will depart, while the flames which take his life quench the 

 worst agony of the poison. Hyllus is made to promise that this 

 shall be so, and the pangs abate ; the moment pain no longer 

 heightens the situation the artist lets the fire die out. And here 

 follows an incident which a little relieves our hearts. The dying 

 hero cannot forget the maiden lole, the love for whom has been 

 his ruin ; she at least shall be well cared for, and shall raise him 

 seed. He commands Hyllus to marry her. The poor boy 

 says : 



How can I do it, when my mother's death 

 And thy sad state sprang solely from this girl ? 



Mark the art with which Sophocles lets the audience see what 

 really killed Heracles. Not Nessus, not Deianira, not Zeus, 

 but lole ! Hyllus saw it quite well ; but his great father 

 will be obeyed. Heracles' last hope is that he may reach the 

 funeral pyre undaunted 



Seeming to do gladly still. 



Hyllus, as Heracles is borne off, rebels against heaven, as 

 any son would do in like case. As a representation of the ex- 

 tremity of a hero's suffering, this scene stands pre-eminent 

 among all tragedies. Let Salvini act the hero, and its power 

 would instantly be recognised; not only the power of the 

 actor, but the fact that it gave him greater scope than any 

 other part. There is no such sequence of long-drawn agony, 

 which is yet the agony of a demigod, in the c Agamemnon/ 



