The Epileptic
‘When we come to Euripides’, writes Pearson, in his introduction to the Phoenissae, ‘we are let down to earth…. If our notions of ancient art are shaped on the ideal pattern, we experience a feeling as of a sudden jar or shock when brought face to face with the realistic aspect of a Euripidean play; there is what seems at first sight a blending of the ancient point of view with the modern, an acquiescence in the ugliness of certain features of suffering which we are apt to think more appropriate to the twentieth century…. With every fresh disaster we are forced to utter the question—why should such things be? And at the same time we are driven to admit that, though we cannot explain them, they are none the less true.’ This is pre-eminently true of the Hercules Furens.The Hercules Furens rivals the Bacchae in the strangeness of its theme, and if it can be demonstrated that these two plays were built out of the stuff of real life, an important point has been made in support of the contention that Euripides’ prime interest was the character of men and women, and that his dramatic presentation of humanity is marked by psychological insight of the highest order, and based upon a notable acuteness of observation. What, we may ask, led Euripides to choose as a subject of tragedy the strange tale of the madness of Heracles? The Attic associations of the myth, which were his main concern in the Heracleidae, cannot have been his chief motive in this case.