The Madness of Hercules and the Elizabethans
1958; Duke University Press; Volume: 10; Issue: 4 Linguagem: Inglês
10.2307/1768803
ISSN1945-8517
Autores Tópico(s)Classical Philosophy and Thought
ResumoOR SCENES of highest passion, boundless anger or grief, akin to or allied with madness, the Elizabethan dramatists had a classical model in the Hercules furcns of Seneca. Like other tragedies of the Roman philosopher, this play left its traces in theatrical convention, quotations, and verbal parallels of English Renaissance drama. However, in the matter of the madness of Hercules, the Elizabethans had more than one tradition to draw upon. It seems to have escaped notice that there existed a general Hercules furens convention which only partly derives from the Senecan play. In the present essay I shall describe the origin and the development of this convention, which is not exclusively literary but represents a curious mixture of myth, medical and philosophical theories, and stage practices, all blended according to Renaissance recipes. The story of the madness of Hercules was told by the ancients in two versions. In the one, Hercules succumbed to madness before executing the twelve labors. Commanded by his father, Zeus, to obey Eurystheus, Hercules fell into despondency, loathing to serve a man whom he knew to be his inferior. While he was in this dejected mood, Hera, who had borne a grudge against him since his birth, afflicted him with madness. Mistaking his own children for enemies, he shot them down, and then attacked and slew his wife, Megara. When he recovered his senses, his contrition knew no bounds.' According to the other version of the story, Hercules' madness occurred after his return from Tartarus. During his absence cruel Lycus killed Creon, Megara's father, and usurped his throne. Just when Lycus was about to lay hands on Megara, Hercules reappeared and killed the usurper. At this moment angry Juno sent madness upon him and he attacked and slew his wife and children.2
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