by Thomas; Kohn
At last, Thyestes has reached center stage, and is greeted by his brother (fratrem iuvat videre, 508). Atreus stretches out his arm, inviting an embrace (complexus mihi redde expetitos, 508–9). Thyestes begins to weep (lacrimis agendum est, 517) and falls to his knees like a suppliant before Atreus (supplicem primus vides, 517). He further makes hand gestures and grabs the feet of his brother (hae te precantur pedibus intactae manus, 518), before gesturing to his sons (hos innocentes, 521). Atreus, interrupting in the middle of the line, tells Thyestes to stop touching his feet (a genibus manum aufer, 521–22). Instead, he embraces Thyestes and helps him rise (meosque potius amplexus pete, 522), then turns to the boys and embraces them (vos quoque meo pendete collo, 523–24). He promises them all fresh clothing (squalidam vestem exue, 524), along with regal accoutrements (ornatus cape pares meis, 525–26). Dialogue between the two brothers ensues (530–45), as Atreus gestures broadly, encompassing the entire stage (hoc regnum, 534) and presents Thyestes with a crown (imposita capiti vincla venerando gere, 544).17 Following the final words of Atreus at line 545, they all exit into the palace through the center doors.
THIRD CHORAL SONG (546–622)
At line 546, the Chorus steps forward and sings in minor sapphics, concluding at line 622. It remains in place for the following act.18
ACT 4 (623–788)
Action unit: A Messenger tells of Atreus' slaughter and subsequent cooking of the sons of Thyestes.
At line 623, an unnamed Messenger enters via the center doors and speaks with the Chorus. There are no other characters onstage, so it is not unsurprising that the Chorus, speaking in trimeter, engages the Messenger in conversation throughout this episode.19 Besides recounting Atreus' horrific behavior, the Messenger tells of odd astronomical events: the sun sets in the East earlier than usual, and the stars vanish (776–78). Having completed his account, the Messenger exits following line 788. It is unclear which wing he uses. If his mission is to tell as many people as he can about Atreus' atrocities, then he would go to the center of town. If, on the other hand, he is shocked and ashamed of what he has seen, he would want to avoid people, and so would head for foreign parts.20
FOURTH CHORAL SONG (789–884)
The Chorus, which is already downstage, watches the Messenger leave, and then sings in anapests, starting at line 789. The ode, which further discusses the unusual activity in the sky, concludes at line 884, at which point the Chorus returns to the scaenae frons.21
ACT 5 (885–1112)
Action units: (1) Atreus rejoices that his plan is working. (2) Thyestes is drunk and unknowingly partakes in the cannibalistic banquet. (3) At last Thyestes learns the truth and calls curses upon Atreus, who merely continues to take pleasure in his brother's torment.
At line 885, Atreus enters with silent attendants from the center doors and speaks, further attesting to the weird celestial phenomena (dies recessit. perge dum caelum vacat, 892). He orders his mute servants to open the center doors and wheel out the exostra (turba famularis, fores templi relaxa, festa patefiat domus, 901–2).22
The house opens up (aperta tecta, 908) to reveal Thyestes on the platform, which is elaborately decorated with a fully laden table, flowers, large silver cups, and torches (multa conlucent face, 908).23 He is drunk (gravisque vino, 781) and has a cheerful expression (hilarique vultu, 899). His hair, adorned with flowers (vernae capiti fluxere rosae, 947), is slicked-back and greasy (nitet fluente madidus unguento comam, 780 and pingui madidus crinis amomo, 948). Thyestes reclines on pillows of purple and gold (resupinus ipse purpurae atque auro incubat, 909) and drunkenly rests his head on his left hand (vino gravatum fulciens laeva caput, 910). He suddenly vomits (eructat, 911), but then drinks unmixed wine from a large silver cup (capaci ducit argento merum, 913). Finally, he begins to sing (iam cantus ciet festasque voces, 918–19) in anapests (920–69).24 But even though Thyestes is having a very good time, he feels a sudden upsurge of sorrow (nulla surgens dolor ex causa, 944). He weeps, neither willingly nor understanding why (imber vultu nolente cadit, 950), and groans reluctantly while continuing to sing (venit in medias voces gemitus, 951).
At line 970, the meter reverts to trimeter, as Atreus speaks. Dialogue follows between the two brothers, for the rest of the play. Atreus hands the royal scepter to his brother, who apparently accepts it (hic est, sceptra, 971). Thyestes asks for his children (974–75), and in reply Atreus gestures toward Thyestes' stomach (hic sunt eruntque, 977); but the drunken reveler apparently does not recognize the significance of the movement. Atreus then hands a cup of “wine” to Thyestes (poculum infuso cape gentile Baccho, 982–83), which in fact contains wine mixed with the blood of his sons; Thyestes accepts it (capio, 983). Thyestes proposes to pour a libation to the gods (paternis vina libentur deis, 984), but finds that he is unable to move his hands (nolunt manus parere, 985–86). Indeed, the cup becomes too heavy to hold (crescit pondus et dextram gravat, 986); Thyestes' right hand trembles and wine spills from his lips (admotus ipsis Bacchus a labris fugit, 987), dripping down his face, but avoiding his open mouth (circaque rictus ore decepto fluit, 988). The upset Thyestes overturns the table (et ipsa trepido mensa subsiluit solo, 989). The torches die down (vix lucet ignis, 990), and Thyestes at last sees the darkness and stellar anomalies that were previously noted by the Messenger, the Chorus, and Atreus (990–95). Thyestes now feels a rumbling within his stomach (quis hic tumultus viscera exagitat mea? quid tremuit intus? 999–1000), from where strange sounds emerge (meumque gemitu non meo pectus gemit, 1001 and unde obloquuntur, 1004).25 At a signal from Atreus, servants bring in a covered tray, from which the lid is removed with a flourish to reveal what is left of the boys (venere! 1005). He points to them (accipe hos! 1021), indicating that the children's heads and hands and feet are among the remains (abscisa cerno capita et avulsas manus et rupta fractis cruribus vesitgia, 1038–39).26 Presumably, the tray holds stage representations of heads and hands. It is possible that holes were cut in both the table and the tray, and that mute actors hid underneath the table until just before the remains are revealed. But this would be difficult, since Thyestes overturns the table at 989. Rather than hiding from the start when the exostra was rolled in, the actors would have to sneak in unseen during the episode. Fake heads or even the masks worn by the actors in act 3 are, therefore, more practical. Meanwhile, Thyestes' innards are churning (volvuntur intus viscera, 1041). He demands a sword from his brother so that he may cut out the offending meal (da, frater, ensem, 1043), but the request is denied (negatur ensis, 1045).27 He proposes to beat his chest in mourning (pectora inliso sonent contusa planctu, 1045–46),28 but stops himself, lest he cause further pain to his dead children (sustine, infelix, manum! parcamus umbris, 1046–47). After further mourning and exultation, Atreus ends the play at line 1112. Everyone seems to remain onstage. It is possible, however, that the exostra is rolled back through the center doors, taking Thyestes and Atreus with it, and leaving the stunned Chorus behind.
Conclusions
The story of the brothers Atreus and Thyestes seems to have been quite popular among both Greek and Roman tragedians.29 Sophocles, Euripides, Agathon, Chaeremon, Carcinus, Cleophon, Diogenes, and Apollodorus of Tarsus are all known to have dealt with the subject. Likewise, Ennius, Accius, Varius, Gracchus, Mamercus Aemilius Scarus, and Pomponius Secundus took up the story. Unfortunately, no more than fragments remain from these previous plays, and in some cases only titles or lists of characters. It is difficult to know, therefore, exactly what influence they had on Seneca's version, though undoubtedly there was some.
The most remarkable aspect of the Thyestes in terms of dramaturgy is the surprising lack of the type of stage business and emotional cues that are found in the other plays. There is less here than in any of the others, except for the fragmentary Phoenissae. And there are a number of passages where more might be expected. For example, the Messenger is obviously distraught when he first enters (623ff.), and yet neither his mood nor actions are described. Compare this with the Oe
dipus, where the Chorus tells that the royal Servant is sad and beating his head with his hand (maestus et famulus manu regius quassat caput, 912–13). Nor is this the lone instance of such omissions. Like the Agamemnon, this play that centers so much on violence is remarkable for its lack of props; none are mentioned until the banquet of the final act. There are a number of possible explanations. Fitch (1981) argues that the Thyestes is one of the later plays; perhaps our playwright has changed his approach to composing drama. Tarrant (1985) notes that “the Thyestes is widely acknowledged to be one of Seneca's most powerful tragedies” (ix) and “[t]he Thyestes is an extraordinarily cohesive play” (43). Perhaps Seneca pursues this power and cohesion at the expense of physical cues. Or this could be an argument for performance: if the play were staged, it would be clear when people entered and exited, and what their emotional states were. In any case, this minimalism reflects the greater themes of the play. Throughout, Atreus and Thyestes hide their true feelings, hatred and lust for revenge for the former, fear and reluctance for the latter, from each other. The Fury is a constant, though unseen, presence. And in a real sense, the sons of Thyestes “enter” unseen and unannounced along with their father in the final act. Thus, it is quite fitting that other stage business is unremarked upon.
A further aspect of this lack of markers is the presence of the sons of Thyestes in act 3. The eldest boy, Tantalus, is the only one to speak. This is necessary, because with two actors required to play Atreus and Thyestes, only one remains. But, while the manuscripts do identify him as Tantalus, and he is named by the Messenger later on (718), the text does not name him when he is physically present. Further, the second son, who the manuscripts say is present and named Plisthenes, and who is likewise mentioned by the Messenger (726), is similarly unnamed in the dialogue, in addition to being mute. And the third child, who is only referred to by the Chorus during the exchange with the Messenger (731), is never given a name, called only Tacitus by the manuscripts.30 Silent boys are not at all unusual for Seneca. Other plays portray the sons of Hercules (Hercules Furens), Astyanax (Troades), the sons of Medea and Jason (Medea), and Orestes and Pylades (Agamemnon). Aside from the last pair, all the mute youths are facing impending death; so the three sons of Thyestes fit with Seneca's usual practice. But again, the apparent sloppiness with the names and the uncertainty of which boys are present in act 3 add to the pervasive sense of secrecy and deception.
CHAPTER 9
Phoenissae (Women of Phoenicia)
Because of the fragmentary nature of this play, it is hard to determine what Seneca had in mind for the Phoenissae in terms of role distribution. So extreme is the uncertainty that Sutton (1986) does not even posit suggestions. Aside from needing the same actor to play Antigone in acts 1 and 2, and the same actor for Jocasta in acts 2 and 3, the role assignments are almost arbitrary. It seems sensible that one actor gets both Oedipus and Jocasta, showing that the famous incest from the Oedipus extends even to the casting of the sequel. Similarly, the two servants are given to the same actor. It also appears necessary for the same actor to portray Antigone and either Polynices or Eteocles. It would be significant to give the performer both the girl and the brother she will subsequently bury.1
There is no Chorus. Manuscript family E gives the title of the play as Phoenissae, implying that if there were a Chorus it would consist of women from Phoenicia. Family A labels the drama Thebais, in which case the songs would be performed by a group of Thebans.2
The Phoenissae, like the Troades, appears to change location.3 Act 1 takes place in the wilderness where Oedipus and Antigone wander in exile. In subsequent acts, the center doors appear to stand for the battlements of Thebes, on which Jocasta, Antigone, and the Attendant stand in act 2, and in front of which Jocasta confronts her sons in act 3.
Dramaturgical Issues
ACT 1 (1–362)
Action units: (1) Oedipus laments that his life is terrible, while Antigone tries to cheer him up.4 (2) A Messenger tells Oedipus and Antigone about the impending battle at Thebes.
The play, as it exists, begins with the entrance of Oedipus and Antigone from the wing leading to Thebes. The two exchange long speeches throughout the act. Oedipus speaks first, addressing his daughter, Antigone (nata, 2). He, however, is identified later by reference to his father (genitor vocat, 39), whom he subsequently names (Laius, 41).5 Oedipus stumbles (errantem gradum, 4)6 and Antigone supports him (in recta quid deflectis? 4). The old man (senex, 32) wants to collapse (permitte labi, 5), but Antigone holds him up, gripping him tightly by the arm or holding him on her shoulder. He gestures (hac manu, 8) and demands that she cease clinging to him (solve inhaerentem manum, 10). He begins to hallucinate, seeing the ghost of his father, Laius (genitor vocat, 39),7 and addresses him. Oedipus points to the ghost (en ecce, 42), who attacks his son, going specifically, and symbolically, for his eyes (inanes petit foditque vultus, 42–43). The old man then turns back to Antigone, asking her whether she can see her grandfather's shade (nata, genitorem vides? 43) as he does (ego video, 44), despite his conventional blindness. At last, he tries to push her away (discede a patre, discede, virgo, 49–50), to no avail, as Antigone continues to hold her father's hand (a tuo nostram manum corpore resolvet, 51–52). She performs a series of gestures, pointing first toward the offstage mountains (hic, 67), then in various different directions: toward a rocky crag (hic, 69), then toward a chasm (hic, 70), and finally toward a rapids (hic, 71). Oedipus addresses his right hand (dextra quid cessas? 91). Apparently, Antigone still clings to the other, despite his entreaties to let go (mitte genitoris manum, 93). Next, the old man demands a sword (ensem parenti trade, 106);8 but Antigone does not obey (ferrum negabis? 147). Again, Oedipus addresses the ghost of his father (et tu, parens? 166). He gestures with his hand (manumque hanc, 217) and points toward the sky (hoc caelum, 217), as well as, much later, to himself (hic Oedipus, 313).
Line 319 is incomplete (iubente te vel vivet), which could suggest that the play itself is unfinished, instead of just preserved only in fragments.9 While it is never a good idea to try to supplement missing lines of poetry, one could fruitfully insert something like en! aliquis venit! At this point, either there is a Choral parodos, if, in fact, this is meant to be the end of act 1, or else the play proceeds directly to the Messenger's entrance.
At line 320, an otherwise unidentified Messenger enters and speaks. He brings news from Thebes, and so comes on via the wing leading to that city. Oedipus responds at line 328. The Messenger interrupts him in the middle of line 347.10 At 350, the old man resumes speaking. He is enraged (tumet animus ira, 352), and his indignation boils over (fervet dolor, 352).
After line 362, the episode is clearly over for Oedipus, Antigone, and the Messenger. The former king exits through the wing leading to foreign parts. The Messenger goes back to the wing leading to Thebes. But the activities of Antigone are unclear. On the one hand, she has proven her intention to follow her father in exile, wherever he goes, if for no other reason than to prevent him from committing suicide. But she also seems to appear in the next episode with Jocasta. Frank discusses but ultimately dismisses the possibility that, since nobody but Oedipus is ever identified by name, the daughter in act 2 is actually Ismene, finally suggesting that “such MS evidence as there is thus points to Antigone and not Ismene as being at Jocasta's side.”11 If so, Antigone leaves with the Messenger through the wing leading to Thebes, and so is able to participate in the next act. Alternatively, if it is Ismene in act 2, Antigone exits with Oedipus via the wing to foreign parts, never to be heard from again in this play. But in any event, all three actors exit here. A choral song would follow before the next episode begins.
ACT 2 (363–442)
Action units: (1) Jocasta, an Attendant and Antigone discuss the impending battle. (2) Jocasta exits to confront her two sons.
At line 363, Jocasta enters, with her daughter and an Attendant, and speaks. Other than from context, Jocasta is only identified when the Attendant calls her regina (
387), and the daughter names her parens (403); she also describes herself as an old woman (anus, 411).12 The action takes place on the battlements of Thebes, as the three characters watch the gathering armies. They would either enter from the center doors, with the scaenae frons representing the walls of the city, or else perform the episode from the balcony.13 At line 387, the Attendant responds to Jocasta, indicating that he does, in fact, enter with her. The queen has been both weeping and lamenting (flebiles questus cies, 387). The Attendant describes the scene, both for the onstage women and for the audience: a soldier quickly rushes back and forth (cursu citato miles hinc atque hinc ruit, 393), dust envelopes Thebes in darkness (394–97), and battle standards shine (397–400). Finally, the Attendant tells Jocasta that she should go to her sons and beg for peace (i, redde, 401–2). At line 403, the daughter speaks, until Jocasta resumes at line 407. The daughter then interrupts in the middle of line 414, describing further the events on the battlefield: battle standards are shining (414–15), a hostile shout erupts (415), and the armies are on the move (418). Jocasta must exit through the center doors following her last words at line 426, for the Attendant describes her actions on the battlefield. After line 442, no more is heard from either him or Jocasta's daughter; and in fact, the queen herself, who has gone to confront her sons on the battlefield, speaks at the next line. This must, then, be the end of this act. The two remaining characters must exit into the city through the center doors or by withdrawing from the balcony. The Chorus would then sing another song.
