The Suppliants: Analysis of Major Characters
"The Suppliants" is a Greek tragedy that delves into themes of duty, loss, and the complexities of leadership through its major characters. At the center is Theseus, the young king of Athens, who initially hesitates to assist Adrastus, the king of Argos, in retrieving the bodies of Argive heroes fallen in battle. Despite his initial reluctance, Theseus ultimately agrees to act, influenced by the heartfelt pleas of the mothers of the deceased and his own mother, Aethra. Theseus embodies the values of Athenian democracy, emphasizing moderation even in victory. Adrastus, characterized by his defeat and despair, gradually shifts from self-pity to a more dignified stance, advocating for peace during his poignant funeral oration. Aethra serves as a model of principled moderation, while Evadne, the widow of a fallen hero, starkly contrasts this with her tragic and impulsive act of self-immolation. The Chorus of Argive mothers adds emotional depth, expressing collective grief throughout the narrative. Overall, the play concludes with a sense of unresolved tension, as Athena appears to remind the characters of their obligations and the looming specter of future conflicts.
The Suppliants: Analysis of Major Characters
Author: Euripides
Genre: Play
Locale: Eleusis, not far from Athens
Plot: Tragedy
Time: Remote antiquity
Theseus (THEE-see-uhs), the young king of Athens, whose aid Adrastus, the king of Argos, seeks in recovering the bodies of the Argive heroes killed in the unsuccessful expedition of the Seven against Thebes. At first he refuses Adrastus' request. He admits that the Thebans should not have withheld the bodies, but he considers the expedition rash and ill-omened, and he is reluctant to identify himself with the bad cause of the Argives. The supplications of the mothers of the fallen heroes, an appeal to pity based on pure sorrow, and of Theseus' mother Aethra, an appeal to pride based on the impiety of the Thebans and the need to uphold the law of Greece, are more successful. Theseus agrees to rescue the dead, by force if necessary. When a herald arrives from the Thebans and asks to speak with the “master” of the city, his innocent remark occasions a largely irrelevant debate between Theseus and the herald on the theme of democracy versus tyranny, in which Theseus is the champion of democracy as it is practiced in Athens. The herald finally delivers his message, demands that Adrastus be refused sanctuary in Athens, and announces that the bodies shall not be restored to their families, whereupon Theseus summons his warriors. He defeats the Thebans and returns the bodies; however, as an example of the virtue of moderation, he refuses to enter Thebes or sack the conquered city. He oversees the funeral rites of the heroes. Theseus is more successful as a mouthpiece for the glory of Athens than as a man. Although he shows a great love for his mother, he is proud and contentious.
Adrastus (uh-DRAS-tuhs), the king of Argos, the leader and only survivor among the seven Thebans. He is old, defeated, and disillusioned, and his appeal to Theseus is filled with self-pity; misfortune, he feels, is the common lot of all. Theseus points out Adrastus' own rashness and disregard for the wishes of the gods as the causes of the king's misfortune. During the play, Adrastus redeems himself, becoming less hysterical and self-pitying. In his funeral oration over the heroes, he speaks out as an advocate of peace.
Aethra (EE-thruh), the mother of Theseus and an example of principled moderation. The mothers of the Seven killed at Thebes come to beg her to intercede with Theseus for recovery of the bodies. Her sympathy for them is genuine and affecting. Although her appeal to Theseus is based on his duty to the gods and Greek law, she realistically plays on his pride.
The Chorus of Argive mothers, who come to plead with Theseus for the recovery of their slain sons. Their odes are the most affecting aspect of the drama.
Evadne (eh-VAD-nee), the widow of Capaneus, who fell in the Theban adventure. Her role is brief but spectacular: She appears, dressed in her wedding finery, on a high rock overlooking the funeral pyre of her husband and, after singing of her sorrow, leaps into the flames. She provides an effective contrast to the moderation of Aethra, and her action horrifies her father and the Chorus.
Iphis (I-fihs), the aged father of Evadne and of Eteocles, one of the Theban adventurers. He comes to bury his son and witnesses the death of his daughter. He departs, completely broken, with words of hatred for old age.
A herald, sent by King Creon from Thebes. He brings news that the bodies will not be restored and insolently engages in a debate with Theseus over democracy versus tyranny. His arguments against democracy are vigorous. He cites its unscrupulous demagogues, the inability of its people to settle policy, and its false equality.
Athena (uh-THEE-nuh), the goddess of wisdom. She appears, ex machina, at the close of the play and directs Theseus to extract a pledge from the Argives not to forget what Athens has done for them. She also promises the sons of the Seven future vengeance against Thebes. The play ends with promise of further wars and sorrows.
The sons of the Seven against Thebes, who bring in the ashes of their fathers at the close of the play and look eagerly forward to the time when they will be able to avenge their fathers' deaths.