The Trojan Women: Analysis of Major Characters
"The Trojan Women" is a poignant Greek tragedy that explores the devastating aftermath of the fall of Troy through the experiences of its women. Central to the play is Hecuba, the broken queen of Troy, who embodies the immense loss and suffering brought about by war. She grapples with the fates of her children, particularly in her interactions with her daughter Cassandra, a prophetess who foresees doom yet is powerless to alter it. Andromache, another key figure, mourns the impending death of her son Astyanax and laments the fate that awaits her as she is assigned to a new master. Helen, the catalyst of the Trojan War, attempts to shift blame for her actions, showcasing her pride and denial amidst the chaos she has caused. The chorus of Trojan women expresses collective sorrow, while the Greek herald Talthybius represents the conflicted role of those carrying out the orders of the conquerors. The play also introduces divine figures like Poseidon and Pallas Athena, who underscore the theme of divine retribution and the moral complexities of war. Overall, the characters in "The Trojan Women" highlight the profound human cost of conflict and the enduring pain experienced by those left behind.
The Trojan Women: Analysis of Major Characters
Author: Euripides
Genre: Play
Locale: Outside the ruined walls of Troy
Plot: Tragedy
Time: After the fall of Troy
Hecuba (HEH-kyew-buh), the queen of Troy. Aged and broken by the fall of the city, she is the epitome of all the misfortune resulting from the defeat of the Trojans and the destruction of the city. She is first revealed prostrate before the tents of the captive Trojan women, with the city in the background. Her opening lyrics tell of the pathos of her situation and introduce the impression of hopelessness and the theme of the inevitable doom that war brings. The Greek herald enters with the news that each of the women has been assigned to a different master. Hecuba asks first about her children, Cassandra and Polyxena; then, when she finds that she has been given to Odysseus, she rouses herself to an outburst of rebellious anger. Cassandra appears and recalls the prophecy that Hecuba will die in Troy. After Cassandra is led away, Andromache, who appears with news of the sacrifice of Polyxena, tries to console Hecuba with the idea that Polyxena is fortunate in death, but Hecuba, in reproach and consolation, points out to Andromache and the younger women of the Chorus the hope of life. Her attempts to console those younger than herself, here and elsewhere, are her most endearing feature. The other important aspect of her character, the desire for vengeance against Helen, who has caused her sorrow, is shown in her reply to Helen's plea to Menelaus. Hecuba's reply is vigorous: She points to Helen's own responsibility for her actions and ends with a plea to Menelaus to kill Helen and vindicate Greek womanhood. Hecuba's last action is the preparation of the body of Astyanax, the young son of Andromache and Hector killed by the Greeks out of fear, for burial. Her lament over the body is profoundly moving. At the end of the play, she is restrained from throwing herself into the ruins of the burning city.
Cassandra (kuh-SAN-druh), the daughter of Hecuba, a prophetess chosen by Agamemnon as a concubine. When she first appears, wild-eyed and waving a torch above her head, she sings a parody of a marriage song in her own honor, but she soon calms down and prophesies the dreadful end of Agamemnon because of his choice and of the suffering of the Greeks. She views aggressive war as a source of unhappiness for the aggressor. As she leaves, she hurls the sacred emblems of her divine office to the ground and looks forward to her triumph in revenge.
Andromache (an-DRO-muh-kee), Hector's wife, allotted to Neoptolemus, the son of Achilles. She brings Hecuba news of the sacrifice of Polyxena and compares her fate in accepting a new lord to Polyxena's escape through death. When she learns of the Greeks' decision to kill Astyanax, her son by Hector, she gives expression to her tortured love as a mother. Unable to condemn the Greeks because they would refuse Astyanax burial, she curses Helen as the cause of misfortune.
Helen, the beautiful and insolent queen of Sparta abducted by Paris. Her pleading before Menelaus is an attempt to place the blame for her actions on others: on Priam and Hecuba because they had refused to kill Paris at the oracle's command, on the goddess Aphrodite because she promised Helen to Paris at the time of the judgment, and on the Trojan guards who had prevented her return to the Greeks. She departs, proud and confident.
Menelaus (meh-nuh-LAY-uhs), the king of Sparta and the husband of Helen, who has been returned to him, the man she wronged, to kill. It is evident that he will not do so. His eagerness to assure others that Helen has no control over him and that he intends to kill her becomes almost comic.
Talthybius (tal-THIH-bee-uhs), a herald of the Greeks. He appears three times: to fetch Cassandra, to execute Astyanax, and to bring back the body of Astyanax for burial and set fire to the remains of Troy. A kindly man, he is unable to carry out the execution of Astyanax personally.
Astyanax (as-TI-uh-naks), the infant son of Andromache and Hector. He is flung from the highest battlement of Troy because the Greeks believe that a son of Hector is too dangerous to live.
A Chorus of Trojan women, whose odes express a mood of pity and sorrow for the Trojans.
Poseidon (poh-SI-duhn), the god of the sea and patron of Troy. He appears, at the beginning of the drama, to take official leave of the city; he had favored it, but the gods aiding the Greeks had proved too strong, especially Pallas Athena. His monologue also gives the necessary background for the play.
Pallas Athena (PAL-uhs uh-THEE-nuh), the goddess of wisdom. She confronts Poseidon as he bids farewell to Troy and proposes a common vengeance against the Greeks, though she had favored them earlier. Because their impious behavior at the capture of Troy has alienated the gods, the Greeks are to be punished as they go to sea. This threat of retribution looms over the entire play.