The Dramaturgy of Senecan Tragedy

9. Phoenissae (Women of Phoenicia)

133 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 battleDramatis Personae Actor Act 1 (ll. 1–362) Act 2 (ll. 363–442) Act 3 (ll. 443–664) Actor A Oedipus Jocasta Jocasta Actor B Antigone Antigone Polynices Actor C Messenger Attendant Eteocles 134 • the dramaturgy of senecan tragedy ments 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 The Set: Thebes Phoenissae (Women of Phoenicia) • 135 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...