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Updated: May 28, 2025
It is made up of the revengeful artifices of Hecuba, the blind avarice of Polymestor, and the paltry policy of Agamemnon, who, not daring himself to call the Thracian king to account, nevertheless beguiles him into the hands of the captive women.
Every one must be disgusted when Hecuba, in order to induce Agamemnon to punish Polymestor, reminds him of the pleasures which he has enjoyed in the arms of Cassandra, his captive, and, therefore, by the laws of the heroic ages his concubine: she would purchase revenge for a murdered son with the acknowledged and permitted degradation of a living daughter.
The two actions of this piece, the sacrifice of Polyxena, and the revenge on Polymestor, on account of the murder of Polydorus, have nothing in common with each other but their connexion with Hecuba.
Neither is it very consistent that Hecuba, advanced in years, bereft of strength, and overwhelmed with sorrow, should nevertheless display so much presence of mind in the execution of revenge, and such a command of tongue in her accusation and derision of Polymestor. We have another example of two distinct and separate actions in the same tragedy, the Mad Hercules.
In hopeless grief she shows her murdered son, begging his aid to a revenge and promising to exact it without compromising him. A message brings on the scene Polymestor, her son's Thracian host with his sons. In a dialogue full of terrible irony Hecuba inquires about Polydorus, saying she has the secret of a treasure to reveal. He enters her tent where is nobody but some Trojan women weaving.
Hecuba refutes him, pointing out that it was the lust for her son's gold which caused his death. Agamemnon decides for Hecuba, whereupon Polymestor turns fay, prophesying the latter end of Agamemnon, Hecuba and Cassandra. The strongest and weakest points of Euripides' appeal are here apparent.
Besides, they were asked to crown a person who told them in play after play that they were really like Jason, Menelaus, Polymestor, poor creatures if not quite odious. He made them see with painful clearness that the better sex was the one which they despised, yet which was sure one day to find the utterance to which it had a right in virtue of its greater nobility.
Euripides seems to have taken a particular pleasure in drawing such implacable and rancorous old women: twice has he exhibited Hecuba in this light, pitting her against Helen and Polymestor. In general, we may observe the constant recurrence of the same artifice and motives is a sure symptom of mannerism.
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