Abstract

In his essay on Seneca, T.S. Eliot used theHercules Furens as his example to illustrate ‘this curious freak of non-theatrical drama’. Even though Senecan scholarship has by and large moved away from his indictment, the sense that the attention seems to be directed away from the stage points to the play's unique dramaturgy. The surest indicator of this reverse orientation is the conspicuous absence of Hercules himself for much of the play. Hercules is permanently ‘elsewhere’. His entrance is delayed for a long time; once home, he rushes offstage after a few lines to kill Lycus. He returns onstage only to be attacked by madness, and is drawn inside the palace again to kill his wife and sons. When his madness abates, he falls asleep onstage; on waking, he longs for a place beyond the known world and finally exits into exile. This article proposes a closer examination of the semiotics of space, especially the symbolic value of the offstage. Seneca is constantly drawing attention to the pull towards the stage perimeter and the unseen offstage, characterizing the cosmic nature of Hercules’ conflict with Juno and questioning the hero's place in the world as the son of an immortal father.