Immortal bliss be thine, { 446} Daughter of Pelias, in the realms below, Immortal pleasures round thee flow, Though never there the sun's bright beams shall shine. Be the black-brow'd Pluto told, And the Stygian boatman old, Whose rude hands grasp the oar, the rudder guide, The dead conveying o'er the tide,-- Let him be told, so rich a freight before His light skiff never bore; Tell him that o'er the joyless lakes The noblest of her sex her dreary passage takes.
Thy praise the bards shall tell, When to their hymning voice the echo rings, Or when they sweep the solemn strings, And wake to rapture the seven-chorded shell: Or in Sparta's jocund bow'rs, Circling when the vernal hours Bring the Carnean Feast, whilst through the night Full-orb'd the high moon rolls her light; Or where rich Athens, proudly elevate, Shows her magnific state: Their voice thy glorious death shall raise, And swell th' enraptured strain to celebrate thy praise.
O that I had the pow'r, Could I but bring thee from the shades of night, Again to view this golden light, To leave that boat, to leave that dreary shore, Where Cocytus, deep and wide, Rolls along his sullen tide! For thou, O best of women, thou alone For thy lord's life daredst give thy own. Light lie the earth upon thy gentle breast, And be thou ever blest! While, should he choose to wed again, Mine and his children's hearts would hold him in disdain.
When, to avert his doom, His mother in the earth refused to lie; Nor would his ancient father die To save his son from an untimely tomb; Though the hand of time had spread Hoar hairs o'er each aged head: In youth's fresh bloom, in beauty's radiant glow, The darksome way thou daredst to go, And for thy youthful lord's to give thy life. Be ours so true a wife! Though rare the lot, then should we prove Th' indissoluble bond of faithfulness and love.
_Enter on the Stage through the distance-entrance [Left Side-door] the colossal figure of Hercules. Here is the turning-point of the play: which has the peculiarity of combining an element of the Satyric Drama (or Burlesque) with Tragedy, the combination anticipating the 'Action-Drama' (or 'Tragi-Comedy') of modern times. Accordingly the costume and mask of Hercules are compounded, of his conventional appearance in Tragedy, in which he is conceived as the perfection of physical strength toiling and suffering for mankind, and his conventional appearance in Satyric plays as the gigantic feeder, etc. The two are harmonized in the conception of conscious energy rejoicing in itself, and plunging with equal eagerness into duty and relaxation, while each lasts._