I am the sister of thunder.

What other name can I claim, now I’m a stranger to Jupiter?

As a widow, I’ve given up my heavenly home

And ceded my space in the sky, pummeled by paramours.

I must dwell upon the earth; the others cover the void.

See, here Callisto’s bear guides the Argive fleets,

Pointing to the north pole with her star,

And here, where the day stretches with spring warmth,

My husband’s bullish form shines,

like it did when he bore Tyrian Europa through the waves.

There, the wandering Pleiades extend their dreadful presence

Everywhere, to ship and sea the same.

Here, menacing Orion threatens the gods with his sword,

And golden Perseus grasps his own stars;

Here, the bright signs of the Tyndarid twins, Castor and Pollux, shine,

And those other twins, Diana and Apollo, for whose birth the moving earth stood still.

Not only Bacchus himself, but his mother

Has risen above, and, so no place would be free of insult,

The world wears the garland of his Cretan girl, Ariadne.

 

But these are old hurts; one single place,

The fierce and feral land of Thebes, strewn with brazen girls—

How often it has hurt me!

Well, let victorious Alcmene ascend and hold my place,

And let her spawn take up his promised star all the same—

That wretch’s birth held back daylight from the world

When Apollo rose late from the dawnside waves,

Commanded to hold daylight submerged in seawater—

But my resentment is not so easily quenched. My raging heart

Wells with endless anger, and my savage sorrow wages

Eternal war, supplanting peace.

 

What war? Whatever horror the inimical earth bore,

Whatever the sea or air sustained—

Terrible, pestilent, dire, atrocious, wild—

Now lies broken and bent. He overcomes, rises above my malice,

And thrives on my ire. My own hatred

Becomes his grace. When I order tasks too terrible,

I only prove his parentage and make space for spectacle.

From where the Sun renews the day to where he lays it down,

In both extremes tinging the Ethiopians dark with his torch,

He cultivates indomitable reputation and is called a god

By all the world. Now there are no monsters left for me,

And it is less work for Hercules to fulfill my commands

Than for me to command them. He happily accepts my orders.

What cruel dictates of a violent tyrant could harm this youth?

Indeed, he bears as weapons the beasts

Which used to terrify, which he overthrew;

He goes armed with lion and hydra. And it isn’t enough

That the whole earth is at his feet;

Look, he has broken the gate of the underworld king

And brought back above the loot of conquest.

I saw it myself—I saw hell with its covering of night repulsed

And Pluto broken, fraternal spoils displayed for

his father. At that point, why not drag up Dis himself in chains,

subdued and oppressed, that god who drew a lot equal to Jupiter?

Why not reign over captured Erebos and recover the Styx?

Returning from death is too small now. The compact of the dead is destroyed;

The way out of the depths is now cleared for the shades,

And the mysteries of dire death lie open.

But he, wild from having broken open the prison of shadows,

Triumphs over me and, with his domineering grasp,

Leads the Black Dog through the cities of Greece.

I witnessed daylight falter at the sight of Cerberus

And the sun take fright; a tremor went through me, too,

And I shrank from looking upon the triple heads of the beast,

Conquered as I had commanded.

 

And now I complain of trifles—

We ought to fear for heaven itself, that he might seek a higher throne,

Having conquered the lowest, and rip away the reign of his father.

No, he won’t come to his stars by the easy road, as Bacchus did;

He will seek a path of ruin and try to rule

The emptied world. His ego swells with success,

And he has learned how he can conquer the sky

Just by dint of his own might.

He has borne the weight of the world on his shoulders,

And even that immense mass could not bend him;

The pole sat better on the neck of Hercules than of Atlas.

His back lifted the stars and sky unmoved,

Even with me pressing down. He seeks a road to higher office.

Well, go on, then, rage, go on and crush this man pondering

Such wicked doings, tear him apart yourself with your own hands!

Why would you outsource such hatred? Leave the monsters alone,

Let Eurystheus, himself tired of commanding, lie fallow.

Set free the Titans who disrupted Jupiter’s reign,

Open the cave at Sicily’s vertex,

Let the Dorian earth, trembling with the thrashing of the giant,

Uplift the head of the terrible monster buried beneath,

Let Luna on high conceive new beasts.

But then, he has conquered such petty things.

Do you seek a match for him?

There is none but himself, so now let him fight himself.

Let the Furies be stirred from the depths of Tartarus,

Let fire spread from their flaming hair,

Let their savage hands strike with serpentine whips!

 

Go now, arrogant one, seek the seat of heaven,

Scorn a human’s place. Do you think now that you have escaped

The Styx and its fearsome shades? Here on earth, I will show you hell.

I will call into the light she who has been shrouded in gloom,

Exiled far beyond the treacherous dead: the goddess Discord,

Guarded by a great mountain set atop her prison cave.

I will bring her forth and draw her out of the innards

Of what is left of hell’s reign. Unthinkable Evil will come,

And raving Impiety stained with the blood of kin,

And Roguery and Madness forever in arms against itself!

This, this is what my pain will use for balm!

 

Begin, handmaids of Dis! Brandish your burning branches,

Hurry! Let Megaera lead her fearsome snake-ridden fellows

And snatch up a great trunk from the burning pyre with her vicious hand!

Get to it! Seek vengeance for the violated Styx.

Strike his heart, boil his mind with a flame more bitter

Than the one which fuels the forge of Aetna.

If Hercules’ spirit is to be taken, struck by great madness,

My own furor must come first. Juno, why do you hesitate to fall?

Oh, sisters, you must throw me out of my mind first,

Me, if I am to devise some evildoing

Equal to my injury. Let me alter my prayer—

I pray for him to return to see his sons unharmed

And his might undiminished. I have found the time

Where Hercules’ hateful glory will give me joy.

He has conquered me, so let him conquer himself and wish to die,

Who has recently returned from death. In this, at least, it may help me

That he is born of Jupiter. I will stand with him, and,

So that he will not miss with his aim,

balance his arrows with my hand as they fly from the string,

Straighten his maddened weapons, and favor great Hercules in battle,

At long last. With these crimes committed, let

His father admit those hands into heaven!

 

Now the war must begin; daybreak shines,

And the glowing Sun rises in its saffron glory.

Soror Tonantis (hoc enim solum mihi
nomen relictum est) semper alienum Iovem
ac templa summi vidua deserui aetheris 
locumque caelo pulsa paelicibus dedi;
tellus colenda est, paelices caelum tenent.
hinc Arctos alta parte glacialis poli
sublime classes sidus Argolicas agit;
hinc, qua tepenti vere laxatur dies,
Tyriae per undas vector Europae nitet;
illinc timendum ratibus ac ponto gregem
passim vagantes exerunt Atlantides.
ferro minax hinc terret Orion deos
suasque Perseus aureus stellas habet;
hinc clara gemini signa Tyndaridae micant
quibusque natis mobilis tellus stetit.
nec ipse tantum Bacchus aut Bacchi parens
adiere superos; ne qua pars probro vacet, 
mundus puellae serta Cnosiacae gerit.

Sed Vetera querimur: una me dira ac fera
Thebana tellus sparsa nuribus impiis
quotiens novercam fecit! escendat licet
meumque victrix teneat Alcmene locum,
pariterque natus astra promissa occupet—
in cuius ortus mundus impendit diem 
tardusque Eoo Phoebus effulsit mari
retinere mersum iussus Oceano iubar—
non sic abibunt odia; vivaces aget
violentus iras animus et saevus dolor
aeterna bella pace sublata geret.

Quae bella? quidquid horridum tellus creat
inimical, quidquid pontus aut aer tulit
terribile dirum pestilens atrox ferum,
fractum atque domitum est.  superat et crescit malis
iraque nostra fruitur; in laudes suas
mea vertit odia; dum nimis saeva impero,
patrem probavi, gloriae feci locum.
qua Sol reducens quaque deponens diem
binos propinqua tinguit Aethiopas face,
indomita virtus colitur et toto deus
narratur orbe. monstra iam desunt mihi
minorque labor est Herculi iussa exequy,
quam mihi iubere; laetus imperia excipit.
quae fera tyranni iura violento queant
nocere iuveni? nempe pro telis gerit
quae timuit et quae fudit; armatus venit
leone et hydra.  nec satis terrae patent;
effregit ecce limen inferni Iovis
et opima victi regis ad superos refert.
vidi ipsa, vidi nocte discussa inferum
et Dite domito spolia iactantem patri
fraterna. cur non vinctum et oppressum trahit
ipsum catenis paria sortitum Iovi
Ereboque capto potitur et retegit Styga?
parum est erverti; foedus umbrarum perit,
patefacta ab imis manibus retro via est
et sacra dirae mortis in aperto iacent.
at ille, rupto carcere umbarum ferox,
de me triumphat et superbifica manu
atrum per urbes ducit Argolicas canem.
viso labantem Cerbero vidi diem 
pavidumque Soloem; me quoque invasit tremor,
et terna monstri colla devicti intuens
timui imperasse.
                                Levia sed nimium queror;
caelo timendum est, regna ne summa occupet
qui vicit ima—sceptra praeripiet patri.
nec in astra lenta veniet ut Bacchus via;
iter ruina quaret et vacuo volet
regnare mundo.  robore experto tumet,
et posse caelum viribus vinci suis
didicit ferendo; subdidit mundo caput
nec flexit umeros molis immensae labor
meliusque collo sedit Herculeo polus.
immota cervix sidera et caelum tulit
et me prementem. quaerit ad superbos viam. 

Perge, ira, perge et magna meditantem opprime,
congredere, manibus ipsa dilacera tuis;
quid tanta mandas odia? discedant ferae,
ipse imperando fessus Eurystheus vacet.
Titanas ausos rumpere imperium Iovis
emitte, Siculi verticis laxa specum,
tellus gigante Doris excusso tremens
supposita monstri colla terrifici levet,
submilis alias Luna concipiat feras.
sed vicit ista.  quaeris Alcidae parem?
nemo est nisi ipse; bella iam secum great.
adsint ab imo Tartari fundo excitae
Eumenides, ignem flammeae spargant comae,
viperea saevae verbera incutiant manus.

I nunc, superbe, caelitum sedes pete,
humana temne.  iam Styga et manes feros
fugisse credis? hic tibi ostendam inferos.
revocabo in alta conditam caligine,
ultra nocentum exilia, discordem deam,
quam munit ingens montis oppositi specus;
educam et imo Ditis e regno extraham
quidquid relictum est; veniet invisum Scelus
suumque lambens sanguinem Impietas ferox
Errorque et in se semper armatus Furor—
hoc hoc ministro noster utatur dolor!

Incipite, famulae Ditis, ardentem citae
concutite pinum et agmen horrendum anguibus
Megaera ducat atque luctifica manu
vastam rogo flagrante corripiat trabem.
hoc agite, poenas petite vitiatae Stygis
concutite pectus, acrior mentem excoquat
quam qui caminis ignis Aetnaeis furit.
ut possit animo captus Alcides agi,
magno furore percitus, nobis prius
insaniendum est—Iuno, cur nondum furis?
me me, sorores, mente deiectam mea
versate primam, facere si quicquam apparo
dignum noverca.  vota mutentur mea;
natos reversus videat incolumes precor
manuque fortis redeat.  inveni diem,
invisa quo nos Herculis virtus iuvet.
me vicit et se vincat et cupiat mori
ab inferis reversus.  hic prosit mihi
Iove esse genitum.  stabo et, ut certo exeant
emissa nervo tela, librabo manu,
regam furentis arma, pugnanti Herculi
tandem favebo.  scelere perfecto licet
admittat illas genitor in caelum manus!

Movenda iam sunt bella; clarescit dies
ortuque Titan lucidus croceo subit.

Translator's Note

Seneca’s tragedies embody the Stoic grotesque, a paradox of beauty. Our word "grotesque" comes from the grotto of Neronian era, a reference to the lavish, theatrical, and often gory amusements in style at the time. Stoicism, by contrast, centers moderation as the key to a life lived well. When Seneca, a Stoic writer, turned his eye to the stage, he used the grotesquery of his subjects to display the worst outcomes of immoderation, of passion, of indecisiveness, and of violence.

In Seneca’s other writings, where he puts forth the more positive claims of his philosophy, you might see him justly warn against being ruled by anger, as Juno is here, or against the unbridled hubris we see from Hercules later in this play. In all things, he advocates moderation. But in the tragedies, he warns by action: do these things, and you will only suffer. In staging Juno’s mounting wrath at the beginning of Hercules Furens, Seneca displays the futility of escalation in her pain, her cries of outrage, her need to go mad in order to bring madness. Nothing good comes of this.

Juno does not reappear during the rest of Seneca’s play, and no other supernatural forces do, either. It is left to the audience to determine whether Hercules’ actions, killing his own wife and father-in-law, are the result of his own frenzied arrogance or Juno’s machinations. But Seneca gives us this peek into Juno’s own troubles first, setting the stage for masculine human violence with feminine divine pain, two sides of the same awful coin.  

The more unsettled Juno’s emotions are, the more the word order tumbles across and even over the lines of his poetry. Some of these rhetorical techniques in the Latin cannot cross easily into English, of course. For instance, when Juno recounts seeing the underworld torn open and her own brothers opposed, she says:

vidi ipsa, vidi nocte discussa inferum
et Dite domito spolia iactantem patri
fraterna.                                                                                

Which I have translated as:

I saw it myselfI saw hell with its covering of night repulsed
And Pluto broken, fraternal spoils displayed for 
his father.

I have copied Seneca’s repetition in “I saw, I saw,” but the requirements of English word order prevent me from the emphatic enjambment of fraterna. Instead, I have tried to keep the strain on the familial relationship present, stressing another contested relationship.

In my translation, I have striven to find both the sympathetic and the overborne emotion of Juno’s suffering by use of emphatic phrasing, consonance, and occasionally breaking up the lines in ways that read more starkly to the modern ear. For example, when Seneca’s Juno explains her situation, she says:

ac templa summi vidua deserui aetheris 
locumque caelo pulsa paelicibus dedi;
tellus colenda est, paelices caelum tenent. 

Which I have translated as:

As a widow, I’ve given up my heavenly home
And ceded my space in the sky, pummeled by paramours.
I must dwell upon the earth; the others cover the void.

I have bolded the places where I have used consonance and internal rhyme. Seneca’s poetry uses consonance, too, but also structures impossible in English, such as pulsa paelicibus, an ablative absolute with similar consonance and meaning to “pummeled by paramours.” I particularly wish I could have rendered tellus colenda est, paelices caelum tenent with the same mirrored structure that Seneca provides, nearly a palindrome of Latin syllables. 

I have tried to stay true to the gut-wrenching, emotional, and yet carefully crafted poetry of Seneca’s words while eschewing the more archaic trends of academic translation, and I do try to modernize turns of phrase where possible. In many cases, I have chosen to give names to characters the Latin merely alludes to, trying to give a sense of the scope of Juno’s complaint against her husband’s lovers and bastard children spread across the sky. 

Juno’s words display not only her descent into mad revenge, but also the depth of the wounds she has borne in the course of an eternal life of abuse and neglect, and her inability to lash out at her husband transferring her vengeance to a more accessible target. For me, this speaks to a trauma shared across generations, across patriarchal cultures, across the world. Juno’s claim of sisterhood as her identity, her plea for sisterly aid, speak to a woman’s pain in a male-dominated world. I have lived some of that pain, as a femme-presenting person in a man’s world; I, too, have been abused, ignored, and overlooked, not least by the world of academia. When Juno calls out to the Furies and the infernal goddesses she has named as sisters, I felt that kinship resonate in my own heart. Her deeds may be vile, but who among us can turn away from that pain?

Of course, this does not make her actions good or right, but it is a far cry from the Juno we often see, a shrew and a villain, fickle and vain. Perhaps it is ironic that Seneca, who wrote so often of women as lesser, can cut to the heart of feminine rage this clearly. Perhaps he, too, could not turn away, even as he watched his pupil Nero give in to emotions too big to contain.


Julie Levy

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