vention; but through those natural workings of human character and action over which the gods watch.
The accurate delineation of human character has therefore a special importance for Sophocles. It has already been said that in the primary or heroic persons of the Sophoclean drama human character is delineated only broadly, with a deliberate avoidance of fine shading. It is therefore in the secondary or subordinate persons of the drama that we must look for the more delicate touches of ethical portraiture.
Sophocles shows his psychological skill especially in two ways: in following the process by which a sensitive and generous nature passes from one phase of feeling to another; and in tracing the action upon each other of dissimilar or opposite natures. Philoctetes, first rejoiced by the arrival of the Greeks on his island,—then suspicious,—then reassured,—then frenzied with anger,—then finally conciliated; Tecmessa, agitated successively by fear, by hope, by despair concerning Ajax; Electra, at first heroically patient in the hope that her brother will return as an avenger, then broken-hearted at the news of his death, at last filled with rapture by his sudden living presence; Deianeira, by turns anxious, elated, jealous, horror-stricken—these are examples of the power with which Sophocles could trace a chapter of spiritual history.
A closer examination of the character of Deianeira will help to set this power in a clearer
