Sardanapalus (play)

Sardanapalus is a historical tragedy in five acts by Lord Byron, published in 1821. It is based on the life of Sardanapalus, the last king of Assyria, although Byron takes considerable liberties with historical accuracy. The play explores themes of hedonism, love, duty, and the clash between effeminacy and masculinity in leadership.

The drama opens with Sardanapalus indulging in luxurious pleasures, surrounded by his concubines and disregarding the traditional duties of a monarch. He is depicted as a reluctant warrior who prefers peace and pleasure to conquest and bloodshed. His close relationship with his slave, Myrrha, a Greek woman of Ionian descent, is a central focus of the play. He elevates her above the women of his court, much to the chagrin of his nobles and the queen.

A conspiracy arises among the Assyrian nobles, led by Beleses and Salemenes, who view Sardanapalus's behavior as a weakness that threatens the stability of the kingdom. They plot to overthrow him and replace him with someone more suited to leadership.

Myrrha remains loyal to Sardanapalus, providing him with counsel and encouragement. She embodies a different kind of strength and virtue compared to the warrior-like qualities expected of Assyrian rulers. Despite his aversion to violence, Sardanapalus is eventually forced to defend his throne. He proves himself a capable warrior when roused to action, surprising his detractors and even himself.

However, the rebellion gains momentum, and Sardanapalus realizes that his reign is nearing its end. Rather than being captured or allowing his enemies to desecrate his kingdom, he chooses to die with dignity. In a dramatic finale, he orders a pyre to be built within his palace, where he and Myrrha perish together in a final act of love and defiance. He sets fire to the palace and himself, choosing oblivion over surrender to his enemies.

Sardanapalus is notable for its dramatic verse and its exploration of complex moral and political issues. Although criticized by some for its length and perceived lack of dramatic tension, it has been praised for its poetic language and its nuanced portrayal of a controversial historical figure. The play also demonstrates Byron's interest in Eastern themes and his engagement with contemporary debates about monarchy and revolution.