A key theme in Women of Trachis is the tension between loyalty and family obligations. The central characters grapple with concepts of duty and obedience, yet none achieve perfect adherence to these roles. Heracles, in particular, demonstrates a significant failure in family responsibility by neglecting his wife and pursuing another lover, setting off a chain of tragic events. He also has duties toward the gods; his father, Zeus, appears to be responsible for his enslavement, while gods like Aphrodite (and implicitly, Hera) could be blamed for his hardships. Nevertheless, Heracles’s neglect of his wife is a primary source of conflict in the play, as is his insistence that his son obey potentially impious or unjust commands.

Deianira's faith in her husband is challenged from the beginning, with the Chorus stressing her need to maintain belief in Heracles's safety and their family's future. This is difficult, as Heracles is seldom home to show affection, and his love for Iole, along with plans to have two wives, greatly undermines Deianira’s trust. Her attempt to win back her husband's love, though understandable and without ill intent, could be seen as a failure to completely adhere to her husband's wishes.

Hyllus’s character presents another example of the struggle with familial obedience. Initially, he finds it easy to follow his mother’s instructions to locate his father, but soon the desire to meet his parents' expectations becomes difficult. He regrets not being fair and respectful to his mother only when it's too late and fears his rash actions contributed to her suicide. Later, when faced with his father's demanding and possibly unethical orders, Hyllus questions where his ultimate loyalty should lie: with the gods or his father. He remarks in his final speech, “We call [the gods] our fathers,” emphasizing how family duties can conflict, making moral decisions challenging or impossible. The play raises these questions without providing definitive answers; while loyalty to one’s family is a significant ethical obligation, it remains uncertain if it should surpass other moral duties.

Sophocles delves into the complexities of family life, with a particular emphasis on the position of women within the male-dominated society of ancient Greece. Deianira exemplifies how women often find themselves subjected to their husbands' desires, with minimal power to shape their own destinies. Her attempts to assert herself and win back Heracles's affection lead to tragedy and grief. The core problem, however, appears to be Heracles's reluctance to offer his wife any influence or respect. He shows little regard for Deianira and generally treats women with harshness, a behavior that Sophocles might be critiquing.

Sophocles's play often highlights the influence of classical gods on human existence. The theme of divine intervention manifests in different ways, starting with the notion of inevitable fate and the cyclical nature of fortune. Deianira observes that “he who rises / so high can also be brought low,” which is a recurring motif in tragic drama. Plays like Women of Trachis question the belief that people are secure in their achievements or control their destinies, instead stressing the divine cycle of fluctuating fortunes. The Fates, three goddesses linked to the ever-changing nature of human prosperity, ensure that successful families like Heracles's endure their share of hardship and sorrow.

Sophocles also emphasizes how the desires and allegiances of individual gods impact human lives. Heracles, as the son of Zeus, is destined for strength and glory, yet he also suffers punishment from his father for acts like killing Iphitus. The Chorus highlights the unpredictable nature of the powerful goddess Aphrodite, who enjoys causing humans to fall in love...

The Women of Trachis, much like the biblical Book of Job, delves into the perplexing theme of divine justice. The central question it poses is timeless and profound: How can a world governed by divine forces still harbor evil and suffering? In the realm of Greek mythology, Herakles stands out as a paragon of heroism, being the offspring of Alcmene, a mortal, and Zeus, the supreme Olympian god. Herakles's legendary feats, such as conquering the Nemean Lion, vanquishing the Lernean Hydra, and subduing Cerberus, the guardian of the Underworld, have served to protect and civilize the world, underscoring his heroic stature.

However, Herakles is not immune to human frailties. His latest conquest, the sack of Eurytus' kingdom, is driven by his unchecked desire for the young princess Iole, revealing the hero's susceptibility to hubris. This duality of being both a hero and a flawed human underpins the tragedy of Sophocles' narrative. The play scrutinizes the stark reality that Herakles, much like the rest of humanity, is not exempt from the consequences of irrational desires.

The suffering experienced by Herakles and Daianeira, his wife, mirrors the enigmatic nature of divine justice. Unlike Job, whose innocence and unwavering faith amidst suffering highlight the mystery of divine will, both Herakles and Daianeira are depicted with distinct human flaws. Their downfall and eventual suffering are portrayed without promise of redemption, emphasizing a somber acceptance of an unfathomable divine order. The audience, along with characters like Hyllus and the Chorus of Trachis' young women, is compelled to confront the harsh truth of tragic necessity. As the play unfolds, it underscores the inescapable and inscrutable workings of divine forces, encapsulated in the acknowledgment that, “And all of this is from Zeus.”

The 1954 rendition of The Women of Trachis by Ezra Pound presents not only a vintage narrative but also infuses the story with a pronounced twentieth-century feminist lens. In this interpretation, Daianeira steps out of the shadow of her "mere" womanhood and "long-suffering wife" status to stand shoulder to shoulder with her illustrious husband, Herakles, in acts of valor. Her defiance against despair echoes through time, creating a sharp contrast with biblical narratives like the story of Job, where Job's wife chooses resignation by advising her husband to "curse God and die." Daianeira, however, matches Herakles' spirit by meeting her demise with a warrior's resolve, an action that leaves the Chorus of girls awestruck at her "manlike courage." By taking a sword to bed, she defies traditional gender norms, challenging the audience's perceptions of feminine strength.

Moreover, Daianeira’s insightful acceptance of masculine desire and her empathy towards Iole's suffering resonate deeply with contemporary feminist ideals. Her character embodies a nuanced female empowerment within a patriarchal framework, whether it be the ancient world of Sophocles or the societies of today. This aspect of the play is not an invention of Pound's but stems from Sophocles' original work, echoing similar themes found in his play Antigone.

Ezra Pound's career in translating works from various historical periods and languages—from medieval Provençal to ancient Chinese—has often highlighted these feminist perspectives. His work seeks to explore gender equality within the human condition and particularly within romantic and erotic experiences. Such interpretations, though sometimes contentious, engage modern audiences by challenging them to rethink historical narratives through a contemporary feminist lens, inviting them to acknowledge the enduring complexities of gender dynamics.