Dr. Verrall[559] follows this line of thought, giving to it far greater precision and colour. He believes that the subject of this play is the miraculous tone investing the traditional stories about Heracles. According to popular belief in the poet’s day, Heracles was a son of Zeus; he performed many exploits which were definitely superhuman, culminating in a descent to Hades and return therefrom. These stories are untrue. The play indicates this simply and directly, giving, however, most attention to the method by which they won credence. In a primitive civilization, when men had not yet attained to clear thinking, remarkable but human feats like those of Heracles were extolled as miraculous by the uncritical. Such are Amphitryon and the chorus, who when challenged by Lycus are capable only of violent reiteration of their belief, but offer, and can offer, no proof that the miracles happened. It is a curious symptom of the former’s vague credulity that while loving and defending Heracles as his own son, he yet claims[560] the help of Zeus on the ground that the god is himself Heracles’ father. The Theban elders join[561] in this irrational belief—as soon as it appears that the divine parentage is established by the return from Hades, which even if true would of course have nothing to do with the question. It is in such minds as this that belief in the miraculous life of Heracles first sprang up. But this belief rests largely upon the accounts of his adventures given by Heracles himself; thus we come to the heart of the tragedy, the mental condition of the hero.