both approaches and how the outcomes varied. Specifically in the text of Hippolytus, characters attempt to overcome obstacles and dilemmas with solutions of hubris and morals or taking heed of advice given by higher powers; however, these solutions do not always resolve the problem and the mortals fate is often unavoidable due to the strong influence of the gods. In Hippolytus, the first example of hubris occurs when Hippolytus angers Aphrodite through his devotion to only the goddess Artemis. He takes
How Hippolytus manages to remain chaste generates represents his resilience from succumbing to eroticism. Young women devote themselves to Hippolytus due to his intense commitment to chastity and devotion to Artemis, his scorn towards Aphrodite, and the acceptance of his fate. Evidence throughout the play displays why Hippolytus is worthy of esteem. By devoting themselves to Hippolytus, young unmarried women avoid the dangers of erotic love. Described by Phaedra, her desire for Hippolytus “conquers
In the plays Medea and Hippolytus, both by Euripides, the female psyche is a point of focus that is not explored in many other Greek tragedies. Through these plays, we can discover the way women were viewed in Ancient Greek society as well as their concerns. We can also pay attention to how women are portrayed differently between the two plays.In Medea and Hippolytus, the women we spend the most time with are Medea and Phaedra. These women have vastly different values, but the cunning and determination
quest to declare her immense love for Hippolytus at all cost. She has this insatiable desire to protest how she feels because she can no longer conceal it. The scene consists of intense emotions and Racine’s writing style conveyed in this scene is to demonstrate how erratic and unstable Phaedra’s emotion has become. This is the scene in where Phaedra can no longer control her emotions. Her emotions become too overpowering. She fantasizes her love for Hippolytus. She is beyond desperate. She transitions
between Greeks and Gods in Hippolytus The play Hippolytus by the Greek playwright Euripides is one which explores classical Greek religion. Throughout the play, the influence of the gods on the actions of the characters is evident, especially when Aphrodite affects the actions of Phaedra. Also central to the plot is the god-god interactions between Artemis and Aphrodite. In this essay, I hope to provide answers to how the actions of Hippolytus and Phaedra relate to the
of agency in ancient Greece. Women occasionally assert dominance in the household; although, even within the home they posses limited influence over their husbands. An interesting theme runs though Euripides theatrical tragedies Alcestis and Hippolytus. In each play the lead female character forgoes her life for the sake of love. In Alcestis, Alcestis willingly gives her life to prevent her husband Admentus' death. In Hipplytus, Phaedra chooses to commits suicide as a result of falling in love
Female Deception in Hippolytus: The Ruin of Men Works Cited Missing In Ancient Greece, deceit was considered to be part of a woman's nature and an inherent female characteristic. It was generally believed that a good woman was the result of the careful cultivation of her morals by her guardians, and if left to her own devices, a woman was apt to be wicked. The deceit of women is a theme that shows up often in Ancient Greek literature, and many Ancient Greek authors portray women as jealous
result in chaos and unhappiness, teaching one to pull from both sides. In Racine's Phaedra, the characters face problems that are caused by their passions, in a society based on reason and the roles they play in it. Phaedra finds that she loves Hippolytus, who is her stepson, and she feels guilty about it, because it goes against the grain of society. She is crazed with the passion she feels, and convinces herself, for a time, that she should die without telling anyone, so that her shame is not
Relations "A straight and perfect life is not for man." - the Nurse in Hippolytus The idea that fate is rooted from the interconnection of divine beings whose will is played-out by mortals, is a highly enriched belief that is capitalized on by many Greek tragedians. Among those who suggest that there is an endless cycle of good will, revenge, uncertainty, and punishment is the Greek dramatist, Euripides. His work, Hippolytus, is an excellent example of a well-written Greek tragedy that informs
Hippolytus is secretly in love with his father’s political prisoner, Aricia, and is almost at the point of losing all of the unloving pride that he is so proud to have maintained all his life. At the same time, his step-mother, Phaedra, is almost at her breaking point of revealing her overwhelming love for her step-son. Just like any normal teenager, Hippolytus craves the relationship with the pretty young girl and is appalled at
role in society of that time was a great contrast to that of the men. Compared to today, women were miles apart from men; they were not even considered citizens of their region. This is obvious in the chorus where in the Electra, Medea and Hippolytus there is a chorus of women. This was unheard of in the time when the plays were written. A chorus is typically made up of wise men of Athens, therefore making it up of women would in that age, be very controversial. In Medea the chorus side with
Deception in Tartuffe, Phaedra, and The Marriage of Figaro In literature, deception can provide motivation for the characters, provide comedy, play a part in the advancement of plot or exist as a sub-theme. The works considered in our studies thus far provide prime examples of the use of deception in the aforementioned ways. This essay will focus on the act or acts of deception in Tartuffe by Molière, Phaedra by Racine, and The Marriage of Figaro by Beaumarchais. In Molière's Tartuffe, the
die, and my grim secret dies with me.” (Racine 193) Phaedra has a huge secret: she is in love with her stepson, Hippolytus. She has reoccurring thoughts of suicide, and a desire for this burden to be lifted. Her forbidden passion has a gigantic affect on her mental capability and her ability to be independent. She does not want anyone to know about her repugnant desires for Hippolytus and her mental health slowly begins to weaken as she maintains this information to herself. As we look closer
In using evidence from the play Racine's Phaedra, clearly exhibits the stereotype woman as a destructive force in nature, known as a femme fatale. Phaedra is a good example of men toward woman in the Age of Reason and political Absoulutism, where men exhibit the logic, strength, and order while woman exhibit their weakness, emotions, and disorder. Therefore, without a doubt the fact that Phaedra tends to have an effect on everyone that is involved around with her charm. Racine, is a well known
into the incestous romances they abhor. As a result of the violation of divine forces, Euripides’ Hippolytus reflects the theme of shame, manifested by the tragedy’s characters and their actions. Euripides’ Hippolytus depicts the tragic fate and ultimate destruction of one family of Greek nobility. Offended by Hippolytus’ reverence and servitude to her rival goddess Artemis, Aphrodite castigates Hippolytus by fostering an intense passion and lust for him in Phaedra, his stepmother. Phaedra’s shame and
against Phaedra's stepson Hippolytus. Thus it is the goddess, Aphrodite, that causes Phaedra to fall in love with the young Athenian prince. The suicide of Phaedra, and her lying words on the note she writes before she dies, brings destruction on the blasphemous Hippolytus, as his father Theseus curses his son. Both characters undeniably have supernatural powers acting upon their destiny. However, it is important to remember that her suicide and the destruction of Hippolytus are not on account of fate
re-enacting [this story] in his own way'.1 The sufferings of the hero could be our own sufferings, whereas in Greek tragedy, such a notion is precluded precisely because the misfortunes of a character can be traced back to the discontent of the gods. Hippolytus is not a moral agent; Hamlet is. The aesthetic of Shakespearean tragedy is therefore dynamic, with an audience that, to a certain extent, are also participants. Auden proposes a model of observing based upon an Aristotelian conception of drama,
that Hippolytus tried to rape her. Hippolytus was exiled because of her letter and Theseus never learned the truth (email 1. Theseus was a man of many accomplishments. Theseus wanted nothing more than to be like Heracles, his cousin. This was part of the reason Theseus chose to walk to Athens instead of by sea. He felt the sea was too easy of a journey (email). On his way to Athens he defeated many monsters. In Epidaurus there was a man named Periphetes who tried to kill him but Theseus was able
In Euripides’ play Hippolytus and the Homeric epic The Iliad, mortals are liable for their futures to some extent, while at the same time their futures become dictated by the gods. In the Iliad and Hippolytus, fate is seen as the unknown future, which causes characters like Agamemnon and Hippolytus not to think logistically or obey the gods, but rather egotistically put themselves first when making judgments. This causes the gods/goddesses to react in a frustrated manner and make the humans their
Hippolytus vs. Pentheus When arguing the statement, the character of Pentheus in the Bacchae is portrayed as earning his fate, whereas the character of Hippolytus in the Hippolytus is portrayed as an innocent victim of the god, I must both, agree and disagree with it. I would definitely agree with it on a shallow point of view, but would have to disagree with it upon dissecting both the stories. The stories tell of Hippolytus being killed for something he did not do, while Pentheus was killed