Phaedra Essays

In Racine’s Phaedra, Phaedra is the main character is she is influenced by her passion and lust throughout the novel, which leads her to commit the crimes she commits by the power of guilt and shame. In Act 1, scene 3, Phaedra confesses her love for Hippolytus to her nurse. Phaedra knows that her love for Hippolytus can never be fulfilled and she feels shame for having this lust and passion for Hippolytus. Phaedra is very sneaky in how she tells her nurse, and never actually says his name as the

the treatment of the gods is Hippolytus' servant, beyond that no one addresses the issue. During the climax of the conflict between Hippolytus and Theseus, Theseus is more concerned about Hippolytus' supposed crime of committing adultery against Phaedra. Hippolytus' punishment for rejecting the goddess Aphrodite happens behind the scenes from mortal eyes. Court cases, on the other hand, show a high level of involvement with the Athenian community who collectively decide the judgement of

The play “Othello” by Shakespeare is about a man who eloped with the senator’s daughter. Then became deeply in love. The play also includes a man named Iago who hates the general Othello because he gave the lieutenant position in favor for Cassio. As a result, Iago decided to play devil and manipulate Othello’s mind by telling him that his wife Desdemona committed adultery with Cassio. Which lead Iago asking his wife Emilia to steal Desdemona’s handkerchief so he can place it in Cassio’s bedroom

Despite the relative ease of a modern American’s life when compared literally any other point in history, there is a striking increase in anxiety over the past decade. In 1986, 14% of college freshmen reported anxious symptoms, but this past year it jumped to 41% (Denizet-Lewis). John Green, the author of Turtles All the Way Down, shares in this struggle and personally relates to the many young adults who suffer from this condition. This novel, despite many differences, holds a near autobiographical

Phaedra and Medea The women of Euripides are sympathetic victims of the patriarchy. From the start of both plays it is clear that Phaedra from Hippolytus and Medea from Medea by Euripides are both fated to be victims because their actions, though cruel, are simply reactions to the injustices they have been subject to and occur as a result of the lack of power among women and the subsequent actions of women that can arise from oppression. Both women cause severe pain to their husbands and children

Phaedra from Hippolytus by Euripides and Medea from Medea by Euripides are sympathetic victims of the patriarchy. The women hold very little power and are representative of the dysfunction that can arise from a calculated, male-dominated society skewed by a disproportionate power struggle. From the start of both plays, Hippolytus and Medea, it is clear that both women are fated to be victims because their actions, though cruel, are simply reactions to the injustices they have been subject to and

play, Phaedra, as an exploration of pure virtue and finds that all people are morally grey, meaning that no one is altogether virtuous or sinful. Through the absence of purely right and purely wrong characters, Racine is able to create a play about virtue rather than a play concerned with people, and whether or not they, on individual levels, are virtuous. This is not to say that he is arguing either way about the morality of the specific deeds committed in the play, but the opposite. Phaedra is concerned

The Heriodes is one of the works written by Ovid. This letter from Phaedra to Hippolytus appears to be an epistolary elegiac poem, considering the ultimate goal of Phaedra’s letter was to confess her love to Hippolytus and have him reciprocate those feelings. In the first eighteen lines of Phaedra to Hippolytus in the Heriodes, there is a profound introduction to the reader, who in this case would be Hippolytus. Phaedra does an impressive job during the first few lines of giving no details other

3.1. Introduction As it was stated earlier, one of the key terms in the present thesis is female grotesque. The researcher tends to see how the plays, Cleansed, Phaedra and Blasted, can be read in this respect. The point is that the narratives within these plays try to penetrate gender and sexual identities through the violence. This violence is not related to any gendered or sexual identity, whether male or female, it seems that Kane wants to put an end to these norms. This dissertation includes

In the drama, Phaedra, by Jean Racine the author explores shame and guilt. Shame is focused on self-humiliation, while guilt is feeling immoral for committing a dishonest act. Racine depicts shame and guilt when Phaedra tells Theseus, “If it is not too late, then spare your son. Respect your flesh and blood, I beg of you, And save me from the horror of his cries” (4.4.1170-1619). Phaedra feels shame for not telling Theseus the truth so she begs him to spare his son, Hippolytus. Phaedra shows guilt

Aphrodite punishes Hippolytus by having his stepmother, Phaedra, fall in love with him. The question stands, is Phaedra worthy of pity? Well, the answer is she is worthy of pity due to the fact that, in the context of the play, Aphrodite is the one to blame for her feelings for Hippolytus. Also, when Phaedra discovers her feelings for her stepson, she never acts on them. And since she is only human, mistakes are bound to occur. As stated, in

pushing the boundaries of her social role within the family to the point of physical punishment by Orgon, to make sure that Mariane will get to marry her boyfriend, Valere. In Racine’s Phaedra, Oenone is portrayed to be this caring, nurturing, and worried mother-like care taker of Phaedra. When in reality, as soon as Phaedra speaks the truth of her love for Hippolytus, Oenone turns from the loving caring mother-nurse, to basically this corrupt, poisonous shrew of a nymph that tends to whisper into Phaedra’s

Michael I Jewell Professor Mayes CLA 2000 23 November 2015 Phaedra and Hippolytus Phaedra is the wife of Theseus, given to him by Deucalion by order of Minos, the king of Crete. She is, however not his first wife according to Apollodorus. Theseus took his first wife from the Amazons who he attacked while adventuring with Heracles. Theseus kidnapped Hippolyte, who is also known by the names Antiope, and Melannipe, as well as her sisters. Hippolyte gives Theseus a son, named Hippolytus. (Apollodorus

forced to grow up too soon as people around them consequently forget that they are children in need of emotional and mental support. Being a 10-year-old child it is acceptable for Phaedra to seek comfort within her older sibling, Dionne, who is put into an authority figure too early in her life. As she took care of Phaedra her whole life, giving her the support she needed, hence being forced to put her sister’s feelings and mental state in perspective. Being the older sibling in the family with a mother

marriage, or rather its failure, showing how deeply intertwined with anxiety about women’s fidelity.” (Lyons 109) In Greek Mythology, rules don’t always apply to the Gods and Goddesses and can avoid or intervene in the affairs of mortals. One mortal, Phaedra, received this divine interference, but the practice of Greek law, also, was not her favor. Due to the social constructs of everyday Hellenistic activity, the transfer into a written medium sealed Phaedra’s fate in more ways than one. Though mythology

In Ancient Greece, people believed in diverse amounts of myths and teachings to ultimately shed light on how the earth around them came to be. They came to worship not one God, but many Gods. Their gods included the Olympian Gods, Titan Gods, Sea Gods, Sky gods, Underworld Gods, and countless others. People generally worshipped all these Gods, instead of only choosing who they wanted to be loyal to. The story of Hippolytus by Euripides, is a greek myth that really shows the control the Gods had over

ancient Greek society makes the matter a little more ambiguous. Hippolytus conceivably may have been deserving of his fate, considering the fact the he was extremely prideful and that he offended the gods. It is made clear in both Hippolytus and Phaedra that Hippolytus is not fond of women. He even goes so far as to state that they are all evil and that men would be better off without them (Eur. Hip. 616- 668). He thinks that intelligent women are troublesome and that only simpleminded women have

marries Phaedra, the sister of Ariadne. This is a terrible mistake. There are conflicting stories, but both agree that Ariadne was left behind on an island upon Theseus’s return to Athens after defeating the Minotaur. By marrying Phaedra, Theseus brought great misfortune upon himself, Phaedra, and the son that the Amazon queen had borne him, named Hippolytus. Hippolytus despised love, and he thought anyone who believed in it was foolish. To punish him, the goddess Aphrodite caused Phaedra to fall

Transitioning from the archaic period to the classical period there is a shift from the gods being the main characters of the plays, to being the overseeing forces that make events happen in humans lives. In Hippolytus and The Women of Trachis, Aphrodite and Zeus are seen as responsible for making sure humans meet their fate. Phoenician Women shows this concept in its purest form by solely having human characters and the gods being only conceptual. The characters in tragedies make sense of the terrible

During the seventeenth century, France was the epicenter of change and transformation, and this was certainly the case in the development of French theatrical design. This was also a time of war, political upheaval, and many developments in the fields of science, literature, art, and theatre. Seventeenth century French theatre was defined by rules, including rules pertaining to society, structure, language, characteristics and behavior, and story and plot. All of these elements heavily influenced