| Greek tragedy grew out of the public rituals of | | | | position illustrates a division between the cognitive |
| songs, sacrifice, dances and worship honouring | | | | and the emotional ‘self’ putting an emphasis |
| Dionysus, the god of wine, vegetation and growth in | | | | on the inner source of human suffering. |
| the 5th century B.C. Euripides’ tragic hero (or | | | | Euripides shows us weak points and mistakes of |
| heroes as in the play ‘Hippolytus’) is a | | | | human beings that makes him a modern playwright |
| character, who has good and bad qualities. Moreover, | | | | of his time. His approach to tragedy differs from his |
| qualities, which are bad tragically, destroy good ones | | | | contemporaries as he depicts characters of his plays |
| and we feel pity for the tragic heroes and the | | | | as they are in a real life. Euripides depicts the plight of |
| situations, in which they find themselves. This is | | | | Phaedre who is racked by passion and desire. She |
| especially true with Phaedre as she is a woman and | | | | understands her feelings for Hippolytus and knows |
| thus suffers more than men (Nietzsche 169-170). | | | | what she has to do but she is not able to bring it to |
| However, Nietzsche points out not only the | | | | pass. Euripides masterly shows the division between |
| weakness of a woman but her power to make the | | | | the reason and emotional ‘self’ in Phaedre |
| life of a man a tragedy, as Phaedre does in case with | | | | whose suffering is caused by a troubling division of |
| Hippolytus: ‘What, in spite of all fear, elicits pity | | | | her inside ‘self’ when nomos is in |
| for this dangerous beautiful cat ‘woman’ is | | | | confrontation with physis. Finally, her natural desires |
| that she appears to suffer more, more vulnerable, | | | | win. Euripides version of the play is a modern one if |
| more in need of love … than any other animal. Fear | | | | compared to other playwrights of that time; |
| and pity: with feelings man has so far confronted | | | | however, showing the psychological conditions of his |
| woman, always with one foot in tragedy which tears | | | | characters, he gives a traditional mythological |
| to pieces as it enhances.’. | | | | explanation of their psychological state. |
| Two major themes are present in | | | | In ‘Hippolytus’ Phaedre believes a person |
| ‘Hippolytus’: passion and revenge. | | | | can act according to his/her personal aspirations and |
| Euripides’ play ‘Hippolytus’ is interesting | | | | passions. She judges a decision by its value, rather |
| from the psychological point of view. The great | | | | than by the consequences. Her love is dead when |
| playwright shows us repeated injustice and sufferings | | | | she is rejected by Hippolytus and now everything |
| of his characters. Euripides tends to depict passive | | | | she wants is to revenge. In a book ‘Beyond |
| victims who get into trouble against their own will and | | | | Good and Evil’ Friedrich Friedrich Nietzsche wrote: |
| suffer because of their ‘fate’. For example, | | | | ‘In revenge and in love woman is more |
| Phaedre is a victim who acts only when she finds | | | | barbarous than man.’ Perhaps, this is especially |
| herself in a desperate position and her attempts to | | | | true concerning a famous character of the play |
| change the reality vanish with her death. Phaedra's | | | | ‘Hippolytus’ Phaedre. |