Hippolytus and Phaedra

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Looking at Hippolytus Picturing the Myth If you were to plan your own painting of the myth, what would be in it? Now for some real paintings… Let’s look first at role and characterisation… How are the interactions between the characters represented in the following post-classical images? Hippolytus and Phaedra Artist: Pierre-Narcisse Guerin Completion Date: 1802 Dimensions: 39 x 52 cm Phaedra Artist: Alexandre Cabanel (1823– 1889) Date: 1880 Size: 194cm x 286cm The Death of Hippolytus Sir Lawrence Alma-Tadema 1860 Hippolytus, Phaedra and Theseus Unknown artist, German school 18th century Hippolytus after the Confession of his Stepmother Phaedra Étienne-Barthélémy Garnier, late 18th century Now let’s go back to some classical images… Herculaneum wall painting Mid-first century CE. Sarcophagus of Phaedra and Hippolytus Roman Sarcophagus with relief In the Archaeological Museum, Split, Croatia. The Lovesick Phaedra DETAILS British Museum, Museum Collection London London Catalogue No. 1870,0710.2 Beazley Archive No. N/A Apulian Red Ware Figure Shape Krater, Calyx Attributed to Painter the Laodamia Painter ca. 350 - 340 Date B.C. Period Late Classical http://www.theoi.com/Gallery/K32.5.html The Querian diptych 5th century CE. Why do people continually remake the myth of Hippolytus and Phaedra? From Edith Hall at The Edithorial http://edithorial.blogspot.com/2015/05/why-i-hate-myth-of-phaedra-and.html Director Mike Nichols on The Graduate https://www.timeout.com/newyork/film/mike-nichols-on-the-graduate Donna Zuckerberg in her new book What is your own view of the myth? A compelling story of human emotion, or disturbing blame game?.

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Finding Empathy for Phaedra in Roman Wall Paintings Phaedra, the Daughter of Minos, Sister of Ariadne, Wife of Theseus and Stepm
Finding Empathy for Phaedra in Roman Wall Paintings Phaedra, the daughter of Minos, sister of Ariadne, wife of Theseus and stepmother of Hippolytus, attempted an affair with Hippolytus, committed suicide, and orchestrated Hippolytus’ murder by means of his father Theseus. Phaedra’s actions and their results are condemnable acts to the modern audience and would have likely been seen as such by Roman viewers who encountered images of Phaedra on the walls of Roman houses and on sarcophagi. However, I think it possible that the representations of Phaedra in Greco-Roman antiquity were not solely meant to point to all of her mistakes as a disloyal wife. My goal in this paper is to show that, despite Phaedra’s reputations as a terrible wife, representations of her in Roman private art were designed to invoke empathy in the hearts and minds of Roman viewers. Phaedra is well known through her literary treatment in both Euripides’ Hippolytus and Ovid’s Heroides IV. Phaedra and her myth are also frequently represented in Roman private art. Wall paintings from Pompeii and Herculaneum dating from the late first century BCE to the late first century CE feature a seated Phaedra by her nurse who often holds the letter to Hippolytus in her hand. In some examples Hippolytus is also depicted leaving the scene, presumably after he has received the letter and rejected Phaedra’s offer. Phaedra was repeatedly chosen to be portrayed in Roman homes as an example of consuming love, whether by a god’s influence or her own choice, not condemnable betrayal of her husband and household.
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PDF Download Phaedra
PHAEDRA PDF, EPUB, EBOOK Jean Racine,Julie Rose | 128 pages | 01 Dec 2001 | NICK HERN BOOKS | 9781854590947 | English | London, United Kingdom Phaedra PDF Book During his life, Seneca 4—5 B. Technical Specs. One can dream, but it's impossible to tell. The Chorus Artemis later told Theseus the truth. According to Bravo , Parks met Nida in because he flagged down her car on a highway in Atlanta, Georgia. Language: English. Seneca is a cool rationalist, and he views his passionate characters from a distance, while loading them with lengthy speeches and eloquent soliloquies. According to Essence , Nida was sentenced to five years in prison in because he was convicted of conspiracy to commit mail, wire, and bank fraud charges. The nurse pleads to Phaedra to control her passion and check her emotions, but it is no use. Retrieved November 9, Share this Rating Title: Phaedra 4. External Sites. The story of the Hippolytus—Phaedra relationship is derived from one of several ancient Greek myths revolving around archetypal Athenian hero, Theseus. Theseus asks to know what that sin is. Senecan Drama and Stoic Cosmology. Yet, she is undeniably presented as an empathetic character, more I believe they did. From Wikipedia, the free encyclopedia. She points to the sword Hippolytus left behind. San Francisco: Backbeat Books. A Messenger arrives to inform Theseus that Hippolytus is dead. Retrieved 6 November Keep track of everything you watch; tell your friends. Retrieved 24 August Phaedra's aged nurse interjects that Phaedra should control the passions she feels, for love can be terribly destructive. Concerned about the health of her mistress and in an attempt to help her, the nurse revealed her love to Hippolytus — but only after having him swear to tell nobody about it.
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HIPPOLYTUS: MARK II Reading, Respectively, ‘Cypris’ and ‘Artemis’
Set notes: those two pillars right and left of the stairs should have placards HIPPOLYTUS: MARK II reading, respectively, ‘Cypris’ and ‘Artemis’. By Elizabeth Shaw '07 PROLOGUE: O noble crowd, mesdames and sirs, Dramatis Personae friends of the Muse, ye connoisseurs! It brings us joy to see you here Hippolytus - a chaste young prince (Lauren Zimmerman '07) on this, the best day of the year! Phaedra - his lust-stricken stepmother (Katie Baratz HC '07) We hope that joy we may repay Theseus - his aging father (Elizabeth Shaw '07) and entertain you with our play. Artemis - his favorite goddess (Elizabeth Deacon '07) About which there’s a mystery, Cypris - his least favorite goddess & mortal enemy (Emily Lewis '07) to wit, the script’s odd history. Nurse - Phaedra’s devoted servant (Jill Barndt '10) For early one September morning Messenger Bearer of devices (heraldic & plot) (Prof. Edmonds) without omen, sign, or warning Ariadne - Phaedra’s sister and Theseus’ ex (Betsy Spear) a package came into our hands The Chorus - exiled cosmopolitans of Athens clothed in stamps from distant lands Philodemus (Sarah Stefanski '09) Philocrates (Catherine Graham '10) Within, a crumbling manuscript Nikias (Erika Carlson '08) Nikophon (Alexandra Dowrey '09) antique, gnawed-upon and ripped. Stephanos (Emily Olsen '09) Stephanides (Sarah Pfanz '10) By working hard to great effect Timocrates (Denise Camporeale) Timoclides (Becky Brendel '10) we Mawrters have restored the text. Theocrines (Catharine Judson '10) Theophilos (Elizabeth Deacon '07) Hippolytus it is by name Erotes (Betsy Spear & Diane Amoroso-O'Connor) but not the one of general fame; Euripides, prolific boy, Musical Numbers wrote two distinct Hippolytoi: 1.
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Phèdre: a Primer
Phèdre: A Primer Prepared by Spencer Smith, Dramaturge and Fourth year DART student Virginia Reh, Director and DART Assistant Professor and David Vivian, Scenographer and Associate Professor, editors. Table of Contents 1) Collaboration 2) Play Synopsis 3) Director’s Notes 4) Scenographer’s Notes 5) The Playwright: Jean-Baptiste Racine 6) The Translator: Ted Hughes 7) Family Tree 8) The Myths: Theseus, Phaedra, and Hippolytus 9) The Labyrinth of Lexicon: People and Places 10) The Many Faces of Phaedra 11) Dramaturge’s Notes 12) List of Figures 13) Bibliography Phèdre: A Primer Department of Dramatic Arts Page 2 of 17 Marilyn I. Walker School of Fine and Performing Arts February 2011 I saw the plot unfolding and me in it, Where we touched like cripples. Your first scene. The surreal mystery of our picnic quarrel Opened your performance quietly. And you had opened the vein. And recognised gold. A cry of bereavement. You had picked up the skein of blood That twitched and led you, ignoring me. Not out of the labyrinth But to the very centre, Where the Minotaur, which was waiting to kill you, Killed you. – Ted Hughes, “The Minotaur 2”i Phèdre: A Primer Department of Dramatic Arts Page 3 of 17 Marilyn I. Walker School of Fine and Performing Arts February 2011 1) Collaboration Written by Jean-Baptiste Racine Translation by Ted Hughes A production of the Department of Dramatic Arts of the Marilyn I. Walker School of Fine and Performing Arts, Brock University February 17, 18, 19, 2011 at 7:30pm; February 18 at 1:00pm.
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Operatic Reform in Turin
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter tece, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, If unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road. Ann Arbor, Ml 48106-1346 USA 800-521-0600 NOTE TO USERS This reproduction is the best copy available. UMI OPERATIC REFORM IN TURIN: ASPECTS OF PRODUCTION AND STYLISTIC CHANGE INTHEI760S DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Margaret Ruth Butler, MA.
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PHEDRE and OENONE by Donald Norman Levin
PHEDRE AND OENONE by Donald Norman Levin Toward the end of the preface to his last secular tragedy Jean Racine explains the purpose which the composition of Phbdre was designed to serve : Ce que je puis assurer, c'est que je n'en ai point fait oil la vertu soit plus mise en jour que dans celle-ci; les moindres fautes y sont sbverement punies: la seule pensee du crime y est regardte avec autant d'horreur que le crime mCme; Ies faiblesses de I'amour y passent pour de vraies faiblesses; les passions n'y sont pr6sent6es aux yeux que pour montrer tout le dksordre dont elles sont causes; et le vice y est peint partout avec des couleurs qui en font conndtre et ha'ir la difformitb. This statement smacks of Jansenism, of course. But the recluses of Port- Royal, under whose tutelage Racine had developed his taste for literature, regarded the contemporary theatre as a den of iniquity and their erstwhile pupil as an empoisonneur pub1ique.l It is understandable, then, that one whose expressed desire was to reconcile tragedy avec quantite' de personnes ce'lbbres par leur pie'te' et par leur doctrine, qui l'ont condarnne'e dans ces derniers temps would endeavor to show that not only his own dramatic writings, but also those of the pre-Christian ancients ("Leur thCAtre Ctait une 6cole 06 la vertu nYCtaitpas moins bien enseign6e que dans les Ccoles des philosophes") were in accord with the austere morality of Port-Royal. At any rate, we learn that none other than Antoine Arnauld himself, to whom Boileau had brought a copy of Phbdre and had read from the
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Hunting, Sex, and Domestication in Euripides' Hippolytus
Phaedra’s Game: Hunting, Sex, and Domestication in Euripides’ Hippolytus 4B1 Tracy Jamison Wood (University of California, Santa Barbara) Early on in Euripides’ Hippolytus, Phaedra expresses a desire to go hunting in the nearby wild country of Troezen (215-222). This passage has typically been read by scholars as an indication of her madness (Barrett’s 1964 Hippolytus commentary and Halleran’s Euripides. Hippolytus with Introduction, Translation and Commentary, 1995), though Hanna Roisman in her 1999 book Nothing Is As It Seems. The Tragedy of the Implicit in Euripides’ Hippolytus has indicated that her statement may be a ruse for madness and that her rhetoric indicates that she is in full control of her faculties (50-1). I agree with Roisman that Phaedra is not mad but that her wish to hunt the wild beasts of Hippolytus’ realm is a code for her wish to hunt down and eventually tame Hippolytus himself. The rhetoric of rape, hunting, and taming often goes hand in hand in ancient literature. As early as Archilochus, the poet-lover is hunting down a young girl, whom he compares to a filly in need of taming in the Cologne Fragment. Though he does not take the young girl’s virginity, she does essentially rape her in his attempt to subdue or tame her. In fragments F428 and F434 of the first Hippolytus play of Euripides (Halleran, 1995) as well as lines 955-7 in the extant play, the comments made suggest that those who hunt down Cypris too much are just as sick as those who shun her completely.
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Artemis That She Shares with Hera and Eileithyia? (A) Goddess of the Moon (B) Goddess of Childbirth (C) Goddess of the Hunt (D) Protector of Young Animals
Name: __________________________________ Mythology Chapter Quiz 10 _____ 1. What is the function of Artemis that she shares with Hera and Eileithyia? (a) goddess of the moon (b) goddess of childbirth (c) goddess of the hunt (d) protector of young animals _____ 2. Whose children were killed by Artemis and Apollo because of their mother’s pride? (a) Callisto (b) Hecuba (c) Leto (d) Niobe _____ 3. Actaeon was punished by Artemis because (a) he tried to seduce her (b) he insulted her mother, Leto (c) he bested Artemis in the hunt (d) he caught sight of her bathing _____ 4. What was the fate of the young hunter Arcas? (a) he became the constellation Arcturus (b) he was destined to roam the world as a bear (c) he killed his mother and was polluted with miasma (d) he was turned into a stag and ripped apart by his own dogs _____ 5. Artemis can represent the virginal stage of a woman’s life; which of the following pairs of deities can represent the adult (sexual) woman and the old woman? (a) Athena and Hera (b) Selene and Hecate (c) Hera and Medusa (d) Leto and Selene _____ 6. What was Artemis’s first act as a new-born deity? (a) help her mother give birth to Apollo (b) take up her silver bow and hunt (c) journey to Olympus to be greeted by the gods (d) take revenge on Hera _____ 8. What deity is seen as a foil to/opponent of Artemis in Euripides’ Hippolytus? (a) Aphrodite (b) Apollo (c) Athena (d) Poseidon _____ 9.
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Gender and Family in Seneca's Phaedra
Family Matters: Gender and Family in Seneca’s Phaedra by Keilah Le Clair A thesis presented to the University of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in Classical Studies April 25, 2019 Waterloo, Ontario, Canada, 2019 © Keilah Le Clair, 2019 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract Seneca the Younger, writing in the early Roman Empire, is the only known Roman tragedian whose works survive. His Phaedra, considered to be one of his earlier tragedies, is centered on the royal family of Athens, consisting of the hero Theseus, his current wife Phaedra, and his son, Hippolytus. Each of these three main characters exhibit shifts in their portrayed gender as the play unfolds. Hippolytus, first introduced as a hunter and strong leader, becomes hunted by his stepmother Phaedra, making him the passive participant in their relationship. This passive role was considered to be the feminine role by the ancient Romans. Theseus, the Athenian hero known for slaying the Minotaur of Crete, stays within the masculine sphere, but shows the full breadth of masculinity. His role as a hero both contrasts and compliments his roles as father and husband. Theseus’ heroic identity causes him to exhibit a damaging form of hyper-masculinity; within his family, he shows a more benign masculine character. Phaedra, for her part, uses the feminine roles of virgin, wife, and mother to conceal her strong masculine traits.
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A Midsummer Night's Dream and the Phaedra-Hippolytus Myth
Utah State University DigitalCommons@USU Undergraduate Honors Capstone Projects Honors Program 5-2007 Can't, Shouldn't, and Love Juice: A Midsummer Night's Dream and the Phaedra-Hippolytus Myth Katherine Shakespeare Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/honors Part of the Dramatic Literature, Criticism and Theory Commons Recommended Citation Shakespeare, Katherine, "Can't, Shouldn't, and Love Juice: A Midsummer Night's Dream and the Phaedra- Hippolytus Myth" (2007). Undergraduate Honors Capstone Projects. 671. https://digitalcommons.usu.edu/honors/671 This Thesis is brought to you for free and open access by the Honors Program at DigitalCommons@USU. It has been accepted for inclusion in Undergraduate Honors Capstone Projects by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. CAN'T, SHOULDN'T, AND LOVE JUICE: A MIDSUMMER NIGHT'S DREAM AND THE PHAEDRA-HIPPOLYTUS MYTH by Katherine Shakespeare Thesis submitted in partial fulfillment of the requirements for the degree of HONORS IN UNIVERSITY STUDIES WITH DEPARTMENTAL HONORS in Interdisciplinary Studies in the College of Humanities, Arts, & Social Sciences Approved: Thesis Advisor Departmental Honors Advisor Dr. Mark Darnen Mary Leavitt Honors Program Director Dr. Christie Fox UT AH STATE UNIVERSITY Logan, UT Spring 2007 Can't, Shouldn't, and Love Juice: A Midsummer Night's Dream and the Phaedra-Hippolytus Myth Table of Contents Summary .......... ............. ..................................... ............................................................ 3 I. The Mutability of Myth .............. ................... ................ ......... ..................................... 3 A. The Cyclops and Odysseus: Inverted Myth .................. .................... ..................... 4 B. Oedipus and the Sphinx: Copied Myth ....... ............................ ...................... ........ 5 II. "The sort of evil you would scarcely believe to encounter in a stepmother" ...............
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Lost in the Labyrinth Supplementary Information
LOST IN THE LABYRINTH SUPPLEMENTARY INFORMATION The Myth The story about Theseus, the maze and the Minotaur upon which LOST IN THE LABYRINTH is based is a long tale with roots and limbs in many other tales. As briefly as possible, here it is: Theseus was reared by his mother Aethra, daughter of the ruler of the little kingdom of Troezen, on the Greek mainland. As he grew to manhood, he questioned her about the name of his father. She directed him to lift a great stone, under which he found a pair of sandals and a sword, left for him by his father Aegeus, King of Athens. Wishing to go to his father, he bade his mother and grandfather goodbye. They begged him to travel safely by ship but he refused, insisting on walking the dangerous road from Troezen to Athens. On this journey he met and vanquished scores of robbers and monsters, freeing the people of those regions from oppression. Arrived in Athens, he was met by a cheering multitude. Grateful to the young man for making the road safe, the populace turned out to give him a hero’s welcome. In the king’s palace, a witch named Medea was busily weaving her spells around the king’s heart. By her art she knew who the young man was, and, loath to give up either her own or her children’s place in the court, was determined to destroy him. She told Aegeus that the stranger was dangerous. Aegeus was, so far as he knew, childless. He had only left the sword and sandals under the stone in case Aethra should bear a male child who would survive to healthy maturity.
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Phèdre by Jean Racine in a Version by Ted Hughes
Phèdre by Jean Racine in a version by Ted Hughes Synopsis 3 Phèdre: guises of a myth 5 A glimpse at the rehearsal process 6 Phèdre by Jean Racine Interview with Bob Crowley (designer) 8 in a version by Ted Hughes Interview with Ruth Negga (Aricia) 9 Glossary 10 Sponsored by Further production details: This background pack is Director Discover Workpack writer nationaltheatre.org.uk published by and copyright Nicholas Hytner National Theatre Nadia Fall The Royal National Theatre South Bank Board London SE1 9PX Editor Reg. No. 1247285 T 020 7452 3388 Emma Gosden Registered Charity No. F 020 7452 3380 224223 E discover@ Design Views expressed in this nationaltheatre.org.uk Clare Parker workpack are not necessarily those of the National Theatre Photographs Simon Annand Sources for some of the dates given in this background pack differ. In each case the most likely date has been chosen, discover: National Theatre Background Pack 1 given the available evidence The National’s production This production of Phèdre opened in the National’s Lyttelton Theatre on 11 June 2009 Characters, in order of speaking Hippolytus, son of Theseus and Antiope, an Amazon . DOMINIC COOPER Théramène, Hippolytus’ counsellor . JOHN SHRAPNEL Oenone, Phèdre’s nurse. MARGARET TYZACK Phèdre, Queen of Athens . HELEN MIRREN Panope, Phèdre's attendant . WENDY MORGAN Aricia, granddaughter of Erechteus, once the King of Athens. RUTH NEGGA Ismène, Aricia’s attendant. CHIPO CHUNG Theseus, King of Athens, Phèdre’s husband. StanLEY TOWNSEND Phèdre's Son . CHRISTOPHER ASHLEY . or ELLIOT HORNE Understudies/Ensemble ALEXANDER D’ANDREA (Hippolytus), PORTIA BOOROFF (Panope/Oenone), ELIZABETH NESTOR (Aricia/Ismene), TRISTRAM WYMARK (Theseus/Théramène) Director.
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