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Gender and Family in Seneca's Phaedra

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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. She is an apt hunter, choosing to die that she might continue to hunt Hippolytus in the underworld after his tragic death. Seneca, in writing this incestuous myth for a Roman audience, displays the consequences of gender subversion and the tragic effect this has on the royal family of Athens. iii Acknowledgements First and foremost, I would like to thank my supervisor, Dr. Christina Vester, without whom this thesis would never have been written. You were always available to help steer me in the right direction with my research and gave invaluable input along the way. Thank you for your support throughout this large endeavour. Thank you also to my committee members, Dr. Riemer Faber and Dr. Ron Kroeker. You have both given me a great deal of support and insight into my research and the larger world of academia. This thesis would never have been finished on time without your fastidious and thorough reading. My gratitude extends to the entire faculty and administrative members of the Department of Classics at the University of Waterloo for their continual support. iv Dedication This thesis is dedicated to my partner, Ben. Thank you for your love and support, now and always. v Table of Contents Author’s Declaration ....................................................................................................................... ii Abstract .......................................................................................................................................... iii Acknowledgements ........................................................................................................................ iv Dedication ....................................................................................................................................... v Table of Contents ........................................................................................................................... vi Introduction ..................................................................................................................................... 1 The Life and Writings of Seneca the Younger ........................................................................... 1 Synopsis of Phaedra: From Love to Death ................................................................................ 4 Gender and Family in Phaedra ................................................................................................... 7 Chapter One: The Imperial Hunter ............................................................................................... 12 1.1: The Wide World of Hippolytus ......................................................................................... 12 1.2: Hippolytus the Leader ........................................................................................................ 14 1.3: The Heroic Amazon ........................................................................................................... 18 1.4: The Devout Hippolytus ...................................................................................................... 24 1.5: Hippolytus the Son............................................................................................................. 25 1.6: Conclusion ......................................................................................................................... 29 Chapter Two: Hippolytus Hunted ................................................................................................. 31 2.1: Innocent Hippolytus ........................................................................................................... 33 2.2: Hippolytus the Coward ...................................................................................................... 46 vi 2.3: Conclusion ......................................................................................................................... 50 Chapter Three: Theseus the Hero ................................................................................................. 53 3.1: Heroic Identity and Masculinity ........................................................................................ 55 3.2: Heroic Theseus .................................................................................................................. 58 3.3: Theseus as Husband and Father ......................................................................................... 70 3.4: Conclusion ......................................................................................................................... 72 Chapter Four: Virgin, Mother, and Wife ...................................................................................... 74 4.1: The Virginal Phaedra ......................................................................................................... 75 4.2: (Step)Mother Phaedra ........................................................................................................ 80 4.3: Conclusion ......................................................................................................................... 92 Chapter Five: Phaedra the Huntress .............................................................................................. 93 5.1: Phaedra the Hunter............................................................................................................. 94 5.2: The Direct Phaedra .......................................................................................................... 104 5.3: Phaedra’s Cretan Family .................................................................................................. 107 5.4: Conclusion ....................................................................................................................... 112 Conclusion .................................................................................................................................. 115 Bibliography ............................................................................................................................... 119 vii Introduction The Life and Writings of Seneca the Younger Seneca the Younger (ca. 4 BCE - 65 CE),1 perhaps best known for his philosophical writings and letters, is the only remaining tragedian of Rome. He is also the author of the only extant Roman tragedies. In the political sphere, he was very influential in his lifetime. Little is known about his early life, but Seneca was certainly known in the Roman political sphere to be a great orator and writer by 39 CE, when Emperor Gaius (Caligula) began his reign. It was during this same year that Seneca offended the Emperor through his orations and was ordered to commit suicide for the first time. In 41 CE, he was again ordered to commit suicide, this time by Emperor Claudius, being accused of committing adultery with Julia Livilla, the niece of Claudius.2 However, this was changed to exile on the island of Corsica. He was then recalled around 49 CE to act as tutor to the young Nero,3 who had been named as heir to Claudius. In 54 CE, upon Nero’s accession to emperor, Seneca was made political advisor alongside Afranius Burrus. For the eight years that these two men acted in this role, the empire enjoyed a period of good government. However, Nero came under the influence of men who encouraged and condoned his crimes, greatly diminishing Seneca’s power in the government. In 62 CE, upon the death of Burrus, Seneca requested that he be allowed to retire, leaving his wealth to Nero. In 65 CE, after three years of relative peace spent writing on philosophy, Nero demanded that Seneca commit suicide, *All translations herein are the author’s own, unless otherwise specified. 1 For a modern biography of Seneca the Younger, see both Miriam Griffin, Seneca: A Philosopher in Politics, 1976; and Emily Wilson, The Greatest
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