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More on the Love Story of Phaedra and Hippolytus: Comparing the References in Pausanias and Euripides More on the love story of Phaedra and Hippolytus: comparing the references in Pausanias and Euripides The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2018. "More on the love story of Phaedra and Hippolytus: comparing the references in Pausanias and Euripides." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/more-on-the-love- story-of-phaedra-and-hippolytus-comparing-the-references-in- pausanias-and-euripides/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:40998271 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Classical Inquiries Studies on the Ancient World from CHS Home About People Home » By Gregory Nagy, H24H, Pausanias reader » More on the love story of Phaedra and Hippolytus: comparing the references in Pausanias and Euripides Share This More on the love story of Phaedra and Hippolytus: comparing the references in Pausanias and Euripides August 3, 2018 By Gregory Nagy listed under By Gregory Nagy, H24H, Pausanias reader Comments off Edit This 2018.08.03 | By Gregory Nagy In the posting for 2018.06.21, I highlighted a painterly vision in the narrative of Pausanias about the erotic passion felt by Phaedra for Hippolytus. In that vision, Phaedra is viewing Hippolytus exercising naked. And the agent of the vision is the goddess Aphrodite. In the present posting, for 2018.08.03, I compare another painterly vision—this time, in the poetry of Euripides. In this vision, Phaedra is viewing her own self, but this self is now transformed. Phaedra sees herself as Artemis the Huntress. The agent of Phaedra’s vision is still the goddess of sexuality, but the object of this vision is the goddess of sexual unavailability. In the painting I have chosen as cover for this posting, Hippolytus looks just like Artemis the Huntress, and the white space I artificially interpose to separate him from the glowering Phaedra can be seen as a symbol of her frustration. Classical Inquiries (CI) is an online, rapid-publication project of Harvard’s [Essay continues here…] Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. Editor Keith Stone [email protected] Search for: Search Subscribe Now! Subscribe to this site to receive email updates about the latest research—just one or two notices per week. EU/EEA Privacy Disclosures Now Online “Phèdre et Hippolyte” (1802). Pierre­Narcisse Guérin (French, 1774–1833). Image via Wikimedia Commons. In The Ancient Greek Hero in 24 Hours, 20§57, I focus on the painterly passage in the Hippolytus of Euripides where Phaedra, in an erotic reverie, puts herself into the picture, as it were. Into a picture of what? She pictures herself as Hippolytus hunting in the wilderness. But it can also be said that she pictures herself as Artemis hunting in the wilderness. Here is how Phaedra expresses her passionate desire (Hippolytus 219–222): ‘I swear by the gods, I have a passionate desire [erâsthai] to give a hunter’s shout to the hounds, |and, with my blond hair and all (in the background), to throw | a Thessalian javelin, holding (in the foreground) the barbed | dart in my hand’. In my translation here, I have added within parentheses the cues ‘in the background’ and ‘in the foreground’. That is because, in her painterly imagination, Phaedra even poses herself in the act of hurling a hunting javelin that is foregrounded against the golden background of her blond hair flowing in the wind. Holding this pose, as I argue in H24H, Phaedra can thus become the very image of Artemis. We can actually see such a pose in the ancient visual arts. Here, for example, is a mosaic showing an Amazon hunting on horseback: Top Posts & Pages The Last Words of Socrates at the Place Where He Died A Roll of the Dice for Ajax Detail of mosaic pavement depicting hunting Amazons in the Nile Festival House, early 5th century CE, Sepphoris (Diocaesarea). Image via Flickr, under a CC BY­SA 2.0 license. Penelope’s great web: the violent When Phaedra sees Hippolytus for the very first time in the narrative of Pausanias 2.32.3, as I noted in the interruption posting for 2018.06.21, she is already falling in love with the youthful hero. In that posting, I was worrying about the translation ‘fall in love’ for erân/erâsthai in the “present” or imperfective aspect of the relevant verb used by Pausanias—and for erasthênai in its aorist aspect, as he uses it elsewhere. In the present posting, 2018.08.03, I still worry about that translation—and I continue to prefer the wording ‘conceive an Most Common Tags erotic passion’ as a more accurate way to capture the moment—but now I worry more about the actual moment of erotic passion in Pausanias 2.32.5. As we will see, that moment is really a recurrence of moments. The storytelling of Pausanias points to an untold number of moments for experiencing the erotic passion—as expressed by the “present” or imperfective aspect of the verb, erân, and by the imperfect Achilles Aphrodite apobatēs Ariadne tense of the verb apo­blepein ‘gaze away, look off into the distance’. Further, there is a divine force that Aristotle Artemis Athena Athens presides over all these moments, embodied in the sacralized role of Aphrodite as the kataskopiā, ‘the one Catullus Chalcis chariot fighting who is looking down from on high’. Here is the relevant passage in Pausanias, where our traveler speaks of the enclosure containing the space Commentary Delphi that is sacred to both Hippolytus and Phaedra as cult heroes: Demodokos Dionysus etymology {2.32.3} In the other part of the enclosure [peribolos] is a racecourse [stadion] named Euripides Gregory Nagy H24H HAA after Hippolytus, and looming over it is a shrine [nāos] of Aphrodite [invoked by way of the travel-study Helen Hera Herodotus epithet] kataskopiā [‘looking down from the heights’]. Here is the reason [for the epithet]: it was at this very spot, whenever Hippolytus was exercising­naked [gumnazesthai], that Hippolytus Homer she, Phaedra, feeling­an­erotic­passion­for [erân] him, used­to­gaze­away [imperfect of apo­blepein] at him from above. A myrtle bush [mursinē] still grows here, and its leaves— Homeric epic Iliad as I wrote at an earlier point [= 1.22.2]—have holes pricked into them. Whenever Phaedra Jean Bollack lament Lelantine War mimesis was­feeling­there­was­no­way­out [aporeîn] and could find no relief for her erotic­passion [erōs], she would take it out on the leaves of this myrtle bush, wantonly injuring them. Minoan Empire Mycenae Odysseus {2.32.4} There is also a tomb [taphos] of Phaedra, not far from the tomb [mnēma] of Odyssey Pausanias Hippolytus, and it [= the mnēma] is heaped­up­as­a­tumulus [kekhōstai] near the myrtle Phaedra Pindar Plato Poetics Posidippus bush [mursinē]. The statue [agalma] of Asklepios was made by Timotheus, but the people of Troizen say that it is not Asklepios, but a likeness [eikōn] of Hippolytus. Also, when I Sappho Theseus weaving Zeus saw the House [oikiā] of Hippolytus, I knew that it was his abode. In front of it is situated what they call the Fountain [krēnē] of Hēraklēs, since Hēraklēs, as the people of Troizen say, discovered the water. Archives Before further comment on Pausanias 2.32.3, I note a detail in my translation of 2.32.4. I take it that Pausanias here is guardedly indicating that he saw the tomb of Hippolytus himself, situated next to the tomb of Phaedra.
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