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Their task is no longer simply to get him interested in Phaedra, they must first convince him of the merits of women in general. Hippolytos (altgriechisch Ἱππόλυτος der die Pferde loslässt), Sohn des Theseus und der Amazone Hippolyte, nach anderen Autoren der Antiope,[1] war in der griechischen Mythologie ein in Troizen und Athen verehrter Heros, der v. a. mit Geburt und Hochzeit in Verbindung gebracht wurde, obwohl er jungfräulich und kinderlos blieb. Hippolytos kränkt Aphrodite. Rather than depending on a god such as Artemis to come down from the sky and reveal to Theseus the truth of what Phaedra has done, Racine carefully weaves in a series of events that plausibly increase Theseus’ questioning of his hasty prosecution of Hippolytus. Riesige Sammlung, hervorragende Auswahl, mehr als 100 Mio. Rather than recoiling, he draws his sword to attack. Phaedra’s disadvantage is increasing, making her more and more vulnerable, even though as Theseus’ widow she is in the greater position of power. The second, known to us as simply Hippolytus , was originally called “Hippolytos the wreath bearer,” or Hippolytus Crowned . Theseus takes the part of persecutor and Hippolytus is unjustly sentenced to death.Now the playwright has the problem that the story of a victim being sent to his demise is also not dramatically interesting, unless we have a moment of redemption, transcendence or newly gained awareness. Beziehungsreich stehen die Gestalten in der griechischen Mythologie in ihrer Welt und zueinander. Darmstadt 1978. NURSE [245] And thy father will be here.

The first, called “Hippolytos who veils his head,” generally translated as Hippolytus Veiled, is known only in fragments and is surmised to be the source of much of Seneca’s plot for Phaedra. This makes Phaedra all the more vicious, resolving not to defend a man who has spurned her, lashing out at Oenone and cruelly sending her away. This launches the second “act” in which Phaedra will have to bear the consequences of this.The second act begins with Aricia confessing to Ismene her love for Hippolytus. Being rejected by him, Phaedra created a scene of molestation and called for help. In fact, Theseus’ crimes are the gravest of all. Then he sees Phaedra’s strange reversal in suddenly asking Theseus not to harm Hippolytus. His cult believed that Hippolytus, Phaedra and Theseus. Hippolytos will mit Aricia fliehen, denn sie ist, nach dem Tod seines Vaters, frei. And Racine fashions a cautionary tale on the destructiveness of human perversity around the unfortunate fates of not only Phaedra, but Hippolytus and Theseus as well.
At Athens he was associated with Aphrodite, the goddess of love; at Troezen, girls just before marrying dedicated to him a lock of their hair. Moderne Inszenierung wie sie sein soll. With this proof of the one point Hippolytus made in his own defense – that he was in love with Aricia – Theseus accuses Phaedra of wrongdoing and she confesses. This launches the second “act” in which Phaedra will have to bear the consequences of this.The second act begins with Aricia confessing to Ismene her love for Hippolytus. Oenone conceives of a preemptive strike against Hippolytus even though we learn in the next scene that he has no thoughts of exposing Phaedra. Indeed, there is much in the original myth that suggests Hippolytus is in a state of being veiled, in the sense of being blinded to what is happening around him. It is his unwillingness to see this that triggers the story’s tragic events and ultimately his own ruin.Classics scholar Philip Whaley Harsh points out that in the course of the extant play, Hippolytus’ character remains consistently self-righteous.However, for the ancient Greek audience, the carefully maintained moral purity in Hippolytus’ character did serve to tell the story of how he came to be a worshipped cult figure in the city of Troezen. Those who advocate the spurious theory that literature consists of a finite number of dramatic situations, which each generation of writers can only repackage, may be tempted to utilize the story of Phaedra’s love for her stepson Hippolytus as a defining case in point. As Hippolytus drove along the shore towards Troezen, a great wave rose up throwing a bull-like monster onto the shore. In fact, he has more than adequately fulfilled Horace’s admonition to both entertain and instruct. But, as the edifying story unfolds, it does not do so without utilizing a few capable dramatic techniques along the way.In the very next scene, we learn that Phaedra’s physical condition is worsening. It is the actions of Theseus that bring the drama to its highest state of tension, which is then released in resolution. Now she must make a political alliance with him for the sake of her son, who is Theseus’ legitimate heir. The monster chased Hippolytus, causing his horses to stampede, the chariot to crash and Hippolytus to be caught in the reins and dragged along the ground to his death. With the help of Artemis, he and Hippolytus are reconciled before Hippolytus’ death, and Hippolytus ascends to cult hero status.Thus, we are brought into the tragedy through our sympathy towards Phaedra, we are carried to its climax through an investment in the fate of Hippolytus, and then we are able to have a feeling of resolution in Theseus’ recognition of his error in judgment.