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螜蟺蟺蠈位蠀蟿慰蟼
螚 桅伪委未蟻伪, 未蔚蠉蟿蔚蟻畏 纬蠀谓伪委魏伪 蟿慰蠀 螛畏蟽苇伪, 蔚蟻蠅蟿蔚蠉蔚蟿伪喂 渭蔚 蟺维胃慰蟼 蟿慰谓 蟺蟻蠈纬慰谓蠈 蟿畏蟼 螜蟺蟺蠈位蠀蟿慰, 纬喂慰 蟿慰蠀 螒胃畏谓伪委慰蠀 萎蟻蠅伪, 伪位位维 蟺蟻慰蟽蟺伪胃蔚委 谓伪 蟿慰 魏蟻蠉蠄蔚喂. 螌蟿伪谓 蠈渭蠅蟼 蟿慰 渭伪胃伪委谓蔚喂 慰 螜蟺蟺蠈位蠀蟿慰蟼, 伪蟺慰魏蟻慰蠉蔚喂 蟿伪 伪喂蟽胃萎渭伪蟿伪 蟿畏蟼 渭畏蟿蟻喂维蟼 蟿慰蠀, 畏 慰蟺慰委伪 伪蠀蟿慰魏蟿慰谓蔚委 魏伪喂 伪蠁萎谓蔚喂 蔚蟺喂蟽蟿慰位萎 魏伪蟿畏纬慰蟻蠋谓蟿伪蟼 蟿慰谓 蠈蟿喂 蔚蟺喂尾慰蠀位蔚蠉蟿畏魏蔚 蟿畏谓 蟿喂渭萎 蟿畏蟼. 螣 螛畏蟽苇伪蟼 魏伪蟿伪蟻喂苇蟿伪喂 蟿慰谓 纬喂慰 蟿慰蠀, 慰 慰蟺慰委慰蟼 蟺蔚胃伪委谓蔚喂. 螚 螁蟻蟿蔚渭畏 蠁伪谓蔚蟻蠋谓蔚喂 蟿畏谓 伪位萎胃蔚喂伪 蟽蟿慰谓 螛畏蟽苇伪, 蟺慰蠀 胃蟻畏谓蔚委.
177 pages, Paperback
First published January 1, 429
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About the author
Euripides
2,710听books1,833听followersEuripides (Greek: 螘蠀蚁喂蟺委未畏蟼) (ca. 480 BC鈥�406 BC) was a tragedian of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the Suda says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (Rhesus is suspect). There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declined鈥攈e became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Ph猫dre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
Euripides is identified with theatrical innovations that have profoundly influenced drama down to modern times, especially in the representation of traditional, mythical heroes as ordinary people in extraordinary circumstances. This new approach led him to pioneer developments that later writers adapted to comedy, some of which are characteristic of romance. He also became "the most tragic of poets", focusing on the inner lives and motives of his characters in a way previously unknown. He was "the creator of ... that cage which is the theatre of William Shakespeare's Othello, Jean Racine's Ph猫dre, of Henrik Ibsen and August Strindberg," in which "imprisoned men and women destroy each other by the intensity of their loves and hates". But he was also the literary ancestor of comic dramatists as diverse as Menander and George Bernard Shaw.
His contemporaries associated him with Socrates as a leader of a decadent intellectualism. Both were frequently lampooned by comic poets such as Aristophanes. Socrates was eventually put on trial and executed as a corrupting influence. Ancient biographies hold that Euripides chose a voluntary exile in old age, dying in Macedonia, but recent scholarship casts doubt on these sources.
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Displaying 1 - 30 of 398 reviews
October 5, 2019
I went to a performance of Phaidra and Hippolytos this week, and it left me confused.
Being familiar with Euripides' and Racine's plays, I can't stop thinking about the idea behind the changes that were put on stage in this modern adaptation. The main dramatic problem in the original myth is that Hippolytos rejects Phaedra, and her later actions all derive from the fact that her burning love is unrequited. However, in the performance this week, they clearly and visibly had quite brutal on-stage sexual intercourse. Why? What does it do to the Greek myth to interpret it in this new (opposite) light? If the "guilt" is shared, the situation must be entirely different.
In Christa Wolf's brilliant take on , the question of guilt is moved from the traditional revenge to more complex power structures, including a deliberate destruction of Medea's reputation in order to justify her brutal removal from her position. Is that what happens to Phaedra too if she shares a sexual experience with Hippolytos. Is she more or less guilty for having completed the act? Hippolytos, in any case, does not remain chaste and innocent, even though he clearly is Phaedra's victim. Is this a #metoo take on myth? With a male victim who gives in to power play against his will and then carries the burden without daring to speak?
I am still not sure whether I liked the performance or not, but I am entirely sure that Greek plays, and their eternal reinterpretations by generations of storytellers, are the stuff that humans are made of, and remade of, over and over again.
We live and breathe Greek tragedy!
Being familiar with Euripides' and Racine's plays, I can't stop thinking about the idea behind the changes that were put on stage in this modern adaptation. The main dramatic problem in the original myth is that Hippolytos rejects Phaedra, and her later actions all derive from the fact that her burning love is unrequited. However, in the performance this week, they clearly and visibly had quite brutal on-stage sexual intercourse. Why? What does it do to the Greek myth to interpret it in this new (opposite) light? If the "guilt" is shared, the situation must be entirely different.
In Christa Wolf's brilliant take on , the question of guilt is moved from the traditional revenge to more complex power structures, including a deliberate destruction of Medea's reputation in order to justify her brutal removal from her position. Is that what happens to Phaedra too if she shares a sexual experience with Hippolytos. Is she more or less guilty for having completed the act? Hippolytos, in any case, does not remain chaste and innocent, even though he clearly is Phaedra's victim. Is this a #metoo take on myth? With a male victim who gives in to power play against his will and then carries the burden without daring to speak?
I am still not sure whether I liked the performance or not, but I am entirely sure that Greek plays, and their eternal reinterpretations by generations of storytellers, are the stuff that humans are made of, and remade of, over and over again.
We live and breathe Greek tragedy!
February 6, 2018
螠慰谓伪未喂魏蠈蟼.
螣蠀未苇谓 蟺蔚蟻伪喂蟿苇蟻蠅 蟽蠂蠈位喂慰.
螣蠀未苇谓 蟺蔚蟻伪喂蟿苇蟻蠅 蟽蠂蠈位喂慰.
May 10, 2018
For Euripides, Hippolytus is an intentional and accordingly annoying celibate, whose chastity offends Aphrodite ("All those that live and see the light of the sun / from Atlas' Pillars to the tide of Pontus / are mine to rule" (ll.3-5)). Apparently one is subject to nemesis if one lives out the hubris of this no-fuckin' eidos zoe.
Nemesis in this case comes in the form of unlawful desire created in H's stepmom, Phaedra, who has married H's father, Theseus, who at the opening of this text had been off with his potentially heteronormative proverbial friendly friend Pirithous to kidnap Helen and Persephone; no one can accuse them of lacking ambition, I suppose. This kidnapping mission went cock-eyed in Tartarus, where they were trapped for years. One may accordingly not blame Phaedra if she needed to depend upon the kindness of xenos insofar as attentive lovers were in short supply in mythical Hellas. Because of this dearth, Phaedra is "afire with longing" (232), and her "body / is wracked and wasted" (274)--a "secret sickness" (293) to be disclosed to purported women only ("But if your troubles may be told to men, / speak, that a doctor may pronounce on it" (295-96)).
Luckily for her, H can hardly be thought of as xenos, so no big deal, right? H after all litters his speech with seductive ironies such as how he is "the seed of / Chastity" (ll. 80-81), which suggests his plausible skill as a practitioner of the erotic arts. Either way, the chorus regards it as "Pan's frenzy" or "Hecate's madness" (ll. 141-42), which perhaps suggests that it may in fact be a big deal after all. (I may be dead wrong about Hippolytus not being xenos, incidentally, to the extent that Phaedra is referring to him (an irresolvable ambiguity at the foundation of this text) when she says "Destruction light / upon the wife who herself plays the tempter / and stains her loyalty to her husband's bed / by dalliance with strangers" (407-410).)
P is instructed that there is "no remedy in silence" (298), which is the advice that triggers the tragedy here--P does not want to disclose her desire, as it is a "stain" (317) to be concealed (is it the desire, or the dalliance, supra, that is the stain, however? another irresolvable ambiguity)--but her interlocutors try to "force confession" (325). When asked "are you in love, my child? And who is he?" (350), P replies, non-responsively, "There is a man, ...his mother was an Amazon..." (351). Answered: "You mean Hippolytus?" (352); countered: "You have spoken it, not I" (353), which does not change the entire play--her silence is maintained and the action sets forth in the style of Three's Company thereafter--except in this case the salacious inferences of Mr. Roper just happen to be correct.
The chorus is too stupid to see that they have Mr. Ropered this thing, stating "you yourself / have dragged your ruin to the light" (366-67), which is emphatically false (unless the nurse is a slave, whose body acts out the will of the despot and is imputed to same--cf. Agamben on Aristotle here)--though it indicates that the underlying desire is less the problem than the disclosure of it. P understands the problem of disclosure (which comes across in agambenian terms almost) :
Anyway, after promising P that H won't be told, the nurse tells H and that leads inexorably to everyone being dead. Misogynist H, whose "tongue swore, but my mind was still unpledged" (l. 612), endorsing thereby a mind/body dichotomy worthy of Epictetus, also regards the disclosure as the problem: "I'll go to a running stream and pour its waters / into my ear to purge away the filth" (l. 653-54). Charming! P's counterstroke is to accuse H of crime in her dying declaration. Artemis appears post-catastrophe to explain to the survivors just how dumb they are (if she had hurried up before everyone died, there wouldn't be a tragedy here). Good times for all.
When Seneca takes up this narrative, he strips it of the theophanic prologue and epilogue, and thereby allows the human persons to expose and conclude the premises of the conflict. The characters incessantly refer to the deities--right away Hippolytus praises his 'diva virago' (l. 54).
We note the connection to the setting developed in Seneca's Medea, to the extent that Phaedra here refers to her home as "the vast sea's mistress, whose countless vessels along every coast have held the deep, yea, whatever lands, e'en to Assyria" (ll. 85-87)--the insistence upon a free and open maritime zone, the basis of Roman military logistics.
Also noted is the connection to Seneca's Hercules Furens, insofar as Phaedra's critical self-assessment (i.e., anagnorisis, but very early) leads her to "Why this mad love of forest glades? [quid furens saltus amas] I recognize my wretched mother's fatal curse; her love and mine know how to sin in forest depths" (ll. 112-14). But of course the furens of Heracles leads to him to murder his kids, rather than try to seduce them.
Phaedra's nurse in this version is upfront about the "monstrous passion" (l. 142) and "impious intercourse" (l. 160)--it is a "deed which no barbaric land has ever done, neither the Getae, wandering on their plains, nor the inhospitable Taurians [i.e., where Iphigenia went post-sacrifice], nor the scattered Scythians" (ll. 166-68). By contrast with Euripides, Seneca has Phaedra ratify this recitation: "I know, nurse, that what thou sayest is true" (ll. 178-79). (The nurse chides Phaedra with the spectre of "strange prodigies" (l. 175), asking "Why do monsters cease? [cur monstra cessant] (l. 174), which can also mean "why do the warnings stop?"--but the answer in either event is that Heracles killed all the chthonic monsters already.) Nurse otherwise is standard stoic: "Control thy passion" (l. 255)--until she agrees to assist Phaedra to "ensnare his mind" (l. 416), which includes encouraging young Hippolytus to "let Bacchus unburden thy weighty cares" (l. 445).
Hippolytus is too rustic for all that, preferring the "free and innocent" life of the country (l. 482), the "ancient ways." It is a political point for him: "no slave is he of kings" (490), but he also fears ochlocracy ("no shouting populace, no mob, faithless to good men" (ll. 485-86)). He is a true conservative insofar as he is nostalgic for "the primal age," "no blind love of gold," "not yet did rash vessels plough the sea: each man knew only his native waters" (ll. 525 et seq.). He is sufficiently obnoxious to be anti-agriculture (l. 538), preferring a pastoral or even hunter-gatherer economy. "Unholy passion [furens] for gain broke up this peaceful life" (l. 540).
Moreover, the nasty conservatism comes out as a regular misogyny, as he highlights that "alone, Medea, will prove that women are an accursed race" (ll. 563-64): "I abominate them all [detestor omnes]" (l. 566). So, yeah, totally setting up a meet-cute, wherein she offers to be his slave (l. 612), endorsing a nasty fungibility of persons doctrine because "Theseus' features I love" (l. 647), which she detects on Theseus' son. H responds with the promising flirtation of "O thou, who have outsinned the whole race of women, who hast dared a greater evil than thy monster-bearing mother" (ll. 687-88). At that point, P can't handle it any longer and threatens suicide, and H runs away into the forest. The Nurse here reverses Euripides by reporting to everyone that H tried to ravish P (l. 725) (just as Seneca also reversed the role of who reported her desire to Hippolytus, NB). Phaedra, for her part, ratifies the lie (l. 900 et seq.), and Theseus concludes that "The breed reverts to its progenitors and debased blood reproduces the primal stock" (ll. 906-08), referring to his son's alleged racial 'furens.'
Thence it all shakes out as we know, but with Senecan gore mixed with stoic moralisms. Gotta love that. On to Racine.
Nemesis in this case comes in the form of unlawful desire created in H's stepmom, Phaedra, who has married H's father, Theseus, who at the opening of this text had been off with his potentially heteronormative proverbial friendly friend Pirithous to kidnap Helen and Persephone; no one can accuse them of lacking ambition, I suppose. This kidnapping mission went cock-eyed in Tartarus, where they were trapped for years. One may accordingly not blame Phaedra if she needed to depend upon the kindness of xenos insofar as attentive lovers were in short supply in mythical Hellas. Because of this dearth, Phaedra is "afire with longing" (232), and her "body / is wracked and wasted" (274)--a "secret sickness" (293) to be disclosed to purported women only ("But if your troubles may be told to men, / speak, that a doctor may pronounce on it" (295-96)).
Luckily for her, H can hardly be thought of as xenos, so no big deal, right? H after all litters his speech with seductive ironies such as how he is "the seed of / Chastity" (ll. 80-81), which suggests his plausible skill as a practitioner of the erotic arts. Either way, the chorus regards it as "Pan's frenzy" or "Hecate's madness" (ll. 141-42), which perhaps suggests that it may in fact be a big deal after all. (I may be dead wrong about Hippolytus not being xenos, incidentally, to the extent that Phaedra is referring to him (an irresolvable ambiguity at the foundation of this text) when she says "Destruction light / upon the wife who herself plays the tempter / and stains her loyalty to her husband's bed / by dalliance with strangers" (407-410).)
P is instructed that there is "no remedy in silence" (298), which is the advice that triggers the tragedy here--P does not want to disclose her desire, as it is a "stain" (317) to be concealed (is it the desire, or the dalliance, supra, that is the stain, however? another irresolvable ambiguity)--but her interlocutors try to "force confession" (325). When asked "are you in love, my child? And who is he?" (350), P replies, non-responsively, "There is a man, ...his mother was an Amazon..." (351). Answered: "You mean Hippolytus?" (352); countered: "You have spoken it, not I" (353), which does not change the entire play--her silence is maintained and the action sets forth in the style of Three's Company thereafter--except in this case the salacious inferences of Mr. Roper just happen to be correct.
The chorus is too stupid to see that they have Mr. Ropered this thing, stating "you yourself / have dragged your ruin to the light" (366-67), which is emphatically false (unless the nurse is a slave, whose body acts out the will of the despot and is imputed to same--cf. Agamben on Aristotle here)--though it indicates that the underlying desire is less the problem than the disclosure of it. P understands the problem of disclosure (which comes across in agambenian terms almost) :
This is the deadly thing which devastatesThe transaction here is doubly stupid insofar as everyone recognizes the inferred underlying desire as alien: "Your case is not so extraordinary, / beyond thought or reason. The Goddess in her anger / has smitten you, and you are in love" (ll. 437-39).
well-ordered cities and the homes of men--
that's it, this art of oversubtle words.
It's not the words ringing delight in the ear
that one should speak, but those that have the power
to save their hearer's honorable name. (ll 486-91)
Anyway, after promising P that H won't be told, the nurse tells H and that leads inexorably to everyone being dead. Misogynist H, whose "tongue swore, but my mind was still unpledged" (l. 612), endorsing thereby a mind/body dichotomy worthy of Epictetus, also regards the disclosure as the problem: "I'll go to a running stream and pour its waters / into my ear to purge away the filth" (l. 653-54). Charming! P's counterstroke is to accuse H of crime in her dying declaration. Artemis appears post-catastrophe to explain to the survivors just how dumb they are (if she had hurried up before everyone died, there wouldn't be a tragedy here). Good times for all.
When Seneca takes up this narrative, he strips it of the theophanic prologue and epilogue, and thereby allows the human persons to expose and conclude the premises of the conflict. The characters incessantly refer to the deities--right away Hippolytus praises his 'diva virago' (l. 54).
We note the connection to the setting developed in Seneca's Medea, to the extent that Phaedra here refers to her home as "the vast sea's mistress, whose countless vessels along every coast have held the deep, yea, whatever lands, e'en to Assyria" (ll. 85-87)--the insistence upon a free and open maritime zone, the basis of Roman military logistics.
Also noted is the connection to Seneca's Hercules Furens, insofar as Phaedra's critical self-assessment (i.e., anagnorisis, but very early) leads her to "Why this mad love of forest glades? [quid furens saltus amas] I recognize my wretched mother's fatal curse; her love and mine know how to sin in forest depths" (ll. 112-14). But of course the furens of Heracles leads to him to murder his kids, rather than try to seduce them.
Phaedra's nurse in this version is upfront about the "monstrous passion" (l. 142) and "impious intercourse" (l. 160)--it is a "deed which no barbaric land has ever done, neither the Getae, wandering on their plains, nor the inhospitable Taurians [i.e., where Iphigenia went post-sacrifice], nor the scattered Scythians" (ll. 166-68). By contrast with Euripides, Seneca has Phaedra ratify this recitation: "I know, nurse, that what thou sayest is true" (ll. 178-79). (The nurse chides Phaedra with the spectre of "strange prodigies" (l. 175), asking "Why do monsters cease? [cur monstra cessant] (l. 174), which can also mean "why do the warnings stop?"--but the answer in either event is that Heracles killed all the chthonic monsters already.) Nurse otherwise is standard stoic: "Control thy passion" (l. 255)--until she agrees to assist Phaedra to "ensnare his mind" (l. 416), which includes encouraging young Hippolytus to "let Bacchus unburden thy weighty cares" (l. 445).
Hippolytus is too rustic for all that, preferring the "free and innocent" life of the country (l. 482), the "ancient ways." It is a political point for him: "no slave is he of kings" (490), but he also fears ochlocracy ("no shouting populace, no mob, faithless to good men" (ll. 485-86)). He is a true conservative insofar as he is nostalgic for "the primal age," "no blind love of gold," "not yet did rash vessels plough the sea: each man knew only his native waters" (ll. 525 et seq.). He is sufficiently obnoxious to be anti-agriculture (l. 538), preferring a pastoral or even hunter-gatherer economy. "Unholy passion [furens] for gain broke up this peaceful life" (l. 540).
Moreover, the nasty conservatism comes out as a regular misogyny, as he highlights that "alone, Medea, will prove that women are an accursed race" (ll. 563-64): "I abominate them all [detestor omnes]" (l. 566). So, yeah, totally setting up a meet-cute, wherein she offers to be his slave (l. 612), endorsing a nasty fungibility of persons doctrine because "Theseus' features I love" (l. 647), which she detects on Theseus' son. H responds with the promising flirtation of "O thou, who have outsinned the whole race of women, who hast dared a greater evil than thy monster-bearing mother" (ll. 687-88). At that point, P can't handle it any longer and threatens suicide, and H runs away into the forest. The Nurse here reverses Euripides by reporting to everyone that H tried to ravish P (l. 725) (just as Seneca also reversed the role of who reported her desire to Hippolytus, NB). Phaedra, for her part, ratifies the lie (l. 900 et seq.), and Theseus concludes that "The breed reverts to its progenitors and debased blood reproduces the primal stock" (ll. 906-08), referring to his son's alleged racial 'furens.'
Thence it all shakes out as we know, but with Senecan gore mixed with stoic moralisms. Gotta love that. On to Racine.
March 19, 2019
Greek gods and their pettiness.
Laughing because during Trachean Women I made an off-hand comment about Greek literature being a twisty maze of tales and before I came to an end that I'd run into a minotaur. Ha. Phaedra is the half-sister of the Minotaur. Phaedra, wife of of Thesus is beset upon by the bored and distempered Aphrodite when Theseus' bastard son Hippolytus rejects and ignores her statue in favor of Artemis.
While I personally agree with Hippolytus' choice, it's never a good a idea to slight a Greek god. They have fragile egos and tend to overact at the simplest infractions let alone outright mutiny of their due. Divine retribution. Greek tragedy ensues. Again, it's a bit of overreach, miscommunication, pride, and rashness that leads to the innocents' demise.
Frankly, Hippolytus was too good of a son for Theseus, whom didn't deserve him.
Words of wisdom: Don't try too hard to square life's paradoxes.
Laughing because during Trachean Women I made an off-hand comment about Greek literature being a twisty maze of tales and before I came to an end that I'd run into a minotaur. Ha. Phaedra is the half-sister of the Minotaur. Phaedra, wife of of Thesus is beset upon by the bored and distempered Aphrodite when Theseus' bastard son Hippolytus rejects and ignores her statue in favor of Artemis.
While I personally agree with Hippolytus' choice, it's never a good a idea to slight a Greek god. They have fragile egos and tend to overact at the simplest infractions let alone outright mutiny of their due. Divine retribution. Greek tragedy ensues. Again, it's a bit of overreach, miscommunication, pride, and rashness that leads to the innocents' demise.
Frankly, Hippolytus was too good of a son for Theseus, whom didn't deserve him.
Words of wisdom: Don't try too hard to square life's paradoxes.
October 7, 2019
Ah! Zeus! Por que imp玫es ao homem o flagelo
de mau car谩ter chamado mulher e o mostras
脿 luz do sol? Se desejavas propagar
a ra莽a dos mortais, n茫o seria 脿s mulheres
que deverias dar os meios para isso.
Em troca de ouro ou ferro ou do pesado bronze
depositado em teus altares, deverias
ter concedido aos homens meios de comprar,
segundo as suas oferendas, o direito
de ter os pr贸prios filhos e poder viver
livres da ra莽a feminina em suas casas.
Eis a prova de que a mulher 茅 um grande mal:
o pai, que lhe deu vida e a criou, concede-lhe,
para livrar-se desse mal, um dote e pode,
assim, mand谩-la um dia para outro lugar.
Por sua vez, aquele que recebe em casa
essa ra莽a fatal, esmera-se em cobrir
com adornos belos o 铆dolo indesej谩vel,
mas para ornament谩-la com lindos vestidos,
aos poucos o infeliz v锚 os seus bens sumirem.
N茫o h谩 muitas alternativas; se ele teve
a sorte de aliar-se a uma fam铆lia boa,
em aten莽茫o a seus parentes 茅 for莽ado
a conviver com uma mulher desagrad谩vel.
Se, para conseguir uma boa mulher,
o pretendente aceita seus sogros in煤teis,
para ter o seu bem ele suporta um mal.
A sorte menos m谩 茅 receber em casa
alguma nulidade que, de t茫o obtusa,
nem 茅 notada. Detesto a mulher pensante
e fa莽o votos para que em meu lar futuro,
jamais haja mulher com mais intelig锚ncia
que a meramente necess谩ria ao pr贸prio sexo!
O fato 茅 que C铆pris faz a perversidade
nascer principalmente na mulher pensante;
as ignorantes n茫o chegam a ser perversas
pelas limita莽玫es de sua intelig锚ncia.
N茫o deveriam as criadas acercar-se
de suas donas. Teriam de restringir-se
ao conv铆vio silente dos irracionais;
assim n茫o falariam a nenhuma delas
nem delas jamais ouviriam a palavra.
De fato, v锚em-se mulheres pervertidas
tecendo na intimidade planos p茅rfidos
que s茫o levados para fora por criadas.
de mau car谩ter chamado mulher e o mostras
脿 luz do sol? Se desejavas propagar
a ra莽a dos mortais, n茫o seria 脿s mulheres
que deverias dar os meios para isso.
Em troca de ouro ou ferro ou do pesado bronze
depositado em teus altares, deverias
ter concedido aos homens meios de comprar,
segundo as suas oferendas, o direito
de ter os pr贸prios filhos e poder viver
livres da ra莽a feminina em suas casas.
Eis a prova de que a mulher 茅 um grande mal:
o pai, que lhe deu vida e a criou, concede-lhe,
para livrar-se desse mal, um dote e pode,
assim, mand谩-la um dia para outro lugar.
Por sua vez, aquele que recebe em casa
essa ra莽a fatal, esmera-se em cobrir
com adornos belos o 铆dolo indesej谩vel,
mas para ornament谩-la com lindos vestidos,
aos poucos o infeliz v锚 os seus bens sumirem.
N茫o h谩 muitas alternativas; se ele teve
a sorte de aliar-se a uma fam铆lia boa,
em aten莽茫o a seus parentes 茅 for莽ado
a conviver com uma mulher desagrad谩vel.
Se, para conseguir uma boa mulher,
o pretendente aceita seus sogros in煤teis,
para ter o seu bem ele suporta um mal.
A sorte menos m谩 茅 receber em casa
alguma nulidade que, de t茫o obtusa,
nem 茅 notada. Detesto a mulher pensante
e fa莽o votos para que em meu lar futuro,
jamais haja mulher com mais intelig锚ncia
que a meramente necess谩ria ao pr贸prio sexo!
O fato 茅 que C铆pris faz a perversidade
nascer principalmente na mulher pensante;
as ignorantes n茫o chegam a ser perversas
pelas limita莽玫es de sua intelig锚ncia.
N茫o deveriam as criadas acercar-se
de suas donas. Teriam de restringir-se
ao conv铆vio silente dos irracionais;
assim n茫o falariam a nenhuma delas
nem delas jamais ouviriam a palavra.
De fato, v锚em-se mulheres pervertidas
tecendo na intimidade planos p茅rfidos
que s茫o levados para fora por criadas.
November 1, 2022
丕蹖賳 賳賲丕蹖卮 丕夭 噩賲賱賴 賳賲丕蹖卮鈥屬囏й� 丕賵乇蹖倬蹖丿 丕爻鬲 讴賴 蹖讴 禺丿丕 賲賯氐乇 亘丿亘禺鬲蹖鈥屬囏й� 鬲乇丕跇丿蹖讴 賵丕乇丿賴 丕爻鬲 賵 亘賴 丕蹖賳 丿賱蹖賱 賴賲 爻禺鬲 賲賱丕賲鬲 賲蹖鈥屫促堌�. 鬲賲 丿蹖诏乇 賳賲丕蹖卮貙 囟丿蹖鬲 噩丕賲毓賴 亘丕 鬲噩乇丿 丕爻鬲. 鬲噩乇丿 賴蹖倬賵賱蹖鬲賵爻 卮丕蹖丿 亘賴 禺丕胤乇 夭賳鈥屫池屫槽� 丕賵 亘丕卮丿貨 丕賵 賳賴丕蹖鬲丕 亘賴 卮讴賱 讴賳丕蹖賴鈥屫①呟屫槽� 賯乇亘丕賳蹖 賲讴乇 夭賳丕賳 賳蹖夭 賲蹖鈥屫促堌�. 卮丕蹖丿 丕賵 蹖讴蹖 丕夭 丕賵賱蹖賳 丕蹖爻讴卮賵丕賱鈥屬囏й� 鬲丕乇蹖禺 亘丕卮丿貨 丿乇 賵丕賯毓 丕賵 丕夭 爻乇 夭賴丿 賳蹖爻鬲 讴賴 亘賴 禺丿丕蹖 毓卮賯 亘蹖鈥屫ж必з呟� 賲蹖鈥屭┵嗀� 亘賱讴賴 氐乇賮丕 卮讴丕乇 乇丕 亘賴 鬲禺鬲禺賵丕亘 鬲乇噩蹖丨 賲蹖鈥屫囏�.
September 12, 2015
Hippolytus
Never take hasty decisions
Never judge too fast
For the consequences may be
Greater than you can bear.
听
Tarnished by pride, Hippolytus dares to defy Aphrodite. He refuses to show due respect to her, so she obtains revenge. She uses his father鈥檚 wife to bring him to his doom, and in this ordeal, many a person meets their death.
听
Phaedra and Hippolytus fight in a game of gods and both die because of Aphrodite's and Artemis's caprices. The proud gods take revenge on others through playing with the lives of pious servants. Once again, Euripides mocks the gods. They do not hesitate to use humans as pawns in their wars, so do they really value the lives of their servants?听
听
I can neither side with Hippolytus nor with Phaedra. I don鈥檛 see the issue from a gender perspective as much as from a religious one. In here, both humans act according to the paths that the gods set to them. Phaedra is manipulated into falling for Hippolytus, while Hippolytus is destroyed by the excessive faith? In Artemis (who does not do anything to save him. she just appears in the end, when he was dying, when it was too late to do anything, to clarify that he did not violate Phaedra).
听
Hippolytus and Phaedra find themselves carried by events they cannot control. And mistake after mistake leads them to their death.
Never take hasty decisions
Never judge too fast
For the consequences may be
Greater than you can bear.
听
Tarnished by pride, Hippolytus dares to defy Aphrodite. He refuses to show due respect to her, so she obtains revenge. She uses his father鈥檚 wife to bring him to his doom, and in this ordeal, many a person meets their death.
听
Phaedra and Hippolytus fight in a game of gods and both die because of Aphrodite's and Artemis's caprices. The proud gods take revenge on others through playing with the lives of pious servants. Once again, Euripides mocks the gods. They do not hesitate to use humans as pawns in their wars, so do they really value the lives of their servants?听
听
I can neither side with Hippolytus nor with Phaedra. I don鈥檛 see the issue from a gender perspective as much as from a religious one. In here, both humans act according to the paths that the gods set to them. Phaedra is manipulated into falling for Hippolytus, while Hippolytus is destroyed by the excessive faith? In Artemis (who does not do anything to save him. she just appears in the end, when he was dying, when it was too late to do anything, to clarify that he did not violate Phaedra).
听
Hippolytus and Phaedra find themselves carried by events they cannot control. And mistake after mistake leads them to their death.
July 22, 2015
Sexuality & Celibacy
17 April 2012
I should mention that technically this play should come under 'I' as opposed to 'H' (and I almost put it under 'I' without thinking) namely because Greek does not actually have an 'H'. What they have are rough and smooth breathings, which is a little symbol that appears at the front of a word that begins with a vowel. If the word has a smooth breathing it is pronounced without an H while if it has a rough breathing it is pronounced with an H. You have probably worked out that Hippolytus has a rough breathing, however in the Greek Lexicons it will be found under 'Iota' which is the Greek I.
This play is a tragedy however it is not strictly a tragedy in the true sense of the word namely because the main character, Hippolytus, does not have a fatal flaw. However, this whole concept of a fatal flaw was something that Aristotle explores in 'Poetics' and it is something that Shakespeare used in a lot of his tragedies, though I will still argue that the central characters in his tragedies do not strictly have fatal flaws. The Greek tragedies don't really seem to use it either, so I am not sure what Aristotle is getting at when he was writing his poetics. Mind you, I don't think Aristotle was around during the period when the great playwrights were writing their plays, and while one could consider that drama as an artform was still developing, it seemed that by the time Sophocles and Euripides were writing their plays and competing against each other drama had reached a reasonably mature form.
One could consider that Phaedra and Theseus are the tragic heroes in this play and that Hippolytus has just an innocent victim. It is not the only play where the tragic hero is not the title character, the same is the case of Julius Ceaser: the tragic hero in Julius Ceaser is Marcus Brutus. Now, the issue with Phaedra is that she is madly in love with Hippolytus however Hippolytus is Theseus' son (not by Phaedra) and Phaedra is married to Theseus, so there is a problem. The second problem is that Hippolytus has devoted himself to the goddess Artemis, the Goddess of nature and the wilds. In keeping with Artemis' character, Hippolytus has chosen a life of celibacy. Despite that Phaedra is still his step mother and I am very doubtful that Hippolytus would betray his father by sleeping with his stepmother. Strangely enough it is this type of relationship that Paul goes ballistic at the Corinthians for in the New Testament. Seriously, it is not a comforting idea, even though Phaedra is not his mother by birth. Remember, it is this sin that drives Oedipus to gouge out his eyes and exile himself (though Jocasta is his mother by birth).
Now, the play opens with a very upset Aphrodite and the reason that she is upset is because Hippolytus is celibate. It confuses me somewhat as to why a god would get so uptight over a single celibate man, but I have a feeling that it goes quite deeper than that. I guess we need to consider the Greek Gods in a more ancient and pagan sense where they personify ideas and concepts, and in Aphrodite's case that concept is sexual love (though I suspect that is where Eros comes in, the Greek Gods can be quite confusing, though I know that Aphrodite is a major god while Eros is not). Anyway, the play demonstrates the fickleness of the gods, where by devoting himself to Artemis Hippolytus earns the enmity of Aphrodite. In a way it is a lose lose situation, and I suspect something that Hippolytus is confronting. I also suspect that Euripides is not a very big fan of this.
Now, Hippolytus is not actually living with his father, he is old enough to go out on his own, however because Theseus is purging some sin (which remains unnamed in the play) he has taken his wife Phaedra to Trozen to become pure. Now, there were issues between Phaedra and Hippolytus back in Athens, and Hippolytus left, probably for his own sanity, however Phaedra's yearning for him has not gone away. We should note that this is a part of Aphrodite's curse on Hippolytus. There is an interesting thing that I have picked up from the Greek dramas because in our society we would simply call it love sickness, and personally, we really don't know how it comes about. I doubt the Greeks did either, which is why they blamed the gods. We see a similar thing with madness cursing Herakles in his self-named play, and a similar thing with Ajax in his self-named play.
Now, Phaedra, who cannot handle Hippolytus' rejection, and cannot imagine living without a sexual liason with him, decides to kill herself and to leave a note blaming Hippolytus for her death. This indicates hints of depression, however it does seem to be a very extreme case in killing herself because she cannot have Hippolytus. However I suspect that such suicides are not unheard of in our own society, though I must admit that I haven't explored this concept deeply. We should note that psychologists have turned to this play in relation to some mental health issues. Anyway, Thesus pretty much prejudges Hippolytus and it is only after he has called curses down on him that he realises that he has acted too rashly. I guess it is not surprising. In fact it is a very human grief reaction to act and blame before rationally thinking about what has been occurring. We actually saw the grief cycle at a seminar today, though I must admit that I can't remember the specific. I suspect, though, that if we look at Theseus' reaction to Phaedra's death then we will see the grief cycle (and one aspect is denial followed by blame and then later on comes acceptance).
Once again, I am not convinced Hippolytus did anything wrong, and it appears that he is simply being persecuted for his way of life. I was going to say morality, but my feeling is that celibacy is not actually a question of morality because there is actually nothing wrong with sex. It is like many of the other good things on this Earth, namely that it is good but it can be quite destructive if not respected.
So what we seem to see here is the struggle between sexuality and celibacy. It is once again something that is all too common in our society. It is unacceptable to be celibate, as seems to be the case here. Our society believes that we are fools if we chose a path of celibacy, where as in this play, celibacy angers Aphrodite. However, the catch is that celibacy is accepted by Artemis and I also suspect that Athena is celibate as well. I guess that the one reason that celibacy is looked down upon has nothing to do with sexual pleasure and everything to do with the failure to procreate. This is something that does come out in the Bible, especially when we have one of Judah's children in the book of Genesis spilling his seed on the ground and then God punishing him when he does so. Remember that twice in Genesis God commands humanity to be fruitful and multiply and to fill the earth with progeny.
I wish to finish off on the nature of death. When Hippolytus dies Artemis comes to comfort him in his final hours. It is not a quick death - it is a long, slow, and painful one, namely because he was trampled by his horses. Anyway the tragedy of the situation is that despite his lifelong devotion to Artemis it is clear that he is not going to be spending his afterlife with her. In fact this is clearly spelt out in the text. I suspect that that was not originally a Greek concept, and was probably inherited from the Middle East. Islam, Judaism, and Christianity all have the concept of spending the afterlife with the deity. With the Greeks, and I suspect the Romans, this is not the case. Mind you, the Greeks did believe in reincarnation, but I suspect that this was not going to happen to Hippolytus (though we do know that Achilles did go to the Elysian Fields, which is the closest one can come the Greek concept of Heaven).
17 April 2012
I should mention that technically this play should come under 'I' as opposed to 'H' (and I almost put it under 'I' without thinking) namely because Greek does not actually have an 'H'. What they have are rough and smooth breathings, which is a little symbol that appears at the front of a word that begins with a vowel. If the word has a smooth breathing it is pronounced without an H while if it has a rough breathing it is pronounced with an H. You have probably worked out that Hippolytus has a rough breathing, however in the Greek Lexicons it will be found under 'Iota' which is the Greek I.
This play is a tragedy however it is not strictly a tragedy in the true sense of the word namely because the main character, Hippolytus, does not have a fatal flaw. However, this whole concept of a fatal flaw was something that Aristotle explores in 'Poetics' and it is something that Shakespeare used in a lot of his tragedies, though I will still argue that the central characters in his tragedies do not strictly have fatal flaws. The Greek tragedies don't really seem to use it either, so I am not sure what Aristotle is getting at when he was writing his poetics. Mind you, I don't think Aristotle was around during the period when the great playwrights were writing their plays, and while one could consider that drama as an artform was still developing, it seemed that by the time Sophocles and Euripides were writing their plays and competing against each other drama had reached a reasonably mature form.
One could consider that Phaedra and Theseus are the tragic heroes in this play and that Hippolytus has just an innocent victim. It is not the only play where the tragic hero is not the title character, the same is the case of Julius Ceaser: the tragic hero in Julius Ceaser is Marcus Brutus. Now, the issue with Phaedra is that she is madly in love with Hippolytus however Hippolytus is Theseus' son (not by Phaedra) and Phaedra is married to Theseus, so there is a problem. The second problem is that Hippolytus has devoted himself to the goddess Artemis, the Goddess of nature and the wilds. In keeping with Artemis' character, Hippolytus has chosen a life of celibacy. Despite that Phaedra is still his step mother and I am very doubtful that Hippolytus would betray his father by sleeping with his stepmother. Strangely enough it is this type of relationship that Paul goes ballistic at the Corinthians for in the New Testament. Seriously, it is not a comforting idea, even though Phaedra is not his mother by birth. Remember, it is this sin that drives Oedipus to gouge out his eyes and exile himself (though Jocasta is his mother by birth).
Now, the play opens with a very upset Aphrodite and the reason that she is upset is because Hippolytus is celibate. It confuses me somewhat as to why a god would get so uptight over a single celibate man, but I have a feeling that it goes quite deeper than that. I guess we need to consider the Greek Gods in a more ancient and pagan sense where they personify ideas and concepts, and in Aphrodite's case that concept is sexual love (though I suspect that is where Eros comes in, the Greek Gods can be quite confusing, though I know that Aphrodite is a major god while Eros is not). Anyway, the play demonstrates the fickleness of the gods, where by devoting himself to Artemis Hippolytus earns the enmity of Aphrodite. In a way it is a lose lose situation, and I suspect something that Hippolytus is confronting. I also suspect that Euripides is not a very big fan of this.
Now, Hippolytus is not actually living with his father, he is old enough to go out on his own, however because Theseus is purging some sin (which remains unnamed in the play) he has taken his wife Phaedra to Trozen to become pure. Now, there were issues between Phaedra and Hippolytus back in Athens, and Hippolytus left, probably for his own sanity, however Phaedra's yearning for him has not gone away. We should note that this is a part of Aphrodite's curse on Hippolytus. There is an interesting thing that I have picked up from the Greek dramas because in our society we would simply call it love sickness, and personally, we really don't know how it comes about. I doubt the Greeks did either, which is why they blamed the gods. We see a similar thing with madness cursing Herakles in his self-named play, and a similar thing with Ajax in his self-named play.
Now, Phaedra, who cannot handle Hippolytus' rejection, and cannot imagine living without a sexual liason with him, decides to kill herself and to leave a note blaming Hippolytus for her death. This indicates hints of depression, however it does seem to be a very extreme case in killing herself because she cannot have Hippolytus. However I suspect that such suicides are not unheard of in our own society, though I must admit that I haven't explored this concept deeply. We should note that psychologists have turned to this play in relation to some mental health issues. Anyway, Thesus pretty much prejudges Hippolytus and it is only after he has called curses down on him that he realises that he has acted too rashly. I guess it is not surprising. In fact it is a very human grief reaction to act and blame before rationally thinking about what has been occurring. We actually saw the grief cycle at a seminar today, though I must admit that I can't remember the specific. I suspect, though, that if we look at Theseus' reaction to Phaedra's death then we will see the grief cycle (and one aspect is denial followed by blame and then later on comes acceptance).
Once again, I am not convinced Hippolytus did anything wrong, and it appears that he is simply being persecuted for his way of life. I was going to say morality, but my feeling is that celibacy is not actually a question of morality because there is actually nothing wrong with sex. It is like many of the other good things on this Earth, namely that it is good but it can be quite destructive if not respected.
So what we seem to see here is the struggle between sexuality and celibacy. It is once again something that is all too common in our society. It is unacceptable to be celibate, as seems to be the case here. Our society believes that we are fools if we chose a path of celibacy, where as in this play, celibacy angers Aphrodite. However, the catch is that celibacy is accepted by Artemis and I also suspect that Athena is celibate as well. I guess that the one reason that celibacy is looked down upon has nothing to do with sexual pleasure and everything to do with the failure to procreate. This is something that does come out in the Bible, especially when we have one of Judah's children in the book of Genesis spilling his seed on the ground and then God punishing him when he does so. Remember that twice in Genesis God commands humanity to be fruitful and multiply and to fill the earth with progeny.
I wish to finish off on the nature of death. When Hippolytus dies Artemis comes to comfort him in his final hours. It is not a quick death - it is a long, slow, and painful one, namely because he was trampled by his horses. Anyway the tragedy of the situation is that despite his lifelong devotion to Artemis it is clear that he is not going to be spending his afterlife with her. In fact this is clearly spelt out in the text. I suspect that that was not originally a Greek concept, and was probably inherited from the Middle East. Islam, Judaism, and Christianity all have the concept of spending the afterlife with the deity. With the Greeks, and I suspect the Romans, this is not the case. Mind you, the Greeks did believe in reincarnation, but I suspect that this was not going to happen to Hippolytus (though we do know that Achilles did go to the Elysian Fields, which is the closest one can come the Greek concept of Heaven).
December 24, 2022
丕夭 丕賵賳噩丕蹖蹖 讴賴 禺賵丿 丕賵乇蹖倬蹖丿 賴賲 丕夭 夭賳賴丕 賲鬲賳賮乇 亘賵丿 賵 丿乇 鬲噩乇丿 夭賳丿诏蹖 賲蹖讴乇丿貙 賲蹖卮賴 丿蹖丕賱賵诏 賴丕蹖 囟丿 夭賳 賵 鬲賳丿 賴蹖倬賵賱蹖鬲 乇賵 丨乇賮 丿賱 丕賵乇蹖倬蹖丿 鬲賱賯蹖 讴乇丿責
March 29, 2020
Nonostante tutto, non sono mai riuscita a empatizzare con Ippolito, con il suo modo di comportarsi fastidiosamente pio e retto. Mentre Fedra, innocente, subisce la punizione che Afrodite doveva riservare al solo Ippolito, rimanendo vittima della solita infantilit脿 tipica degli dei.
Il suo essere donna la rende una perfetta candidata per divenire il soggetto delle follie dell'Amore: ancora una volta, i capricci delle divinit脿 vengono collegati alle caratteristiche negative delle creature femminili. Ed 猫 quindi facile mettersi nei suoi panni, nella sua scelta di porre fine alla sua vita e di farlo, in un qualche modo, tentando di mantenere quel poco di onore che tutti sembrano volerle strappare.
Il suo essere donna la rende una perfetta candidata per divenire il soggetto delle follie dell'Amore: ancora una volta, i capricci delle divinit脿 vengono collegati alle caratteristiche negative delle creature femminili. Ed 猫 quindi facile mettersi nei suoi panni, nella sua scelta di porre fine alla sua vita e di farlo, in un qualche modo, tentando di mantenere quel poco di onore che tutti sembrano volerle strappare.
October 2, 2017
丕蹖賳 賳賲丕蹖卮賳丕賲賴 丿丕爻鬲丕賳 丌卮賳丕蹖 毓卮賯 賲賲賳賵毓 夭賳 倬丿乇 亘賴 倬爻乇 丕爻鬲. 賲孬賱 蹖賵爻賮 賵 夭賱蹖禺丕貙 爻蹖丕賵卮 賵 爻賵丿丕亘賴.
禺丿丕蹖丕賳蹖 讴賴 賴乇 蹖讴 賳賲丕蹖賳丿賴 蹖 賳蹖乇賵蹖蹖 丿乇 胤亘蹖毓鬲 丕賳丿 丿乇 賵噩賵丿 丕蹖倬賵賱蹖鬲賵爻 亘賴 鬲丕禺鬲 賵 鬲丕夭 賵 噩賳诏 賲蹖 倬乇丿丕夭賳丿. 丕蹖倬賵賱蹖鬲賵爻 爻乇爻倬乇丿賴 蹖 丕乇鬲賲蹖爻 禺丿丕蹖 卮讴丕乇 賵 丨蹖賵丕賳丕鬲 賵丨卮蹖 丕爻鬲. 丌賮乇賵丿蹖鬲 讴賴 丕夭 夭賳 爻鬲蹖夭蹖 賵 鬲賯亘蹖丨 毓卮賯 丕賵 禺卮賲诏蹖賳 丕爻鬲 亘乇丕蹖卮 丿丕賲蹖 诏乇蹖夭賳丕倬匕蹖乇 倬賴賳 賲蹖 讴賳丿. 鬲賯丿蹖乇 賳丕亘賵丿蹖 丕蹖倬賵賱蹖鬲賵爻 賵 夭賳 倬丿乇卮 乇丕 賲蹖 禺賵丕賴丿. 丨鬲蹖 禺丿丕蹖丕賳 乇丕 鬲賵丕賳丕蹖蹖 丿禺丕賱鬲 丿乇 丌賳 賳蹖爻鬲.
禺丿丕蹖丕賳蹖 讴賴 賴乇 蹖讴 賳賲丕蹖賳丿賴 蹖 賳蹖乇賵蹖蹖 丿乇 胤亘蹖毓鬲 丕賳丿 丿乇 賵噩賵丿 丕蹖倬賵賱蹖鬲賵爻 亘賴 鬲丕禺鬲 賵 鬲丕夭 賵 噩賳诏 賲蹖 倬乇丿丕夭賳丿. 丕蹖倬賵賱蹖鬲賵爻 爻乇爻倬乇丿賴 蹖 丕乇鬲賲蹖爻 禺丿丕蹖 卮讴丕乇 賵 丨蹖賵丕賳丕鬲 賵丨卮蹖 丕爻鬲. 丌賮乇賵丿蹖鬲 讴賴 丕夭 夭賳 爻鬲蹖夭蹖 賵 鬲賯亘蹖丨 毓卮賯 丕賵 禺卮賲诏蹖賳 丕爻鬲 亘乇丕蹖卮 丿丕賲蹖 诏乇蹖夭賳丕倬匕蹖乇 倬賴賳 賲蹖 讴賳丿. 鬲賯丿蹖乇 賳丕亘賵丿蹖 丕蹖倬賵賱蹖鬲賵爻 賵 夭賳 倬丿乇卮 乇丕 賲蹖 禺賵丕賴丿. 丨鬲蹖 禺丿丕蹖丕賳 乇丕 鬲賵丕賳丕蹖蹖 丿禺丕賱鬲 丿乇 丌賳 賳蹖爻鬲.
June 26, 2021
鈥淒izem que nesta vida os exageros de uma virtude integra, imut谩vel, causam mais decep莽玫es do que prazeres e impedem uma exist锚ncia sadia.
Por isso sempre achei mais s谩bia a m谩xima 鈥渘ada em excesso鈥� que 鈥渘unca 茅 demais鈥�.
E me dar谩 raz茫o quem for sensato.鈥�
贬颈辫贸濒颈迟辞 filho de Teseu se distinguia por sua beleza e virtude. Ele irritou a deusa Afrodite por seu excesso de pureza e por desdenhar do amor e da deusa (ele era devoto de Artemis a deusa da ca莽a e da castidade)
Afrodite decidida a destruir 贬颈辫贸濒颈迟辞, fez a esposa de seu pai Fedra se apaixonar perdidamente pelo enteado, a ama de Fedra conta sobre os sentimentos dela a 贬颈辫贸濒颈迟辞 que a rejeita. Fedra se enforca mas deixa um bilhete acusando 贬颈辫贸濒颈迟辞 de atentar contra sua honra, Teseu amaldi莽oa o filho que tamb茅m morre. Artemis revela a trama de Afrodite.
Por isso sempre achei mais s谩bia a m谩xima 鈥渘ada em excesso鈥� que 鈥渘unca 茅 demais鈥�.
E me dar谩 raz茫o quem for sensato.鈥�
贬颈辫贸濒颈迟辞 filho de Teseu se distinguia por sua beleza e virtude. Ele irritou a deusa Afrodite por seu excesso de pureza e por desdenhar do amor e da deusa (ele era devoto de Artemis a deusa da ca莽a e da castidade)
Afrodite decidida a destruir 贬颈辫贸濒颈迟辞, fez a esposa de seu pai Fedra se apaixonar perdidamente pelo enteado, a ama de Fedra conta sobre os sentimentos dela a 贬颈辫贸濒颈迟辞 que a rejeita. Fedra se enforca mas deixa um bilhete acusando 贬颈辫贸濒颈迟辞 de atentar contra sua honra, Teseu amaldi莽oa o filho que tamb茅m morre. Artemis revela a trama de Afrodite.
December 12, 2016
螔蟻伪尾蔚委慰 蟺喂慰 尉喂蟺伪蟽渭苇谓慰蠀 蠂伪蟻伪魏蟿萎蟻伪 蔚位位畏谓喂魏萎蟼 蟿蟻伪纬蠅未委伪蟼 蟽蟿慰谓 螜蟺蟺蠈位蠀蟿慰,慰 慰蟺慰委慰蟼 蟽蔚 蠈位畏 蟿畏 未喂维蟻魏蔚喂伪 蟿慰蠀 苇蟻纬慰蠀 蔚尉蠀渭谓蔚委 蟿畏 蟽慰蠁委伪, 蟿畏谓 伪蟻蔚蟿萎 魏伪喂 蟿畏谓 蟿蔚位蔚喂蠈蟿畏蟿维 蟿慰蠀. 螆蠂蔚喂 魏喂 苇谓伪谓 蔚尉伪喂蟻蔚蟿喂魏蠈 渭慰谓蠈位慰纬慰, 蟽蟿慰谓 慰蟺慰委慰 尾蟻委味蔚喂 蟿喂蟼 纬蠀谓伪委魏蔚蟼 魏喂 蔚蠉蠂蔚蟿伪喂 谓伪 渭蟺慰蟻慰蠉蟽伪谓 谓伪 蟿蔚魏谓慰蟺慰喂慰蠉谓 渭蔚 未喂伪蠁慰蟻蔚蟿喂魏蠈 蟿蟻蠈蟺慰 慰喂 维谓未蟻蔚蟼, 蠋蟽蟿蔚 谓伪 渭畏 蠂蟻蔚喂维味慰谓蟿伪喂 伪蠀蟿维 蟿伪 蠁委未喂伪 渭苇蟽伪 蟽蟿伪 蟽蟺委蟿喂伪 蟿慰蠀蟼.
螠蔚 蟿慰蠉蟿伪 魏伪喂 渭蔚 魏蔚委谓伪, 蟽蟿慰 蟿苇位慰蟼 蔚蠀蠂萎胃畏魏伪 "危蟿伪 蟿蟽伪魏委未喂伪 魏伪喂 谓伪 渭畏谓 渭伪蟼 纬蟻维蠁蔚喂蟼!",蟺伪蟻维 蟿畏谓 伪胃蠅蠋蟿畏蟿维 蟿慰蠀.
螝伪喂 纬喂伪 谓伪 渭畏 谓慰渭委味蔚蟿蔚 蠈蟿喂 蠀蟺蔚蟻尾维位位蠅..
螒蟺蠈 蟿伪 蟽蠂蠈位喂伪 121 魏伪喂 123 (蟽蔚位. 176):
-"[...] 螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 伪蠀蟿蠈蟼 慰 蟽魏慰蟺蠈蟼 蟿慰蠀 螘蠀蟻喂蟺委未畏. 螒谓蟿委胃蔚蟿伪 胃苇位蔚喂 谓伪 蟺伪蟻慰蠀蟽喂维蟽蔚喂 蟿畏谓 蟺蟿蠋蟽畏 蟿慰蠀 螜蟺蟺蠈位蠀蟿慰蠀 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 蟿慰蠀 蔚位伪蟿蟿蠋渭伪蟿慰蟼 蟺慰蠀 蔚委谓伪喂 畏 伪谓蟿委蟽蟿蟻慰蠁畏 蟺位蔚蠀蟻维 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 伪纬谓蠈蟿畏蟿维蟼 蟿慰蠀: 畏 伪蠁慰蟽委蠅蟽萎 蟿慰蠀 蟽蟿畏谓 伪纬谓蠈蟿畏蟿伪 蟽蠀谓未苇蔚蟿伪喂 渭蔚 慰位喂魏萎 伪蟺蠈蟻蟻喂蠄畏 蔚谓蠈蟼 蟽畏渭伪谓蟿喂魏慰蠉 渭苇蟻慰蠀蟼 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠁蠉蟽畏蟼 魏伪喂 味蠅萎蟼."
-"螒魏蠈渭伪 魏伪喂 蔚蟿慰喂渭慰胃维谓伪蟿慰蟼 慰 螜蟺蟺蠈位蠀蟿慰蟼 未蔚谓 伪渭蠁喂蟽尾畏蟿蔚委 蟿畏谓 蟿蔚位蔚喂蠈蟿畏蟿维 蟿慰蠀. 螣 蟽蟿蔚谓蠈渭蠀伪位慰蟼 蟺慰蠀蟻喂蟿伪谓喂蟽渭蠈蟼 蟿慰蠀 蟿慰谓 伪魏慰位慰蠀胃蔚委 蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀. 螖蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 蟿慰 蟽蠁维位渭伪, 蟿畏谓 苇位位蔚喂蠄畏 蟽蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟺蔚胃伪委谓蔚喂 胃蔚蠅蟻蠋谓蟿伪蟼 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 胃蠉渭伪 伪未喂魏委伪蟼 魏伪喂 蟺伪蟻伪位慰纬喂蟽渭慰蠉."
危蔚 蔚蟺委蟺蔚未慰 未喂伪位蠈纬蠅谓 魏伪喂 蠂伪蟻伪魏蟿萎蟻蠅谓 蟿慰 尾蟻萎魏伪 魏伪蟿蠋蟿蔚蟻慰 伪蟺蠈 维位位伪 苇蟻纬伪 蟿慰蠀 螘蠀蟻喂蟺委未畏, 纬喂'伪蠀蟿蠈 魏伪喂 3 伪蟽蟿蔚蟻伪魏喂伪.
螠蔚 蟿慰蠉蟿伪 魏伪喂 渭蔚 魏蔚委谓伪, 蟽蟿慰 蟿苇位慰蟼 蔚蠀蠂萎胃畏魏伪 "危蟿伪 蟿蟽伪魏委未喂伪 魏伪喂 谓伪 渭畏谓 渭伪蟼 纬蟻维蠁蔚喂蟼!",蟺伪蟻维 蟿畏谓 伪胃蠅蠋蟿畏蟿维 蟿慰蠀.
螝伪喂 纬喂伪 谓伪 渭畏 谓慰渭委味蔚蟿蔚 蠈蟿喂 蠀蟺蔚蟻尾维位位蠅..
螒蟺蠈 蟿伪 蟽蠂蠈位喂伪 121 魏伪喂 123 (蟽蔚位. 176):
-"[...] 螖蔚谓 蔚委谓伪喂 蠈渭蠅蟼 伪蠀蟿蠈蟼 慰 蟽魏慰蟺蠈蟼 蟿慰蠀 螘蠀蟻喂蟺委未畏. 螒谓蟿委胃蔚蟿伪 胃苇位蔚喂 谓伪 蟺伪蟻慰蠀蟽喂维蟽蔚喂 蟿畏谓 蟺蟿蠋蟽畏 蟿慰蠀 螜蟺蟺蠈位蠀蟿慰蠀 蠅蟼 伪蟺慰蟿苇位蔚蟽渭伪 蟿慰蠀 蔚位伪蟿蟿蠋渭伪蟿慰蟼 蟺慰蠀 蔚委谓伪喂 畏 伪谓蟿委蟽蟿蟻慰蠁畏 蟺位蔚蠀蟻维 蟿畏蟼 伪蟺蠈位蠀蟿畏蟼 伪纬谓蠈蟿畏蟿维蟼 蟿慰蠀: 畏 伪蠁慰蟽委蠅蟽萎 蟿慰蠀 蟽蟿畏谓 伪纬谓蠈蟿畏蟿伪 蟽蠀谓未苇蔚蟿伪喂 渭蔚 慰位喂魏萎 伪蟺蠈蟻蟻喂蠄畏 蔚谓蠈蟼 蟽畏渭伪谓蟿喂魏慰蠉 渭苇蟻慰蠀蟼 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 蠁蠉蟽畏蟼 魏伪喂 味蠅萎蟼."
-"螒魏蠈渭伪 魏伪喂 蔚蟿慰喂渭慰胃维谓伪蟿慰蟼 慰 螜蟺蟺蠈位蠀蟿慰蟼 未蔚谓 伪渭蠁喂蟽尾畏蟿蔚委 蟿畏谓 蟿蔚位蔚喂蠈蟿畏蟿维 蟿慰蠀. 螣 蟽蟿蔚谓蠈渭蠀伪位慰蟼 蟺慰蠀蟻喂蟿伪谓喂蟽渭蠈蟼 蟿慰蠀 蟿慰谓 伪魏慰位慰蠀胃蔚委 蠅蟼 蟿慰 蟿苇位慰蟼 蟿畏蟼 味蠅萎蟼 蟿慰蠀. 螖蔚谓 伪谓伪纬谓蠅蟻委味蔚喂 蟿慰 蟽蠁维位渭伪, 蟿畏谓 苇位位蔚喂蠄畏 蟽蟿慰谓 蠂伪蟻伪魏蟿萎蟻伪 蟿慰蠀 魏伪喂 蟺蔚胃伪委谓蔚喂 胃蔚蠅蟻蠋谓蟿伪蟼 蟿慰谓 蔚伪蠀蟿蠈 蟿慰蠀 胃蠉渭伪 伪未喂魏委伪蟼 魏伪喂 蟺伪蟻伪位慰纬喂蟽渭慰蠉."
危蔚 蔚蟺委蟺蔚未慰 未喂伪位蠈纬蠅谓 魏伪喂 蠂伪蟻伪魏蟿萎蟻蠅谓 蟿慰 尾蟻萎魏伪 魏伪蟿蠋蟿蔚蟻慰 伪蟺蠈 维位位伪 苇蟻纬伪 蟿慰蠀 螘蠀蟻喂蟺委未畏, 纬喂'伪蠀蟿蠈 魏伪喂 3 伪蟽蟿蔚蟻伪魏喂伪.
September 17, 2021
'Voli Artemidu vi拧e od mene,' pita se Afrodita. 'Plati膰e mi to!' Baca magiju na Fedru (ma膰ehu), da se zaljubi u Hipolita. Fedra mu to otkriva, a ovaj 膷istunac je zgranut! Ovo je sam po膷etak, otprilike se na tom po膷etku i spojluje cela tragedija, ali ne moram i ja to da radim ovde. O膷ekivano (gr膷ka tragedija, 拧ta 膰emo) dolazi do niza tragi膷nih doga膽aja, na kraju je svima kao 啪ao Hipolita, ali zapravo i ne. Niko ga ne voli.
A i te拧ko ga je voleti, nije nimalo simpati膷an. Potpuno je anti-eroti膷an. I anti-poeti膷an. Sve 拧to radi je nekako bezveze. Dosadan je 膷ak i dok jede. Mrzi 啪ene, ali ne zato 拧to je imao lo拧e iskustvo s njima - zapravo i nije imao nikakvo iskustvo. Zevsu se 啪ali:
"艩to, Zeuse, zlo podmuklo - 啪ensku 膷ovjeku
ti stvori i na svijetlo svijeta iznese?
[...] u svom domu mogo je
bez 啪ene smrtnik mirno 啪ivjet slobodan.
Al 'vako nam je pod krov vodit bijedu tu,
a doma svoga sre膰om mi to pla膰amo.
Bjelodano je, 啪ena da je silno zlo."
Ovo je tragedija o erotskoj ljubavi, ali i o jednoj od vrlina koju su Grci najvi拧e hvalili: umerenosti. A umerenost kao takva je zapravo dosta problemati膷na. Prakti膷no je nevidljiva, nema je - umeren si kad ne拧to NE uradi拧. Kako zna拧 da je neko umeren? Trebalo bi da ima neki poriv, strast, koja je izra啪ena, pa se onda svom snagom bori protiv tih sila. Onda na osnovu toga mo啪emo da ka啪emo, evo stvarno se potrudio... umeren je.
Festival gr膷ke tragedije
1. (Sofokle)
2. (Euripid)
3. (Eshil)
4. (Sofokle)
5. (Eshil)
6. (Euripid)
7. (Euripid)
8. (Pokajnice - Eshil)
9. (Eshil)
10. (Euripid)
11. (Sofokle)
A i te拧ko ga je voleti, nije nimalo simpati膷an. Potpuno je anti-eroti膷an. I anti-poeti膷an. Sve 拧to radi je nekako bezveze. Dosadan je 膷ak i dok jede. Mrzi 啪ene, ali ne zato 拧to je imao lo拧e iskustvo s njima - zapravo i nije imao nikakvo iskustvo. Zevsu se 啪ali:
"艩to, Zeuse, zlo podmuklo - 啪ensku 膷ovjeku
ti stvori i na svijetlo svijeta iznese?
[...] u svom domu mogo je
bez 啪ene smrtnik mirno 啪ivjet slobodan.
Al 'vako nam je pod krov vodit bijedu tu,
a doma svoga sre膰om mi to pla膰amo.
Bjelodano je, 啪ena da je silno zlo."
Ovo je tragedija o erotskoj ljubavi, ali i o jednoj od vrlina koju su Grci najvi拧e hvalili: umerenosti. A umerenost kao takva je zapravo dosta problemati膷na. Prakti膷no je nevidljiva, nema je - umeren si kad ne拧to NE uradi拧. Kako zna拧 da je neko umeren? Trebalo bi da ima neki poriv, strast, koja je izra啪ena, pa se onda svom snagom bori protiv tih sila. Onda na osnovu toga mo啪emo da ka啪emo, evo stvarno se potrudio... umeren je.
Festival gr膷ke tragedije
1. (Sofokle)
2. (Euripid)
3. (Eshil)
4. (Sofokle)
5. (Eshil)
6. (Euripid)
7. (Euripid)
8. (Pokajnice - Eshil)
9. (Eshil)
10. (Euripid)
11. (Sofokle)
July 3, 2024
Parece que en vida de Eur铆pides y aun despu茅s era muy corriente decir que era un mis贸gino de mucho cuidado, por culpa principalmente de dos malos matrimonios que hizo. Parece, tambi茅n, que los contempor谩neos de Eur铆pides ten铆an muy mala leche (Arist贸fanes, te miro a ti) y que no dejaban que nada, y mucho menos la realidad, les arruinara un buen chisme. Los helenistas que han revisado lo poquito que se sabe sobre Eur铆pides coinciden en decir que lo de la misoginia no ten铆a por qu茅 ser cierto, y que de hecho da la sensaci贸n de que era una persona bastante sensible hacia la situaci贸n de los oprimidos: las mujeres, los prisioneros de guerra, etc. 驴A qui茅n hacer caso?
No creo que se pueda resolver esa cuesti贸n f谩cilmente. Solo s茅 que Eur铆pides a veces parece tan moderno que te sobresalta. 驴Es posible que este hombre escribiera esas cosas en el siglo V antes de nuestra era? Todas esas historias de pasi贸n devoradora, con unos dioses que eran mostrados sin recato en toda su psicopat铆a, esas gentecillas del coro tan compasivas, esos comentarios que te los podr铆a hacer un amigo o incluso un conocido con muchas ganas de desahogarse. El alma sali茅ndose a chorros por la boca, vaya. En mi arrogancia adolescente y de letras puras pod铆a emperrarme en pensar que 础苍迟铆驳辞苍补 de S贸focles hablaba del enfrentamiento entre lo personal y lo institucional, ya fuese la instituci贸n la religi贸n o el estado (y no entre los mandatos religiosos y los civiles, como realmente as铆 era). Con Eur铆pides puedo estar plenamente convencida: en sus obras lo que importa son las personas, no los dioses, no la polis. Las Personas.
Me gusta 贬颈辫贸濒颈迟辞 aunque no sea de mis favoritas. A lo mejor lo habr铆a sido en esa primera versi贸n que no se conserva, en la que Fedra no se avergonzaba del amor que sent铆a por su hijastro. No lo sabr茅 nunca como tampoco sabr茅 si Eur铆pides odiaba realmente a las mujeres. Pero puedo hacerme mi propia idea a partir de los personajes femeninos tan fant谩sticos que cre贸 y de las palabras que puso en sus bocas. 贬颈辫贸濒颈迟辞 contiene un parlamento que condensa todo el machismo de la sociedad griega cl谩sica, pero en las tragedias de Eur铆pides, aqu铆 y all谩, las mujeres dicen cosas que evidencian la otra versi贸n: el hartazgo, el resentimiento, el sarcasmo femenino ante la enorme importancia de las empresas masculinas. Para ser un mis贸gino, Eur铆pides mostraba una enorme empat铆a hacia las mujeres y sus deseos de rebelarse, como si en lugar de tener una idea preconcebida sobre el sexo opuesto (como hacen tantos otros escritores de toda 茅poca) realmente las escuchara y deseara entenderlas. Puede que mi opini贸n, como la de los especialistas, est茅 demasiado influida por la perspectiva moderna. O puede que la modernidad no est茅 tanto en la perspectiva, y que Eur铆pides fuese realmente una de esas personas que, en cualquier 茅poca, se saltan todos los convencionalismos. Me inclino por esto 煤ltimo.
No creo que se pueda resolver esa cuesti贸n f谩cilmente. Solo s茅 que Eur铆pides a veces parece tan moderno que te sobresalta. 驴Es posible que este hombre escribiera esas cosas en el siglo V antes de nuestra era? Todas esas historias de pasi贸n devoradora, con unos dioses que eran mostrados sin recato en toda su psicopat铆a, esas gentecillas del coro tan compasivas, esos comentarios que te los podr铆a hacer un amigo o incluso un conocido con muchas ganas de desahogarse. El alma sali茅ndose a chorros por la boca, vaya. En mi arrogancia adolescente y de letras puras pod铆a emperrarme en pensar que 础苍迟铆驳辞苍补 de S贸focles hablaba del enfrentamiento entre lo personal y lo institucional, ya fuese la instituci贸n la religi贸n o el estado (y no entre los mandatos religiosos y los civiles, como realmente as铆 era). Con Eur铆pides puedo estar plenamente convencida: en sus obras lo que importa son las personas, no los dioses, no la polis. Las Personas.
Me gusta 贬颈辫贸濒颈迟辞 aunque no sea de mis favoritas. A lo mejor lo habr铆a sido en esa primera versi贸n que no se conserva, en la que Fedra no se avergonzaba del amor que sent铆a por su hijastro. No lo sabr茅 nunca como tampoco sabr茅 si Eur铆pides odiaba realmente a las mujeres. Pero puedo hacerme mi propia idea a partir de los personajes femeninos tan fant谩sticos que cre贸 y de las palabras que puso en sus bocas. 贬颈辫贸濒颈迟辞 contiene un parlamento que condensa todo el machismo de la sociedad griega cl谩sica, pero en las tragedias de Eur铆pides, aqu铆 y all谩, las mujeres dicen cosas que evidencian la otra versi贸n: el hartazgo, el resentimiento, el sarcasmo femenino ante la enorme importancia de las empresas masculinas. Para ser un mis贸gino, Eur铆pides mostraba una enorme empat铆a hacia las mujeres y sus deseos de rebelarse, como si en lugar de tener una idea preconcebida sobre el sexo opuesto (como hacen tantos otros escritores de toda 茅poca) realmente las escuchara y deseara entenderlas. Puede que mi opini贸n, como la de los especialistas, est茅 demasiado influida por la perspectiva moderna. O puede que la modernidad no est茅 tanto en la perspectiva, y que Eur铆pides fuese realmente una de esas personas que, en cualquier 茅poca, se saltan todos los convencionalismos. Me inclino por esto 煤ltimo.
March 26, 2025
賴蹖倬賵賱蹖鬲貙 蹖丕: 丕賵賱蹖賳 爻禺賳乇丕賳蹖 丕蹖賳爻賱 鬲丕乇蹖禺
:)))
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:)))
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August 8, 2018
贬颈辫贸濒颈迟辞 (428 AC)
de Euripides - Gr茅cia (480AC- 406AC)
V茅nus, deusa do amor, invejosa do culto prestado a 脕rtemis pelo casto 贬颈辫贸濒颈迟辞, enfeiti莽a Fedra para que esta se apaixone pelo enteado. Rejeitada por 贬颈辫贸濒颈迟辞, Fedra suicida-se depois de escrever um papel onde acusa o enteado de a ter violado. Teseu expulsa o filho e apela a Neptuno que o castigue. Ao passar perto do mar, uma onda gigante, de onde sai um touro, assusta os cavalos de 贬颈辫贸濒颈迟辞 e este 茅 trucidado.
(Peter Paul Rubens - The Death of Hippolytus)
Texto comum 脿s pe莽as 贬颈辫贸濒颈迟辞 de Euripides, Fedra de Seneca e Fedra de Racine:
Se h谩 obras que d茫o reviravoltas na nossa vida de leitores, na minha, Metamorfoses de Ov铆dio foi uma delas. Desde que o li fiquei tomada de desmedida paix茫o por Mitologia e nunca me canso de ler sobre este mundo de deuses e mortais.
Em Ov铆dio li, pela primeira vez, sobre o amor fatal, e n茫o correspondido, de Fedra pelo enteado 贬颈辫贸濒颈迟辞. Agora, li de seguida as vers玫es de Euripides, Seneca, Jean Racine e Sarah Kane.
As cinco vers玫es, com ligeiras diferen莽as, t锚m todas a mesma base.
Uma hist贸ria onde todos s茫o simultaneamente culpados e inocentes, v铆timas e carrascos; excepto 贬颈辫贸濒颈迟辞 pois o seu cora莽茫o n茫o se deixa tocar pelos desejos e paix玫es humanas. No final todos s茫o destro莽ados porque sucumbiram ao amor, o sentimento mais nobre e mais feroz que domina e gera outros: o ci煤me, o orgulho, a injusti莽a, a raiva, a vingan莽a...
Pequeno resumo para enquadramento das personagens, comuns 脿s quatro pe莽as:
Teseu 茅 filho de Egeu, rei de Atenas, e enteado de Medeia (a mulher de Jas茫o que matou os filhos). Teve um romance com Hip贸lita, uma rainha das Amazonas, de quem tem um filho: 贬颈辫贸濒颈迟辞.
Em Creta reina Minos, filho de Zeus, casado com Pas铆fae de quem tem v谩rios filhos, entre os quais Ariadne e Fedra. Tem tamb茅m um enteado, filho duma paixoneta de Pas铆fae por um touro. Este mocinho, que d谩 pelo nome de Minotauro, vive preso no labirinto criado por D茅dalo, e 茅 morto por Teseu com a ajuda de Ariadne (a do fio). Teseu abandona a ajudante na ilha de Naxos, a qual acaba a casar com o fofinho Baco.
Teseu regressa a Creta e casa com Fedra. Tudo podia acabar bem se a tonta da Fedra n茫o se embei莽a-se pelo 贬颈辫贸濒颈迟辞. 脡 a hist贸ria da paix茫o tr谩gica de Fedra que inspirou as pe莽as de Euripides, Seneca, Racine e Kane.
de Euripides - Gr茅cia (480AC- 406AC)
V茅nus, deusa do amor, invejosa do culto prestado a 脕rtemis pelo casto 贬颈辫贸濒颈迟辞, enfeiti莽a Fedra para que esta se apaixone pelo enteado. Rejeitada por 贬颈辫贸濒颈迟辞, Fedra suicida-se depois de escrever um papel onde acusa o enteado de a ter violado. Teseu expulsa o filho e apela a Neptuno que o castigue. Ao passar perto do mar, uma onda gigante, de onde sai um touro, assusta os cavalos de 贬颈辫贸濒颈迟辞 e este 茅 trucidado.
(Peter Paul Rubens - The Death of Hippolytus)
Texto comum 脿s pe莽as 贬颈辫贸濒颈迟辞 de Euripides, Fedra de Seneca e Fedra de Racine:
Se h谩 obras que d茫o reviravoltas na nossa vida de leitores, na minha, Metamorfoses de Ov铆dio foi uma delas. Desde que o li fiquei tomada de desmedida paix茫o por Mitologia e nunca me canso de ler sobre este mundo de deuses e mortais.
Em Ov铆dio li, pela primeira vez, sobre o amor fatal, e n茫o correspondido, de Fedra pelo enteado 贬颈辫贸濒颈迟辞. Agora, li de seguida as vers玫es de Euripides, Seneca, Jean Racine e Sarah Kane.
As cinco vers玫es, com ligeiras diferen莽as, t锚m todas a mesma base.
Uma hist贸ria onde todos s茫o simultaneamente culpados e inocentes, v铆timas e carrascos; excepto 贬颈辫贸濒颈迟辞 pois o seu cora莽茫o n茫o se deixa tocar pelos desejos e paix玫es humanas. No final todos s茫o destro莽ados porque sucumbiram ao amor, o sentimento mais nobre e mais feroz que domina e gera outros: o ci煤me, o orgulho, a injusti莽a, a raiva, a vingan莽a...
Pequeno resumo para enquadramento das personagens, comuns 脿s quatro pe莽as:
Teseu 茅 filho de Egeu, rei de Atenas, e enteado de Medeia (a mulher de Jas茫o que matou os filhos). Teve um romance com Hip贸lita, uma rainha das Amazonas, de quem tem um filho: 贬颈辫贸濒颈迟辞.
Em Creta reina Minos, filho de Zeus, casado com Pas铆fae de quem tem v谩rios filhos, entre os quais Ariadne e Fedra. Tem tamb茅m um enteado, filho duma paixoneta de Pas铆fae por um touro. Este mocinho, que d谩 pelo nome de Minotauro, vive preso no labirinto criado por D茅dalo, e 茅 morto por Teseu com a ajuda de Ariadne (a do fio). Teseu abandona a ajudante na ilha de Naxos, a qual acaba a casar com o fofinho Baco.
Teseu regressa a Creta e casa com Fedra. Tudo podia acabar bem se a tonta da Fedra n茫o se embei莽a-se pelo 贬颈辫贸濒颈迟辞. 脡 a hist贸ria da paix茫o tr谩gica de Fedra que inspirou as pe莽as de Euripides, Seneca, Racine e Kane.
September 30, 2017
Hippolytus
By Euripides
First presented in 428 BC
I have reread this tragedy shortly after I had read the play of 鈥楶haedra鈥� by Racine.
Euripides work is an extremely beautiful reading pleasure and provides a very colorfully painted picture of events.
Especially the chorus and coryphe give the reader a feeling of participation.
The distribution of the drama is quite different from Racine鈥檚 play.
The actors are Theseus, the great Athenian hero, Phaedra his second wife, Hippolytus, her stepson, son of Ariane, the previous wife.
The weight of the tragedy is placed on Hippolytus, rather than on Phaedra.
The influence of the deities is in a more apparent presence.
Hippolytus worships the goddess of chastity, Artemis, while Phaedra gives her offerings to the goddess of love, Cypris.
Both humans are victims of the secret plans of their gods, who are jealous of each other, as goddesses would be.
Unlike in Racine鈥檚 play, Phaedra does not meet Hippolytus and declare her love to him.
Instead, under strict promise to never reveal her secret, Phaedra relenting to pressure, informs her maid of her sufferings.
The maid now on her own initiative gives the information to Hippolytus hoping that he may share the passion.
Hippolytus is horrified and offended and turns away in disgust.
As Phaedra hears of it and fearing the consequences commits suicide, but with a wicked plan of vengeance for her rejected love.
When Theseus finds the body of his wife, she clasps a written tablet in her hands, accusing Hippolytus of a forced adultery.
Theseus, outraged by this apparent treachery by his son, appeals to Poseidon, his own intimate god, to destroy Hippolytus.
And so it happened that poor Hippolytus got dragged along the seashore, thrown from his horse chariot and killed on the rocks.
However, while still able to mutter some words, he again swears of his innocence and forgives his father for the deadly spell he had cast on him.
So it came that Theseus, in his haste, had destroyed his child and his own life.
So, even with some differences, Euripides play is just as powerful and expressive as is Racine鈥檚 French version.
By Euripides
First presented in 428 BC
I have reread this tragedy shortly after I had read the play of 鈥楶haedra鈥� by Racine.
Euripides work is an extremely beautiful reading pleasure and provides a very colorfully painted picture of events.
Especially the chorus and coryphe give the reader a feeling of participation.
The distribution of the drama is quite different from Racine鈥檚 play.
The actors are Theseus, the great Athenian hero, Phaedra his second wife, Hippolytus, her stepson, son of Ariane, the previous wife.
The weight of the tragedy is placed on Hippolytus, rather than on Phaedra.
The influence of the deities is in a more apparent presence.
Hippolytus worships the goddess of chastity, Artemis, while Phaedra gives her offerings to the goddess of love, Cypris.
Both humans are victims of the secret plans of their gods, who are jealous of each other, as goddesses would be.
Unlike in Racine鈥檚 play, Phaedra does not meet Hippolytus and declare her love to him.
Instead, under strict promise to never reveal her secret, Phaedra relenting to pressure, informs her maid of her sufferings.
The maid now on her own initiative gives the information to Hippolytus hoping that he may share the passion.
Hippolytus is horrified and offended and turns away in disgust.
As Phaedra hears of it and fearing the consequences commits suicide, but with a wicked plan of vengeance for her rejected love.
When Theseus finds the body of his wife, she clasps a written tablet in her hands, accusing Hippolytus of a forced adultery.
Theseus, outraged by this apparent treachery by his son, appeals to Poseidon, his own intimate god, to destroy Hippolytus.
And so it happened that poor Hippolytus got dragged along the seashore, thrown from his horse chariot and killed on the rocks.
However, while still able to mutter some words, he again swears of his innocence and forgives his father for the deadly spell he had cast on him.
So it came that Theseus, in his haste, had destroyed his child and his own life.
So, even with some differences, Euripides play is just as powerful and expressive as is Racine鈥檚 French version.
April 27, 2021
A tragic love story drawing from the Potipharian archetype? A treatise against the death penalty? A refutation of post-Revolution Soviet thought? A prescient-by-2500-years allegory of American involement in Vietnam? The world shall never know.
Read
January 30, 2025john mulaney voice i think hippolytus is aroace
January 9, 2018
"Besides I knew
too well I was a woman, and must be
abhorred by all."
Euripides never lets me down.
The full title of the edition I read is "Hippolytus in Drama and Myth." It's translated by Donald Sutherland and includes an essay by Hazel E. Barnes.
The base myth of the eponymous Hippolytus portrays him as a shining exemplar of virtuousness and chastity, a kind of saint. The story goes like this: his stepmother Phaedra falls in love with him but he rejects her advances, and in revenge, she accuses him (falsely) of rape. His infuriated father Theseus believes Phaedra, and so exiles Hippolytus and curses him, whereby he meets his end tragically, pure and true to the very last. Hippolytus is someone virgin girls can look up to on festival days and proffer offerings to at temples, a role model of goodness.
But Euripides doesn't let the story rest at that. Instead, in his play he forges Phaedra into a sympathetic character, noble in her own way. Hippolytus becomes self-righteous and unbearable. And the conflict between the two-- between desire and abstinence, impulse and restraint, connection and isolation -- becomes the heart of the tale. Phaedra (and through her, Aphrodite) represents one end of the spectrum, and Hippolytus (and through him, Artemis) the other. Once again the Greeks are powerless to shape their destinies, and become mere pawns in the games of the gods. These same deities who -- by the very nature of their divine characteristics-- are necessarily forever in opposition, elemental forces pulling humans first that way, then the other.
Instead of Phaedra being the villain, it's really Aphrodite, who "breathes a deadly honeyed breath" over everything, that's at fault in Euripides' retelling. Hippolytus would rather worship Artemis than her. In order to 鈥済lut her anger" over this slight, she curses Phaedra with a forbidden and burning love of him.
Poor Phaedra. She's powerless to subdue this desire, and she's driven to suicide "in abhorrence of" the potential loss of honor, the shame of it all. Phaedra's honor being such an essential part of herself and identity reminded me of how a knight's or samurai's honor is so important that they also would die in its name. I feel like I've encountered a lot of narratives about a man's honor but not as much about a woman's honor (unless we're talking chastity). It's a perhaps small distinction, but I found it interesting seeing her, rather than someone else, take on sole responsibility for the protection of her honor, even if it ended in suicide.
Hippolytus I found insufferable. His cruel speech to Phaedra really proves that his arrogant belief that he is a perfect, infallible man is completely deluded. I agree with Theseus, who says to him: 鈥淵ou kill me with your sanctimoniousness!鈥� and accuses him of 鈥渞apt worship" of himself. In fact, I can't imagine anyone reading this play and not being totally put off by Hippolytus. For one thing, he's an unrepentant misogynist. His hatred of women is unfettered and passionate, to the point of religion. This is the guy who says:
"O Zeus, why have you sent this counterfeit
this vileness, Woman, to inhabit the world?"
His other choice descriptions of women include: 鈥渘oxious growth鈥� and 鈥渕onster鈥�; he rants about 鈥� how great an evil a wife is"; declares 鈥淚 loathe a clever woman鈥� and that he'll "never have enough of hating women." And his mania for chastity takes on the hue of rigidity, of an unbending, horrifying obsession. He says: 鈥淓ither let someone show me they are chaste or let me trample on these creatures still."
So it's with great satisfaction, and no sympathy or anger at Theseus, that you read his cursed end, as he's dragged into the "loud salt sea" :
"Up in the air flew bolts and spokes of the wheels
and axle-pins. And poor Hippolytus
wound in the reins, was dragged along, being tied
by bonds that would not loosen, in the dust
dashing his head against the rocks, tearing
his flesh, and howling dreadful cries to hear
鈥淪top! Stop! You mares fed at my cribs! Do not
annihilate me! Oh my father鈥檚 curse!"
In her essay, Barnes writes of Euripides:
"Rather he seems to be stressing the idea that each of these forces in man calls for an absolute commitment which will brook no compromise, that once the individual yields to either of these needs of his nature, his will is no longer free to balance and moderate.鈥�
Hippolytus' unyielding chastity and virtuousness, his attempt at (and belief he's achieved) a perfection and purity not seem in humans, is his downfall. Paradoxically, it's his strict orthodoxy to virtue that leads him to cruelty (against Phaedra); a kind of sterile emotionless treatment of those around him; and eventually to Theseus disowning him and casting a bitter death curse on him. The sea takes him, a wild force that at long last, will succeed in submerging his self-importance.
April 14, 2022
Making my way through the Greek tragedies and you can't help but think that the invention of the gods was man's biggest self-own.
January 13, 2022
Hipolitas buvo 啪iauriai nubaustas diev懦 u啪 tai, kad buvo pernelyg鈥� doras ir skaistus. Ir koks tur臈t懦 b奴ti tokios pjes臈s moralas? Gal, kad net doryb臈s reikalauja saiko, ir jeigu esi labai perspaustai teisuoli拧kas, gali tuo u啪r奴stinti dievus? Arba gal, kad dievai ne visada yra teisingi, ir tod臈l 啪mon臈s gali gauti visai ne tai, ko nusipelno? Ne啪inau, bet toks pagrindin臈s minties neai拧kumas 寞galina 寞vairias interpretacijas, o man tai yra vienas i拧 gero k奴rinio po啪ymi懦.
March 31, 2025
3.5 猸愶笍 Another great play by Euripides. Tragic, heartbreaking, sad. Wonderful insights into the human psyche & love.
February 16, 2017
Once again, the gods ruin everyone's lives and also cause their tragic death by execution or suicide. Sucks being an ancient Greek.
Hippolytus worships Artemis, the Virgin goddess and out of devotion remains chaste. Aphrodite considers this as a personal affront and decides to avenge herself against him by causing his stepmother, Phaedra, to fall in love with him.
While his father, Theseus is away, Phaedra, after spending pages lamenting her lot and helpless desire confides to her nurse, who then tells Hippolytus. Hippolytus then embarks on his own lengthy soliloquy, railing against the wretched nature of women and their inferiority. He's so ugly about it that I almost didn't care what was about to happen to him, the jerk.
But it isn't fair what happens. Theseus comes home to find his wife has hanged herself. She has left a tablet on which she has written that Hippolytus has raped her. Theseus is enraged and exiles his son, then calls upon his father, Poseidon to avenge him, which he obligingly does, proving that the Greek gods are not omniscient or Poseidon would have known Hippolytus was innocent. Then again, considering how he treated Odysseus, maybe he's just a sorry sapsucker.
Naturally Artemis comes to inform Theseus of the truth of the matter after its too late. Theseus rushes to his dying son, who forgives him.
It's interesting to me how often mankind is shown to have greater honor and virtue than the gods in many of these plays and sagas.
The chorus plays a small role in this play, only occasionally inserting a third person narrative, usually a lament.
All of the Greek plays I have read so far seem to implicitly describe a great force that draws mankind like an inexorable twine of steel along a predestined path. Plays are mostly dialogue, but through the words one can hear the cry of one being forced to travel a line of destiny through a travesty of events that cause their doom.
I wonder how they arrived at this conclusion? Could it be the result of ancient peoples turning from their authentic Creator and worshiping false gods and ultimately becoming enslaved by their own falsehood?
Hippolytus worships Artemis, the Virgin goddess and out of devotion remains chaste. Aphrodite considers this as a personal affront and decides to avenge herself against him by causing his stepmother, Phaedra, to fall in love with him.
While his father, Theseus is away, Phaedra, after spending pages lamenting her lot and helpless desire confides to her nurse, who then tells Hippolytus. Hippolytus then embarks on his own lengthy soliloquy, railing against the wretched nature of women and their inferiority. He's so ugly about it that I almost didn't care what was about to happen to him, the jerk.
But it isn't fair what happens. Theseus comes home to find his wife has hanged herself. She has left a tablet on which she has written that Hippolytus has raped her. Theseus is enraged and exiles his son, then calls upon his father, Poseidon to avenge him, which he obligingly does, proving that the Greek gods are not omniscient or Poseidon would have known Hippolytus was innocent. Then again, considering how he treated Odysseus, maybe he's just a sorry sapsucker.
Naturally Artemis comes to inform Theseus of the truth of the matter after its too late. Theseus rushes to his dying son, who forgives him.
It's interesting to me how often mankind is shown to have greater honor and virtue than the gods in many of these plays and sagas.
The chorus plays a small role in this play, only occasionally inserting a third person narrative, usually a lament.
All of the Greek plays I have read so far seem to implicitly describe a great force that draws mankind like an inexorable twine of steel along a predestined path. Plays are mostly dialogue, but through the words one can hear the cry of one being forced to travel a line of destiny through a travesty of events that cause their doom.
I wonder how they arrived at this conclusion? Could it be the result of ancient peoples turning from their authentic Creator and worshiping false gods and ultimately becoming enslaved by their own falsehood?
August 13, 2013
A beautiful play with a simple plot but too many meanings & intertwined themes! It is a play about human emotions & feelings (e.g. jealousy, passion, anger, shame) and characteristics (e.g. impulsiveness), as well as it is a play about the human condition (subject to the will of deity). Moreover, it is about relationships, the relationship between people, between man and gods, and the relationships between the gods themselves. Human are subject to gods鈥� rules, decisions, and orders, and cannot escape their own dictated fates. Euripides shows that there gods share emotions similar to humans; for instance Aphrodite feels jealous of Artemis, who was devotedly worshiped by Hippolytus who choose to remain virgin. Moreover, these two goddesses may represent both erotic love (Aphrodite) and continence and chastity or virginal love (Artemis), and the conflict between these two types of love. On the other hand, although the reactions of the characters鈥� can be excused somehow as they were a kind of victims to the goddesses鈥� wills, but they show some flaw that also contributed to their tragic ending; for instance, Theseus鈥� reaction to Phaedra鈥檚 letter, coupled with his anger and impulsiveness led him to bring curses on his son, who died as a result; he did not even want to hear his son鈥檚 defense (blinded by his anger). One important issue is the breaking of trust and betrayal, which can be seen between Phaedra and her husband, and Phaedra toward Hippolytus (the letter), the nurse and Phaedra (she broke her promise of confidentiality). I feel that this play can bring more and more meanings after many readings and can be read more than once in order to reach its different meanings.
May 21, 2018
"Many a time in night's long empty spacesHippolytus tells the story of Theseus' wife Phaedra, who is put under a love-spell by the vengeful Aphrodite after the latter is spurned by Phaedra's stepson Hyppolytus. Sick with love for her stepson, Phaedra is at her wits' end and finally shares her shameful secret with her nurse, who proceeds to tell Hyppolytus about it, albeit under oath. Phaedra, devastated by this turn of events, proceeds to take her own life, leaving a suicide note that accuses Hyppolytus of having raped her. Theseus, coming home to all this and refusing to believe Hyppolytus over his dead wife, curses Hyppolytus with (it turns out) one of the three wishes granted to him by Poseidon. He banishes Hyppolytus, but alas, having been cursed, he quickly dies. Artemis, another god whom Hyppolytus favored over Aphrodite, finally reveals the twisted machinations of Aphrodite to Theseus while Hyppolytus lies dying.
I have pondered on the causes of a life's shipwreck.
I think that our lives are worse than the mind's quality
would warrant. There are many who know good sense.
But look. We know the good, we see it clear.
But we can't bring it to achievement."
September 18, 2017
k谋saca ki艧iler, konu;
-Atina'n谋n efsanevi kral谋 Theseus, koca,
-Theseus e艧i, Krali莽e Phaidra-Phaedra-Faedra, burada 眉vey ana, 眉vey o臒lu Hippolytosa a艧谋k olur. ac谋dan kendini asar.
-Hippolytos, o臒ullar谋. talihsiz adam, habersiz a艧ktan su莽lan谋r, babas谋 buna k谋za s眉rg眉ne g枚nderir. fakat zeus bir bo臒as谋 sebbiyle babas谋n谋n kollar谋nda 枚l眉r.
konu, islam tarihinde Z眉leyha鈥檔谋n Yusuf鈥檃 olan yasak a艧k谋na benzer.
-Atina'n谋n efsanevi kral谋 Theseus, koca,
-Theseus e艧i, Krali莽e Phaidra-Phaedra-Faedra, burada 眉vey ana, 眉vey o臒lu Hippolytosa a艧谋k olur. ac谋dan kendini asar.
-Hippolytos, o臒ullar谋. talihsiz adam, habersiz a艧ktan su莽lan谋r, babas谋 buna k谋za s眉rg眉ne g枚nderir. fakat zeus bir bo臒as谋 sebbiyle babas谋n谋n kollar谋nda 枚l眉r.
konu, islam tarihinde Z眉leyha鈥檔谋n Yusuf鈥檃 olan yasak a艧k谋na benzer.
June 13, 2017
孬賲 兀賱賷爻 丕賱毓丕卮賯賵賳 賮賷 兀卮丿賾 丨丕噩丞 廿賱賶 丕賱兀氐丿賯丕亍 毓賳丿賲丕 賷賰賵賳 丕賱賲賵鬲 毓賱賶 丕賱亘丕亘賽 賯乇賷亘責 廿賳賾 兀賮乇賵丿賷鬲 賱丕 鬲乇丨賲 毓賳丿賲丕 鬲賰賵賳 睾賻囟賵亘貙 廿賳賾賴丕 鬲賱丕丨賯 丕賱賵丿賷毓 賮賷 爻賰賷賳丞貙 孬賲 廿賳賾
.賵噩丿鬲 賯賳氐賴丕 毓賳賷丿賸丕 賵賱賴 禺賷丕賱 禺氐亘貙 兀賳卮亘鬲 賮賷賴 兀馗賮丕乇賴丕 賵爻丨賯鬲賴貙 賱丕 鬲賻禺賷亘貙 鬲匕賴亘 賮賷 丕賱噩賵 毓賻氐賮賸丕 賵賮賷 禺囟賲 丕賱亘丨丕乇貙 賰賱賹 賱賴丕 賲爻鬲噩賷亘
.丕丨鬲賲賱 丕賱丨亘 賮賴賵 廿乇丿丕丞 賲賳 乇亘丞 賱丕 鬲購匕賲賾
.賵噩丿鬲 賯賳氐賴丕 毓賳賷丿賸丕 賵賱賴 禺賷丕賱 禺氐亘貙 兀賳卮亘鬲 賮賷賴 兀馗賮丕乇賴丕 賵爻丨賯鬲賴貙 賱丕 鬲賻禺賷亘貙 鬲匕賴亘 賮賷 丕賱噩賵 毓賻氐賮賸丕 賵賮賷 禺囟賲 丕賱亘丨丕乇貙 賰賱賹 賱賴丕 賲爻鬲噩賷亘
.丕丨鬲賲賱 丕賱丨亘 賮賴賵 廿乇丿丕丞 賲賳 乇亘丞 賱丕 鬲購匕賲賾
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