The technique used in the finale of the tragedy is called Hippolyte. Yarkho V.: Dramaturgy of Aeschylus and some problems of ancient Greek tragedy

Hippolyte is the protagonist of the tragedy of the same name. I., the son of the Athenian king Theseus, who lives in Troezen, with his zealous veneration of Artemis and the neglect shown to Aphrodite, aroused the wrath of the latter. According to her plan, Theseus' wife and stepmother I. Fedra fell passionately in love with him. Phaedra's old nurse decides to help her at all costs. Against Phaedra's wishes, she volunteers to mediate their love. However, I. with hatred and contempt rejects the proposal of the nurse. Phaedra accidentally overhears this conversation and commits suicide. But in order to wash away the shameful stain from her name, and also to punish I. for his arrogance, she leaves a letter for her husband, in which she blames I., who allegedly dishonored her, for her death. Returning from a trip to the oracle, Theseus finds Phaedra's letter and in anger curses I., begging Poseidon, who promised him to fulfill his three wishes, so that I. would not live to see the end of this day. I. goes into exile, but the monstrous bull sent by Poseidon from the sea terrifies I.'s horses, which rush in different directions, breaking I. against stones. Theseus orders to bring his dying son to him. Appearing Artemis reveals the truth to Theseus, accusing him of a hasty decision, and promises I. posthumous honors on earth.

The main feature of the image of I. is his piety. At the same time, the main virtue is his virginal purity. I. does not doubt his virtue and considers himself superior to all people in it. However, the flip side of the total devotion to Artemis is the natural disdain that he shows to the goddess Aphrodite. I. resolutely rejects all attempts of his old servant to save him from arrogance before Aphrodite. He spreads his hatred to all women and angrily falls on Phaedra, who did not deserve his reproaches at all. I. hates women not at all because, from his point of view, Phaedra's behavior turned out to be vicious, on the contrary, he judges Phaedra's behavior in this way because of his hatred of women. And it was this unfair attitude that ultimately became the direct cause of his death. In a fit of anger and indignation, I. threatens to break his oath of silence, not condescending to any requests from the nurse. Phaedra hears these cries of indignation and, preparing to die, prepares death for I.

An additional characteristic of the image of I. is the emphasized elitism of his way of life, which also could not receive an unambiguously positive assessment from even a completely educated and modern ancient viewer of this tragedy.

In this tragedy, Phaedra is the main antagonist of I.. In her image, the same theme is developed - the ratio of true piety and the observance of purity. In this sense, the images have a parallel development. However, in relation to Phaedra, the theme develops in a positive way: Phaedra resists passion in order not to transgress the traditional norms of morality, and such resistance can cause nothing but praise. As for I., then in his image the theme receives a rather negative interpretation. In this sense, the images of Phaedra and I. are opposed to each other.

Short description

The theme of the struggle of passions, the source of human suffering, is devoted to the tragedy Hippolytus, staged three years after Medea and awarded the first award. The tragedy is based on the myth of the Athenian king Theseus, the legendary founder of the Athenian state. The myth of the love of Theseus' wife for her stepson Hippolytus is intertwined with the well-known folklore motif of the stepmother's criminal love for her stepson and the seduction of a chaste young man. But Phaedra Euripides is not like that vicious wife of the dignitary Pentephry, who, according to the biblical legend, seduces the beautiful Joseph. Phaedra is noble by nature: she tries in every way to overcome unexpected passion, ready to die rather than betray her feelings.

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Analysis of the tragedy of Euripides "Hippolytus"

Performed:

1st year student

Faculty of Philology

group FL-RLB-11

Hayrapetyan Alina

Euripides (c. 480 - 406 BC) is the last in a series of great tragic poets of ancient Greece. It is known that he received a good education: he studied with the philosophers Protagoras and Anaxagoras, was friends with the philosophers Archilaus and Prodicus, and was the owner of an extensive library. Unlike Aeschylus and Sophocles, who was more prone to a solitary creative life, Euripides did not directly participate in public life. However, the playwright's works contain abundant responses to acute issues of our time. At the same time, the position of the author, as well as his aesthetic attitudes, often enters into controversy with tradition, which caused dissatisfaction with many contemporaries.

It is known that in his entire life Euripides won only the first five victories, although he wrote and staged a large number of works (from 75 to 98 dramatic works are attributed to him); only 18 plays by Euripides have come down to us.

Naturally, in the new historical conditions, Euripides is primarily interested in an individual, private person, the sphere of his personal, and not public life. In accordance with such a shift in the angle of view, the collision of a person with opposing forces, which is obligatory for a tragedy, Euripides transfers to the plane of the human soul, depicting a conflict between a person and himself. Actions, and as a result, their misfortunes and sufferings of heroes usually follow from their own characters. Thus, in comparison with his predecessors, Euripides focuses more on depicting the inner world of the characters. The playwright creates a number of diverse characters, depicting various spiritual impulses, contradictory states, revealing their regularity and the inevitability of a tragic denouement. The viewer is present at the most subtle emotional experiences of the characters and discovers the complexity of human nature. The emphasis on depicting the psychology of characters leads to the secondary nature of dramatic intrigue. Euripides no longer pays as much attention to the construction of action as, say, Sophocles, although the dramatic conflicts in his plays are sharp and intense. But let us turn our attention, for example, to the beginnings and ends of his dramas. Often in the prologue, Euripides not only gives the plot of the tragedy, but also tells its main content in advance, in order to switch the viewer's attention from intrigue to its psychological development. The endings of Euripides' dramas are also indicative. He neglects the natural development and completeness of the action, and therefore, in the finale, he often offers a sudden, external, artificial denouement, usually associated with the intervention of a deity appearing on a special theatrical machine.

The theme of the struggle of passions, the source of human suffering, is devoted to the tragedy Hippolytus, staged three years after Medea and awarded the first award. The tragedy is based on the myth of the Athenian king Theseus, the legendary founder of the Athenian state. The myth of the love of Theseus' wife for her stepson Hippolytus is intertwined with the well-known folklore motif of the stepmother's criminal love for her stepson and the seduction of a chaste young man. But Phaedra Euripides is not like that vicious wife of the dignitary Pentephry, who, according to the biblical legend, seduces the beautiful Joseph. Phaedra is noble by nature: she tries in every way to overcome unexpected passion, ready to die rather than betray her feelings. Her sufferings are so great that they even transformed the appearance of the queen, at the sight of which the choir exclaims in amazement:

How pale! How got tired
As the shadow of her eyebrows grows, darkening!

The goddess Aphrodite, who was angry with Hippolytus, who neglected her, instilled love in Phaedra. Therefore, Phaedra is not powerful in her feelings. The old devoted nanny does not leave the sick mistress, trying to understand the cause of her illness. Worldly experience helps the old woman: she cunningly tries out the secret of Phaedra, and then, wanting to help her, begins negotiations with Hippolytus without her knowledge. The words of the nanny strike the young man, causing him anger and indignation:

father
Sacred she dared the bed
To me, the son, to offer.

Cursing the old woman, Phaedra and all women, Hippolyte, bound by an oath, promises to remain silent. In the first surviving version of the tragedy, Phaedra herself confessed her love to Hippolytus, and he fled from her in fear, covering his face with a cloak. To the Athenians, such behavior of a woman seemed so immoral that the poet redid this scene and introduced an intermediary nanny. The further fate of the tragedy took shape contrary to the verdict of Euripides' contemporaries. Seneca and Racine turned to the first edition as more plausible and dramatic.

Having learned the answer of Hippolytus, Phaedra, exhausted by suffering and offended in her feelings, decided to die. But before committing suicide, she wrote a letter to her husband, naming Hippolytus, who allegedly dishonored her, as the culprit of her death. Returning Theseus finds the corpse of his beloved wife and sees a letter in her hand. In desperation, he curses his son and banishes him from Athens. Theseus appeals to his grandfather Posidon with a prayer: "Let my son not live to see this night, so that I can believe your word." Father's wish is fulfilled. The chariot, on which Hippolytus leaves Athens, overturns and breaks into pieces. The dying youth is brought back to the palace. The patroness of Hippolyta Artemis descends to Theseus to tell his father about the innocence of his son. Hippolyte dies in his father's arms, and the goddess predicts immortal glory for him.

The rivalry between Aphrodite and Artemis led to the death of innocent and beautiful people, dealt a blow to Theseus, and, finally, presented both goddesses in an unsightly light. By their intervention, Euripides explained the origin of human passions, continuing the Homeric tradition. But in an objective assessment of the activities of the gods, he spoke from the position of a rationalist who criticizes traditional religion. The unexpected appearance of Artemis in the epilogue of the tragedy allowed Euripides, albeit by external means, to resolve the complex conflict between father and son.

Euripides was the first to introduce the love theme into the drama, which became central in some of his tragedies. The arguments of the poet's opponents, who cruelly condemned the bold innovation, are given in abundance by Aristophanes, who accused Euripides of corrupting the Athenians and reproached him for creating the image of a woman in love, while "the artist must hide these vile ulcers."

Of the positive characters who most express the poet's sympathies, Hippolytus must be mentioned first of all. He is a hunter and spends his life in the bosom of nature. He worships the virgin goddess Artemis, who appears not only as the goddess of the hunt, but also as the goddess of nature. And in nature modern philosophers saw their highest ideal. From this it is clear that the basic concept of the image is suggested to the poet by modern philosophy. Hippolytus alone has the opportunity to communicate with the goddess, to listen to her voice, although he does not see her. He often spends time in her cherished meadow, where the foot of ordinary people does not set foot; from the flowers he weaves wreaths for the goddess. In addition, he is initiated into the Eleusinian and Orphic mysteries, does not eat meat food, leads a strict lifestyle and, naturally, under such conditions, eschews carnal love. He hates women and that passion that is alien to his ideal and is presented in the person of Aphrodite (Artemis herself considers her her worst enemy). Shyness is his innate property. He speaks better in a small circle of the elite than in front of a crowd. He is a scientist. The philosopher, as Hippolytus appears, cannot be captivated by power, honors, or glory. At the same time, it should be noted his uncompromising firmness in keeping the oath, albeit inadvertently given: for it he pays with his life. In the heat of indignation, he threw out the words: "My tongue swore, but my heart did not swore." But he is faithful to his oath, and if Aristophanes interprets these words as an example of double-dealing, then this is a clear injustice. The general severity of character also explains his attitude towards Phaedra, his formidable accusatory speech and curse on women.

“There are many temptations in our life,” says Phaedra, “long conversations, idleness is a sweet poison.” Honest by nature, she realized her own impotence before the passion that seized her and wanted to die silently, without revealing her secret to anyone.

But the environment killed her. In the tragedy, her experiences are very vividly shown. We see how she, exhausted by hunger, immersed in thoughts, involuntarily betrays her secret passion: either she wants to drink water from a mountain spring, then direct the dogs to a wild deer or throw a spear at her. In all her strange impulses, a secret desire is revealed to be closer to a loved one. She is ashamed, noticing the folly of her words. The poet tries to elevate the very feeling, saying that "Eros teaches a person and makes a poet, even if he was not one before." Phaedra betrayed her secret to the nurse, and she, experienced in such matters, undertook to help her, without asking her consent. Ignorant, having learned from street sages to find an excuse for any meanness, she disarmed the exhausted Phaedra with her determination. It is not for nothing that Hippolytus sees the greatest evil in such confidantes: they should be kept away from their wives. The nanny, by her intervention, led to disaster. Hippolyte is indignant at the vile proposal sent by the nanny. And Phaedra, feeling offended, turns into an embittered avenger who spares neither herself, nor even the enemy who has learned her secret. Aphrodite's pernicious interference evokes compassion for her victim.

The prologue of the tragedy belongs to Cyprida. This is a divine threat to the son of the Amazon for being arrogant about the power of the goddess of love. Phaedra, according to Cyprida, will also perish, only through no fault of her own, but because Hippolytus must be punished through her. The goddess also plans the third participant in the future tragedy - Fesey. Posidon promised him the fulfillment of three wishes, and the word of the father would destroy the son.

Although Aphrodite speaks of Hippolyte as her personal "enemy" who will "pay" her, but when restoring the aesthetic power of the prologue, it should be remembered that the gods of Euripides left Olympus long ago. "I do not envy," says the goddess Hippolyta, "why should I?" Cyprida has already lost the naive appearance of the protector of Parid, in order to rise to a refined symbol of power and become an indisputable force, "great for mortals and glorious in heaven"; in the goddess Euripides there is also a new self-consciousness, which bears the seal of the age. "After all, even in the divine race," says Aphrodite, "human honor is sweet."

Punishment, coming from such a symbolic, reflected goddess, should have had a less offensive effect on the moral feeling of the viewer, and Euripides, arousing in the crowd a tender emotion of compassion, not without a subtle artistic calculation from the very first steps of the tragedy, with the cold stately appearance of his goddess, as it were, protected sensitive hearts from the heavy breath of iniquity.

In the final scene of the tragedy, Artemis's monologue sounds, in which the goddess addresses Theseus with words of reproach. The appearance of Artemis as deus ex machina in the final scene of the drama symbolizes the apogee of the whole catastrophe that occurred in the house of Theseus. Euripides ascribes to her purely human forms of relations - Artemis shames Theseus, reprimanding him in the way that is customary among people. Euripides, through the mouth of Artemis, accuses Theseus of the death of Hippolytus, explaining to the unfortunate father that it was he who was the culprit of what happened, because he neglected witnesses, fortune-telling, did not make out the evidence, regretting the time for the truth.

In her monologue, Artemis first addresses Theseus with an accusatory speech, and then summarizes the content of the drama as a whole, from the birth of passion in Phaedra to the appearance of her accusatory letter, which now gives Theseus the opportunity to find out the truth and seek reconciliation. This divine support in the reconciliation of father and son increases the pathetic effect of the scene, lifts them both above reality, distinguishing them from other characters of the tragedy. At the same time, Artemis reveals the truth to Theseus, declaring Phaedra’s passion for Hippolyte the work of Aphrodite: “After all, wounded by the motives of the most hated of the goddesses for us, for whom virginity is a pleasure, she passionately fell in love with your son.”

The goddess does not do anything miraculous, supernatural here. The function of Artemis in tragedy, according to the researchers, is "fundamentally dramatic."

Bibliography:

1. Tronsky I.M. History of ancient literature / Fifth edition M., 1988. Part 1. Section II. Chapter II. pp. 142-143
2. Radtsig S.I. History of ancient Greek literature / 5th ed. M., 1982. Ch. XII. pp. 261-271

1. Annensky I.F. The tragedy of Hippolytus and Phaedra / M., "Science", 1979

30. Genre varieties of the tragedies of Euripides. Drama "Alkest".

The change in the tragic conflict affects the change in the genre nature of Euripides' works. First of all, he wrote tragedies, but unusual ones, which is why they are called either "psychological tragedies" or "pathetic dramas". The second is social or family dramas: Alkesta, Elena, Ion.

The social drama depicts ordinary people, not heroes, not outstanding in any way. Even if a myth is used, then only the name remains of this mythical hero. The story here is not about lofty problems, but the tragedy is closed by the house, the family. The socio-psychological drama depicts ordinary people with their individual inclinations and impulses, passions and internal struggles. There is always an element of the comic, always a happy ending. The first surviving play - 438 - "Alkest". The plot opened up truly great opportunities for creating a classic tragedy. In the prologue, we learn the story of Admet, who served Apollo, who allowed him to persuade someone to die in his place. No one wants to die for Admet: neither slaves nor parents - only the young wife of Alcestus. A sacrificial wife, passionately loving her husband, ready to give her life for him. She takes the word from Admet that he will not bring her stepmother into the house. Euripides managed to show a man with a divided consciousness. Tragicomic scene over the corpse. A drunken Hercules appears, here he is represented as narrow-minded, not very smart. Admet accepts it, maybe. He observes the law of hospitality. One old slave shames Hercules for noisy fun. He understands the sacrifice of Admet, wants to help him, crawls into the crypt at midnight, catches Thanatos, he gives back his soul. Hercules brings her to Admet, all ends well. Admetus is a dual figure, one cannot define him as good or bad. Alcesta" is a unique play not only among the surviving works of Euripides himself, but also among all the examples of ancient Greek theatrical art that have come down to us, throwing a bright and at times shocking light on the position of women in ancient Greek society, on the fundamental themes of life and death, and life after death, on the complex relationships in the ancient Greek family and on the integration of mythology into the process of perceiving everyday reality.Some of the concepts expressed in the "Alcestus" are necessary for a correct understanding of the ancient Greek mentality.

31. Features of the psychological tragedy of Euripides "Medea".

At first glance, it seems that the drama, as was traditional, was written on a mythological plot. However, it is noteworthy that the playwright chooses that fragment of the myth when the heroic past of the heroes is behind, and depicts a personal, family drama. The dynamics of feeling and passion is one of Euripides' favorite themes. For the first time in ancient literature, he clearly poses psychological problems, especially the problems of female psychology, and the significance of Euripides for world literature is based primarily on his female images.

Among the most powerful tragedies of Euripides is Medea (431). Medea is a mythological figure from the cycle of legends about the Argonauts, the granddaughter of Helios (the Sun), a sorceress capable of the most terrible crimes. in 431 to the image of Medea and gave the tragedy of a passionately loving, but deceived woman.

And as the bearer of a new attitude towards marriage, Medea delivers a speech before the choir of the Corinthians about the difficult position of women in the family, about unequal morality, which requires fidelity from a woman, but does not extend this requirement to a man. Jason, whose second marriage is dictated by the desire to create a "support for the house" and ensure the future of children, follows the traditional views on the tasks of the family, but Euripides does not spare colors in order to portray his baseness, cowardice and insignificance. Jason's response to Medea's accusations of ingratitude is an example of the sophistical art of "proving" any position and defending an unjust cause.

"Medea" is indicative of Euripides' dramaturgy in many respects. The image of the struggle of feelings and internal discord is something new that Euripides introduced into Attic tragedy. Along with this - numerous discussions about the family, marriage, fatherhood, about the fatality of passions: not only Medea argues, but also the choir, and even the old nurse.

The heroine does not consider her fate exceptional, she expresses sorrowful reflections about the subordinate, dependent fate of a woman, her defenselessness and lack of rights:

However, Medea herself, in accordance with the nature and integrity of her character, is not capable of putting up with humiliation. with the same force that she loved, she begins to hate Jason and look for a way to take revenge on him. The idea of ​​infanticide finally prompts her meeting with the childless Athenian king Aegeus. In a conversation with him, she understands how a childless man suffers, and decides to take the most precious thing from Jason. But this blow is directed at the same time against herself, and therefore Medea does not decide to take this step immediately and with terrible agony. The heroine changes her intention several times, conflicting feelings struggle in her, and yet, gradually, a terrible decision ripens in her.

Before Euripides, the prevailing version of the myth was that children were killed by angry Corinthians upon learning of the death of their king and young princess. Euripides left this to the heroine herself, convincingly showing that, no matter how terrible this act, Medea, who belongs to natures proud, powerful, incapable of forgiving insults, could do this. The viewer cannot accept and forgive Medea for her deed, but understands by whom and how she was driven to a crime.

At first glance, it seems that the drama, as was traditional, was written on a mythological plot. However, it is noteworthy that the playwright chooses that fragment of the myth when the heroic past of the heroes is behind, and depicts a personal, family drama. Before us is the grief of a lonely, deceived, abandoned woman. Deviations from traditional mythological versions are often found in the tragedies of Euripides. Behind this, a certain trend is palpable: for Euripides, myth is not the sacred history of the people, but material for creativity. As a matter of fact, Euripides constrains the limits of myth: the new social content of his tragedies conflicts with the old mythological form. In essence, Euripides would have to abandon the myth, but this would be too bold and decisive a violation of tradition, but he certainly brought the destruction of the mythological basis of the tragedy closer. Euripides was one of the first to turn to the depiction of a love conflict in drama and made love passion the driving motive of events . In Sophocles' Antigone, a vivid female character was created and the theme of love was present (the line of Antigone and Haemon), however, as a secondary and non-self-sufficient one, subject to the choice of the civil position of the heroes. For Medea, her passion is the main basis of life. As a sacrifice of her passion, she sacrificed her loved ones, her homeland, her good name, but after a number of years of living together, Jason treacherously neglected her for the sake of low calculation.

The murder of Creon and the princess Medea conceives in cold blood, not at all doubting the correctness of the chosen decision; the only thing that “confuses” her is that “on the way to the bedroom” or “on business” she can be “captured ... and the villains get mocked”, and a conversation with Jason only strengthens Medea in her intention to do so .

A verbal duel with Jason, she exposes him as the most complete nonentity and scoundrel

hot, passionate, emotional, driven by feelings and instincts, proud, harsh, unrestrained and immeasurable. Medea is immeasurable in everything: in love, hatred, revenge. It is because of this that other characters in the tragedy do not understand her.

Medea plays the scene of reconciliation with Jason

Medea's selfishness: she does not think about what is best for her children, to live or die, to stay in the city or wander with her, she is driven only by her own feelings and her own desires.

The finale of the tragedy is very bright: Medea appears in a chariot drawn by dragons, which was sent to her by Helios. She has the corpses of her children with her. Her last dialogue with Jason takes place, which somewhat changes the nature of the drama.

Tragedy carries a sense of the absurdity of life: there is no justice in the world, there is no border between good and evil, there is no measure, there is no truth, there is no happiness. Medea makes one doubt the highest values, the existence of the gods (she calls for their help, but they do not help her in any way), and her view of the world.

chorus - on the side of Medea,

Medea is the undoubted center of the work, the world of tragedy revolves around her, she focuses on herself all the emotional and psychological content of the drama; Willy-nilly, you begin to empathize with her, her throwing causes a response storm of feelings. It seems that Euripides himself was fascinated by the image of the murderous sorceress.

Innovation: The duality of her character - and mourns, pities the children, and kills. Before E., the inner world of a person was not depicted. The image of the struggle of feelings and internal discord is something new that Euripides introduced into Attic tragedy. Along with this - numerous discussions about the family, marriage, fatherhood, about the fatality of passions: not only Medea argues, but also the choir, and even the old nurse.

32. Innovation of Euripides the playwright. Analysis of the tragedy "Hippolytus".

All the dramas of Euripides are connected with the topical philosophical and ethical problems of their time, put forward for the first time during the Pelopnesian War. Attention should be paid to such innovations of Euripides in the field of dramatic technique, such as the introduction of solo arias - monodies, a decrease in the role of the choir. The prologue acquires a peculiar role, in which the content of the tragedy is stated, the denouement appears with the help of “deus ex machina” (“God from the machine”). This innovation in the technique of drama is explained, on the one hand, by the poet's peculiar, critical attitude towards mythology as the basis of popular religion, inspired by the views of the sophists and Greek natural philosophers. Euripides recognizes some kind of divine entity that rules the world, but the gods of traditional mythology almost always receive a negative connotation in his works, the moral content of myths causes his objections. Since a direct denial of popular religion was impossible under the conditions of the Athenian theater, Euripides confines himself to expressions of doubt and allusions. The second most important feature of Euripides' work, which explains many innovations in dramatic technique, was the great interest of the playwright in the personality of a person and its subjective aspirations. Man's clash with opposing forces, which is obligatory for tragedy, he portrayed as a struggle of man with himself. The inner world of man, his psychology were not the object of artistic representation in the work of playwrights who preceded Euripides. Euripides' innovation lies in the fact that he depicted the struggle of feelings and the internal discord of his hero, he was the first to introduce a love theme into the drama, which became central in some of his works. Euripides often makes significant changes to the traditional myth, the plot of which becomes just a shell, little connected with the life, truly human content of the work and contrary to the ideological and artistic orientation of the tragedy. Euripides brings in a new theme. For the first time, they raise a love theme. Of particular interest in this regard

The Tragedy of Hippolyte. Hippolytus - 434 BC The gods are criminals here, doing meaningless things. This tragedy was a success, but it had to be rewritten twice. The plot is also known in the Bible - a variant of the plot about the treacherous wife. In Euripides, Phaedra (the second wife of Theseus) loves her stepson, but the audience is shocked that she herself admits this to him. Then Euripides changed that. Hippolyte won in the agony. Favorite aphorism of Euripides "Nothing beyond measure." Violation of it by the heroes leads to their death. Hippolytus is the son of Theseus from his first marriage to an Amazon. The tragedy opens with a prologue, where Aphrodite says that she is offended by Hippolytus, because he spends all the time with Artemis. Aphrodite sends a passion for Hippolyte to Phaedra. Passion and coldness - Aphrodite and Artemis. Phaedra and Hippolyte, Aphrodite and Artemis never appear on stage at the same time. This vindictiveness attributed to Aphrodite is one of Euripides' usual attacks on the traditional gods. The goddess Artemis, who patronizes Hippolyta, appears at the end of the tragedy to reveal the truth to Theseus and console Hippolytus before his death. It turns out that she could not come to the aid of her admirer in a timely manner, since among the gods the custom is not to go against each other. Phaedra is dying, the reason is love, the nurse decides to tell Hippolytus everything. He is warned that feelings should not be excessive. Phaedra fears that Theseus will kill her children. She decides to kill herself, and leaves a note in her hand where she accuses Hippolyte of harassment. Theseus banishes and curses Hippolytus. That one dies. Then Artemis appears, who says that Hippolytus is not to blame for this tragedy. Hippolyte realizes that Cyprida took not one, but three victims: he, his father, and Phaedra. He pities his father, says that his fate is worthy of lamentation. Theseus wants to replace his son, calls his sin an eclipse, a terrible gift from the gods. The father hugs his son. The son removes the burden from his father, asks for forgiveness from his father, Theseus says that his son will overcome death, says goodbye to him, Cyprida left the stigma of suffering on his soul. The myth of Hippolyta is one of the Greek versions of the widespread story about a treacherous wife who slanders a chaste young man in front of her husband who did not want to share her love (cf. the biblical story about Joseph). The picture of Phaedra's love torment is drawn with great force. The new Phaedra is languishing from a passion that she tries in vain to overcome: in order to save her honor, she is ready to sacrifice her life. The refusal of the indignant Hippolytus forces Phaedra to carry out a suicide plan, but now with the aim of preserving her good name with the help of a dying slander against her stepson.

Already Phaedra turned out to be a powerless victim of passion, with which she was not able to cope. In the later work of Euripides, the moment of man's dependence on randomly acting forces both inside and outside of him, on sudden impulses, on fractures of fate, on the game of chance, is even more advanced.

33. Problems of education and criticism of new philosophical trends in Aristophanes' comedy "Clouds".

In 423, Aristophanes, who had already received the first two awards at Lenaea, decided to stage a new comedy "Clouds" at the Great Dionysia. Comedy received the third award. However, the poet himself considered "Clouds" his best play and subsequently reproached the audience for the fact that they, accustomed to rude public jokes, did not understand the subtle sharpness and deep meaning of his comedy. Even earlier, Aristophanes more than once lamented the decline of morals in Athens and linked political turmoil with the moral character of public figures and rulers of Athens. In The Clouds, he subjected to cruel ridicule the new principles of education promoted by the sophists, and those new teachings about nature and society, which, in his opinion, undermined the foundations of the polis ideology. The comedy is named after the chorus, the image of which is complex and fantastic. At the beginning of the comedy, the chorus of clouds depicts the soaring of high poetic thought, later on the clouds are either new deities invented by fashionable scientists, or the embodiment of their vague ideas. At the end of the comedy, where the desired truth is established, the choir of clouds sings on behalf of the eternal Olympian gods. The main object of Aristophanes' attacks is Socrates, a complex generalized image of Aristophanes' ideological opponents. Aristophanes Socrates inherited something from his real prototype, the Athenian philosopher, a contemporary of the poet, but in addition he is endowed with the features of a sophist and a learned charlatan, a constant hero of folk everyday scenes. In sophistry, he is frightened by the separation from the polis ethics: the new upbringing does not lay the foundation for civic prowess. From this point of view, the choice of Socrates as a representative of new trends was not an artistic mistake. No matter how great were the differences between Socrates and the sophists on a number of issues, he was united with them by a critical attitude towards the traditional morality of the polis, which Aristophanes defends in his comedy.

Aristophanes holds the same views in relation to new literary trends. He often ridicules fashionable lyric poets, but his main controversy is directed against Euripides.

It's different from the usual comedies. The problem of educating youth, the problem of fathers and children. Until the 5th century, education was public, from that time they entrust their children to sophists. They develop students, but this education goes against the needs of the policy. Socrates is equated with the sophists. He tried to find objective truth, he is inclined towards monotheism. Aristophanes did not understand his views, so he ridiculed him. Socrates was of a strange appearance, but he always retained kindness, openness, he was loved by young people, a circle of young people always formed around him. The Athenians found eternal problems boring. "Clouds" proved fatal in the life of Socrates. Exposure of godlessness, immorality and corruption of youth. At the trial, a play was read as an accusation. Old man Stripsiad is worried about his son - he plays at the races, lost all his fortune. Stripsiades learns that there is a think tank in Athens and wants to go there to study. Meets Socrates there. The real Socrates was not such a funny fool. While the historical Socrates spent: usually all his time in the Athenian square, the learned charlatan of the "Clouds" is engaged in absurd research in the "thinking room" accessible only to the initiates; surrounded by “faded” and skinny students, he “floats in the air in a hanging basket and meditates on the sun. The pointless and vague wisdom of the sophists is symbolized in the chorus of "divine" clouds, the veneration of which should henceforth replace traditional religion. In the future, both the natural-scientific theories of the Ionian philosophers and new sophistic disciplines, such as grammar, are parodied. in the "agon" Pravda ("Fair speech") and Krivda ("Unfair speech"). The Athenians forgave Socrates for his appearance for his thoughts. He was always ready for a conversation - a Socratic conversation - bringing a person to a conclusion. Aristophanes made him a collective caricature of sophistry, attributing to him the theories of various sophists and natural philosophers, from whom the real Socrates was in many respects very far away. In Aristophanes, Socrates is an eccentric sitting in a basket tied to the rafters. This Socrates studies all sorts of rubbish. Problems: what part of the body the mosquito buzzes, measures the step of the flea. Socrates convinces not to believe in Zeus. A chorus of clouds appears, which says all sorts of nonsense. Aristophanes twists everything. Stripsiad is kicked out of the think tank, but there are enough ideas to get rid of creditors. He sends his son there. There is a dispute between lies and truth (truth and falsehood) - primarily about the problem of education. In the dispute between Pravda and Krivda, each of which seeks to win over the old man's son, the main theme of the comedy is revealed - the struggle between old, polis ideas and new, sophistic ones. Opponents are carried to the orchestra in baskets dressed up as fighting cocks. The dispute is played out in the form of a cockfight, but its content is very serious. Krivda wins, seducing the young man with the fact that in the school of Socrates he will quickly become corrupt and begin to live in clover, since now modest people are not held in high esteem in Athens. Socrates and the Sophists believed that education should be according to inclinations. Aristophanes calls it corrupt. It ends with one more agon. Both the son and the father go to the feast, but the old man wanted to listen to Aeschylus, and the son to Euripides. The son beat his father and argued this. Strepsiades is ready to recognize the strength of this argument, but when Pheidippides promises to prove that it is legal to beat mothers, the enraged old man takes the ladder and sets fire to the thinker with a torch.

34. Literary views of Aristophanes "The Frog".

An example of literary criticism. Questions of literary criticism and the role of art in the life of society were reflected in the comedy "The Frogs", staged at Leney in February 405. The immediate reason for the creation of this comedy was the news of the death of Euripides, received in Athens in the spring of 406. During the rehearsals of "The Frogs" Sophocles died. The further fate of the tragedy seemed unknown to everyone, since the outstanding tragic poets did not leave worthy successors. In the comedy "The Frogs", the god Dionysus, the patron of theatrical art, decided to descend into the underworld to bring Euripides, whom he considers the best tragic poet, to earth. In an effort to cheer himself up, Dionysus obtains a lion skin, a club from Hercules and, accompanied by a slave, sets off. Charon is transporting Dionysus across the Lake of Death, and the choir of frogs, from which the comedy takes its name, greets Dionysus, who has sat down at the oars. In this comedy, Aristophanes rearranged the traditional comedy parts and began with funny episodic scenes of the adventures of the cowardly dandy Dionysus and his rogue slave, and placed the agon in the second part. In addition, he reduced the parabasa, making it independent and not connected with the action. In the parabasis, the choir, on behalf of the poet, calls on the Athenians to heal the grave wounds of the state, to forget the previous political differences, because of which many honest and efficient people had an effect in exile. The Athenians liked this parabasis so much that they demanded a repetition of the comedy and awarded Aristophanes with the rarest award for a poet - a branch of the sacred olive.

The second part of the comedy was played out in the realm of the dead and was a dispute about the tasks of dramatic poetry. The choir in this part consists of mysts, that is, initiates into the Eleusinian mysteries. Dionysus comes to the abode of the dead at a time when Euripides, having gathered his admirers around him, is trying to drive Aeschylus from the throne given to him as the father of tragedy. Aristophanes also attacked Euripides, ridiculing his tragedies in the comedy The Frogs. The main reproach that he made to the great tragedian was that his tragedies lacked the heroic ideal that was so necessary for the Greek people during the period of political unrest.

The god of the underworld, Pluto, asks Dionysus to judge his opponents. The main part of the play begins - the contest between Aeschylus and Euripides. The purpose of art for both is indisputable: "it is more reasonable and better to make citizens of their native country." But Aeschylus believes that for this it is necessary to educate citizens with a strong spirit and courage, inspire them with "lofty thoughts" and address them only in "stately speeches." And Euripides believes that people will become "kind and worthy" when poets reveal to them the truth of life, which must be spoken about in a simple human voice. Aeschylus objects, arguing that worldly truth usually hides the base motives of people and petty deeds unworthy of the attention of poets. Aeschylus explains the misfortunes of modern Athens by the corrupting influence of the tragedies of Euripides.

The continuation of the dispute is the comparison of the artistic merits of the tragedies of Aeschylus and Euripides. Both parody each other's artistic style. Then the works of both tragedians are weighed on huge fake scales. The cup with the verses of Aeschylus overtightens. Dionysus realizes his mistake and, instead of Euripides, takes Aeschylus to the land to the parting song of the choir. The last words of the chorus, breaking the stage illusion, are addressed to the audience:

We wish the glorious city of happiness, kindness and good luck.

His god Dionysus is the embodiment of the theatrical audience with all its comic weaknesses, big and small. But this universal longing becomes for Aristophanes the reason for his last and most ambitious dispute with Euripides. He rises above his former, mostly accidental ridicule, which at that moment could not be appropriate for the prevailing circumstances, and considers the problem with extraordinary depth. Euripides is not evaluated by himself, which he, as a great artist, can certainly claim, even less so he is recognized as the measure of his time - Aristophanes opposes him to Aeschylus as the greatest representative of the religious and moral dignity of tragedy. This simple and highly effective opposition affects the structure of The Frogs in that there is an agon between old and new poetry, as in Clouds - between old and new education. But while in "Clouds" the agon was not decisive for the course of action, in "The Frogs" the whole composition rests on it. The descent into the underworld is a favorite motif of the comedy, in his performance of Aristophanes' "The Frogs" where the former statesmen and generals of Athens come out of Hades to help the ill-ruled city. Combining this idea with the poetic agon, Aristophanes arrives at a startling solution: Dionysus, who descended to Hades to bring his favorite Euripides from there, after the victory of Aeschylus, instead of a younger competitor, finally brings the old poet to the surface to save his native city.

The work is based on the ancient story of the love of a stepmother for her stepson.

The first edition of the tragedy caused a storm of public indignation and was declared immoral. One of the main characters, Phaedra, reveals herself to her stepson Hippolyte in love. The failure was also facilitated by the fact that at that time no attention was paid to the individual experiences of the individual.

Today we have the opportunity to get acquainted only with the second version of the tragedy, where Phaedra does not confess to Hippolytus, but takes her own life, knowingly leaving her husband a note slandering her stepson.

One of the innovations of Euripides is that the female image occupies an important place in the tragedy. And it is far from ideal.

It is also important that the gods of Euripides are endowed with human features. So, in this tragedy, Artemis and Aphrodite are two eccentric goddesses, the subject of which is Hippolytus.

The protagonist of the tragedy is ruined by his commitment to Artemis and complete disregard for Aphrodite. Thus, for the first time in the history of the ancient theater, Euripides raised the question of whether all the actions of the gods can be considered justified and just.

Plot

Translations

The play has been translated into English several times:

• Edward P. Coleridge, 1891 - prose: full text
• Gilbert Murray, 1911
• Arthur S. Way, 1912
• Augustus T. Murray, 1931
• David Grene, 1942
• Philip Vellacott, 1953
• Robert Bagg, 1973. ISBN 978-0-19-507290-7
• David Kovacs, 1994 - prose: full text
• David Lan, 1998
• Anne Carson(2006). Grief Lessons: Four Plays by Euripides. New York Review Books Classics. ISBN 1-59017-180-2.
• Jon Corelis, 2006: Performance version in verse.

The classic Russian translation remains the translation of Innokenty Annensky.

Wikimedia Foundation. 2010 .

• Hippolyte (antipope)
• Ippolit Alexandrovich Vrevsky

See what "Hippolytus (tragedy)" is in other dictionaries:

Tragedy- a large form of drama, a dramatic genre, opposed to comedy (see), specifically resolving the dramatic struggle with the inevitable and necessary death of the hero and distinguished by the special nature of the dramatic conflict. T. has as its basis not ... Literary Encyclopedia

Tragedy- TRAGEDY. Tragedy is a dramatic work in which the main character (and sometimes other characters in side clashes), distinguished by the maximum strength of will, mind and feelings for a person, violates a certain universally binding (with ... ... Dictionary of literary terms

HIPPOLITE- (Ίππόλυτος), in Greek mythology, the son of the Athenian king Theseus and the queen of the Amazons Antiope (options: Hippolyta or Melanippe). I. despised love and was famous as a hunter and worshiper of the goddess virgin huntress Artemis, for which he experienced the wrath of Aphrodite, ... ... Encyclopedia of mythology

Hippolyte- the son of Theseus and the Amazon Antiope or Hippolyta. The myth of his tragic death is very well known. The second wife of Theseus, Phaedra, whose love he rejected, slandered him before his father; Theseus cursed I. and the god Neptune, summoned by him in anger, unexpectedly sent a wave ... ... Encyclopedia of Brockhaus and Efron

Hippolyte (mythology)- Wikipedia has articles about other people with the name Hippolyte. Death of Ipp ... Wikipedia

Hippolytus in mythology- the son of Theseus and the Amazon Antiope or Hippolyta; the myth of his tragic death is very well known. The second wife of Theseus, Phaedra, whose love he rejected, slandered him before his father; Theseus cursed I., and the god Neptune, called by him in anger, unexpectedly sent ... ...

Hippolytus, son of Theseus- and the Amazons Antiope or Hippolyta is very well known for the myth of his tragic death. The second wife of Theseus, Phaedra, whose love he rejected, slandered him before his father; Theseus cursed I., and the god Neptune, called by him in anger, unexpectedly sent a wave to ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron

tragedy- TRAGE´DIA (Greek τραγῳδία, lit. goat song, from τραγος goat and ᾠδή song) a stage work that depicts a sharp clash of a heroic personality with the forces of society, the state or the elements of nature opposing it, in ... ... Poetic dictionary

Shpazhinsky, Ippolit Vasilievich- Ippolit Vasilyevich Shpazhinsky Aliases: Ivan Vezovsky Date of birth: April 1, 1844 (1844 04 01) Date of death: February 2, 1917 (1917 02 02) (72 ... Wikipedia

Optimistic Tragedy (film)- This term has other meanings, see Optimistic tragedy. Optimistic tragedy ... Wikipedia

Books

• Ancient Greek tragedy, . Your attention is invited to a collection that includes the works of the most prominent representatives of ancient tragedy: Aeschylus, Sophocles and Euripides ...

Ministry of Education of Ukraine

Zaporozhye State University

Faculty of Foreign Philology

Department of Foreign Literature

Course work

on the topic :_____Ancient world in the tragedies of Euripides "Hippolytus" and Seneca "Phaedra"

Performed Bekhteeva Svetlana Vladimirovna

Art. groups _______________________________________________

Supervisor assistant professor _____________________Emirsuinova N.K.

Comptroller ___________________________________________

Zaporozhye

1. assignment for term paper 1

2. ABSTRACT 1

3. Introduction ............................................... ............................................... 2

4. Comparative analysis of tragedies.............................................. 9

5. views of poets on the problems of our time 12

5.1 interpretation of religion and gods in the works of Euripides "Hippolytus" and Seneca "Phaedra";

5.2 hippolytus - "a man of goodness"; the fate of a mortal is in the hands of the gods;

5.3 PHEDRA - THE DEGREE OF THE IMAGE TRAGISM IN BOTH WORKS;

5.4 THE MAIN QUESTION OF THE WORKS - "WHAT IS EVIL?"

6.conclusions.............................................. .......................................... 19

7. List of references .................................. 219

for student coursework

Bekhteeva Svetlana Vladimirovna

1. Work theme The ancient world in the tragedies of Euripides "Hippolytus" and Seneca "Phaedra"

2. Time for the student to submit the completed work _________

3. Initial data for work Texts of the works of Seneca and Euripides, literary and philosophical works devoted to this problem.

4. List of issues to be considered

1. Comparative analysis of tragedies.

2. Interpretation of religion and gods in the works of Euripides "Hippolytus" and Seneca "Phaedra".

3. The concept of a "good man" and the fate of a mortal in the hands of the gods.

4. The tragedy of the image of Phaedra in the tragedies of Euripides and Seneca.

5. Date of issue of the task ________________________________

the text of the term paper 19 p., 8 sources.

Object of study in this work are texts of literary works by Euripides ("Hippolytus"), Seneca ("Phaedra", "Letters to Lucilius"), biographical sources and philosophical theses.

The purpose of the work is the study of the problem of the literary traditions of antiquity through the study of particular examples of the artistic and philosophical worlds of Euripides and Seneca. The study is expected to solve the following tasks:

– Establish the main features and differences in the manner of writing a work by Greek and Roman authors;

- To identify the degree of social influence and the historical basis of both tragedies and the work of these authors in general;

– To carry out an independent analysis of intertextual connections and differences, their dependence on the social environment of the authors.

Research methods- method of system analysis and comparative.

Scientific novelty This work is an attempt to identify a direct relationship between the historical basis, the social environment and the views of the two authors of antiquity, Seneca and Euripides, their approaches to contemporary problems and the plot of the same ancient myth in particular.

Application area- teaching literature, philosophy.

GOOD MAN, TRAGISM OF IMAGE, HISTORICAL BASIS, SOCIAL ENVIRONMENT, STOICISM, "NEW" STYLE, POLIS SYSTEM, ROCK, PROVISION.

Through the centuries, from deep antiquity, the heroes of mythological plots come to us, retaining their customs, customs, originality. But, passing through the prism of time and distance, their main ideas, partly characters, views and the very essence of their actions change. There is no exception and the plot in which Phaedra, the wife of the Athenian king Theseus (Fesey), fell in love with her stepson Hippolytus. Rejected by him, she commits suicide, discrediting Hippolytus and accusing him of an attempt on her honor. So this plot was used by the great Greek tragedian Euripides, Seneca, the Roman master of the "new style", and Racine in his work "Phaedra", written in the best traditions of French classicism (1677).

Of course, each work is the brainchild of not only its author, but also the people, the social position in society, the political system that existed at that time, and, often, only emerging new thoughts and trends, as was the case with the work of Euripides "Hippolytus".

So, to find the differences and pidibia in the works of Euripides and Senelli, the reasons for their occurrence and the degree of influence of public opinion and the surrounding reality on them is our task.

In my opinion, the roots of the theme, the ideas of each work and the reasons that prompt the author to do so, should be sought in its origin, education, way of thinking and acting, and the surrounding reality.

The isolation of the individual and the critical attitude towards tmyth - both of these trends of the new worldview were in sharp contradiction with the ideological foundations of the tragedy of Aeschylus and Sophocles; nevertheless, they received their first literary incarnation within the tragic genre, which remained the leading branch of Attic literature in the 5th century. New currents of Greek social thought found a response in the works of Euripides, the third great poet of Athens.

The dramatic work of Euripides proceeded almost simultaneously with the activities of Sophocles. Euripides was born around 406. His first plays were staged in 455, and from that time on he was Sophocles' most prominent rival on the Athenian stage for almost half a century. He did not achieve success with his contemporaries soon; success was not lasting. The ideological content and dramatic innovations of his tragedies met with sharp condemnation from the conservative part of the Athenians and served as the subject of constant ridicule of the comedy of the 5th century. Over twenty times he performed with his works at tragic competitions, but the Athenian jury for all this time awarded him only five prizes, the last time posthumously. But later, during the period of the expansion of the policy and in the Eliistic era, Euripides became the favorite tragic poet of the Greeks.

The most reliable biographical sources depict Euripides as a solitary thinker - a book lover. He was the owner of a fairly significant book collection. In the political life of Athens, he did not take an active part, preferring leisure time devoted to philosophical and literary pursuits. This way of life, unusual for the citizens of the polis, was often attributed by Euripides even to mythological heroes.

The crisis of the traditional polis ideology and the search for new foundations and ways of worldview found a very vivid and complete reflection in the tragedy of Euripides. A solitary poet and thinker, he sensitively responded to the burning issues of social and political life. His theater is a kind of encyclopedia of the mental movement of Greece in the second half of the 5th century.

In the works of Euripides, various problems were raised that were of interest to Greek social thought, new theories were presented and discussed, ancient criticism called Euripides a philosopher on stage .. However, he was not a supporter of any philosophical doctrine, and his own views were neither consistent nor constancy .

It is important for us that Eripides' negative attitude is caused by the aggressive foreign policy of democracy. He is an Athenian patriot and an enemy of Sparta. Euripides is alien to the philosophical views of Roman society.

Seneca, like Euripides, was the son of his state, and this influenced the character of his work "Phaedra", as well as all his work. The structure of the empire created by Augustus ("Principate") lasted over 200 years after the death of its founder, until the crisis of the 3rd century. The military dictatorship turned out to be the only state form in which the ancient society, corroded by the contradictions of the rabst, could continue to exist after the collapse of the polis system.

With all the appearance of flourishing, symptoms of the impending decomposition of the slave system began to appear very soon. It is in Italy that the signs of economic decline are most pronounced, but while the economic decline was just approaching, the social and moral decline of Roman society was already evident. The general lack of rights and the loss of hope for the possibility of a better order corresponded to general apathy and demoralization. The bulk of the population demanded only "bread" and "circuses". And the state considered it its direct duty to satisfy this need.

Subservience, outright pursuit of material goods, weakening of social feelings, fragility of family ties, celibacy and a drop in the birth rate are characteristic features of Roman society in the 1st century BC.

On this ground, the level of Roman literature is lowered, and individual brilliant exceptions do not change the overall picture. A characteristic feature of the "Silver Age" is the appearance of a large number of provincials among literary figures. In particular, Spain, the oldest and most culturally advanced of the Romanized Western provinces, produced a number of significant writers—Seneca, Lucan, Quintilian, and others. The style, created by the "reciters" of the time of August, was most widespread in the middle of the 1st century. Writers I. call it the "new" style, in contrast to the "old" style of Cicero, whose long speeches, philosophical reasoning, strictly balanced periods now seemed sluggish and boring. The literary traditions of "Asiaticism" found fertile ground in Rome at the beginning of the 1st century BC. with its thirst for brilliance, the desire for a proud pose and the pursuit of sensually vivid impressions. the best master of the "new" style in the middle of the 1st century. - Lucius Annaeus Senela. Born in Spain, in the city of Corduba, but grew up in Rome. Seneca was educated in the spirit of the new rhetoric and expanded it with philosophical knowledge. In his youth, he was fond of fresh philosophical trends, and in the 30s he took up advocacy and ended up in the Senate. But, having gone through the circles of hell of political intrigues, ups and downs, he moved away from the court and took up literary and philosophical activities.