kısaca kişiler, konu;

-Atina'nın efsanevi kralı Theseus, koca,

-Theseus eşi, Kraliçe Phaidra-Phaedra-Faedra, burada üvey ana, üvey oğlu Hippolytosa aşık olur. acıdan kendini asar.

-Hippolytos, oğulları. talihsiz adam, habersiz aşktan suçlanır, babası buna kıza sürgüne gönderir. fakat zeus bir boğası sebbiyle babasının kollarında ölür.

konu, islam tarihinde Züleyha’nın Yusuf’a olan yasak aşkına benzer.

A tragedy of frenzied passion; or just possibly, for we moderns, a tragedy of unrequited love.

what are you doing ... step-mother?

Quite sad. Even though i think Phaedra by Racine is better I also like this one for its simplicity.

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 infantilità 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 divinità vengono collegati alle caratteristiche negative delle creature femminili. Ed è 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.

It'd be profoundly weird to give a lengthly negative review to Euripides, but I did not enjoy this much as a casual reader. Hippolytus doesn't work well as a sympathetic character but nor does he deserve the insane stuff that happens to him. The deception and unravelling of events at the centre of the play feels weak and its conclusion unearned, but like I said, it's Euripides, I've not studied the play, I'm reliant on one of hundreds of translations I read and I don't think my review is indicative of much beyond my own experience with one specific version, so I'm not going to assert it's rubbish.

نحن أمام قصة هيبوليتوس إبن ثيسيوس .. الفتى العفيف كاره النساء .. وقعت في حبه زوجة أبيه ( فايدرا ) .. قدمت هذه المسرحية أكثر من مرة .. حتى يوريبيدس نفسه قدمها أول مرة ولم يتقبلها الجمهور اليوناني ، حيث صورها يوربيديس إمرأة لا تعرف الخجل تحاول اشباع رغباتها نحو هيبوليتوس و تعرض عليه نفسها .. ثم قدمها سوفوكليس .. و من بعدها أعاد يوربيديس تقديمها مرة أخرى و هذه هي النسخة التي بين أيدينا ..

n  n   

لقد لقيت جزائي أيتها الأرض أيها الضوء ..
كيف أهرب من مصيري
كيف أخفي لوعتي يا صديقاتي؟؟
مَن مِن الآلهة أو من البشر
سيظهر مساعداً أو مدافعاً أو مسانداً لأفعالي الخاطئة ؟؟
فالبلاء الذي أصابني يزحف عبر حياتي ولا يمكن الهروب منه
إني أتعس امرأة على وجه الأرض

n  n

One of my least favorite Greek plays, the characters felt completely flat and utterly without agency, just mindlessly and implausibly programmed by the gods (or one goddess, Aphrodite) who has Phaedra fall in implausible and overwrought love with her stepson Hippolytus while his love for Artemis over Aphrodite feels arbitrary and rigid. Not to mention long stretches of exposition and a contrived ending (OK, not the only Greek play with one of those).

Note: I read the Rachel Kitzinger translation in the excellent The Greek Plays: Sixteen Plays by Aeschylus, Sophocles, and Euripedes

translator: John Davie.

Questa nel mio parere, è la tragedia con il coro più notevole nella tragedia greca! Anziché il coro come spettatori, qua si vede un coro che cambia proprio l'andamento della storia. Ho deciso di leggere ancora un'altra volta Ippolito perché devo leggere Phèdre di Pierre Corneille! Spero che lui mantenga questa stravaganza delle figure femminili nella sua opera.

این نمایشنامه داستان آشنای عشق ممنوع زن پدر به پسر است. مثل یوسف و زلیخا، سیاوش و سودابه.
خدایانی که هر یک نماینده ی نیرویی در طبیعت اند در وجود ایپولیتوس به تاخت و تاز و جنگ می پردازند. ایپولیتوس سرسپرده ی ارتمیس خدای شکار و حیوانات وحشی است. آفرودیت که از زن ستیزی و تقبیح عشق او خشمگین است برایش دامی گریزناپذیر پهن می کند. تقدیر نابودی ایپولیتوس و زن پدرش را می خواهد. حتی خدایان را توانایی دخالت در آن نیست.

denial is a river in egypt

This is one that benefits from multiple readings. On first brush, it appears to be so linear. Aphrodite spells out the plot at the outset and it doesn't meaningfully diverge from that.

Where it gets more interesting on reflection is seeing how characters describe themselves. Do we take it at face value that Hippolytus is virtuous when he and Artemis say he is? His speech to the nurse doesn't seem noble, and Aphrodite certainly doesn't think he is. Is Phaedra in love because we were told she was or is something else happening to her since it sure doesn't look like love. Is there any order to the moral universe or is capricious vengeance the rule of the day? If you're devoted to the gods, will they be devoted to you?

Much less is answered than first appears. It's worth reading once, but to have any fun with it, it should also be discussed.