acine's Phèdre Act II Scene 5: A Tragic Masterpiece of Unrequited Love and Ancient Codes
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Racine, Phèdre, Act II Scene 5, tragedy, classical literature, ancient Greek tragedy, Euripides, Hippolytus, incestuous love, tragic myths, lyrical enunciation
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Abstract
Discover the tragic intensity of Racine's Phèdre, Act II, Scene 5, where Phaedra's forbidden love for her stepson Hippolyte reaches a boiling point. Explore how Racine masterfully reclaims ancient tragedy codes, crafting a classical vision of human passion that culminates in a heart-wrenching confession. Uncover the stylistic devices and lyrical enunciation that make this scene a paroxysmal moment in the play, oscillating between Phaedra's desperate declaration and Hippolyte's anticipated response. Dive into the world of 17th-century French tragedy and experience the emotional turmoil that defines this iconic
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[...] In Euripides, the character of Phèdre oscillates between virtue and forbidden passion3. From the beginning of the play, the reader becomes aware of the mysterious evil that is consuming Phèdre, without immediately knowing its cause. Influenced by the fate of the Gods and her maternal lineage marked by fatal loves, she gradually becomes aware of her love for Hippolyte, as if she had long refused to admit it to herself. In Euripides, Phèdre eventually commits suicide, hanging herself in the middle of the play, thus succumbing to the weight of guilt. [...]
[...] In the act scene Phèdre confesses to her nurse, Oenone, her feelings for Hippolyte. It is Oenone who then advises her to reveal her love to Hippolyte, while announcing the death of Theseus. In act II, scene Phèdre resolves to confess the unthinkable, but with difficulty. We find in this passage, a difficulty of the character to confess this incestuous love, which leads her to have a convoluted discourse. In fact, at the beginning of act II, scene she first starts talking about her half-brother: 'my son no longer has a father' (vs. [...]
[...] 634), demonstrating her inacceptance of the situation. In this confusing text, Phèdre puts her feelings in contrast with the fear of Hippolyte's reaction, expressing in part the fear she feels in expressing her feelings. She opposes the first person (she) and the second person plural (the vocative of Hippolyte): 'To your pains' in contrast to 'my tears'; she also fears what she is going to hear: fear' in contrast to 'your ear' and her reaction: tremble' in contrast to 'your anger'6. B. [...]
[...] 581), showing then the effects of love on her body. In the continuation of the text, Phaedra uses a lexicality of suffering to designate the torments of this love:That a very different care troubles me, and devours me » (vs. 617), showing that this passion surpasses and devours her. IIt is necessary to link this use of lexicality of suffering to Sylvie Guyot's analyses, Phaedra if she is the emblematic character of the suffering felt due to passion. Racine's approach is ultimately quite innovative, as it allows us to understand how a character in their flesh can feel a passion that they cannot live fully. [...]
[...] 629-630) of which Hippolyte only understands the wise version (v. 631-633). It is then that Phèdre gives in to her 'mad passion', from verses 634 to 6625. However, her statement will remain vain, showing Racine's choice not to go beyond the unthinkable, and to inscribe himself in Jansenist and classical codes, in which forbidden loves are marked by a fatal destiny. Thus, this first part shows that Racine has chosen to reappropriate the work of Euridice, while distancing himself from it. [...]
