Problems and poetics of the tragedy of Euripide Hippolyte. Hippolyte (tragedy)

Chapter IX.

The crisis of the regulatory hero: "Hippolyte" Euripid *

In the established system of estimates of three great ancient Greek tragics, Euripid is customary to be considered as a playwright reflected in his work of the crisis of Athenian democracy, in contrast to Sofokla, the poet of her heyday. The validity of these characteristics as a whole cannot cause doubts - provided that, however, in the very heyday of Athenian democracy, we found serious contradictions, which also gave rise to the tragic power of Sofoklovian heroes. In turn, in the Dramaturgies of Euripid, we will find well-known points of contact with the artistic thinking of his senior contemporary. So, some of the heroes of Euripid find features close to the image of a person, "what it should be," with the only difference that these heroes are forced to live in the world, significantly different from the world of Sofokla.

The transitional character of Euripid dramaturgy is brighter than everything is detected on the analysis of "Ippolit". Posted in 428 BC. er, a little earlier "Tsar Edipa", often coming closer with the works of Sofokla in the outcome of the main actors, the tragedy at the same time testifies to the beginning of the deepest crisis in the views of her author on the world and on the meaning of human suffering in it.

We will start our analysis not from that hero, whose name is the tragedy, and with his young fashion Fedra. Although Aphrodite in the introductory monologue already gives a brief description of the Hippolyte, which is soon confirmed by the own behavior of Tsarevich, neglecting the warnings of the old servant, he will then leave the orchestra for a long time, and our attention focuses on the experiences of the unfortunate woman. Such a procedure for submitting to the public of his heroes, apparently, attracted by EURIPID, - we will not break his ideas.

Since ancient times, the creator of "Ippolit" is already considered a subtle connoisseur of the female soul and admire it with its ability with exceptional psychological insight to outlines in love, rolling among contradictory feelings and motivations. And when Fedra, extended by the fruitless struggle with his passion, will appear in front of the choir, we will have to all join this assessment of creative achievements of the last of the three great Greek tragic tragics: half-sized vision of Fedry, who dreams of hunting in the reserves, about the throat of water from the forest stream , About the bed among fragrant meadow herbs (208-231) 1, - to Euripid, the Athenian spectators did not see anything like this and did not hear.

With all that, more close attention to the expressions, which are characterized by the love sense of Fedra, will not only again show us the peculiarity of the image of a person in an ancient drama compared to the literature of the new time, but also will allow to trace the undoubted dependence of Euripide from its predecessors.

First of all, the identification of the love feeling of Fedry with the disease is attracted. So calls him in the prologue of the Goddess of Aphrodite (40), which knows the source of this "disease". So describes the state of his queen's calling a little later on the orhestra. The choir of cessensky women: they learned that Fedpa is already the third day "languishes on the face of the disease" (131), refusing food and expecting death as a relief from the secret ailment. And further, throughout the six hundred poems, from the first phrases of the Kormilitsa, withdrawing its Mrs. (176), to the reflection of the choir commenting on the last decision Fedra (766), the words "illness" "sick", "painful" everything is still used again and again For the image of the state of Fedra, affected by severe passion. The image of "illness" (NOSOS and related words) becomes a kind of dominant in the entire first half of the tragedy 2.

The key concept of "disease" is further refined: Fedra's love passion is likened to madness. For the first time, this thought is expressed by the choir, guessing about the reason for the difficult state of the queen: is it obsessed by the will of Pan or Hekat, is it not maddisted by the suggestion of sacred corobans or "mother of the mountains"? 3 (141-144). When Fedra, Fedra, in love delusion, expresses his inexplicable desires, Kormilitsa considers them a manifestation of madness (Mania, 214) and the most speech - insane (Paraphron, 232). And Fedra, waking up, asks himself in horror, where she "wandered aside" 4 from common sense? She was in madness, succumbed to blinding, which is saturated by a deity. It is difficult to return to the normal state of mind, but also to induce - the trouble (240-248). It is not surprising that the choir after all that he saw and heard, intensively encourages the crumline to find out the reason for the "wandering of reason" Fedry (283).

Portraging love as the most terrible appearance of the alend - madness, Euripide is largely in line with the artistic tradition, which has long been in ancient Greek poetry 5. Already Ivik, describing the well-being of a person covered by passion, likes the effect of Erosa with a rapidly impulse of the fierce Thracian wind, who concerns the soul of "tearing madness" (FR. 286). The classic "singer of love" Anacreonte, not being able to deal with his contradictory sensations, speaks of himself: "I love and I don't like, I do not like to indulge and unfortunately" (FR. 428). And elsewhere: "For Erosa, our madness and confusion is no more than a game in the bone" (FR. 398) 6. Continuing this line, the choir in Antigonia says that a person who was attacked by irresistible Eros, "fell in madness" (Memenen, 790).

As for the designation of the love passion to the word "disease" (NOSOS), then in the lyrics, the first testimony is for us an excerpt from the Dithyramba of Vacchilde (26, 8), where this concept is called a love attraction of the Cretan Queen of Pacifia to the handsome bull. In the tragedy (excluding the work of the Evripid itself), the term Nosos is found several times in the "Trachinians" of Sofokla, when it comes to the passion of Hercules to the captive Iol (445, 544 BIS).

Thus, both estimates of Love Fedra, found in "Ippolite" - "disease" and "madness" can be considered quite traditional for Greek artistic thinking of the V century BC. e. They are adjacent to them, essentially, an equally traditional image of a love feeling: it is perceived not as a spontaneous act occurring in a person itself, but as a result of the divine effects from the outside.

The first testimony on this account belongs to the Aphrodite itself: when Fedra first saw the IPPOLIT who came to Athens, she "was covered in the heart of terrible love" "According to Cyprus's plan" (27 Ael.). And now, when Fedra, along with the Teshem, is in the sober, she, "unfortunate, affected by the stilege of passion", silently die (38 words). In the same expressions, the state of Fedry Artemis will be characterized by the state: the spouse of Teres fell in love with his son, "Slapped with a stained of 7 hates from the goddesses" for her, Artemis (1301-1303). In turn, Fedra, who came back from Love Brad, tells the women of the choir about the progress of her thoughts when her "wounded passion" (392), - afterwards the choir, having brought the gloomy End of Fedra, will sing about how the Queen, "broken dishonoma love" , dying, "freeing the heart from the painful passion" 8.

With the idea of \u200b\u200blove as an external strength, an amazing person, we also meet in two choral songs.

After Fedra opened his mystery, the sober women turn to Eros with a prayer "not to be with them with trouble." "For nor the flame nor, nor the ray of Light has such a force as the Aphrodite arrow, which is mosquited from the hands of Eros, the child of Zeus." In vain, people do not even honor him on a par with the Olympians: "After all, he," coming to death, ruins them and satisfies them all sorts of troubles "(525-544). Another time, the choir recalls the power of Aphrodite, when the bitter fruits of its intervention have already become obvious: Fedra hanged himself, Hippolyte is confused by the horror horses. But the sober women do not condemn Cyprus. On the contrary, their song is rather reminiscent of the anthem, glorifying the goddess: she conquers the imbibeous hearts of the gods and people, and with her, with her Eros's rapid wing together; He flies over the land and the sea, the ocellis of those who attack, sow madness in the heart ... (1268-1280). (The original vocabulary creates an even more energetic image of Eros, who flies for a sacrifice as a hawk for prey.)

Thus, the vulnerability of a person in front of the love passion saturated from the outside and the actual often, contrary to his desire 9, is the presentation, shared and Fedra and the choir. The statement of this circumstance puts, however, in front of the heroes of Euripid, the most important ethical question that did not arise neither in front of Homeric leaders (each of them knew that "pleasantly connect to love with a woman", Il. XXIV, 130 words), neither the author already mentioned anthem to Aphrodite: how to behave a person who was in power of such a puff?

Of course, the easiest way to do not even try to give him meaningless resistance, but to submit, without reasoning. So did, for example, the heroine of the unreverbred tragedy of Euripid "Crytane" (mid 30s of the lead, BC) - Cretan Queen Pasifaya, mother Fedry. The papyrius passage of its monolor 10 has been preserved, in which we meet a complete arsenal of lexical tools in three dozen poems denoting a love attraction. Not at the request (OUCH HEKOUSION, 10), and by the will of the Divine Pacifia "fell in madness" and "mad in the disease" (9, 20): looking at the handsome bull, she "felt in the soul of the bite of a disgraceful illness" (12 ). Her passion is "the blows in the gods", the disease (30, 35), the resistance of which is useless.

I did not try to resist her and Fedra - but not in the famous now "Ipolyte", but in an earlier tragedy under the same name written by Euripid, probably in the second half of the 30s, that is, almost simultaneously with the "Certains". From this first "Ippolit" to us reached two dozen fragments of minor volume 11. Although we encounter in them and the usual designation of Erosa as the "most turbulent" of all the gods, and the mention of "soaked disaster gods" is unknown, as in the details the action proceeded. But another is known: the tragedy failed, and for the second edition, the poet had to fix something "inappropriate and decent censure" in the first version. Since the second "Ippolit" was awarded the first award, it was clear that the indignation of the Athenian in an early play was not the fact of the appearance on the stage Fedra, who fell in love with a young man (he was the myth!), And its unworthy behavior: here the stepmother of the Ippolit itself was explained by him in love, so the young man had to close his head with a cloak (hence the name given to this tragedy in the ancient editions: "Ippolit, closed by a cloak"). The Athenian Queen, who was hanging on her neck, could not cause sympathy from the audience. Evripid took into account this and soon soon managed to justify his heroine, but at its posthumous reputation in the eyelids, this belated rehabilitation almost did not affect her: since the first version was much more affected by the entire subsequent literary tradition, including Ovid (4th letter in "Heroids" ) And especially the Seneca, which was actively used by Rasin, then the modern reader with the way Fedry invariably connects the idea of \u200b\u200ba stepmother, who fell in love with his loyalty and daring to open his love to him. Meanwhile, Fedra in the preserved "hippolyte" is endowed with completely different features, and it is these traits that make it tragic in a completely specific ideological plan, characteristic of Athens at the turn of the 30-20s V century BC. e.

The key to understanding the image of Fedry is contained in its famous monologue facing the sober women. The researchers have long seen that the characters of the "early" tragedies of Euripid serve consistently as it were in two dimensions: emotional and rational. At first the viewer sees them in a state of despair, anger, love madness; Then the immediate explosion of feelings calms down, and the heroine (for most often it is a woman) turns out to be capable of comprehensively reasonable, logically argued analysis of its position 12. One of the most consistent samples of such a "model" of the tragic image and is Fedra: between hopelessly in love, covered by half-hearted dreams, which it appears in Art. 198-249, and a reasonable worthy of a woman who utters his monologue (373-430), no, at first glance, nothing in common. Meanwhile, such an image of a person is characteristic of the entire ancient tragedy that transmits the contradictory mental state of the hero by consistently showing its various sides 13. In addition, between the last words, the Fedry pronounced in delirium, and the beginning of the monologue is placed her dialogue with a bundle, trying to learn the cause of the disease of his Mrs.; In this exchange of replicas there are motifs that will receive full development in the further behavior of Fedry.

Without suspecting the true cause of the spiritual confusion of the queen, the Kormilitsa expects to find it in more or less everyday circumstances that are able to plunge the noble nature in despair: whether the hands of the Queen are not desecrated by shedding blood? Didn't you definitely have a damage for her? Does she change the spouse? In mysterious for the crumbles, Fedra's responses gradually reveals its mental state, so this versipia and composite, and for the outcome of Fedra serves as a link between the first scene and the monologue. So, the hands of Fedry are clean, but firm - in her way of thoughts; It is not an enemy robs, and a close person, and moreover, contrary to his own accord; She has no complaints about the Teshe, - at least she would not be unsuitable in his eyes. Otherwise, the situation in which she is, should bring her honor, for it will find the way to valor from the shame threatening (316-331). Kormilitsa, being absolutely unable to urgently, to what it all knows, only one understands one thing: you can judge the honor and prowess of a person only when these properties are available for Furnishing, that is, manifest themselves in its actions or speeches. Understands this and Fedra; If she committed scores with life without explaining the reasons for his act, no one will be able to appreciate the power of its Cyprudo resistance (329-335; Wed 403 ate.). Therefore, it will inevitably have to open the secret of the chorus, but the decision is given to her with the greatest labor. From here - the semisalization of Fedra, which is not named by the name of the Ippolit, and characterizing the subject of his love as the "Son Amazon" (351). And while the crumbles, and after her, the choir worried a terrible discovery, Fedra is going with the forces for his monologue.

Its speech is not a impulsive reaction to the despair of the choir, not an excuse of "to occasion", but the result of long reflection over the fact that human life is destroyed. Accordingly, the monologue is built on all the rules of the logical development of thought: first - the overall reasoning on moral standards (373-387), from which Fedra makes a fundamental conclusion for himself (388-390), after which it moves to its state, as well as clearly dismanting it on Consistently traveled steps: it began with the fact that he tried to hide his passion (391-397); Then I knew to defeat the recklessness of prudence (398 ate.); Finally, when she failed to overcome Cyrus, she decided to die and justifies this decision (400-425). A small reasoning about the value of moral principles is completing a monologue (426-430), returning us to the move of thought at its beginning.

When we are dealing with such carefully constructed by argument, each item should be thought out and appreciated to understand not only the image of Fedra itself, but also for the ideological design of the tragedy as a whole, even if we can fully uncover it, only sobering in the behavior of other participants . Based on this double task, we try to first allocate Fedra from the monologue, regardless of it and its future.

First of all, Fedra's feeling believes the disease and madness; To cope with him to overcome Cyprus (394-405), in other words, Fedra is entirely adhered to the traditional evaluation of love as a disaster sent from the outside, which we have already traced in the tragedy. As the sky from the Earth, far from our heroine from reasoning that every living person has the right to satisfy passion, because it inspires him Crypris herself, - this argument that will not slow down to take advantage of the Kormilitsa, Alien Fedre and deeply disgusting. She knows that the betrayal of her husband brings bad fame to a woman, and curses the one of them, which was the first to disgrace a married bed (405-409). It is also killed by the thought itself that she can be disposable to her spouse and their own children, "let them live in the glorious Athens, taking advantage of the good glory, which Mother has tightened (419-423). Only one can compete in a duration with human life - justice and sound thinking (426 ate.), That is, it is better to die in valor than to live in a nonsense.

Two moral concepts determine the course of thought Fedra: the desire for glory 14 and the fear of shame 15, and both of them bring the heroine of Euripid with Sophocla characters, especially with Ajax and neopolmem from the later "phylotte" 16. The commitment to the moral values, about which Fedra speaks in a monologue, continues to characterize it and further, in a conversation with a buckle trying to lean the queen to rapprochement with the Hippolit.

Kormilice, playing, by expressing one researcher, the role of the devil, who quotes the Bible, can not be refused in rhetorical skills and in the conviction of its argumentation. Here, and the need for Cyprus, generating all living on Earth, and reference to the gods entering into illegal relations among themselves. Here, finally, the appeal to the feeling of self-preservation Fedra: Of course, it would be better for her not to wish the connections with the Ippolite, but if it was threatened with her life, wouldn't you have the right to nurse to go to extreme measures?

Fedra responds to all this is definitely enough: the kind of glory is still more expensive for seductive words, and in the arguments of the crumbles she sees a solid shame 17. The only thing that attracts her attention in the nurse speeches is the mention of the "Potion, Mitigating Love", which heal Fedra from illness, without forcing it to the shame and does not damaging her mind (509-512). "Ointment or drink is a medicine?" - asks Fedra (516) 18. Regarding the poems to the Dialogue of Fedry with the Kormilitsa, the tragedy researchers express the most controversial opinions.

Some of them see in Fedre blinded by passion in love (and sometimes at all "lustful Babeñak" 19) and it is believed that in the words of Nyanki, she finds the saving rope abandoned to her, for which she is enough.

Other researchers who adhere to our heroine have a higher opinion, still admit that the Nyanka manages to break the resistance of the queen: already exhausted internal struggle, she is glad to shift another responsibility. If the old woman is able to shyly the Hippolit and the initiative of rapprochement will proceed from it, Fedra, remaining in the position of the passive side, again will achieve its goal 20.

Finally, the third category of philologists 21 believes that the verses of the verses are not in contradiction with the moral Credo Fedry and do not give grounds to rotten it: if the promised medicine does not hurt her good name and health, why not try it? If this attempt ended in failure, Fedra will still be before the tragic choice: shame or death. It is significant that the greatest difficulty of Fedra's situation is quite aware of the choir, unconditionally dividing her attitude towards the shameful proposals of the cormal.

Having heard the involuntary recognition of Fedry, women immediately understand that she irrevocably destroyed himself and that she was left for long (368 ate). After the monologue of the heroine, the choir again supports it in the orientation to "noble glory" (432), the arguments of the cormalists commented even more unequivocally: "Fedra, she says, of course, useful in the prevailing distress, but I will praise you. True, this praise is heavier than her words, and you have much more painful to listen "(482- 485). The choir, further, shows a rare point when the Grozny voice of Hippolita is coming out of the palace, brazhanitis for trying to bring it with a stepmother. "Alas, what troubles! - Women exclaimed, turning to Fedre. - You are predicted! .. The mystery revealed, you died, alas, alas! loyal to a close man "(591-595). And again, after an angry monologue of Ippolitis: "Alas, alas! It was accomplished, and it is impossible to correct, Mrs., tricks of your maid "(680 ate.) For Fedra, these words serve as a reminder of the role that the Kormilitsa played in her fate. "Didn't I say, didn't you suggest to be silent about what I'm killed now? - She fell on the nurse. - You could not restrain, - because of this I dying in a nonsense "(685-688).

Just taking a pre-negative position in relation to Fedre, it can be argued that she is trying to dump blast from a sick head to healthy: we heard at the very end of the previous scene, as Fedra expressed concern in excessive frankness of the cormalitsa, - we see that this fear was confirmed . "You used to advise me unkind and got me down on evil," Fedra continues his reproaches (706 ate.). However, now she is not to the cormal. Subjectively, Fedra is not at all guilty of none in her criminal passion, nor in the exposure of her secrets. But it objectively, it may be in an unfavorable position, if Ippolit, despite the silence of this oath of silence, will tell his father when he returned to a proposal that he thinks, he thinks from stepmother. Therefore, with even greater force, there is a desire to die in the first monologue, expressed in the first monologue and again awaken at the first sounds of the voice of the Hippolit (599). At the same time, the motivation of the decision to die in the last words of Fedry almost entirely repeats her arguments in the first monologue: "I've ever been, for the sake of keeping my life, I will not be disgraced my house in Crete and not going to look in the face of the Teshe, having committed shameful acts" (719-721) . As before, the glory of the good name and the fear of shame for Fedra stand above life.

It is often said that the Moral Code Fedry is focused on an external assessment, and some kind of moral levels are seen in this, limited by the terms of the social environment: it is afraid to be exposed in a crime (420), it is afraid to seem unfit (321, 428, 430), afraid of bad Reviews, that is, her scary allegedly is not an immoral act, but his publicity. Of course, this moment plays a significant role in the moral position of Fedry - but it is equally significant, if not more, it takes place in all the "heroic" ethics. For Homeric heroes, concern for glory, including the posthumous, is one of the main moral incentives. Sophoklovsky Ajax rushes at the sword at all because the revenge plan was failed to insult his atridges, but because the intervention of Athens turned this plan into senseless beating of Greek cattle, an eternal shame and ridiculous. And even such a demanding to himself, Jobs know that a shameful act, hidden in the darkness, does not entail a shame for the "Trachinians", 596 ate.). It means that in this respect the image of Fedra is adjacent to the long row of the Homerovsky and Sofoklovian heroes, jealously guarding their reputation.

The desire of a person to enjoy respect for his fellow citizens, fear of shame and the glands were transferred in ancient Greek the concept of Aidos and the impressive verb of AidComai, which are found in "Ippolite" in relation to both the main characters, although in the exact opposite sense. They do not succumb to the Russian translation into Russian.

The initial value of Aidos is "reverence", "reverendity worship", most often - a sacred object or creature capable of causing such a sense. For example, a person must experience and exercise AIDOS for parents, old people, alien, asking for protection. In the event that, however, if it is clearly neglecting the moral norms, he threatens the moral condemnation of tribesmen or fellow citizens, and such a person will be forced, in turn, to test the Aidos- sense of "shame" for its actions. This condition is transmitted to the verb aidcoinai - "ashamed" the opinions of others.

Returning to Fedre, we will find the AidComai verb in two very demonstration points of the tragedy.

Having come to themselves after love hallucinations, Fedra appeals to the Kormilice: "Oh, I'm unhappy! What did I do? .. I cut my head, nanny, I'm ashamed (Aidoumet-HA) said me. I tear tears from my eye, and the gaze is addressed to my shame "(239-246). Thus, the first consumption of the verb of AidComai in relation to Fedre denotes the feature where emotions are subside and comes into their rightness, that is, the awareness of the debt and understanding that the attack of love passion in front of people will disgrace the noble queen.

Five hundred with excess poems, -After the angry speeches of the Hippolyte sounded and finally decided to suicide Fedra went to the palace, - the choir foresees her sad end: now she knits around the neck of the loop, "Handshed ((KataideStheîsa) his terrible share, preferring good Glory and (for the sake of this) freeing the soul from the destruction "(772-775). Here again the idea of \u200b\u200bthe shame is closely related to the idea of \u200b\u200bgood glory, and again the verb of AidComai (with the prefix of Kata-, attaching the value of the completion of the process) notes an important watershed in Tragedy: Fedra leaves life and leaves the characters acting in the future.

If in both disassembled cases, the consumption of the verb AidComai, framing the process of reflection and decisions Fedry, does not cause any ambulance in the interpretation, it is much more complicated by the AIDOS itself, which occurs in the opening part of the Fedra's monologue.

During his long night thoughts, she says here, she came to the conclusion that people do bad not because of the lack of natural mind, because many are able to think healthy. We know and understand what is useful, but do not do it. Some - due to the lack of will (literally: "Due to inactivity"), others are preferring good some pleasure.

After all, in life a lot of pleasures: long conversations, leisure-sweet evil, and Aidos; It happens two types: one is good (literally: "Not bad"), the other is the burden of houses (377-386).

We retold Fedra's thoughts, based on the traditional assignment of the adjective Dissai ("double", "dual") in Art. 385 by the word Aidos (in Greek it is a female genus). However, such an understanding, ascending to the manuscript, generates significant difficulties that modern interpreters are trying to overcome in different ways.

First of all, as Aidos should be understood here - as "shame" or "honor"? Since Fedra calls him among the pleasures, the meaning of "shame" is clearly not suitable, for what a pleasure can have a person from a feeling of shame? As for the "Honor", "respect", then they are undoubtedly able to cause pleasure in man, it may be even more than a long conversation with girlfriends and peers on a female half or leisure, remaining at the hostess from her homework.

So, Aidos here - "Honor", delivering to man a pleasure, because he fastens his place in society. But then why this "honor" appears in two types: one is good, the other is the burden of houses, that is, a clearly negative concept? To explain this duality, various parallel places from ancient text22 are attracted, in which, however, there is no speech about two varieties of AIDOS. In general, this noun in the plural in the ancient Greek is not witnessed, except for the already mentioned Scholia to Art. 386.

Despite this, two types of Aidos are trying to still extract from the text of the "IPPOLIT". It is said that if in the above Art. 244 Fedra is experiencing a good Aidos, having a weakness, then the situation in Art is different. 335. Here, the feeder, falling to the feet of Fedra and grabbing her hand (the usual gesture of the mercy about mercy), requires explanation of the reasons for her illness, to which the following answer is received: "I will give you (asking you to give a gift), for I read (Aidoumai) Your hand "(335) - Like the hand of an old woman who won Fedra. It is believed that the respect, manifested by Fedra to the praying, becomes the cause of her death, because the crumbles opens the mystery of his Mrs. Gippolit, and that, thus, Aidos here acts in its destructive function. This interpretation is relatively widespread, nevertheless, it is unlikely: Fedra has not regretted that her mystery became known to the cormal and women who make up the choir. Rather, on the contrary, Fedra could never count on "good glory" if she had hid her love from the "society" and no apparently caused the reasons for the depths of the palace. Justifying its resistance to Cyprus, pushing it to criminal arms, Fedra can be awarded "reverence" for preferred the shameful life "noble image of thoughts" (Wed 331, 432). On the other hand, if Fedra honors his old food, is it possible to consider the proof of the negative properties of AIDOS, allowing you to identify it with the "house burden"?

As can be seen, interpretation, postulating the existence of some two AIDOS, do not lead to the goal. Therefore, it deserves serious attention recently, the idea that the adjective Dissai - and grammatically and in meaning - is not at all to Aidos, but to the noun Hedonai ("pleasure", in Greek, too, the female genus) 23. Then the opposition in the next verse acquires a completely sensible meaning: some pleasure is "not bad", others - "burden for houses". The English researcher, who proposed such an understanding of the text, believes that Aidos Fedra relates just to "not bad" with pleasures (in fact, what is bad in honor?), And long conversations and leisure - to the "home burnt". In our opinion, Fedra thinks in the opposite way: with her, female, point of view, in long conversations and leisure can hardly be any harm for the house; These are innocent entertainment of the Greek woman, closed for a lifetime in the four walls of Gyneciya. But then the question arises, what considerations make Fedra identify with the "house burden" such a worthy concept as Aidos? Here we approach the contradictory content, which is laid in ancient Greek Aidos and which first revealed in all its contradictions just in the Euripid "Ippolite".

We have already noticed more than once that the idea of \u200b\u200bAidos is one of the most concentrated expressions of moral orientation on the external assessment of human behavior. It is not important that he thinks the hero, doing anyway, it is important that from this it turns out in the eyes of his public environment. In the case of Fedra, the situation is complicated, since no one knows about the reason for its suffering and, therefore, cannot assess the power of its resistance to shameful passion. To find the path to the "valiant" (331), to earn "glory" and "honor", Fedra must open its secret. Of course, making it, she could remove into the bedroom and hang, but then the tragedy would not work. The tragedy begins when Fedra, contrary to her will, issued by the feeder with the feeder, should resort to slander, so that in the situation that has arisen, to preserve the good name of his own children, - it encourages it all the same aspiration to "honor", which requires evaluation from the outside .

It should also be noted that the very fact of revenge Ippolita should not cause such a negative relationship with the viewers of Euripid, like a modern reader: the desire to harm their enemies ancient Greek ethics considered the same natural property of human nature, as a readiness to provide all sorts of services to friends. Fuchidid, reporting events already known to us in Kerkira (see Chapter II), adds that in this troubled time, people preferred to be abused than the insult (III, 82, 7). The same point of view, judging by xenophon, the Socrates adhered to or, in any case, did not refute it. "It is considered worthy of the greatest praise. The one who the first enemies do evil, and good friends," he said 24, so no contemporary Sophocla and Euripid could condemn either Ajax nor MEDE: both are a deadly insult, and both have the right to look for extreme funds. For revenge.

There are, however, a significant difference between the position of the named heroes and the position occupied by Fedra.

Ajax and Medea are revenge on people who are really guilty of their humiliation, Fedra is circumscribed on the death of an innocent IPPOLIT. Of course, he does not choose expressions in an enjoyment of anger, but its fair indignation is caused by the dishonest proposal of the cormal. Ajax openly recognizes incompatibility of his position with values \u200b\u200bof valor, - Fedra resorts to a posthumous slander against a person connected by a swirl of silence. Ajax, to avoid shame, rushes on a sword, paying one for her nonsense, - Fedra is fascinating with him into the grave of another, whose only wines - impeccable morality. "To live well or perfectly to die," this is the motto of the noble Ajax (479 Cl.). "I am perfectly arranged my business," said Fedra (709), already the idea to destroy the Hippolita and not noticing that she repeats the words of the Kormilitsy (521), who disgraced her Mrs..

Orientation on an external assessment, at the "honor" (AIDOS) in the eyes of others pushes Fedra to an obvious crime. Artemis appearing in the final opens his eyes to the "nobility" of His spouse (1301), it is impossible, however, not to admit that the nobility could be paid for at the price of one life instead of two (not to mention the breakdown of the happiness of the Tereus) if his own opinion He meant itself for Fedra more than an estimate from the outside. Fedra becomes tragic heroine because it is not enough inner consciousness of his innocence, "she must bear their moral qualities to the external court, which - in the face of the Kormilitsa - it turns out below the hope of hopes imposed on him and forces Fedra to look for the salvation of his reputation in a dishonest slander. Before exposing her secrets before Ippolit Fedra could argue that her hands are chicted, but in thoughts faded in the thoughts (317), Fedra judges himself strong enough, considering the very bad idea of \u200b\u200bthe possibility of changing the spouse. The posthumous accusation of the Ippolit Fedra deprives himself the right to claim the purity of the hands, because now they are even more dedicated to innocently spilled blood than before her thoughts were stained with criminal passion.

Fedra discloses the failure of the scale of the moral norms, which was measured by the epic and sofoclovic heroes, the disadvantage of ethical orientation on Aidos - "Honor", which implies an external rating of 25. Is a stable position in this world for a person inserting internal self-esteem in the concept of Aidos? The answer to this question should be sought in the fate of the IPPOLIT, - no wonder his tragedy is played after the tragedy Fedry 2 6 ended.

The main hero of "Ippolit" was lucky in modern literary studies hardly more than Fedre or the king Edipa. The pure young man coming from the proposal of the cormilitsa in a completely explanatory state of violent indignation is accused of arrogance, arrogance, incomplete rigor in relation to the neighboring. He is so convinced of his superiority over all the others, so much imbued with hatred for women, that "inseparable, passionately and arrogantly, he refused the whole half of humanity in the air, the sun and even mind," so wrote about Ippolit at the beginning of our century Inn. Annensky 27, being under strong influence characteristic of the end of the XIX century "psychologizing" interpretation of the famous tragedy. However, in the most recent work, self-confidence and narcissistic pride are still quite often put in the guilt of IPPOLIT: he does not listen to the warnings of the old servant and, without sobering in the creature of the case, the behavior of Fedra with an ineffably hotness, which encourages it to legal revenge 28.

To these interpretations seeking to establish the subjective guilt of the Hippolyte, quite persistent searches for its "tragic guilt" are added, which should be rooted in a free or involuntary clash of the hero with an "objective" state of the world. Here, the unforgivable neglect of the Hippolyte of the Side of Human Life, without which there would be no life at all. Refusing to the ministry of Cypris, the Ippolite allegedly seeks to exclude an instinctive, "animal" of the beginning, inherent in any living being. It is not surprising that the eternal nature punishes such an attempt that violates the natural order of things, and therefore, in the death of the Ippolitis, they want to see some "tragic justice", raising a single episode to the level of existential tragedy of mankind 29.

Finally, recently becomes fashionable (mainly in American philology) to explain such animate of the thoughts and actions of the IPPOLIT from standpoints close to psychoanalysis: Ippolit de suppresses natural sexual attraction by looking at him for itself and for other unilateral morals; Since, however, a person cannot eradicate natural instincts, it becomes a victim of this unnatural suppression 30.

If we turn to the tragedy itself, we will see that it not only does not give the slightest grounds for reasoning about "tragic wine" and even more so - for Freudist searches of the suppressed sexuality, but also the subjective fault of the andpolyte is not so obvious, as it seems to many researchers .

As for the incriminated hippolyuis, the suppression of sexual instinct, it cannot be deducted from the tragedy under any microscope. A rather bright picture of how a person suffers, struggling with the Forbidden feeling, gives us the image of Fedry - and in her hallucinations, and in its reflections. Nothing like Ippolit is not worried; He does not have to fight with a love sense for the reason that he just does not feel it. He is physically and morally a completely healthy person, and the order to take care of the diet dinner, which he gives in the prologue to his friends-hunters (108-112), sharply contrasts with the subsequent story of the choir about the three-day abstinence from food on which Fedra who ordered himself (135- 140, 274 CL.).

The question of the refusal of the Hippolyte from the ministry of Aphrodite cannot be considered abstractly, in the separation from the content of the tragedy and the milet on its foundation. Probably the most stringent critics will not demand from the IPPOLIT, so that he proves the omnipotence of Cyprus, going on the box in love with the stepmother. In this way, of course, the requirements would be satisfied, "existentially" laid in human nature, but IPPOLIT would hardly won from this in the eyes of the contemporaries of Euripid and its current readers. Consequently, within the tragedy, Ippolit has no other way out, how to reject the claims Fedry, even if he is just a decent person, and not a fundamental woman.

In this regard, we note that other heroes of the ancient myths are also received, which turned out to be in a similar position: Biblical Joseph, Greek Bellofont and Ply 31. All of them refuse to divide the lodge of the seductress, so as not to impose insult to people who have enjoyed them and confidence; In the hypolyte, the moral grounds for refusing to cohabit the stepmother, undoubtedly, even more weighty. Consequently, the chastity of the andpolyte is not at all a mandatory prerequisite for its tragedy 32. Of course, Evripid has motivated the long-hated age of Aphrodites, and we still have to explain the nature of her actions. In the same as regards the Hippolyte itself, it is ridiculous and meaningless to put him in the guilt of a refusal to connect with a stepmother.

What is the origin of this innocence of the Hippolyte, which is as incomprehensible to the modern reader, as incomprehensible it was for the French spectator of the XVII century (why was Rasin and replaced it with Roman Ippolit and Ariza)? The contemporaries of Euripid were in this sense in a more favorable position: they knew the hypolyte not only as a character of myth, but also as a "hero" in the religious meaning of the word, the subject of worship in the local cult. It is in the sober, where the euripide tragedy takes place, in his time and much later (in any case, in the second century. N. E.), there was a sanctuary of a hippolyte, associated with marriage rite: in front of marriage, the szinsky girls brought as a gift "Hero »Sliced \u200b\u200bstrands of their braids. Since the prebrid sacrifices go back to the deepest antiquity, then in the hyppolite, it is likely to see the ancient sober men's deity with features parallel to the functions of a wealth of women's goddess, Artemis, which was a patronage of both the virgin chastity, and women in labor. It is not difficult to explain why the item was the subject of honor in such a cult, who deceased before marriage: his innocence personified her virgus, and his death reflected the transition from one physical condition to another, which in the primitive consciousness was perceived as a person's death and birth in the new quality. It is not by chance that the exclusion of the hair is indifferent to the gift) part of the ancient Greek funeral and memorial rite, and the so-called initiations - the dedication of the young men and girls in the rank of "adults" - was accompanied in a number of cases with a ritual associated with blood shedding. Consequently, the chastity of the andpolyte was given in advance with a cult, and the euripide was not necessary to change this cult background, since he did not want to convince his audience at all in the advantages of communicating between the sexes to absurd male asceticism. They themselves knew that a citizen's debt was to marry "for the birth of legal children," as the traditional Athenian formula said. But the contemporaries of Euripide as well understood that the cohabitation with a stepmother with a living father does not fall under the named formula, and in this sense the story of the Ippolita did not put forward any moral dilemma in front of them. Searching in myth about Hippolyte the germin of the tragedy of the depressed and imaginary sexuality means measuring the religious ethics of the ancient Greeks by the measure of the most modern psychoanalysis. But together with the recognition of the immorality of the Union, the stepper with a stepmother disappear and all interpretations aimed at searching for "tragic guilt" of the Ippolita in front of the objective "state of the world".

There remains the "subjective" fault of the IPPOLIT - arrogance, arrogance and much more that modern critics are incubated to him. The basis for this is the fact that the Hippite calls himself several times, and besides in an excellent degree (Sophronestatos). Is it possible to impose it in the guilt?

Sophron's words and Sophrosyne derived from it are no less significant in Greek than Aidos and its derivatives. The most accurate translation emanating from the word Sophron would be a Russian "sensible". It is, however, not about practical "sanity", necessary on everyday life. Since the ethics of the ancient Greeks was highly rationalistic, the concept of "sanity" was invested by an idea of \u200b\u200ba high moral level: "sensible", "prudent" man has the ability to compose, he "pious", that is, well aware of his duty to people and gods And it will not allow yourself a violation of existing moral norms.

"Under this sun and on this earth," even if you do not agree with this, "there is no man who would be piously" (993-995), "says Ippitoli Father and then gives an rationale for such self-esteem: he honors the gods; As friends, people who are incapable of shameful actions, and himself, in turn, does not become absent, but the same in relation to all; Finally, he did not touch women and does not even love paintings depicting lovelings (996-1006). However, IPPOLIT continues, my prudence (to Sophron, 1007) does not convince you, "it leads to the arguments that should refute the accusation against him. Another time, already doomed to expulsion, IPPOLIT Meld to his comrades to hold it, because they will never see a person more than pious (1100 ate,). Finally, in the suicide complaints of the IPPOLIT exclaims: "Oh Zeus, Zeus, you see it? Here I am, the pious and honor of the gods, I surpassed all the cleanliness (Sophrosyne), I go to Aid ... In vain I moved such flour in my piety ... "(1363-1369).

Many researchers consider these words involuntary recognition of the Hippolyte in the narrowness of his ideal and limited perfection: he puts himself to honor the gods, but he himself does not honor Cyprus; His confidence in his own superiority caresses his eyes on the true cause of his death. However, strict critics overlook one essential circumstance: both these and all the words of the Ippolitus, which seems to be the basis for reprocessing, belong to the second half of the tragedy and are pronounced after the young man is undoubtedly "Pious" - Recruitment of machemia and equally piously keeps the loyalty to the oath of silence given by him. Therefore, in Art. 1363-1369 should not look for any generalization requiring the revaluation of their lives from the IPPOLITA): His piety and reverence of the gods concern a completely specific case - compliance with the oath, which he destroyed.

But let's say that the Hippolyte is really too high about themselves, "we listen to what others talk about him. Artemis was the Teshe in the aim of "showing the noble image of the thoughts of the Son so that he died in glory" (1298 CL). By giving the cormalitis of silence, Ippolit, "as follows," did not succumb to her words, but also under the hail of the charges did not break the oath, "being from nature with pious" (1309). The fate of the Ippolitis pegs Artemida, as the gods do not please the death of people of pious (1339 ate), namely, for his piety, Hippolyte Crypris (1402) was hated. Artemis acknowledges that Hippolita ruined his own nobility (1390), and promises to be mistaken for his piety and noble image of thoughts (1419). And if the goddess that worshiped the IPPOLIT, acts sake of his late justification with his characteristic gods with impartiality, then it is impossible to refuse a deep sympathy of the young man on the part of a messenger who brought news about his death: "Of course, the king, I'm only a slave in your house, but never in Life I will not believe that your son is an unsuitable person, even if the whole genus hangs, I hurt the whole forest from Mount Ida, - I firmly know that he is noble "(1249-1254).

It will take a little time, and with this assessment will have to agree to the Teshe: having learned the whole truth and understood the depth of his delusion, the king prayes the Son's son about forgiveness and, contrary to his expectations, receives it. Here we must admit that Ippite is noble and pious (1452, 1454) 33.

Another paragraph in the moral position of the Hippolyte, on which he insists, is his innocence in what is happening, including in the death of Fedry. He says this about himself and at the very beginning of an explanation with his father (933), and after the catastrophe (1383), and finds support in the face of Choir (1148-1150, - everywhere one and the same formula: Ouden Aitios - "Not guilty" ), which is also in every way trying to keep the Tereus from the hasty decision. Of course, if IPPOLita is very hard to search for "tragic guilt", it can be said that in his "innocence" a certain tragic irony is laid: in fact, he is "to blame", for rejected Cyprus. However, Teske is accused of him just in the opposite: in his opinion, IPPOLIT, rushing with his piety, only covers the sensual desire, characteristic of his youth (966-969). Refuting this opinion and shameful suspicion (1191-1193) in the attempt in honor of Fedry, Ippolit and insists on his innocence.

So, if the playwright is in the mouth of his characters uncookedly calls the main character "noble", "pious", "innocent,", then it was hardly in the task of the author it was to blame for this hero, to expose him to the audience in self-confidence, arrogance and other unattractive qualities. Yes, is the object of artistic studies in the Euripid tragedy are the moral properties of the Hippolyte? Not at all; They do not raise doubts, for if the young man had not been noble, pious, etc., it could easily agree with the proposal of the Kormilitsa (Wed. Her own reasoning about the tolerance of many fathers in relation to their sons, 462-465), easy Could disrupt the vow of silence (this is exactly what Fedra is afraid, 689-692) 34. Or is the ethical problem of the chastity of the hippolyte? It is given by the cult, and the audience of Euripid hardly needed evidence that for a man naturally falling down with a young woman than to abandon it, - a meant if this union does not violate the generally accepted moral norms. The problem arising from "Ipolyte" is reduced to another: how the noble and pious hero will behave in the current situation, "how it should be", because everything we know about Ipolyte gives us the basis to apply this feature to it Sofoklovian heroes.

What, in fact, ruffit the hippolyte? Failure to divide the bed with Fedra? She herself did not think about it. It is further said that the angry monologue of the Ippolitis, pronounced in the presence of Fedra, causes the fear of exposure in it, and therefore it resorts to a posthumous slander. If the young man had been restrained in expressing his indignation or at least figured out who was to blame for the proposal made him, - Lee Fedra or acting contrary to her will of Kormilitsa, - all-de could be otherwise. Meanwhile, the intolerance of the Ippolitis is the same "Sophoklovskaya" tragic hero, as a nobility, and in this sense the image of the Hippolyte wears the same transitional character as the image of Fedra: Like the Edipa in relation to Creonh, there is no time (and never comes to the IPPOLIT ) Wake up and look for genuinely guilty. It is outraged by the heartlessness of stepmother to the depths of the soul, and the indignation is not difficult to understand and justify, especially, knowing about the attitude of the Ippolit to women in general. The main thing, however, is not in this.

The monologue of the Ippolitis undoubtedly serves as a false accusation by Fedra, and its purely dramaturgical significance should not be underestimated. However, the IPPOLIT dies not so much from Fedra's slander, how much to comply with the silence oath given them (1060-1063). From the charges of Tereus, the young man have to defend themselves with general reasoning about their views on life, while one interrogation of the cormilitsa would put everything in its place. Then, if Fedra was still alive, IPPOLIT might fear that a truthful story would disgrace her or would even encourage suicide, "now Fedra is dead, and no recognition of a young man can no longer be worse. Finally, no man in the world is able to appreciate the nobility exhibited by the Ippolite, except for the choir, and his opinion is hardly anything for Tsarevich. If Artemis had not appeared in the final and did not reveal the eyes of the eye to all the happened, the son would remain in the eyes of the Father, the student of stepmother, - and Ippolit, of course, could not know that Artemis would take care of his late excuse.

Thus, the Hippolyte, unlike Fedra, is not focused on the estimate from the outside, not for someone else's opinion, but on the own consciousness of innocence. He "not trained to nobility and shame", - these properties in his blood, he was born with them, he would die with them. We learn about this at the first appearance of the IPP polytra at the orchestra, when the young man brings to Artemis a wreath of flowers collected on a robust meadow, which "Shame (AIDOS) refreshes river moisture." Access there is open only to those, "who is not scientified anything, and from nature pulled out Forever Plobesty" (to Sophron-in) (78-80). Here are immediately called two key moral concepts, which will have to play as much role in the further fate of the main characters of the tragedy: Aidos and Sophrosyne. We have already seen what place is the AIDOS in the behavior of Fedry and commitment to Sophronein - in the assessment of the Ippolit. It is important to note that "piety" is inherent in a certain extent and Fedre: Kormilitsa in despair states that both "pious people" (i.e. Fedra), at least against the will, are committed to the pork (358 ate); Fedra itself tried, with the help of piety, overcome love madness (399); The choir considers her a sign of her piety (to Sophron) The desire for "noble glory" (431), the concept of "piety" fades the fatal way to be among themselves Ippolit and Fedra: the first at the end of his angry monologue appeals to someone who could "teach piety »Women (567); The second is removed from life with the threat to "teach piety" of the Hippolyte itself (731).

On whose side, however, there is a true piety, it is unequivocally consistent from the inaccessible understanding of the Teres of the words of the IPPOLIT about the late Fedre: "She did a pious, not having the opportunity to be pious" (1034). The only way to prove his piety to Fedra Death, connected to the false accusation of the step-down, is the bitter fruit of the same orientation on the external assessment, which we considered in detail above. Hippolyte is a pious inside, "from nature," - from here repeatedly repeated in the second half of the tragedy the motive of his "congenital" moral qualities. "There is no man who would be born (gegos) more pious than me," says IPPOLIT (995), and Artemis supports him in this opinion: he was born of pious (Eusebes Gegos, 1309). Three times repeated a negative assumption rejected by the Hippolitis: Let it deceased must and unnamed, "if he was born (pephyka) with an unsuitable person" 35.

It is believed that the appeal to congenital moral qualities is the belonging of the aristocratic morality, which is opposing the true nobility "from birth" in vain attempts of people of more than-known origin to learn to the valor (cf. Pyndara, it. III, 40-42; Ol. X, 20). However, the sophists who resolutely defended the opportunity to teach a person "valor", never denied the meanings of its natural properties (Physiis) for the results of training (cf. Statement of Protagore: "Training needs natural data and training", PhysEos Kai Askeseos, FR. In ) 36 The whole question is what the moral self-education of a person is aimed at which the moral self-education of the person is targeted: the traditional norms, which are available from the expense of the outside and therefore only in it needs, or on the inner court and self-assessment of the individual. It would be incorrectly to give the first half of this alternative to the "aristocratic" ethics, forgetting how the role was played by the fear of "shame" for Sofoklovian heroes. But at the same time, it is obvious that only in the last decades of the V century BC. e. For the first time, the question of the internal criteria of human behavior arises. In this regard, considerable interest of the statements of the philosopher of democritus, the younger contemporary of Euripid.

"Making a shameful case (Aischra) must first be ashamed (Aischynesthai) himself," he wrote. "The aidefsthai is not less than other people, and should not make a bad act, even if no one needs to make a bad act. Learn, anyway, as if all people learned about him. Most of all you have to be ashamed (aideisthai) of yourself, and the law should be installed for the soul: "Do not do anything inappropriate" 37

With the current state of our knowledge about democritus, we cannot establish when they were writing these lines and, more and more, whether they were known to EURIPID? 38 One thing is clear: the democritus proceeded in the assessment of a person not from what others talk about him, but from what he thinks about himself, and the behavior of the Euripid and the entire behavior coincides with this second approach. The Euripid Hero knows that he cannot break this oath, knows that he is innocent, but does not seek external means to prove his innocence or restore the affected reputation. His piety, cleanliness, nobility - deep internal properties, manifestations of nature laid in him. However, they also do not save the IPPOLIT, as Fedra does not save her orientation to the outside: a good name, posthumous glory.

The tragedy of the Ippolitus reaches the highest voltage not in the final, where he is brought by a waiting close death, but in the stage with the Teshem, which does not understand him at all. In this regard, the nature of the dialogue between them deserves attention.

According to formal features, this scene can be ranked as usual for the tragedies of euripide agonam - disputes of two antagonists who defend directly opposite points of view. Among his plays, from the earliest of those who came to us "alkestids" (438 BC) to the set in 415 BC. e. "Trojan", there is not one, wherever two enemies have come across a fierce dispute, they tried to justify their positions with the greatest convincing. Such an agon usually precedes climax, to some extent a predetermining course of the events leading to it. In the "Ippolit" there is a completely different situation: the dispute is not about the upcoming, but about the already committed and, therefore, in a storyline, deprived of any meaning.

In fact, when Hippolyte, alarmed by the screams of the Father (902-904), appears at the orchestra, Teshesya has already managed to turn to his divine parent Poseidon with a request to ignored the unsuitable son (887-890) - even if Ippolyti managed to convince the Father in His innocence, one day, no bore to gods cannot be returned back. But IPPOLIT and is not able to disprove the accusations they are bound by an oath. Therefore, the agon reminds the dialogue of a deaf with a dumb: Teskey does not know the true state of things, taking the truth of slander Fedry, and does not want to listen to the hints of the Hippolyte, of which he could have learned the truth. The hippolyte knows more than he dares to say, but that is why it does not have the ability to refute the Logic Other Tesue arguments. Unlike other agons, this scene is not aimed at the subsequent, but herself depends on the ambiguous past, and all the logic of the dispute turns into the tragic nonsense, in which the position of the Hippolyte is exacerbated by immense moral loneliness.

The situation partly reminds Sofoklovskaya Antagon, where the girl is experiencing a sense of terrible loneliness, without seeing their support. But in Antagona, the logic of the development of action indicates at least about the moral victory of the heroine. In the "Ippolit", on the contrary, it turns out that he himself, and Fedra, and the Tesove became victims of offended Aphrodites and that Ippolit dies without any guilt from him, - this consists of the essential difference in the "Ippolit" final from the Antigonian finals. There, thanks to the active action and self-sacrifice of the heroic personality, world harmony is restored. Here the noble hero is doomed to passive suffering and death, exposing the alogius of the existing world.

There are, however, another feature in the appearance of the Hippolyte, bringing it closer with Sofoklovskiy heroes: this is the ability to withstand the worst test, without ceasing to keep loyalty to its noble nature.

An innocently accused by the Father, the victim of his curse, Ippolit before his death forgives the Teshe unwitting crime. On the call of the Father: "Do not leave me, child, - hold on!" - Ippolit is responsible for a brief: "I endured my own" (1456 Sl.). He is capable not only to stand in his moral debt, preferring loyalty to the oath of his own salvation. He turned out to be able to forgive his murder of an unfortunate father. The greatness and nobility of the Spirit characteristic of the IPPOLIT during his lifetime, accompany him to the last words spoken on the threshold of death.

The development of action in the "Ippolit", leading to the meaningless death of both main characters, shows that in the world of Euripid there is no place for people endowed with the features of regulatory heroes. No matter how they understood Fedra and the Hippolyte of their moral debt, following him leads both to a catastrophe. Human behavior is deprived of a "hippoly" of reliable moral criteria, and the Euripid gods do not help them.

As long as it is noticed, the content of "IPPOLIT" is concluded in a kind of frame, which is created by two scenes, echoing in their dramatic intended purpose. The tragedy begins the appearance of one goddess - Aphrodites; For two dozen poems before the end of the drama, the orchestra leaves another Goddess - Artemis. Immediately after the introductory monologue, Aphrodite in front of the palace fills in the crowd of hunters led by the Hippolyte - along with him in the choral song they glimpse their patroness Artemis (61-72). In the final of the tragedy, the appearance of Artemis is preceded by a choral song of the szinsky women who approve the necessary strength and power of Eros (1260-1282). The contrasting opposition to the same motifs in the initial and final members of the tragedy is drawn to: the power of love personified by Aphrodite and the glorification of virgin artemis - in the prolog; A song about Vsevladia Eros and the appearance of Artemis itself - in the final. In all this, it is felt so well thought out of the artistic calculation that the "divine" framing of "IPPOLIT" cannot be reduced to a purely technical means of the register of the register.

It is often said that the action in the "Ippolit" does not need the comments of the gods that the spiritual drama Fedry and the unbridled wrath of Tene, the moral durability of the hippolyte and the immoral practicality of the cormilites are completely understood as a manifestation of the properties of human characters delivered in certain conditions. Why, after all, Euripid needed two goddesses? Do they imagine the personification of two great elements ruling with human life, - chastity and love affairs, or euripide give them "to the level of anthropomorphic gods endowed with all human weaknesses?

The first meeting with Aphrodite makes us seem to give an affirmative answer to the second of the questions issued.

In fact, Cyprus immediately leads to an unequivocally "human" justification of his attitude towards the IPPOLIT: she respects those who honor her power, and will overthrow those who are mastering it, because the nature of the gods is inherent in such a property: they rejoice when death They are worshiped (1-8). The further speech of the goddess must confirm the justice of this thesis: as Ippolit considers it the worst of the gods, rejecting women's arms, and Artemis honored as the greatest of the goddesses, Aphrodite will revenge today. And although she assures that she is not at all hurt, which Ippolit provides Artemis, and that she does not even envy them, she lists them without contemptuous resentment (9-20). All this is the typical logic of the Homeric gods, whose anger and grace pretty much determined the fate of epic heroes.

Even more than the Homerian gods, Aphrodite in the "Ippolite" of illegible in the means. So, even though she knows about the nobility of Fedra, but does not consider her death so much a significant event as not to sacrifice the unfortunate female for the sake of revenge the enemy and satisfying his vanity (47-50).

Self-characteristic Aphrodite confirms the statements of other characters. Do you think you are not thinking about the old servant at the Ippolita, what are the gods, like people, will enter the arrogance and appreciate the court regard to them? Of course, confirms IPPOLIT, if we, people, live according to the laws given by the gods (91-98). And if the suggestion of the servant does not make a proper impression on the young man, then the old man knows well that he needs to do: bends before the image of Cyprus, he prays a goddess to show condescension to the nerazumiy youth: after all, the gods should be wiser of mortals (114-120). Moluba of the old servant, as we know, have not achieved the goal: the gods should be wiser people, but do not show this understanding of their duties in the "Ipolyte". "Saturation of Anger" 39 (1328), Cyprus ruined Ippolit, - Artemis directly calls her for this "villain" (Panourgos) and explains its action by the fact that Ippolit did not give her due honors; His virtue caused goddess dissatisfaction (1400-1402).

The victim of Aphrodite was also not one of the Hippolyte: without any guilt from her part, Fedpa died; Listened by the Son of Testa, deceived by the will of the vivid goddess (1406, 1414), - how long will he remember, unhappy, about the troubles caused to Cyprus! (1461). These words, except for the final five-hundredth of choir (maybe not belonging to Euripid), are completed by the tragedy, which begins with the self-reporting of Cyprus in front of the audience. The name of the goddess in the first verses of the tragedy, the name of the goddess in the last verses, is hardly a random coincidence. Undoubtedly, the poet wanted to emphasize the role played by Aphrodite in the fate of his heroes, the unlimitedness of her power over the mortals. The last thought is particularly clearly confirmed by the content of two choir songs, which have already had to say: the first of them (525-564) is more expectable, the second (1268-1282) is much shorter, but also here, and there the conviction expressed by the choir comes down to one : Resistance to Eros is doomed to fail.

Therefore, it is often said that the anthropomorphic characteristic of Aphrodite should not give too much value. Of course, the goddess is proud, ruthless, intolerant - but isn't the same love, an inacrist element that subjugates all living on Earth? Remembed in this connection the preserved passage from the tragedy of Eshil "Danaida" (FR. 125), where Aphrodite appears as a great cosmic force, fertilizing the earth and all the earthly. The FR also leads. 898 Evripid himself, closely resembling the strings of Eshil. However, the context from which the Euripid fragment is taken is unknown, and the comparison of "Ippolit" with Danaida, Eschil proves the opposite of what they want to extract from this comparison.

Although we have no reliable data about the content of two tragedies from the trilogy about daughters, there is reason to believe that during the trilogy, both the blasphemy violence of Egyptiads and an unnatural disgust for marriage from Danaid. Speaking at the "Danaida" (the last part of the trilogy) of Aphrodite took the hypermenistra under defense - the only one of Danaid, who retained the life of his spouse, as the voluntary connection of the floors created the prerequisite for the natural resolution of the conflict.

In the "Ippolit", on the contrary, the initial point is not the concern of the gods about the restoration of disturbed harmony, but such an archaic category, as anger of the Divine, personally a man. Even if you recognize the legitimate revenge of the Aphrodites, the IPPOLIT, which violates its eternal law, for which Fedra and Tereks suffer? Fedra, as far as her strength had enough, resisted the criminal passion, protecting his marital honor; If she was submitted to a love feeling, she would have to be late and her husband, and children, - submission to Cyprus as a "natural" necessity would be "violation of the norms of" valor ". In such Cyprus, it is impossible to see the cosmic force with which the Eschilovskaya Aphrodite in the FR is identified. 125, - therefore following the call of nature approves world harmony; Here it would lead to a shameful violation of moral norms. In Eschil's eyes, love attraction is inseparable from the highest laws of morality; In "Ippolit", nature and morality come to an irreconcilable contradiction.

It is best that it can be seen from the reasoning and behavior of the cormality, vulgarizing the idea of \u200b\u200blove as cosmic power, and at the same time perverting and such a traditional ethical concept as Hybris. Having recovered from the first shock, the Kormilitsa is trying to convince Fedra in the meaninglessness of her experiences: nothing happened to it from a number of outgoing, - not one she loves, and because of love should not be sent to that light (437-440). After all, Cyprus is owned in the sky, and in the sea buffin, everything is from her. She sows life and gives love, whose breeding is all of us (447-450). These thoughts, quite consonant with the representation of the Greeks on the strength of passion, do not contain anything odious. But already from the life of the gods, she picks up examples of "side" ties, and moving to the modern to her, it justizes amoral behavior at all: how many husbands close their eyes on treason? How many fathers share the bed with sons? (462-465). From here, Kormilitsa makes a conclusion addressed to Fedre: "So, my child, leave bad thoughts, stop coming out (Hybrizein), because the desire to be stronger than gods is nothing but a pride (Hybris). Dare to love: this wanted the goddess "(473-476).

It is not difficult to understand that the natural-philosophical axiom is undergoing in the mouth of the root of the crumbles amazing metamorphosis: she calls Fedra's care about her honor and sees the "pride" not in violation of moral norms, but in trying to preserve them loyalty. In order not to fall into the "pride" in the face of Cyprus, Fedra, on the thoughts of Nanniki, should be discussed his married bed with a stepmother, - is it possible to come up with a more paradoxical approval of the thesis on the cosmic alliance of love? 40.

Consequently, Aphrodite is endowed with not only anthropomorphic features that make her appearance low-rotatory. If we even take it for the personification of love as a cosmic force, then in this case we will face with an insoluble contradiction: those who do not recognize Aphrodites, like a hippolyte - dying; Those who resist Aphrodite as Fedra - also dying; But those who exceed the power of Aphrodite ("Cyprus is not God, but something more than God ...", 359 ate.) And it is guided by this in practical activities, as a cormalist, lead to a catastrophe. "Calm down, my child," says Nyanka Fedre, "I will arrange it well. If only you, the sea domain Crypris, I was a helper "(521-523). This is followed by the recognition of the nippolytics, leading Fedra to suicide. "I will arrange my deeds," says Fedra Khore.-... Pursuing today with life, I fell in Cyprus, who ruined me "(709, 725-727). Behind this follows a posthumous slander Fedry, standing in life with a hypolyte. Cyprus-assistant and Cyprus-Pueubinet act at the same time, and if Cyprus is nothing more than the personification of the eternal natural instinct, then whether the world is indicated where the "call of nature" leads to the undeserved death of two noble people? 41.

We cannot get a positive response to this question from the behavior and the goddess that is a hypolyte seems to be the complete opposite of Cyprus. If someone from the mortals deserves special recognition from Artemis, then this, of course, Hippolyte is its faithful minister, and none of the Homeric gods would give her favorite to violence Aphrodite, without trying either himself to intervene in the case, or appeal to Supreme Wave Zeus. How many effort attached Poseidon to destroy Odyssey, the permanent lord of the seas managed, however, just to delay the moment of returning the hero to his native itha, because the interests of Odyssey strictly guarded his heavenly patronage of Athena. Evripid Artemis is recognized in his love for the IPPOLIT (1333, 1398), IO does not make a step to save him from the father's curse. She explains this by the law existing on the gods: when one of them plots something, others depart aside, and fear of violating the law guarded by Zeus, forced Artemis to retreat from Ippolit (1328-1334), - a weak consolation for the unfortunate father!

It is hardly more effective to relieve the Teshe and the Dying Hippolitus can bring the prophecy of Artemis about the establishment of a sober cult and especially her promise to pay Aphrodite: her own hand, one of his irresistible arrows, she will strike someone from mortals, who most of the roads Aphrodite and love it ( 1420-1422). So, again the victim of the "divine anger" will be the guilty of the only in the fact that he honors Aphrodite, like the IPPOLIT fell, guilty only that he was honored by Artemis. It is difficult to find in this promise of Artemis the slightest signs of concern for the gods about the fair peaceowing, although the goddess itself and assures that the Olympians pecks the death of pious, and they are bad with their home and children (1340 ate.). Athenian spectators, on whose eyes, the noble Fedra had just died and soon the perfectly clean Ippolit would die, could hardly be convinced of the sincerity and relevance of this late theodice ... 42

A number of researchers put in the guilt of Artemis also its cold indifference at the sight of a mutilated IPPOLIT: it does not allow themselves to shed a tear over his loyal admirer (1396) and removes, as soon as it feels the approach of his last sigh (1437-1439). These reproaches are unlikely to be founded: Olympians in their eternal greatness, of course, does not need to cry over the transient lots of mortals, and contact with the deceased is a ritual defense for them; Therefore, in particular, it was considered a religious crime killing a person in the temple. But for Ippolit, this coldness of Artemis is undoubtedly bitter reproach. "You can easily interrupt our long friendship," he says after her (1441). The gods should be wiser and responsive by mortals - the example of Artemis also does not justify this hopes of people, as well as an example of Aphrodite: Cyprus without hesitation sacrifices his vanity nobility Fedry, Artemis leaves without protecting the moral purity of the IPPOLIT.

Of course, the gods are not obliged to find for mortals from emerging in front of moral conflicts. Among all the tragedies of Eschil and Sophokla, there are only one, in which Deus Ex Machina is used, is the "Philoktt" of Sofokla, delivered in 409 BC. e. But here, the moral problem that stands in front of the neobolem (following the "benefit" or its noble "nature") is allowed to them without any help of the gods, - the appearance in the final herakla finals need a drama only to introduce the plot of the tragedy in the team of the myth demanding The indispensable participation of phylotte in the decisive battle for Troy.

In the "Ippolite" gods twice in action - at the beginning and at the end, but nothing contributes to the clarification of the ethical conflict: the orientation for external honor leads to the same destructive consequences as the deep-inner feeling of piety. In the world where such gods dominate, there are no reliable moral criteria for mortals - this is the reason for the tragedy of the Ippolit and Fedra.

One of the foreign researchers "Ippolit" believes that the fate of all the heroes of the drama proves "the absence of a free human will, the uselessness of a moral decision," no matter what they do, they only carry out the intentions of the Aphrodites declared it in Prolog 43. From the previous presentation it is clear that we tend to attach much more value to the ethical substantiation of the behavior of Fedry and Ippolit. If different understanding of each of them their moral debt equally leads them to a tragic result, then this is not because the gods did not leave the place for the autonomy of mortals, but because their power and power lose in the eyes of Euripid that reasonable meaning they had For Eshil and Sofokla.

Notes.

* In this (and partly the following) chapter used the work of the author: "Wines and responsibility in an ancient Greek tragedy" .- "Problems of ancient culture", Tbilisi, 1975, p. 75-84; "Warum IST Die EURIPIDEISCHE PHAIDRA ZUGRUNDEGANGEN?" - "Acta Classica Universitatis Scientiarum Debreceniensis", t. XII, 1976, p. 9-18.

2 tbsp. 40, 131, 178, 179, 205, 269, 279, 283, 293 ate., 394, 405, 477,479, 512, 597, 698, 730, 766. Wed 1306. External symptoms are consistent with this: the deadly pallor, the shadows around the eyes (172, 175), instantly replacing desires (181-185), a full decline of forces (198-202).

3 "Mother Mountains" Choir calls the famous lowland goddess Kibel, which the Greeks were identified with the wife of Crohn, "Mother of Gods" Rey.

4 Pareplagchthen (240) - a similar image is already in Homer's hymn to Aphrodite (the lines of the VII-VI centuries. BC), 254: APEPLAGCHTHEN N6OIO - "Sided away from the mind."

5 See Read more: V. N. J Arc Ho. ZUM MENSCHENBILD DER NACHHOMERISCHEN DICHTUNG .- "Philologus", 112 (1968), S. 147-172.

6 cf. Feognida, 1231: "Zloshven Eros, hid the madness ..." In all examples of lyrics - unambiguous vocabulary: Mania, Mainomai ..

In the word "sting" we translate in both cases the Greek noun Kentron, on the example of which you can trace the formation of love metaphorics in the EURIPID tragedy. The initial value of Kentron is a stick with a pointed end; From here - Beach (Il. XXIII, 430). The direct value is stored in V c. BC e. (Sofokl, "Tsar Edip", 809; Aristophane, "Clouds", 1297; in prose - Herodota, Xenophon), but along with this there is a portable - "Induct", "Stimulus" (Pindar, Fr. 124, 4 ; 180, 3; Eschil, Ev. 427). But only Euripid first uses Kentron to refer to love passion - and moreover with such physically tangible concrete (literal translation of Art. 1303: "branched by stals").

8 764-766, 774 cl.

9 It is significant that Fedra did not want to obey the destructive passion (OUCH HEKOUSA, 319; Wed 358). And by no means in their will (Ouch Hekousa, 1305) she landed in the Western, placed by her - against her desire (693 words)! - Cormal.

10 Text Open-up -BN: Nova Fragmenta Euripidea in Papyris Reperta. ED. With Austin. Berlin, 1968, No. 82; With parallel English translation: "SELECT PAPYRI", V. III. Texte ... by D. L. Page. London, 1941 (and subsequent reissues), r. 74-77.

11. They are conveniently collected and commented in the book: Euripides. Hippolytos. ED. By W. S. Barrett. Oxford, 1964, p. 18-22. AO introductory part of this fundamental commented publication "Ippolit" is also assembled with all the necessary material on the history of myth and its later reflections in the literature.

12 V. D I Benedetto. EURIPIDE: Teatro E Socicta. Torino, 1971, p. 5-46.

13 Recall how Eschila in the "seven" in the image of ETECLIL, first put forward the features of the perfect king, then the son of Edipa, or in "Hoeffers" the formation of solutions of ores "decomposed" to a number of consecutive stages in the Comm.

14 Klèos: 405, 423, cf. 47.

15 Aischros and related words: 404, 40U, 411, 420, cf. 246, 331.

16 "Ajax", 436, 465, 769; 473 following; "Philoktt", 108, 475 SL., 524, 906, 909, 1228, 1234, 1249, 1382 SL.

17 499, 503, 505; cf. 500, 511.

18 Attaching the Question Fedry directly to Art. 512, we follow the publishers of the text that art. 513-515 unnecessary. In fact, in the words of Kormilitsy (509- 512), Fedra sees hope for a saving agent, able to heal from love (it is still afraid, no matter how Kormilitsa has opened her secrets of IPPOLIT, 520), the nancie also means a probitive potion for Hippolyte. Thus, everyone thinks about his, and this creates a tragic ambiguity; Saving in the text Art. 513-515 it completely destroys.

19 See: with h. Segal. Shame and purity in euripides "Hippolytus." Hermes ", 98 (1970), S. 289. The author who devoted a" hippoly "a number of works is under the strong influence of psychoanalysis and is inclined to look for the vasty sexuality and the revenge of nature.

20 See: R. P. Winnington-Jngram in Sat.: "EURIPIDE (ENTRETIENS SUR L" ANTIQUITE CLASSIQUE, T. 6) ". GENEVE, 1960, P. 180.

21 Among them - L. Meridye (see indicated in approx. 1 edition of the tragedies of Euripid, vol. II, 1956, p. 18). We refer to approx. 19-21 only at the most promotion time; Usually in each of the named works, you can find an indication of the preceding literature.

22 Gesiod, "Proceedings", 317-319; Euripid, Fr. 365.

23 S. M. Willipk. Some Problems in "Hippolytus" .- "Classical Quarterly", 18 (1968), p. fifteen.

24 "Socrates", II, 3, 14; cf. 6, 35; IV, 2, 15 CL.

25 The problem of the internal contradictions of traditional moral values \u200b\u200barises already in the "copper", supplied for three years to "Ippolit". Jason is undermining a new marriage for the achievement of "well-being" (OLBOS), the desire to whom the natural solon considered naturally. But on the way to goal, Jason sacrifices with such human feelings as the love and devotion of Medele, which leads him to the collapse of all plans. If in the image of Jason - by virtue of his conscious pragmatism, this contradiction does not develop into a tragic conflict, then otherwise the case is with medeys. Guided by the traditional "noble" norm to harm enemies (807-810), it becomes the killer of his own children.

26 Although in quantitatively, the Fedra's party (187 poems) is significantly less than the Gippolit Party (271 verses), it is significant that Fedra tragedy occupies exactly half of the entire play: it is removed to the palace after Art. 731, in just the "Ippolite" 14RG poems.

27 "Euripide Theater". St. Petersburg., 1906, p. 346.

28 cf. Statements by Barrett in his edition (approx. 11), p. 15, 154, 174 ate.; L. Bergson. Die Relativitat Der Werte Ira Frhwerk des Euripides. Stockholm, 1971, S. 45-47.

29 L. Crocker. ON interpreting "Hippolytus" .- "Philologus", 101 (1957), S. 243-245.

30 s h. Segal. The Tragedy of the "Hippolytus": The Waters of Ocean and The Untouched Meadow.- "Harward Studies in Classical Philology", 70 (1965), p. 137, 144-147.

31 The history of Joseph - KN. Genesis, 39 and 41. About Bellerfonte See: Il. VI, 155-197 and fragments of the incredible tragedy of Euripid "Sfenebea": a monologue of a young man -On. "SELECT PAPYRI ... by D. L. Page", p. 126-129; Reconstruction of the plot - in the book: T. V. L. Webster. Theriadies of Euripides. London, 1967, p. 80-84. About the wife of Akast, who tried to seduce Pelia, - Hesiod, Fr. 208-211; Pindar, it. V, 25-36; The most detailed in the so-called "library" of Apollodore, III, 13, 3. On other options for folklore novels to the plot of the "beautiful Joseph" (including in ancient Egypt), see Art.: N. Netem. Phaedra in Griechischer und Romischer Gestalt.- Rheinisches Museum, 114 (1971), S. 47-50. There is also preceding literature.

32 It is best to be seen from comparison with Fedra Racin, where IPPOLita has a beloved named Ariza, the daughter of one of the deadly enemies of the Tereus, and to high moral reasons forcing the Hippolita to reject Fedra, his feeling for another woman is added; Thus, the action comes to a tragic junction without any mennavitarity from the side of the Ippolit.

33 In the verses given here, along with Sophron and its derivatives, adjective Eusebes ("Pious") and its derivatives play a major role (1309, 1339, 1364,1368,14,19,1454), as well as various synonyms characterizing the nobility of the Hippolyte: Esthlos (1254 ), Eugenes (1390), Gennatos (1452).

34 Fuchidid, speaking of the decline of morality during the years of the Peloponnesian war, saw one of his signs that the oaths were given only forced and at the first convenient case of the enemy of Mustil, using his gullibility (III, 82, 7).

35 1028—1031, 1075, 1191.

36 F. Ileini M AIM. Nonios und Physis. Basel, 1945, S. 98-101.

37 Fr. 604 by ed.: S. Ya. Lurie, Democritis. L., 1970.

38 historians of ancient philosophy consider the year of the birth of a democritus 470th or 460 to p. O. But they all agree on the fact that in Athens, Democrite lived imperceptibly and with anyone was familiar with anyone.

39 Pleerousa Thymon. Cyprus is a thirst for revenge, like Medea or Hekuba, who also pushes the unbridled Thymos: "Medea", 108, 1056, 1079; "Hube", 1055.

40 It is not by chance that Aristophane in the "clouds" vague in the mouth of the protection of immoral behavior in the mouth, taking advantage of the logic of the cormilitsa: after all, the gods fall in love and sin, following the call of nature, - How can the mortal be better than the gods? (1079-1082).

41 In this regard, the thinking of the choir in the 3rd stamime, after he already sounded the curse of the Tereus and the Hippolyte was convicted of expulsion and death. I leave the understanding of what is happening when I look at the fate of mortals, - sings the choir (1105-1107). "My thoughts - in confusion, and what I see, despite any expectation: The most shining star of Athens Anger of Father is doomed to go to someone else's Earth (1120-1125).

42 to what extent the gods are interested in compliance with justice, it is seen from the Tereus reaction to the message of the messenger:

Oh gods and you, Poseidon! You really were my father, since I won my plea! But tell me how he died? How did the territy of the justice struck my offender? " (1169--1172). Justice (Dick), which Gesiod, Solon and Eschil considered a guarantee that evil would be punished, acts in "Ippolit" in a tragically ambiguous situation. Testa is sure of the guilt of the Ippolit, "exposes" his claims seem fair (Dikaios, 929-931, 942, 1081) and sees the divine retribution and insufficiency of the liar (1265-1267) in his death (1265-1267), - in fact, the reason for the condemnation of the Hippolyte served as a dishonest game ( ; Klik; I TRG; I, 676) Kormilitsy, who took the oath of silence from him.

43 V "M. W. Knox. The" Hippolytos "of Euripides.- Quote. According to German translation in the book:" Euripides ". Herausg. Von E. R. Schwinge. Darmstadt, 1968, S. 242.

Short description

The theme of the struggle of passions, the source of human suffering is devoted to the tragedy of "IPPOLIT", set three years after "Medele" and awarded the first award. The tragedy is based on the Myth of the Athens Tsar, the legendary founder of the Athenian state. The myth of the love of the wife of the Tereus to his steppool is intertwined with the famous folk motive of criminal lovers to stepmaking and the seduction of the chastity young man. But Fedra Evripid is not like the permanent wife of Sanovnik Pentefria, who, on biblical legend, seduces the beautiful Joseph. Fedra is noble in nature: she tries to overcome the unexpected passion by all means, ready to die better than to give their feelings.

Nested files: 1 file

Analysis of the tragedy of euripide "IPPOLIT"

Performed:

1st year student

philology faculty

pLB-11 groups

Ayrapetyan Alina

Euripid (approx. 480 - 406 BC) - the last in a row of the great tragic poets of ancient Greece. It is known that he received a good education: he studied at the philosophers of Protagore and Anaksagora, a friend with philosophers and a prodig, was friends, was the owner of the extensive library. Unlike Eschil and Sophokla, more inclined to a secluded creative life, euripide of direct participation in public life did not accept. However, the works of playwright contain abundant responses to the acute questions of modernity. At the same time, the position of the author, as well as the aesthetic installations of it, often enters into a controversy with the tradition, which caused dissatisfaction with many contemporaries.

It is known that for the whole life, Euripid won five first victories, although he wrote and put a large number of works (he is attributed from 75 to 98 dramatic writings); Up to us, only 18 Pieces of Euripid came.

A regular way in the new historical conditions of Euripid is primarily interested in a separate, private person, the scope of his personal, and not public life. In accordance with such a displacement of the angle of view, the collision of a person with the opposing forces of ERIPID into the plane of the human soul, depicting a person's conflict with himself. Acts, but as a result, their misfortunes and suffering from heroes usually leak out of their own characters. Thus, in comparison with its predecessors, Euripide will mostly concentrate on the image of the inner world of heroes. The playwright creates a number of diverse characters, drawing various spiritual impulses, contradictory states, revealing their pattern and inevitability of tragic junction. The viewer is present at the subtle spiritual experiences of the heroes and discovers the complexity of human nature. The emphasis in the image of the psychology of characters leads to the secondaryness of dramatic intrigue. Euripid no longer pays so much attention to building action, as, say, sofokl, although the dramatic conflicts in his plays are sharp and tense. But we turn, for example, attention to the beginning and ends of his dram. Often, in the prologue, Euripid not only gives the task of the tragedy, but also tells its main content in advance so that as a result, to switch the attention of the viewer from intrigue to its psychological development. The endings of Euripid dramas are also indicative. It neglects the natural development and completion of the action and therefore in the final often offers sudden, external, artificial junction, usually associated with the intervention of the Divine, which appears on a special theater machine.

The theme of the struggle of passions, the source of human suffering is devoted to the tragedy of "IPPOLIT", set three years after "Medele" and awarded the first award. The tragedy is based on the Myth of the Athens Tsar, the legendary founder of the Athenian state. The myth of the love of the wife of the Tereus to his steppool is intertwined with the famous folk motive of criminal lovers to stepmaking and the seduction of the chastity young man. But Fedra Evripid is not like the permanent wife of Sanovnik Pentefria, who, on biblical legend, seduces the beautiful Joseph. Fedra is noble in nature: she tries to overcome the unexpected passion by all means, ready to die better than to give their feelings. Her suffering is so great that they have even been transformed by the appearance of the queen, at the form of which the choir exclares:

What a pale! How I was walked
As the shadow of eyebrows grows, dark!

Love instilled Fedre the Goddess Aphrodite, angry with the neglected Hippolyte. Therefore, Fedra is not powerful in his feelings. From the sick, Mrs. does not go away by the old devotee, trying to understand the reason for her illness. Everyday experience helps the old woman: she is cunning the secret Fedry, and then, wanting to help her, without her knowledge begins negotiations with the Hippolyt. The words of the nurse are striking the young man, causing anger and indignation from him:

Father
Sacred she daring a bed
I, son, offer.

Proschny old woman, Fedra and all women, the Ippolite, bound by an oath, promises to be silent. In the first unaware version of the Fedra tragedy, herself was recognized as a hypolyte in love, and he ran in fear from her, closing his face with a cloak. Athenians such behavior of the woman seemed so immoral that the poet redid this scene and introduced the intermediary-nurse. The further fate of the tragedy was designed contrary to the sentence of European contemporaries. Seneca and Rasin appealed to the first edition as more plausible and dramatic.

Having learned the answer of Ippolit, Fedra, exhausted by suffering and offended in his feelings, decided to die. But before you do away with me, she wrote a letter to her husband, calling the culprit of his death of the Ippolit, allegedly dishesing it. Returning Texa finds the corpse of his beloved wife and sees a letter in her hand. In desperation, he curses his son and expels him from Athens. Testa draws a prayer to his grandfather to Posidone: "Let my son do not live to this night, so that I could believe the Word." Father's desire is executed. The chariot, which leaves the Athen of the IPPOLIT, overturns and breaks into sins. The dying young man is brought back to the palace. The patroner of the Ippolite of Artemis is descended to the Teshe, to tell the Father on the innocence of the Son. The hippolyte dies in the hands of the father, and the goddess prevents him immortal glory.

Rivalry Aphrodite and Artemis led to the death of uncomplicated and beautiful people, defeated the Teshe and, finally, presented both goddesses in the unsightly light. Their intervention of Euripid explained the origin of human passions, continuing to the Homer tradition. But in an objective assessment of the activities of the Gods, he spoke from the standpoint of the rationaleist criticizing the traditional religion. The unexpected appearance of Artemis in the Epilogue of the tragedy allowed EURIPID, albeit by external means, to resolve the difficult conflict of the Father and Son.

Euripide first introduced a love theme into drama, which in some of his tragedies became central. The arguments of the opponents of the poet, severely condemned the bold innovation, are abundant from Aristophan, who accused Evripid in the corruption of Athenian and reproached him in the fact that he created the image of a loved one, whereas "the artist must hide these sublizes."

Of the positive heroes, the most expressing poet sympathies, you must first indicate the Hippolyte. He is a hunter and holds life on the lap of nature. He worships the virgin goddess Artemide, which seems not only as a goddess of hunting, but also as a goddess of nature. And in nature, modern philosophers saw their highest ideal. It is clear from this that the main concept of the image is suggested by the poet of modern philosophy. Hippolyte one has the opportunity to communicate with the goddess, listen to her voice, although he does not see her. He often spends time on the cherished meadow, where the leg of ordinary people does not steal; From flowers, he twisted wreaths for the goddess. In addition, it is dedicated to Eleusinsky and Orphic Mysteries, does not eat meat food, leads a strict way of life and, of course, under such conditions is alien to the carnal love. He hates women and that passion, which is alien to his ideal and is represented in the face of Aphrodite (Artemis itself hesifies it with his worst enemy). Shame is its inborn property. He best speaks in a small circle of favorites than before the crowd. He is a scientist. The philosopher, how does the Hippolyte appear, can not be injured neither power, nor honors or glory. At the same time, its adamant hardness in observing the oath, although carelessly this: for it he pays his life. In the dust of the indignation, he threw the words: "My tongue swore, my heart did not swear." But he is faithful to his oath, and if Aristophane interprets these words as a sample of two-ways, it is clear injustice. The common severity of the character is also explained by his attitude to Fedre, his formidable accusatory speech and the curse of women.

"There are many temptations in our life," said Fedra, - conversations for a long, idleness - sweet poison. " Honest in nature, she understood her own impotence before his passion captured her and wanted silently, without opening his mystery to anyone, die

But the environment ruined her. In the tragedy, her experiences are very visible. We see how she, who went out of his hunger, immersed in the Duma, involuntarily gives out his secret passion: she wants to drink water from a mountainous source, then send the dogs onto a wild lane or to throw a spear into it. In all its strange gusts, a secret desire to be closer to his beloved person is found. She is ashamed, noticing the madness of his words. The poet tries to raise the most feeling, saying that "Eros teaches a person and makes a poet if he was not before." Fedra issued his secret to Nyanka, and she, experienced in such matters, took her help, without asking her consent. An ignorant, who has learned from street sages to find an excuse for any meanness, she disassembled its decisiveness to disassembled Fedra. Hippolytia is no wonder in such aspants the greatest evil: it would be necessary to keep them away from wives. Nannika led to his intervention to the catastrophe. Ippolit is indignant to the vile offer transmitted by the nanny. And Fedra, feeling offended, turns into an embittered avenue, who does not spare herself, nevertheless the enemy who learned her mystery. Agovernmental Aphrodite intervention causes compassion to her victim.

Prologue tragedy belongs to Cypris. This is the divine threat to the son of Amazon for the fact that he arrogantly belongs to the strength of the Goddess of Love. Fedra, according to Cyprus, will also die, just not in its fault, but because it should be punished by the IPPOLIT. The goddess marks the third participant of the future tragedy - the Fieme. Posidayon promised him the fulfillment of three desires, and the word of his father would destroy his son.

Although Aphrodite also talks about Ippolite, as his personal "enemy", which "will pay", but when restoring the aesthetic force of the prolobe, it should be remembered that the Gods of Euripid had long left Olympus. "I do not envy," says the goddess "Ippolita," - why do I need it? ". Cyprus has already lost the naive appearance of the defender of the ward, to rise to the sophisticated symbol of power and become an indisputable force, "Great for mortals and nice in heaven"; In the goddess of Euripid there is a new self-consciousness that wears the press of the century. "After all, in Divine Rhoda," says Aphrodite, - Human honor is sweet. "

Kara, coming from such a symbolic, reflective goddess, should have been less offensively influence the moral sense of the viewer, and Euripid, exciting in the crowd, the tender emotion of compassion, not without a subtle artistic calculation from the first steps of the tragedy with a cold greatest look of his goddess From grave breathing in the wrong.

In the final scene, the tragedy sounds the monologue of Artemis, in which the goddess appeals to the Tesheus with the words of the Ukr. The appearance of Artemis as Deus Ex Machina in the final stage of the drama symbolizes the apogee of the entire catastrophe, which happened in the house of the Teane. Euripide attributes her purely human forms of relations - Artemis is shakes Tereus, pronouncing him as it is accepted in humans. Euripide of Artemis's mouth accuses Tereus to the death of Ippolitis, explaining the unfortunate father that he was the culprit that he had happened, since he had disassembled witnesses, fortunate, did not disassemble the evidence, sorry for the truth of time.

In his monologue, Artemis first treats the indictment speech to the Teshe, and then summarizes the content of the drama as a whole, ranging from the origin of passion from Fedry before the emergence of her indictment, which gives the Teste the opportunity to learn now the truth and seek reconciliation. This divine support in the reconciliation of the father and son increases the pathetic effect of the scene, lifts them both over the real reality, highlighting the tragedy among other characters. At the same time, Artemis reveals the truth to the truth, declaring the passion of Fedry to the Hippolyte of Aphrodite's hands: "After all, the most hated goddesses for us, which virginity is pleasure, she passionately loved your son."

The goddess does not make anything wonderful, supernatural here. The function of Artemis in the tragedy, according to the expression of researchers, "fundamentally dramaturgical".

Bibliography:

1. Tronsky I.M. History of antique literature / Edition Fifth M., 1988. Part 1. Section II. GL.II. p. 142-143.
2. Radzig S.I. The history of the ancient Greek literature / 5th ed. M., 1982. Ch. XII. p. 261-271

1. Annensky I.F. Tragedy of Ippolita and Fedry / M., "Science", 1979

(Εύριπίδης, 480 - 406 to R. X.)

Origin of Euripid

The Third Great Athens Tragic, Euripide, was born on the island of Salamine in 480 to R. X. (Ol. 75, 1), according to legend, on the same day, when the Persian fleet was broken at the Salamine, - 20 VDOMOMION or 5 October. Parents of the poet, like most of the Athenians, in the invasion of Haling Cerks fled from Attica and searched for asylum on Salamin. Evripid's father was called the Menarh (or Menarhud), Mother is clit. There are wonderful, conflicting news, which may be partly obliging their origin of a mocking attic comedy. The mother of Euripid, as often reproached his Aristophane, was, they say, the trading and sold vegetables and greens; Father, as they say, was also a traders or a hotel maintenance (κάπηγοσ); It is said that he is unknown for what reason, ran with his wife in Besotia and then settled in Attika. Steki is reading that Menarh was in Besotia and there for debts were subjected to original punishment: the untenable debtor brought to the market, they planted there and covered the basket. This was guessed and therefore left Boeotia in Attika. The comedians about this story do not say anything, although they used everyone than only could, just to ridicule Evripid.

Euripid with acting mask. A statue

Of all the reported, it is possible that it seems to conclude that the parents of Euripid were people poor, from the lowest class. But Philohor, the famous collector of attic antiquities, who lived in the times of the Diarathes, in his essay on Euripide, on the contrary, reports that the mother of Euripid came from a very noble family; The feeling of the parents of the poet also says the Feofrast (approx. 312 to R. X.), according to whom, Euripide once was among the boys, who during the holiday of Fargelius poured the wine to the singers - the occupation for which only children from noble locals were chosen childbirth. A similar meaning has a remark of one biographer that Euripid was a Torch (πύρθορος) Apollo Zosteria. Therefore, we must assume that Euripide came from the noble Athenian family. It was ranked at the floss district (φλΰα).

YuriPide Youth and Education

If the father of Euripid and was not rich, he still gave his son a good upbringing, quite corresponding to his origin. The father especially tried to exercise the Son in Athletics and Gymnastics, precisely because he tells the legend that at the birth of the boy the father received from Oracle or from the passers-by Haldeyev prediction that his son would win victories in sacred contests. When the boy's forces were already quite developed, the father took him to the Olympia for the game; But Euripid on the game was not allowed, according to youth. But afterwards he, as they say, received a reward for athletic competition in Athens. In his youth, Euripid also also engaged in painting; Subsequently, his paintings were still in Megara. In adulthood, he jealously engaged in philosophy and rhetoric. He was a student and friend of Anaksagor Klasomene, who during the pericla for the first time began to learn in Athens Philosophy; Euripid was in friendly relations and with pericles, and with other wonderful people of the time, as, for example, with the historian Fucidide. In the tragedies of Euripid, a deep influence that the great philosopher (Anaksagor) had a poet was visible. About his knowledge of him in rhetoric also suggests his tragedy. In rhetoric, he enjoyed the lessons of famous Sofists of the Protagor Abdersky and Keossky's preriment, which for a long time lived and taught in Athens and were in good relationships with the most wonderful people in this city, which was then the national team of all outstanding scientists and artists. In ancient biographies, euripide teachers are also mentioned and Socrates; But it's just a chronological error. Socrates was a friend of Euripid, who was over him for 11 years; They had common views and common aspirations. Although Socrates rarely visited the theater, but he came there whenever the new drama of Euripid played. "He loved this man, says Elyan, for his wisdom and for the moral tone of his works." This mutual sympathy of the poet and the philosopher was the cause of the fact that comedians, ridicule of Euripid, assured that Socrates helps him write tragedies.

Dramatic activities of Euripid and attitude to her contemporaries

What prompted Euripid to leave classes philosophy and turn to tragic poetry - it is reliably unknown to us. Apparently, he took up poetry not by inner motivation, but by intentional choice, wanting to popularize philosophical ideas in poetic form. For the first time he made drama on the 25th year of his life, in 456 to R. X. (Ol. 81.1), in the year of the death of Eschil. Then he received only the third award. How many drams wrote Euripid - it was not already known in antiquity; Most writers attributed to him 92 plays, including 8 satirical drams. He won the first victory in 444 to R. X., second in 428. In general, in continuation of all his long-term poetic activity, he only four times received the first award, he received it for the fifth time after his death, for Didaskalia, which He put on stage from his name his son or nephew, named Euripid too.

Euripid. The project encyclopedia. Video

From this minor number of victories it is evidenced that the works of Euripid did not use his fellow citizens with special attention. However, during the lifetime of Sophokla, who, being a favorite of the Athenian people, in addition to his death, inseparally reigned on stage, to someone else was difficult to achieve fame. In addition, the reason for insignificant success of Euripid was mainly in the peculiarities of his poetry, which, who left the solid soil of the ancient Ellen life, tried to introduce the people with philosophical treasures and sophistico, therefore, took a new direction that did not like the generation brought up in old customs . But Euripide, without looking at the public outlines, stubbornly continued to go in the same way, and sometimes in the mind of one's own dignity sometimes directly contradicted the public if she expressed her displeasure to some bold thought, moral meaning of some place in his works. So, for example, they say that one day the people demanded that the Euripide strike out some place from his tragedy; The poet came to the stage and stated that he was used to learn the people, and not learn from the people. Another time when the whole people at representing the "BellerOfont", having heard how the Bellerfonte man praises the money above all in the world, in the anger rose from the places and wanted to drive from the stage of actors and stop the presentation, Euripid appeared again on the stage and demanded that the audience We waited for the end of the play and looked what awaits a fan of money. This is similar to the next story. In the tragedy of Euripid "Ixion", her hero, the villain, builds injustice in principle and sofistico destroys all the concepts of virtue and about the debt, so that this tragedy has undergone censation as a godless and immoral. The poet objected, and only then removed his drama from the repertoire when he was forced to this.

Euripid did not pay special attention to the verdict of his contemporaries, in confidence that his works will be appreciated by subsequently. Once in a conversation with a tragic actor, he complained that in the last three days he, despite all the effort, managed to write only three verses; The actor praise that he could easily write a hundred poems at this time; Euripid noticed: "But there is a difference between us: your poems are written only for three days, and mine forever." Euripide did not deceive in his expectations; As a supporter of progress, more and more attracted to himself the younger generation, Euripid since the Peloponnesian war began to meet more and more approval, and soon his tragedy was made by the general property of the attic educational public. Brilliant tiramas from his tragedies, pleasant songs and the deep centions were all on the lips and were highly valued in all Greece. Plutarchs in the biography of Nikia says that after the unfortunate outcome of the Sicilian expedition, many of the Athenians who avoided captivity in Syracuses and who fell into slavery or the distinguished parties in another part of the island were obliged to their salvation by Euripid. "From the Greeks of the Neafinsky largest admirers of the Muses of Euripid were the Greeks of Sicilian; They learned by heart the passages from his works and gladly reported them in one another. At least many of those who returned to their homeland, happily welcomed Euripid and told him, alone - as they freed from slavery, having learned their Mr. what they knew from the Euripid tragedies, others - like them, hitting his songs, received Intrust yourself when they had to wander without a shelter after the battle. " In this regard, Plutarch tells how once a ship pursued by pirates was looking for salvation in the bay of Cavna (in Karya): the inhabitants of this city first did not let the ship in the bay; But then, asking the shippers, they know something from Euripid and having received an affirmative answer, allowed them to hide from the pursuers. Comedian Aristophane, a representative of "Good Old Time", the enemy of all innovations, especially strongly attacks Euripid and very often squeezes passages from his tragedies; This proves what value the EURIPID was used by his fellow citizens during the times of the Peloponnesian war and, as his poems were known.

Personal character of Euripid

Involving, with which for a long time, the Euripid was met by his fellow citizens, partly explained by his personal character and lifestyle. Euripid was quite moral man, which is already visible from the fact that Aristophane does not bring any immoral event from his life; But by nature, he was serious, doried and uncommunicable; Like his teacher and friend Anaksagor, whom no one ever seen laughing or smiling, he hated any carefree pleasure in life. And he was also not selected laughing; He avoided intercourse with people and never left a concentrated, thoughtful state. With such closetness, he spent time only with few friends and with his books; Euripide was one of the few people of the then time that had their own library, and more than quite significant. Poet Alexander Etolsky speaks of him: "Strict Anaksagor's student was grilling and universal; The enemy of laughter, he did not know how to have fun and joke behind the wine; But everything he wrote was full of pleasity and attractiveness. " He was removed from political life and never occupied public position. Of course, with this lifestyle, he could not qualify for popularity; Like Socrates, he should have appeared to the Athenians useless and celebrating; They considered him for the eccentric, "who, tearing into his books and philosophy with Socrates in his corner, thinks to redo the Allen life." So represents his aristophane, of course, for fun Athenian, in his comedy "Ajornyan": Euripide sits at home and twists in the highest spheres, philosophists and composes poems, and does not want to go down to talk to Dicopolis, since he once; Only inferior to the urgent requests of the latter, he orders for great convenience, push himself out of the room. Paying some attention to the judgments of the crowd, Euripide in his "" advises smart people not to give their children of extensive education, "Since the wise person is already because he loves leisure and privacy, he excites hatred among his fellow citizens, and if he is wondering Something good, then fools consider it a bold innovation. " But if Euripid and removed from public life, however, as it can be seen from his poetry, he had a patriotic heart; He tried to initiate love for the Fatherland in his fellow citizens, he was visited by the failure of his hometown, rebelled against the registers of shameless leader's leaders and even in political affairs gave the people west advice.

On the island of Salamin showed a lonely shady cave with an entrance from the side of the sea, which he arranged for Evripid to seize there from noisy light for poetic classes. In all likelihood, the gloomy and melancholic character of this cave, resembling the personal properties of Euripid, prompted the Salainians to call this cave the name of the poet born on the island. On one stone that Velker talks about (Alte Denkmäler, I, 488), there is an image related to this Euripide cave. Euripid, full old man with a big beard, stands next to the muse that holds a scroll in his hand and brings it to a woman sitting on a rock. This woman, on the explanation of the Velker, "Nymph, living in this coastal rock, the nymph of this cave, friendly eurpid to himself; On the device here, the caves for secluded classes wise poetry indicates the Hermes standing behind the nymph. "

Theme of women from Euripid

The grim and unlike character of Euripidas is explained and hatred for women in which the Athenians reproached and especially Aristophanes, in his comedy "Women at FesmoForii". Women irritated by evil reviews about them Evripid, want to take revenge on him and, gathering the festival of Fesmophory, where complete consent reigns between them, decide to arrange a court of a poet and sentence him to the death penalty. Euripid, in fear for his fate, is looking for someone from men who agreed to get dressed in a women's dress, take part in the meeting of women and protect the poet there. Since the wizard, the familiar poet of Agathon, whom Euripide asks to provide this service, does not want to be dangerous, then heaven, the father-in-law, the student of her son-in-law who had learned the philosophical and oratory techniques, assumes this role and, dressed in a women's dress delivered by Agathon , goes to the Church of Fesmophory. Here there is a trial, in which women's speakers fiercely attack the son of the traders who donate their gender; Heavenly protects his son-in-law with hotly, but he will soon recognize and on the orders called to the temple of Pritan tie to the post to the post, so that after judging him for a criminal, invasion of women's society. Euripide, who came to the temple, tries in vain, with the help of various tricks, to release his testing; Finally, he manages to free it when he promises women to never bother them, and distracts, with the assistance of flotworks, the attention of the Scythian standing on guard, who has been involved in this comedy, the later writers have already told the historical fact that during the festival fencefory women attacked On Euripid and wanted to kill him, but he saved, giving them a promise that he would never say anything thin on them; Talking about it, the biographer leads to a confirmation of several poems from the Drama of Euripid "Melanippa", which say: "Branch, uttering men against women, does not fall into the goal; I assure women better than men. " According to another biographer, women attacked Euripid in the Salaminian cave; They broke there, says the biographer, and wanted to kill him while he wrote the tragedy. As the poet reassured them - it does not say about it; Of course, with the aforementioned promise.

Sitting Euripid. Roman statue

Euripide provided the female sex special attention and removed women on the stage much more often than other poets. The passions of the female heart, especially love and her clash with a sense of moral, were often the subject of his tragedies; Thus, in his tragedies could easily be such provisions in which the bad and dark sides of the female heart were sharply described. Thus, often in whole plays and in many separate scenes, a woman is in a bad light, although it cannot be said that in these scenes is the firm conviction of the poet. Athenians could be insulting that the poet generally depicted a woman on stage with all the innermost feelings and motivations and the fact that women's misconceptions and corruption were depicted with such bright colors, and moreover, at such a time, when attic women were really in moral attitude Not particularly high. Here is the reason why Euripid acquired a reputation for women's hatering in Athenian; We must admit that his attitude towards women makes him at least as much credit as shame. In his dramas we encounter many noble women who are distinguished by high love and self-sacrifice, courage and strength of will, meanwhile, as men are often near them in a miserable and secondary role.

Family relations of Euripid

If the sharp judgments of Euripid about women in most cases are explained by the character of a dramatic plot, then some of the sentences of this kind, apparently, were made quite sincerely. In his family life, the poet had to endure serious tests. According to biographers, Euripid had two wives; The first was Haryl, the daughter of the Mesiloch mentioned above, from which Euripid had three sons: Monsokhid, who was subsequently a merchant, Mesiloch, who became the actor, and Euripid Jr., tragic. Since this wife was incorrect to Euripid, he divorced her and took another wife, Melito, who, however, was no better than the first and herself threw her husband. This Melito is called the first wife of Euripid, and Haril (or Hirin) is the second; Gelja even says that Euripid had two wives at the same time, which, of course, is incorrect, since there are no two-haired in Athens. Haryl, as they say, was in connection with some kind of cuphisophone, an actor who is considered to be a young slave of Euripid and about which comedians say that he helped EUROPID to write dramas. The infidelity of Harily prompted Euripid to write the drama "IPPOLIT", in which he especially attacks women; Having experienced the same trouble and from the second wife, the poet began to reveal women even more. In such circumstances, he, of course, could quite sincerely invest such strange thoughts in the merchant:

"Oh Zeus! You overshadow the happiness of people what a woman made a woman! If you wanted to support the human race, it would have to arrange so that we would not be obliged to women with their lives. We, mortals, might bring copper or iron in your temples, or expensive gold, and in return to receive children from the hands of the Divine, each intensify with their offer; And these children would grow in the house of Father freely, never seeing me not knowing women; For it is clear that the woman is the greatest disaster. "

Departure of Euripid from Athens to Macedonia

In the last years of his life, Euripid left his hometown. It was shortly after the submission of Orest (408 G. to R. X.). What prompted him to do it, we do not know; Maybe troubles in the family, or permanent fierce attacks of comedians, or a restless position in Athens at the end of the Peloponnesian War, and maybe all this together made it for him to stay in the homeland unpleasant. He first went to the Fessel Magnesia, whose citizens accepted him very hospitably and honored with gifts. They stayed there, but not long and went to Pelle, to the court of King Macedonian Archel. This sovereign did not differ in moral qualities; He paved his way to the throne with a triple murder; But very jealously took care of introducing Greek culture and morals in his country, especially about to give his yard more gloss, attracting Greek poets and artists to himself. During the court, he lived, among others, Tragic Agathon Athens, Epic Haryl from Samos, the famous painter Zevksis from Heraklei (in Great Greece), a musician and author of Diffirabov Timofey from the Mileta. At the courtyard of the hospitable and generous king, Euripid enjoyed pleasant leisure and in honor of the Macedonian royal house wrote the Drama "Archelai", in which the foundation of the Macedonian kingdom is depicted by the descendant of Hercules Arhelah, the son of the dark. In Macedonia, Euripid wrote the Drama "Vakhanki", as you can see the hints of local circumstances from this play. These plays were represented in Dion, in Peieria, near Olymp, where Vakha's cult existed and where the King Archelai arranged in honor of Zeus and Muses dramatic contests.

Probably, the poet Agathon was also involved in these competitions, which left Athens and arrived in Pelle almost at one time with Euripid. The story was in joke, as if the handsome Agaton in his youth was the lover of Euripid, who was then about 32 years old, and as if euripide wrote his "Holy Him". Equally, faith deserves a story about how the old man of Euripid once, having drunk at the dinner at Archeli, kissed the 40-dimant Agaton, and to the question of the king, unless he still considers Agaton his lover, answered: "Of course, I am answered:" Of course, I swear Zeus ; After all, the handsaws are given not only beautiful spring, but also beautiful autumn. "

Legends of the death of Euripid

At the court, Archel, Euripid lived for a long time. He died in 406 to R. X. (Ol. 93, 3), 75 years old. There are various stories about death, which, however, deserve a little likely. The most common was the news that he was confused by dogs. The biographer tells the following: in Macedonia there was a village inhabited by Thracians. There was once the MOLOGO Dog Archel, and the villagers, in their custom, brought her sacrifice and eaten. For this, the king was fined them for one talent; But Euripid, at the request of the Thracians, rejected the king to forgive them this act. For a long time, Euripid walked once in a grove, near the city, in which the king hunted at the same time. Dogs, breaking out from hunters, rushed at the elder and confused him. These were the puppies of the same dog, which the Thracians ate; Hence, and appeared at Macedonian the proverb "The dog's revenge". Another biographer tells that two poet, Macedonian Arida and the Fessenian briefs, from envy to Euripid, bribed in 10 minutes of the royal slave Lisimakh, so that he moved to euripide dogs, who were confused. According to other news, not a dog, and women attacked him at night on the road and confused him.

The news of the death of Euripid was obtained in Athens with deep bitterness. They say that Sofokl, having received this news, put on mourning clothes, and during the presentation in the theater brought the actors to the stage without wreaths; The people cried. Archelai put a great poet a decent monument in a romantic area between the archer and Vormsky, near two sources. Athenian, having learned about the death of the poet, sent the embassy to Macedonia, with a request for the issuance of the Body of Euripid for his burial in his hometown; But since Archelai did not agree to this request, they set in honor of the poet Kenotaf on the way to Piraeus, where he later saw his pavnies. According to legend, the grave of Euripid, as well as Likurg's grave, was destroyed by a lightning strike, which was considered a sign of the special attention of the gods to mortals, as the place where Znight hit, was declared sacred and inviolable. The historian Fucdide or Timofey musician, they say, decorated him with Kenotaf next inscription:

"All Greece serves the grave of Euripid, the body is located in Macedonia, where he was destined to end his life. The Fatherland of his - Athens and all of Ellad; He enjoyed Muz love and thus acquired his praise from everyone. "

Bergk believes that this inscription is not written by the historian Fuchidide, but by another Athenian of the same name from the Ahherd's house, which was a poet and, apparently, also lived at the court Arhel. Maybe this inscription was prescribed for the Euripid Monument in Macedonia.

We mention here more about one circumstance. Shortly after the death of Euripid, the Syracuse of the Tiran of Dionysius, who received domination in the same year, bought from his heirs, for one talent, who belonged to the poet string tool, a board and a stall, and donated these things, in memory of Euripide, in the temple of the music in Syracuse.

From antiquity to our time, many Euripid busts are preserved, representing it or separately, or together with sofocl. The colossal bust of the poet from Paros Marble is in the Vatican Museum of Chiamonti; This is probably a copy from the statue that was delivered by the order of Likurga, in the theater, next to the statues of Eschil and Sophokla. "In terms of the face of Euripid, the seriousness, gloomy and irresistibleness, in which his comedians reproached, that dislike for fun and laughter, with which his love for solitude, to a remote Salamina cave, is being consistent. Along with the seriousness in his figure, the favor and modesty is expressed - the properties of a true philosopher. Instead of sophistic complacency and pride in the face of Euripid, something honest and sincere is seen. " (Velker).

Euripid. Bust from the Vatican Museum

Euripide and Sophistic

Read more - in the article "Sophisticated philosophy" (section "The influence of sophistic philosophy for Euripid")

Euripide is a full representative of the time when the Athenians fell in love with their sophistry and began to affect sensitivity. The tendency to mental classes early distracted him from social activities, and he lived in a circle of philosophers. He delighted into the skeptical ideas of Anaksagora, he liked the seductive teachings of the Sofists. He did not have the cheerful energy of Sofokla, diligently fulfilled civil duties; He was alien to public affairs, moved away from the life of society, whose morals depicted, lived in a closed circle. His tragedies liked contemporaries; But the ambition remained not satisfied - perhaps, so he left Athens in old age, where comic poets were constantly laughed at his works.

He is relative of the trend, according to the content, probably close to it and the time of the tragedy of the "racer". Its content constitutes the legend that the fivans did not allow to bury the Argos heroes killed during the campaign of seven against the puris, but Teshesya forced them to do so. Clear and here are hints on modern political relations. The fivans also did not want to allow the Athenians to bury the warriors killed in the battle at Delhi (in 424). At the end of the play, the Argos King encompasses an alliance with Athenians; It also had a political meaning: shortly after the battle at Delhi Athenian entered into an alliance with Argos. The Choir of "Fathermen" makes up the mother of the killed Argos heroes and their maids; Then they are joined by the sons of these heroes; Khora songs are excellent. Probably, a beautiful view had scenery, which represented the Eleusin Temple of Demeters, whose altars are sitting down by the "senders" - the mother of the killed heroes. The scenes of the burning of those heroes were also good, the procession of boys carrying urns with the ashes of killed, the voluntary death of the Kapanei wife, who climbed the bonfire to the body of her husband. At the end of the Drama, Euripid by Deus Ex Machina brings the goddess Athen to the scene, which requires an oath of the Argossers to never fight the Athenians. Following this, the Athenian-Argos Union is drawn up, for the sake of renewing in modern times and were written by "senders."

Euripide - "Hube" (summary)

Some of the euripide tragedies who came to us have their own content of episodes from the Trojan War, in particular from the terrible events of the death of Troy; In them with high energy depicts strong excitement of passions. For example, in Heekube, first depicts the bitterness of the mother, from whose embraces the daughter, Polyken, is the bride of Achilla. Having stopped after the destruction of the Troy on the Thracian coast of Gellespont, the Greeks decided to bring Polyxena to the sacrifice on the gravestone Hill of Achilles; She willingly go to death. At this point, the servant, which went for the water, brings heckube found by her on the shore of the Polydor's body, her son, killed by a traitor with a polymestor, Polydor was sent under whose defense. This new misfortune makes the victim of Hugeba Avenitian, the thirst to take revenge on the killer of his son merges in her soul with despair from his daughter's death. With the consent of the main leader of the Greek troops, Agamemnon, Hekaba lures the polymistrator to the tent and with the help of a slave blinds it. In the performance of his revenge Hubab, she shows a big mind and extraordinary courage. In the "copper" depicted with Euripid jealousy, in Hecube depicted mission with the most energetic features. The blinded polymeter predicts Hercuke her further fate.

Euripid - "Andromach" (summary)

The passion of a completely different kind is the content of the tragedy of Euripid "Andromaha". Andromaha, the unfortunate widow of the hector, at the end of the Trojan War, becomes the slave of the son of Achilla, neopolmem. The wife of neopolem, Hermione, jealous of her. Jealousy is the stronger that Hermione has no children, and Andromaha gives birth from the son of the son, Molossa. Hermione and her father, the Spartan Tsar Meneli, brutally pursue Andromaha, even threaten her death; But the grandfather of the neopolmem, pead, eliminates it from their persecution. Hermione, fearing his husband's hearth, wants to kill himself. But Menal's nephew, Orest, who used to be the bridegroom by Hermione, takes her into Sparta, and the deliffs excited by his intrigues kill the neoplame. At the end of the play is (Deus Ex Machina) the goddess of Fetid and foreshadows the lucky future of Androma and Molossa; This artificial junction aims to produce a sedative impression in the audience.

The whole tragedy is imbued with enthusiasm to Sparta; This feeling inspired by Euripid with modern relations; Sparta and Athens were then among themselves. "Andromaha" was put on stage probably in 421, a little earlier conclusions of Nikiyev of the world. Evripid with obvious pleasure depicts the severity and cunning of Spartans in Menel, in Hermione immorality of Spartan women.

Euripid - Troyanki (summary)

The Trojan tragedy was written by Euripid about 415. Its action unfolds on the second day after taking a three in the camp of the victorious Ellin's troops. Between the leaders of winners-Greeks is distributed to three pricers. Euripide depicts how to prepare for slave part of Hekaba, the wife of the killed Trojan king Priama, and the spouse of Hector, Andromaha. The son of Hector and Androma, the baby Astianax, the Greeks are dumping from the fortress wall. One daughter of Priama and Hugeba - the Trojan propheted Kassandra, becomes a concubine of the leader of the Greeks, Agamemnon, and in ecstatic madness makes predictions about the terrible fate, which will soon comprehend the majority of Troy's destroyers. Another daughter of Hugeba, Polyken, will be sacrificed on the grave of Achilla.

The role of the choir in this drama of Euripid is performed by Trojan women captured by the Greeks. The final "Trojan" becomes the scene of the burning of Troy Hellen.

As in the case of the "senders", "Androma" and "Geraklida", the plot of "Trojan" has a close connection with the then events. In 415 to R. Kh. Athenian, on the advice of an ambitious adventurist, Alkiviad decided to sharply reverse the course of the Peloponnesian war and to achieve a national hegemony by the military expedition to Sicily. This illuminated plan has crossed many prominent people of Athens. Aristophane wrote for this purpose a comedy "Birds", and Euripide - Trojan, where he brightly depicted a bloody disaster of the war and expressed sympathy for the suffering captors. The idea that even with the successful completion of the campaign, his future consequences will be tragic for the victims of the winners, conducted by Euripid in Trojanka, is very clearly.

"Troyanki", one of the best drams of Euripid, during the first stage - near the time of the beginning of the Sicilian expedition - did not have success. The "anti-war" meaning of the "Trojan" did not like excited demagogues to the people. But when in the fall of 413, the entire Athenian army died in Sicily, formed fellow citizens recognized the correctness of Euripid and instructed him to write a poetic epitaph of fellow countrymen in Sicily.

Euripid - Elena (summary)

The content of the tragedy "Elena" is borrowed from the legend that the Trojan War was led due to the Ghost: only the Ghost of Elena was only the ghost, and Elena itself was carried out by the gods in Egypt. The young king of Egyptian, Fooclimen, pursues Elena his love; She runs away from him to the tomb of the Tsar Prota. There finds her listed in Egypt with storms after taking a three husband, Meneli, who is in bench clothes, since all his ships are broken by hurricane. To deceive Fooclinem, Elena informs him that Meneli, allegedly, died under Troy, and she, now becoming a free woman, is ready to marry the king. Elena asks only to allow her to reach the boat into the sea for the last memorial rituals on the ex-husband. On this boat, Elena leaves with disguised menel. It helps the priestess of the girl Feonooy, the only noble face of the play. Fooclim, opening the deception, sends a fugitive chase, but a Dioskura executing the role of Deus Ex Machina is stopped: they declare that all the incident happened by the will of the gods. Elena - and in content and in shape one of the weakest tragedies of Euripid.

Euripide - "Iphigenment in Avlida" (summary)

Euripid took the topics for his tragedies as well from legends about the attacks - the descendants of the atreya hero, including the leaders of the Trojan War Agamemenon and Meneli. It is beautiful, but distorted by the later additions of the drama "Iphigations in Avlida", the content of which is the legend of the sacrifice of the daughter of Agamemnon, Iphigenia.

Before sailing in a trip to Troy, the Greek army is going to the harbor of Avlida. But the goddess of Artemis stops passing winds, as the Supreme Leader of Ellinov, Agamemenon, got along. The famous Beneman Kalchant announces that the anger of Artemis can be mitigated by the sacrifice of the daughter of Agamemnon's daughter's sacrifice. Agamemenon sends a letter to his wife with a request to send IFIEND to Avlude, as Ahill, allegedly, puts the condition for his participation in the campaign to obtain infidation to his wife. Iphigenia arrives in Avlude along with his mother. Achilles learning that Agamemnon took advantage of his name for fraudulent purposes, is terribly indignant and declares that he will not give me to sacrifice to sacrifice, even if for this will have to fight with other Greek leaders. Iphigencies in response says that it does not want to become the cause of the fight between compatriots and will gladly give his life for the good of Ellala. Iphygencies voluntarily goes to the sacrifical altar, but at the end of the tragedy of Euripid Bulletin informs that at the time of the sacrifice, the girl disappeared and instead of her under the knife was Lan.

The plot of "Iphigenia in Avlida" is borrowed by Euripid from the legends about the Trojan War, but it gives legend such a form that it turns out a moral conclusion. In the confusion of the events of human life, worried by passions, the only right path is the one on which a clean heart is leading, capable of heroic self-sacrifice. Evripid's Iphigenius selflessly suggests that it is sacrificed; It is free to reconcile the heroes arising between her. Thus, this tragedy is free from an artificial way to arrange the interference with the intervention of the Divine, although here this method is partly reminded by the appearance at the end of the Bulletin.

Euripide - "Iphigenments in Taurid" (summary)

"Iphigencies in Tavrid" also has high artistic dignity; The plan is good, the characters are noble and outlined perfectly. The content is borrowed from the legend that avoiding the sacrifices in an avlide of infidation became after that priestess in Tavrid (Crimea), but then ran away from there, taking the image of the goddess that served.

Artemis, who saved the infigration in Avlida, carried it out of there in Tavrid on a wonderful cloud and made his priestess there. Varvars Taurida sacrificed with their Artemis all who fell into them in the hands of strangers, and the infidentiary is entrusted to perform over these unfortunate preliminary calculation rites. Meanwhile, the Trojan War ended, and the father of Iphigenia, Agamemenon, who returned to his homeland, was killed his wife, Climenness, and her lover, Egisf. At the father, the father of the infigration, Orest, kills his mother to Clemnestra and is being subjected to terrible repentance of repentance, sent by Goddess Eriniami. Apollo procresses Oest that he will get rid of torment, if he goes to Tavrid and bring an Idol Artemis captured by barbarians. Orest arrives in Tavrid with a friend with a friend, but local savages capture them in captivity and come around for sacrificing. They are brought to the priest of infigration, sister oriest. Euripid describes the exciting scene in which the infigrations recognize the brother. Under the pretext of the execution of a cleansing rite, the yihivniy leads Orest and Piland to the seashore and runs along with them to Greece, inhibit the image of Artemis. Varvara Taurida rushes into pursuit, but the goddess Athena (Deus Ex Machina) makes stop it.

Esphygencies from Euripid is not such an ideal face, like Goethe, but still she is a pious girl, faithful to his duties, a hotly loving homeland, such noble, that even barbarians respect her; She inspires them humane concepts. Although the barbarians bring people to the victim of the goddess she serves, the character itself does not shed blood. The dramatic of the scene in which Orest and Pill want everyone to be sacrificed in order to save their friend from the death. Euripide managed to give the tartness of this dispute of friends, without resorting to excessive sentimentality.

Euripid - Orest (summary)

In both tragedies having the name of the name of infigration, the characters are energetic and noble, but about the tragedy "Orest" Already one of the ancient sculists said that in it all the actors are bad with the exception of one pilade. And indeed, it is in content and in shape one of the weakest works of Euripid.

By decision of the Argos Court, the Orest should be broken by stones for killing the mother, cliques, although she herself had never destroyed him together with his father, Agamemnon. The baby Orest was then saved by his sister, electric. Now the Electra is judged along with Oest, for she contacted the murder of their common mother. Orest and Electra are hoping to support Argos who arrived in Argos during the trial of the brother of their killed by Cliudernnest Father, the Spartan Tsar Menel. However, he, in cowardice and egoism, does not want to save them. When the People's Assembly awards Oresta to the Smithripid - "Geraklida" (brief content) of Yerti, he, together with a faithful friend, captures the hostage to his wife Melanaya, the chain of the Trojan War, Elena. But the divine power takes it through the air. Orest wants to kill Elena's daughter, Hermione. At the crucial moment is Deus Ex Machina, - Apollo plays this role - and tell everyone to reconcile. Orest marries Hermione, which he recently wanted to kill, sewing on Elert.

The characters of acting persons in this drama of Euripid are deprived of any mythical greatness; These are ordinary people, without tragic dignity.

Euripide - "Electra" (summary)

The same disadvantage, but even more "Ores", suffers from "electra", in which the sublime legend is redone so that it becomes like a parody.

Cliqueness to get rid of the permanent reminders of the murder of a husband, gives her daughter, the electric, for a simple peasant. Electra lives in poverty, herself is engaged in black household work. Ores Climerstera for the same purpose still the baby sees from the capital Agamemnon, Mikten. Mattering on a foreign trade, Orest returns to his homeland and comes to her sister. Electra learns him in the scream left from his injury received in childhood. Conscable with the electric, Orest kills the city of the lover of their common mother and the main culprit of the death of their father, Egisfa. The electra is then lubricates cliques under its poor hut under the pretext. As if she gave birth to a child. In this hut, Orest kills mother. This terrible junction will plunge the electric and oriest in the breathtaking, but wonderfully appeared the Dioskurs apologize them by what they did on the command of Apollo. Electra is married to a friend of Orest, Pilate. The Kiesta himself is sent to Athens, where it will be justified and cleaned by the Sin by the Council of Elders - the Mareopag.

Euripide - "Hercules" (summary)

Hercules (or "Hercules"), a play, designed for effects, has several scenes producing a strong impression. Two different actions are connected in it. When Hercules goes to the underground kingdom, the cruel FVAN Tsar Lick wants to kill his wife, children and an old father, Amphitrion, who remained in the philas. Suddenly returned Hercules frees relatives and kills the face. But then he himself exposes them to the fate from which he saved. Hera deprives Hercules. He kills his wife and children imagining that this is the wife and children of Eurisfay. It is tied to the fragment of the column. Athena returns him the mind. Hercules feels bitter repentance, wants to kill himself, but is Tesheus and holds him from this, leading to Athens. There, Hercules is cleaned by sacred rituals.

Euripid - «ion» (summary)

"Ion" - a beautiful play for the intensiveness of the content and on a distinct characteristic of persons performed by patriotism. Neither the greatness of passion, nor the greatness of characters in it; The action is based on intrigue.

Ion, the son of Apollo and Creatures, the daughter of the Athens Tsar, the baby will throw the Mother's asheed random connection to the Dolphic Temple. He is raised there, to be the servant of Apollo. The mother of Ion, Claus, marries a xast, elected by the Athenian king for heroism in war. But they have no children. Ksyuf comes to Delphi to pray Apollo about the birth of a descendant and gets from Oracle the answer that the first one he will meet at the exit from the temple is his son. The first Ksyuf meets the ion, and welcomes him as a son. Meanwhile, the secret of the ksyuf arrives in the Delphus. I hear how Ksyuf calls Jonah with her son, she decides that Ion is a side off of her husband. Not wanting to take a stranger to your family, Claus submits to the Slave ion with a poisoned bowl. But Apollo holds her from the villain. He holds both an ion who, having learned about the insidious plan against him, wants to kill Cres, not knowing that she is his mother. From the Dolphic Temple, a priestess, brought up ions, with a basket and pellecoms, in which he was found. Claus learns them. The son of Apollo Ion becomes the heir to the Athenian throne. The play of Euripid ends the fact that Athena confirms the justice of the story about the divine origin of the ion and promises the power of his descendants to Ionians. For the pride of Athenians, the legend was pleasant that the ancestor of the Ionians comes from the kind of the ancient Ahasey kings and was not the son of the innovative aliel, the aolian of Ksyuf. John-Priest Ion depicted by Euripid, cute and innocent - attractive face.

Euripid - "Phoenicians" (summary)

Later, "Ion" was written by Euripid Drama "Phoenicianki", and which many beautiful places. The name of the play comes from the fact that the chorus makes it a prisoner citizen of the Phoenician Tire, which are sent to the delphs, but on the road are delayed in the philas.

The content of "Phoenicianok" is borrowed from the myth about the FVAN Tsar Odipe, and the drama is overflowing with many different episodes from this legend cycle. The alteration of the myth of Euripid is limited to the fact that the Odip and his mother and the wife of the okast are still alive during the campaign of seven against the puris, when their sons of Etookl and Polick kill each other. The okast, who, together with his daughter, tried in vain to prevent the martial arts of two sons, kills himself in the mill over their dead bodies. Blind Edipa, expelled from Five Creonh, antigone leads to a column. The son of Creonte, Mereki, in the execution of the prison, given by Tires, is rushed from the Fan Wall, making himself sacrificing to reconcile the gods with the phi.

Euripid - "Vakhanki" (summary)

Probably, even by later, the tragedy of "Vakhanki" belongs. She, apparently, was written by Euripid in Macedonia. In the Athens "Vakhanki", probably put a son or nephew of the author on the stage, Jr. Euripide, who also put on the scene "Ifigation in Avlida" and did not reach us the tragedy of Evripid "Alkmeon".

The content of "Vakhanok" is a legend about the FVAN Tsar Penfae, who did not want to recognize the God of his cousin Vakha-Dionysus, who returned from Asia to the hair. Penatey saw in the ecstatic cult of Dionysis only deception and debauchery and began to strictly pursue his ministers, Vakhanok, contrary to the opinion of his grandfather, the Hero of Cadma, and the most significant sophistant of Tiresiia. For this, Penfais was touched by his mother Agava (the sister of Mother Dionysus, Semeles) and accompanying her Menada (Vakhanki). Dionysis brought the frenzy throughout the Fan Women, and they headed by Agava ran into the mountains to be in the deer skins, with tirs (wands) and tympans (tubes) in their hands, indulge in the vakhanalia. Penphady Dionysus told the insane desire to see the Vakhanok and their ministry. Daring in a women's dress, he went to Kieferon, where it was committed. But Agava and other Vakhanki on the suggestion of Dionisis adopted Penfhey for Lion and confused him. Agava with a celebration carried the bloody head of his own son to the palace, imagining that this is a lion head. Sat, she was healed from madness and was amazed by repentance. The end of the "Vakhanok" Euripid has been preserved badly, but, as far as you can understand, Agava was convicted of expulsion.

This tragedy is one of the best of Euripid, although the poems in it are often careless. Its plan is excellent, it is strictly complied with the unity of action that consistently developing from one basic one, the scenes go one for another in a slight manner, the excitement of passions is shown very vividly. The tragedy is imbued with a deep religious feeling and in particular breathe songs of the choir. Euripide, a resident of a very free one, in old age, it seems, came to the conviction that it is necessary to respect religious legends that it is better to support the people of piety and not to take honor of his respect for the old beliefs of ridicule that skepticism deprives the lot of happiness that it finds in religious feeling.

Euripide - "Cyclops" (summary)

In addition to these 18 tragedies, the Satyric Drama of Euripid "Cyclops" has reached us, the only surviving work of this industry of dramatic poetry has reached. The content of "cyclopa" is borrowed from Odyssey an episode on the blinding of the polyfem. The tone of this play of Euripid cheerful and joking. Her choir makes satire with their head, Silen. The cyclops polyfem in the course of the play is started in confused, but bloodthirsty in the meaning of reasoning is praising in the spirit of theories of sophists of extreme immoralism and egoism. Satire's subordinate polyphs crave to get rid of him, but in cowardice fear to help Odyssey, which threatens death from the cyclopa. At the end of this play, Evripid Odyssey won the top over the cyclops from without someone else's assistance. Then Silene with satirs in a comic tone is credited with the merit of Odyssey yourself and loudly glorify their "courage".

Political views of Euripida

Evaluation of euripide creativity descendants

Euripid was the last great Greek tragic, although he is below the Askil and Sophokla. The next generation for him was very pretty properties of his poetry and loved him more than his predecessors. The tragedies following him were jealously studied his works, why they can be considered a "school" of Euripid. The poets of the modern comedy were also studied and highly respected by Euripid. Philemon, the oldest representative of the new comedy, who lived around 330 to R. X., loved the Euripid, so that in one of his comedies, he said: "If the dead really live after the coffin, as some people assure, then I would hang out, if only Only see Euripid. " Until the last centuries of the antiquity of the work of Euripid, thanks to the ease of form and abundance of practical mines, they were constantly read by educated people, as a result of which it came to us and there was so many tragedies.

Euripid. World of passion

Translations for Euripid into Russian

Translated Euripid into Russian: Merzlyak, Shestakov, P. Basistov, H. Kotelov, V. I. Khovozozov, V. Alekseev, D. S. Merezhkovsky.

Euripid theater. Per. I. F. Annensky. (Series "Monuments of World Literature"). M.: Sabashnikov.

Euripid. Suiter. Trojan. Per. S. V. Shervinsky. M.: Hood. Lit. 1969.

Euripid. Suiter. Trojan. Per. S. Apt. (Series "Antique dramaturgy"). M.: Art. 1980.

Euripid. Tragedy. Per. Inn. Annensky. (Series "Literary monuments"). 2 t. M.: Ladomir science. 1999.

Articles and books about Euripide

Orbinsky R. V. Euripide and its importance in the history of the Greek tragedy. SPB., 1853

Bellyaev D. F. To the question of the worldview of Euripid. Kazan, 1878.

Bellyaev D. F. Reviews of Euripide for estates and conditions, internal and foreign policy Athens

Cheap. Euripide and spirit of his theater. Paris, 1893.

Kotelov N. P. Euripid and the meaning of his "drama" in the history of literature. St. Petersburg, 1894

Gavrilov A. K. Theater of Euripid and Athenian Enlightenment. St. Petersburg, 1995.

Gavrilov A. K. Execution and Action - Mantic in the "Iphigenation of Tavrichesky" Euripid

After some dates, according to the Nativity of Christ, our article also indicates dating on the ancient Greek Olympiads. For example: ol. 75, 1 - Means the first year of the 75th Olympiad

Hippolyte is the main character of the tragedy "IPPOLIT", the son of the Athens Tsar Teane. Hippolyte lives in the sober, hardly honors the goddess Artemis, at the same time neglecting Aphrodite and brings her anger. In retaling, the goddess of love is sitting on Fedra, the Machehu of Ippolit, the passion for his passion. The old man of Kormilitsa Fedry decides to help her without her knowledge and become an intermediary in their love. Hippolyte with hatred and contempt rejects the proposal of the cormal. Fedra, who accidentally became the witness of this conversation, put on his hands. But,

in an effort to punish the Hippolyte for his arrogance, and to wash off a shameful spot, she leaves a letter to her husband in which he vinit in his death allegedly the Teshev's Hippolyte, returns home from a long journey and find a letter Fedry. The angry on his son, he begs the god Poseidon, who promised to fulfill the three of his desires, do not give a hippolyt to the evening. He sends the Son to Exile, but sent by Poseidon from the bottom of the sea The monstrous bull scares the horses of the Hippolyte, which run out and break about the stones of the Hippolyte. Teskey wants to say goodbye to the dying son, tells him to bring him to himself. Appears

the goddess of Artemis and opens the truth to the Teshe, accusing him in the hasty decision. She promises a hippolit of posthumous honors on earth.

Hippolyte is the personification of piety. He considers her basic virtue with his virtue, and he is digging before everyone. The old servant is trying to warn the Hippolyte about the danger, which threatens his neglect of the Goddess of Love Aphrodite, but the Ippolit does not make him a request. Hippolyte hates all women, his hatred applies to innocent Fedra. His contempt for women is not at all unworthy behavior Fedra, on the contrary, about Fedre he judges, on the basis of universal hatred for women. Similar injustice as a result and becomes the cause of his death.

The main antagonist of the Ippolitis in the work becomes Fedra. The theme of true and imaginary piety in its image gets completely different development than in the image of the Hippolyte. Fedra resists a feeling for a steps, does not want to break the accepted rules of morality than and causes sympathy. The piety of the Hippolyta receives a negative interpretation rather, on the basis of what images and opposed to each other.

Glossary:

- Euripide Ippolit Analysis

- IPPOLITE EUROPID ANALYSIS

- Characteristics Fedry Euripid

- Euripide Ippolite Analysis of Work

- Tragedy Ippolit Analysis

Other works on this topic:

1. Hippolyte creating an image of a hippolyta, Rasin made a lot to the antique material. In the interpretation of the ancients, Ippolit does not know love, because he honors the goddess Artemis and does not recognize ...
2. Elena Elena is the acting person of the three tragedies of Euripid: "Trojan", "Elena" and "Ores". In the first two tragedies, the image of Elena is traditional. This is an incorrect wife who fled with ...
3. Fedra The image of Fedra Rasin is different from the image created by the ancient authors: the ancients were a sensual woman who died with passions, and Racin is deeply unhappy and ...
4. Electra Electra is the acting face of two tragedies of Euripid: "Electra" and "Orest". In the "Elektra", Egisf and Cliqueness are issued to the electro marriage for a simple peasant, but this marriage ...
5. Medea Medea - the central character of the same name of the tragedy. Medea, together with her husband, Jason and two children, is in exile in Corinth after the murder of the Fessel king ...
6. Hippolyte is the protagonist of the same name of the tragedy. I., who lives in the sober Son of the Athens Tsar Tereus, his zealous twist of Artemis and disgrave, which was represented by Aphrodite, caused anger ...
7. Euripid in ancient Athens Rules King Tesch. Like Hercules, he had two fathers - the earthly, the king of Age, and the Heavenly, the god Poseidon. The main one ...

Ministry of Education of Ukraine

Zaporizhia State University

Faculty of foreign philology

Department of Foreign Literature

Course work

on the topic : _____ Antique world in the tragedies of Eurypid "Ippolite" and Seneki "Fedra"

Performed Behteeva Svetlana Vladimirovna

art. Groups ___________________________________________

Head assistant professor_____________________Emirusinova N.K.

Normocontroller _______________________________________

Zaporizhia

1. Task for coursework 1

2. Essay 1.

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

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

5. Poets views on the problems of modernity 12

5.1 Interpretation of religion and gods in the works of Euripid "Ippolit" and Seneki "Fedra";

5.2 IPPOLIT - "Man of Good"; The fate of mortal in the hands of the gods;

5.3 Fedra - the degree of tragedy of the image in both works;

5.4 The main question of works - "What is evil?"

6.Shighters ................................................. .......................................... nineteen

7. The list of references used ................... 219

for student course work

Becheeva Svetlana Vladimirovna

1. Work theme Antique world in the tragedies of Euripid "Ippolit" and Seneki "Fedra"

2. Time of delivery of the student of completed work _________

3. Source data to work Texts of the works of Seneki and Euripid, literary and philosophical work on this issue.

4. List of issues that should be considered

1. Conductive analysis of tragedies.

2.Tractor of religion and gods in the works of Euripid "Ippolite" and Seneki "Fedra".

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

4. The image of the image of Fedry in the tragedies of Euripid and Seneki.

5. Date of issuing tasks ________________________________

course text 19 s., 8 sources.

Object research In this paper, the texts of the artistic works of Euripid ("IPPOLIT"), Seneki (Fedra "," Letters to Lucilia "), biographical sources and philosophical abstracts.

Goal goal It is the study of the problem of literary traditions of antiquity through the study of private examples of the artistic and philosophical worlds of Euripid and Seneki. In the course of the study it is planned to solve the following tasks:

- establish the main features and differences in the manner of writing the work of the Greek and Roman authors;

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

- carry out an independent analysis of intercomposition and differences, their dependencies on the social environment of the authors.

Research methods - Method of system analysis and comparable.

Scientific novelty This work is an attempt to reveal the direct dependence of the historical basis, the social environment and the views of the two authors of antiquity, Seneki and Euripid, their approaches to the modern problems and the plot of the same ancient myth in particular.

Application area - Teaching literature, philosophy.

Man of good, tragedy image, historical basis, social environment, Stoicism, "New" style, polis system, rock, providence.

Through the centuries, from deep antiquity, the heroes of mythological plots come to us, while maintaining their own, customs, sitis. But, passing through the prism of time and distance, their main ideas are changed, partly characters, views and the very essence of their actions. There is no exception and the plot, in which Fedra, the wife of the Athens Tsar Tereus (Fiese), fell in love with his gap of Ippolit. Rejected by him, she cums the life of suicide, leaving the IPPolitis and accusing him to attempt to her honor. So this plot was used by the Grand Greek tragedy by Eurypid, Senekoy, the Roman Master of the "New Style", and Racin in his work "Fedra", written in the best traditions of French classicism (1677).

Of course, every occlusion is the brainchild of not only its author, but also the people, social status in society, the political system that existed at that time, and, often, only the emerging new thoughts and trends, as it was with the work of Eurypid "IPPOLIT".

So find the differences and Pidibia in the works of Eurypid and Sevel causes 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 topic, the ideas of each work and the reasons that prompted the author should look for in its origin, education, the image of thoughts and dections and the surrounding reality.

Operation of personality and critical attitude towards TMIF - both of these trends of the new worldview were in a sharp contradiction with the ideological foundations of the tragedy of Eschil and Sophokla; Nevertheless, they received their first literary incarnation within the tragic genre, which remained the leading industry of attic literature V c. New flows of Greek social thought found a response in the works of Eurypid - the Third Great Poet of Athens.

The dramatic work of Eurypid proceeded almost simultaneously with the activities of Sofokla. Eurypid was born about 406. The first plays of the Bli were delivered in 455, and from that time the ONB for almost a whole half a century, was the most prominent opponent of Sophokla on the Athenian scene. Success in contemporaries he reached it soon; Success was not durable. The ideological content and dramatic innovations of his tragedies met a sharp condemnation from the conservative part of the Athenians and served as the subject of permanent mocks of the comedy V c. Over twenty times he spoke with his grades on tragic contests, but the Athenian jury for all this time awarded him only five prizes, the last time was already posthumously. But afterwards, during the decomposition of the policy and in the eliistic era, Eurypid became the favorite tragic poet of the Greeks.

The most reliable biographical sources paint Eurypid with a secluded thinker - a book-book. He was the owner of a rather significant book assembly. In the political life of Athens, he did not take active participation, preferring leisure dedicated to philosophical and literary classes. This unusual lifestyle for citizens was often attributed to Eurypid even mythological heroes.

The crisis of traditional polis ideology and the search for new foundations and ways of worldview found in Eurypid's tragedy very bright and complete reflection. A secluded poet and thinker, he was sensitive to the burning issues of social and political life. His theater is a peculiar encyclopedia of the mental movement of Greece in the second half of the V c.

In the works of Eurypid, a variety of problems that were interested in Greek public thought were set out and new theories were discussed, the antique criticism called Eurypid philosopher on stage .. However, he was not a supporter of any philosophical teaching, and his own views did not differ in either consistency or consistency .

It is important for us that negative attitude causes an aggressive foreign policy of democracy from Eripid. He is - Africa Patriot and the enemy of Sparta. Eurypid alien philosophical views of the Roman society.

Seneca, like Eurypid, was the son of his state, and it influenced the hacquer of his work "Fedra", as well as all his work. The structure of the empire created by August ("Principal"), lasted over 200 years after the death of its founder, up to the crisis III century. The military dictatorship turned out to be the only state form in which the ancient society, corrupted by the contradictions of Rabasta, could continue its existence after the collapse of the polis.

With all the visibility of the heyday, the symptoms of the upcoming decomposition of the slave system began to appear. It was in Italy that there are sharply signs of economic decline, but at the time, as a meant of decline, only awarded, the common and moral decline of the Roman society was already evident. Universal Safety and Losses of Hope on the opportunity for the opportunity, universal apathy and demoralization. The bulk of the population required only "bread" and "spectacles". And the state considered its direct responsibility to satisfy this need.

Rabilities, frank pursuit of material benefits, the weakening of social feelings, the fragility of family bonds, the celibacy and the fall in fertility - the characteristic features of the Roman society I c.

On this soil, the level of Roman literature decreases, and separate brilliant exceptions do not change the overall picture. The characteristic feature of the "silver century" is a large number of provincials in the environment of literary figures. In particular, Spain, the oldest and culturally most grew out of the novels western provinces, gave a number of significant Writers-Seneca, Lucan, Quintilian and others. The style, created by the "Declamators" of August of August, was most common in the middle of IV. Writers IV. They call it a "new" style, unlike the "old" style of Cicero, whose long speeches, philosophical reasoning, and strictly balanced periods seemed to be sluggish and boring. The literary traditions of "Asianism" found a grateful soil in Rome of the beginning of the I century. With his thirst for brilliance, the desire for a proud pose and a chase for sensually vivid impressions. The best master of the "new" style in the middle of IV. - Lutions of Annese Senela. Born in Spain, in the city of Cordube, but grew up in Rome. Seneca received the formation in the spirit of the new rhetoric and rashriell his philosophical knowledge. In his youth, he was fond of fresh philosophical currents, and in the 1930s, he was engaged in lawyers and fell into the Senate. But, having passed the circles of hell of political intrigues, takeoffs and falls, he moved away from the courtyard and took up literary and philosophical activities.