The story of the Hippolytus–Phaedra relationship is derived from one of several ancient Greek myths revolving around the archetypal Athenian hero, Theseus. The Greek playwright Euripides wrote two versions of the tragedy, the lost Hippolytus Veiled and the extant Hippolytus (428 B.C.E.).[3] It is thought that Hippolytus Veiled was not favorably received in the tragic competition of the Dionysean Festival, as it portrayed Phaedra as brazen and forward in response to her her husband's philandering, and showed her making a directly sexual proposition to her husband's son. Athenians tended to disapprove of women being portrayed as expressing such illicit passions. It is thought by some that Euripides wrote Hippolytus in order to correct his first version, and present both Phaedra and Hippolytus as chaste. The sources that have survived do not unequivocally confirm these assumptions, and alternate theories have been advanced.[4]
While historians believe that Phaedra was heavily influenced by Euripides' Hippolytus, there are several differences in plot and tone.[5] Literary scholar Albert S. Gérard states that, unlike the Phaedra of Hippolytus, Seneca's Phaedra is a thoughtful and intelligent character that acknowledges the improper and amoral nature of her feelings towards her stepson, yet still pursues him.[6] In Euripides' iteration of the play, it is the Nurse that informs Hippolytus of Phaedra's love for him. In Seneca's version, Phaedra personally conveys her desires to her stepson. Gérard claims that by transferring much of the scheming, "cynical insights," and "pragmatic advice" from the Nurse to Phaedra, Seneca implies that Phaedra is responsible for her actions, and she is aware that her behavior deviates from accepted principles of human morality.[6] In another departure from Euripides' Hippolytus, Phaedra, rather than committing suicide immediately after Hippolytus rejects her advances, is filled with remorse after Hippolytus has been killed and stabs herself. Gérard claims that these plot differences show a historical shift from the Greek "shame culture" priority of preserving one's reputation, to the Roman "guilt culture" priority of repentance.[6]
