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Euripides' Hippolytus and the Trials of Manhood (The Ephebia?)This essay focuses on a particular aspect of Hippolytus' social nature in Euripides' drama, his status as an ephebe, and the relationship between Euripides' drama and the ephebia. My goal is to show how the drama engages certain Athenian social rituals as an integral part of its form and meaning. Through a close study of the play's language, we will find that the drama's text embodies and enacts these social structures as Hippolytus undergoes a passage to a manhood that he can only achieve in death. I pursue this inquiry in the light of recent work by Vidal-Naquet and Winkler on the ephebia and Greek drama, examining the social function of Euripides' drama, its evocation and imitation of specific Athenian social practices, and the way the text's language specifically negotiates these practices.
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Miasma, Mimesis, and Scapegoating in Euripides' "Hippolytus"Euripides, as Rene Girard observes of Shakespeare, "in the portrayal of certain characters seems to oscillate between two opposite, really incompatible poles. On the one hand he makes these characters quite distinctive, especially as 'villains'; on the other hand he shows these same characters behaving and thinking exactly like their antagonists."1 Thus in the Hippolytus, quite different characters come to act like their opponents in the course of the play's action. The young virgin Hippolytus comes to sound and act like the mature, sexually experienced Phaedra; Phaedra like Hippolytus; and Theseus like Hippolytus. Even Artemis resembles her opposite, Aphrodite, at the play's end. Furthermore, all characters seek eventually to revenge themselves reciprocally on one another, and in this reciprocity arises the play's disaster. I shall attempt to show how these two processes unfold in Euripides' Hippolytus.
