Passion vs. Reason: Phaedra - Essay Example

? Passion vs. Reason: The Character of Phaedra In Jean Racine’s Phaedra Passion vs. Reason: The Character of Phaedra In Jean Racine’s Phaedra One of the most popular renditions of the play Phaedra was written by the French Jean Racine in about 1677 (Lawall et al., 2003). This play, which is actually a tragedy written in five acts, was also treated by the famous Roman and Greek poets, including Euripides and Seneca; however, the unique style of Racine is that she actually wrote the play according to an alexandrine verse. The story of this play actually revolves around five main characters: Phaedra, Hippolytus, Oenone, Theseus, and Aricia (Lawall et al., 2003). The stories of these characters, unique they may be, actually revolve into common themes: the issue of passion and reason, the complexities of public life and responsibilities vs. the reality of their personal realm, and as well as the role of the gods in man’s destiny. Are humans’ passions uncontrollable, whatever its cost to others may be? Does the passion of humans reign supreme over reason at the end of the day? While Phaedra may be the queen of the kingdom, having responsibilities over their realm and is supposed to be guided by reason, actually holds a secret desire for her stepson (Lawall et al., 2003). Hyppolytus the prince may have the life that any man would want, the riches, power and authority, but is actually finding a hard time to be with the person he loves (Lawall et al., 2003). Oenone the old nurse is supposed to have the moral standpoint to care for the royal household, but she acts as a key to unleash Phaedra’s desire (Lawall et al., 2003). Theseus the king is supposed to be just and righteous, as expected of a ruler, but is overcome by his emotions and imposes on his son a severe punishment for a crime that his son has not committed (Lawall et al., 2003). Aricia’s only desire is to be with the man that she loves, but the circumstances surrounding her forbids Aricia to do so. Given these circumstances, this paper would look into the contradiction between one public figure’s expected persona and the hidden desires of her private life, through the eyes of the character Phaedra. In this case, the researcher would look into the public background of Phaedra as a queen: the expected actions of her, and as well as the different ways that she explores in order to show society that she acts the way that a queen must act. This would be analyzed in comparison to her hidden desires: her unforgiving and intense passion for the love of her stepson, up to the point that her acts would lead to serious consequences not just for the royal household, but for the kingdom as a whole. From this analysis, at the end of the paper, the researcher would give a conclusion answering the question of passion vs. reason, on whether the passion of humans reign supreme over reason, regardless of the costs to other may be. At the first act of the play, it can be seen that Phaedra at public acts like what is expected of a queen: the responsibility of administering the kingdom while the king is away, as well as showing an example of moral and civil uprightness (Lawall et al., 2003). However, behind this public facade lies a very dark secret: Phaedra’s intense and overpowering passion on her stepson, Hyppolytus (Lawall et al., 2003). In fact, this passion is against all of the prevailing moral standards if society: the King is still believed to be alive, making this love illegitimate and totally unacceptable (Lawall et al., 2003). However, the nurse Oenone eventually acquires knowledge of the dark secret of Phaedra, wherein Phaedra actually requests that she would want to die rather than face the shame of the public knowing her illegitimate desire for her stepson (Lawall et al., 2003). In this case, the contradiction between the public persona and the private life of Phaedra can clearly be seen: she does not give up her illegitimate love for her stepson Hyppolytus, but would not compromise her stature as a queen and is desperate to keep this passion secret. Some people may argue that Phaedra’s effort to keep this passion secret may signal the reign of reason over passion, given that her stature as a queen must never be compromised. However, the researcher actually thinks otherwise: keeping Phaedra’s dark secret actually signal’s human’s uncontrollable passion, wherein despite the illegitimacy of this passion, Phaedra is still willing to risk everything. Given that it can be considered that it is part of Phaedra’s passion to become a powerful queen, keeping her dark passion for Hyppolytus may not signal reason, but rather, an accommodation of her uncontrollable passion. This is confirmed on the later part of the first act, wherein Phaedra actually accommodates the idea of pursuing her love over her stepson Hyppolytus given the news that her husband Theseus is already dead (Lawall et al., 2003). On the second act, Phaedra even gets to the point that she will plead for the love of Hyppolytus, citing her rights over him and even confesses her hidden passion over the prince (Lawall et al., 2003). On act 3, Phaedra’s irrationality even goes further, offering Hyppolytus a share of the crown just to satisfy her passion, until it is hindered by the return of Theseus in perfect health (Lawall et al., 2003). On the fourth act, just to save her face, Phaedra does not tell the truth concerning Oenone’s assertion that Hyppolytus attempted to forcibly get her, especially when it came to Phaedra’s knowledge that the true love of her stepson is for the maiden Aricia (Lawall et al., 2003). In this case, in the final act, Phaedre is finally consumed by her actions, especially in the death of Hyppolytus, and tells the truth to Theseus while expecting death from her intake of poison (Lawall et al., 2003). In conclusion, the researcher actually find out from the character of Phaedra that human’s passion supreme reigns over reason, wherein humans will be committed to do irrational and unacceptable things just to satisfy their passion, their intense desires. This can be seen in Phaedra, wherein she even went to the point of condemning her stepson to death and ruining her son’s love, just to satisfy her passion. Reference List Lawall, Sarah et al. (Eds.). (2003). The Norton Anthology of World Literature, Second Edition, Volume D: 1650 to 1800. New York: W. W. Norton & Company. Read More