When the play Hippolytus Stephanephorus (Hip-
polytus Garland-Bearer) became provided in Athens
in 428–429 b.C.E., it received first prize. Euripides’
Hippolytus had been preceded via any other ver-
sion of the play, entitled Hippolytus Calyptomenus
(Hippolytus with Head Covered), via the identical
writer. The earlier version induced some thing
of a scandal: The representation of Phaedra
turned into seemingly far less sympathetic than in this
2nd play. The subject matter turned into simply potentially
annoying, as Euripides had chosen a story thatdepicts the unchaste goals of a married lady
directed toward her personal husband’s son.
One crucial situation is the havoc that
Phaedra’s desire wreaks at the integrity of the
Greek oikos (“household”). Behind the greater
