Based on Greek mythology and the tragedy Hippolytus by Euripides, Seneca's Phaedra is one of several artistic explorations of this tragic story.

Seneca portrays Phaedra as self-aware and direct in the pursuit of her stepson, while in other treatments of the myth, she is more of a passive victim of fate.

Most recently, a reimagined adaptation of Phaedra by Simon Stone was produced at the National Theatre; the company included Janet McTeer, Assaad Bouab and Mackenzie Davis.

Major themes in Phaedra include the laws of nature as interpreted according to stoic philosophy, animal imagery and hunting and the damaging effects of the sexual transgressions of mothers and stepmothers.

His step-mother Phaedra, wife of Theseus and daughter of King Minos of Crete, soon appears in front of the palace lamenting her fate.

Wondering what is causing her desire for the forest glades, she reflects on her mother, Pasiphaë, grand-daughter of Helios, who was cursed to fall in love with a bull and give birth to a monster, the Minotaur.

The nurse begs Phaedra not to end her life and promises to help her in her love, saying: "Mine is the task to approach the savage youth and bend the cruel man's relentless will."

The Chorus asserts that the order of the world has become skewed: "wretched poverty dogs the pure, and the adulterer, strong in wickedness, reigns supreme."

The Chorus proclaims that the gods most readily target mortals of wealth or power, while "the low-roofed, common home ne'er feels [Jove's] mighty blasts".

Phaedra condemns Theseus for his harshness and turns to Hippolytus' mangled corpse, crying: "Whither is thy glorious beauty fled?"

Pointing to Phaedra's corpse, he declares: "As for her, let her be buried deep in earth, and heavy may the soil lie on her unholy head!"

was famous for his writings on Stoic philosophy and rhetoric and became "one of the most influential men in Rome" when his student, Nero, was named emperor in 54 C.E.

[3] Historians generally agree that Seneca did not intend for his plays to be performed in the public theaters of Rome, but rather privately recited for gatherings of fashionable and educated audiences.

Technical devices such as asides and soliloquies, in addition to a focus on the supernatural and the destructive power of obsessive emotions, can all be traced back to Seneca.

According to historian Helen Slaney, Senecan tragedy "virtually disappeared" in the 18th century as drama became more regulated and "sensibility supplanted horror".

[9] In making the conscious choice to pursue her sinful passion for her stepson, Phaedra disturbs the laws of nature to such a degree that, according to Seneca's Stoic ideology, only her death can restore the cosmic order.

Likewise, Hippolytus feels that Phaedra's lust has tainted him, and he does not wish to live in a world that is no longer governed by moral law.

He denies ordinary human social bonds and isolates himself from society, thus making his moral existence unstable, especially in the face of his stepmother's unnatural advances.

[11] Phaedra, in turn, refers to herself as a hunter: "My joy is to follow in pursuit of the startled beasts and with soft hand to hurl stiff javelins.

According to scholar Mairead McAuley, "Roman obsession with both wicked and sexually predatory stepmother figures indicates a prevailing belief that the stepmaternal role led inherently to feminine lack of control and destructive impulses.

"[13] It is important to note, however, that Seneca does not represent Phaedra as merely a caricature of the evil stepmother, but paints her in a more sympathetic light by showing her inner conflict and turmoil.

[13] Phaedra believes that her unnatural feelings for Hippolytus can be traced back to the transgressions of her own mother, Pasiphaë, who mated with a bull and gave birth to the Minotaur.

"[12] In the end, Phaedra can be seen to meet a fate similar to that of her mother, for her unnatural lust brings about the creation of the monstrous bull that dismembers Hippolytus.