As we have already observed in relation to Phaedra, a period that chose Greek antiquity as its model could not have striven for moderation, at least not as an art form. While the control of reason over passion was a moral ideal, it was not an artistic rule. All the Greek tragedies and Aristotle's specific precepts made a mood of unbearable tension an essential ingredient of tragedy. Racine is obviously in sympathy with this goal. Hermione's disappointment is not commonplace. Only superlatives can describe her fury. It is demoniacal, frenzied, homicidal. Her thirst for revenge must be quenched immediately, at any cost.
As usual, Racine ends his scenes on a note of expectation. The suspense at the conclusion of Scene 4 is particularly dreadful. Hermione's order to recall Orestes indicates that her plan is ill-considered, conceived in a moment of passion. And we now wait with dreadful anticipation for her remorse. As we have said before, Racine's suspense is very distinctive. It is based not on our ignorance but on our knowledge of events.
