As we have seen, classical drama insists quite rigorously on unity of action. It allows neither comic relief nor digressions. However, under certain circumstances, a subordinate plot is admitted. The prescription as formulated by the Abbé d'Aubignac requires that the secondary story be of lesser importance than the main plot and that it be closely related to it.
Scene 1 conforms to these instructions. It satisfies a natural curiosity to explore Hippolytus' reaction to his condemnation, to get a closer look at Phaedra's rival. At the same time it occupies only a fugitive moment in the play and does not threaten to eclipse the study of Phaedra's torment.
Aesthetically, the scene relieves the starkness of an exclusive concentration on Phaedra. The dialogue between Hippolytus and Aricia presents a new concept of love in the play—tender, self-sacrificing, and pristine—in sharp contrast with Phaedra's frightening passion. Filial compassion is repeated in Hippolytus' insistence on keeping his secret to spare his father's feelings. Finally, the arrangement for the young couple's wedding vows sustains the poetic tone with its feeling for the supernatural and the curiously romantic image of the tomb.
In Scene 3, Racine broadens Aricia's characterization. The maiden suddenly reveals an unsuspected wiliness and fire. Unintimidated by Theseus' brusqueness, she seems to acquire something of Phaedra's passion as she indignantly answers his banter with an attack on his unwarranted suspicions. Unlike Phaedra, however, Aricia is able to control her feelings before they lead her beyond the bounds of dangerous indiscretion.
