The article analyzes the classical views of passion in “Phaedre”, where the major character, Phaedre, feels love and passion to Hippolytus. Consequently, she is the object of observation in this article. The article gives an overview of the style of Racine, pointing out their similar and distinctive features. Besides, the article compares and contrasts the vision of Phaedre and her passion by Racine, emphasizing the way Phaedres passion progresses from oceanic feeling love and devotion – to the love-object, and then to extreme feelings jealousy and revenge. The analysis of the play is supported by ideas of great philosophers – Georges Bataille, Friedrich Neitzsche, and Sigmund Freud. The classical French style was powerful throughout Europe. There were no references to everyday reality. The sublime style did not allow Jean Racine to show how Phaedre accuses Hippolyte; instead, Oenon fat blocker e, her nurse performs this function. Besides, Jean Racine follows the rule of unity of three objects: time, place and action. Racine and Euripide do not have a common view of Phaedre. Racines Phaedre is different from Euripides vision of woman and her passion. Jean Racine depicts a woman who is brave enough to tell Hippolytus of her love for him, while Euripides Phaedre cannot act this way, this is her nurse who tells Hippolytus all the truth. Besides, Jean Racine has removed goddesses Aphrodite and Artemis – from the play and has added an additional character Aricia. Jean Racines style is a remarkable one. In Racines Phedre all the physical disturbances of the characters are shown via some signs, blanching and tears which have erotic power. The reality in Phedre is obscure. In other words, Racine does not comment on the action with the help of his characters he shows us signs, signals.