A Close Reading of Medea Medea's first public statement, a sort of "protest speech," is one of the best parts of the play and demonstrates a complex, at times even contradictory, representation of gender. Medea's calm and reasoning tone, especially after her following out bursts of despair and hatred, provides the first display of her ability to gather herself together in the middle of crisis and pursue her hidden agenda with a great determination. This split in her personality is to a certain degree gender bias. The lack of emotional restraint is "typical" of women, and the strong attention to moral action is a common trait of heroes. Medea actually uses both of these traits so that her wild emotions fuel her ideals, thus producing a character that fails to fit into a clear mold. The speech itself highlights women's subordinate status in ancient Greek society, especially in the public eye." When Medea points out that women, especially "foreign" women, "require some knowledge of magic and other covert arts to exert influence over their husbands in the bedroom," she argues for a kind of alternative power that women can enjoy. A power that remains invisible to men and unknown by society, yet sways each with unquestionable force. Medea also supplies a method for interpreting her own character towards the end of her speech (lines 251-257): we should read her history of exile as a metaphoric exaggeration of all women's alienation; in fact, her whole predicament, past and yet to come, can be read as an allegory of women's suffering and the heights of tragedy it may unleash if left unattended. Under this model of interpretation, Medea portrays the rebellion of women against their "wretchedness." Such a transparent social allegory may seem forced or clichéd in our own contemporary setting, but in Euripides' time it would have been revolutionary, as tragedy generally spoke to the sufferings of a generic (perhaps idealized) individual, rather than a group. It would be a mistake, however, to claim that Medea's speech elaborates a clearly progressive political message, as her concluding remarks appeal to women's natural talent for devious manipulation (line 414). While Euripides' play manifests many revolutionary political sentiments, its social criticisms remain sporadic, forming just a part of some of the many trains of thought he follows. Aside from providing a time frame that initiates a sense of urgency to the play (Medea only has a day to complete her plans), the exchange between Creon and Medea introduces the theme of her cleverness.
Five years ago you could have found me hiding under my covers, praying to a god that I no longer believe in with my eyes shut tightly—but not anymore. These nights I offer up a two minute thanksgiving for the sake of karma; I look out into the darkness and I recognize the shadows as objects in my house rather than the faces of my dead grandfathers. It feels good to open my eyes, but I’ve traded in that old ignorant twinkle for a steady calmness. I still duck and cover when an insect the size of my pupil is within five feet of me, but from a distance I know that I am not so different from the tiny creature. If I am a predator, I am not the kind of predator who hunts but rather the one who kills out of fear. I prefer the role of the prey— it suits me well. I avoid conflict: I prefer spending time at home with my wife, I weigh less than 100lbs, and I have been notorious for becoming paralyzed with laughter upon being attacked by testosterone-laden family members. If a human or other animal my size or larger were to want me for dinner, I would be an easy target though my meat wouldn’t feed a family of four.
When Eurycleia is told by Penelope to wash the beggar, she notices a scar on his leg that is strikingly similar to the one her master had before he left for war. Immediately, she recognizes Odysseus but is sworn to secrecy as to not inform anyone of his arrival home. Obeying her beloved master, Eurycleia overcomes the instinct to run to Penelope and tell her that her husband is finally home. Not only does this event show how loyal Eurycleia is to Odysseus but “The incident also prepares for the importance of Eurycleia in the coming Homilia: she is more dangerous right now than the suitors” (Scodel 6-7). Illustrating the importance of Eurycleia in the final half of the epic, she is vital to Odysseus’s plan and has the power to easily ruin it with three words: Odysseus is home. If she says those three words to any other person in Ithaca, word will spread to everyone else like wildfire. Surely, then, the Suitors will be informed of Odysseus’s presence and instantly plan to murder him before he is able to regain his
While I enjoyed how Mills analyzed Medea’s action by bringing up relevant information regarding her historic roots and comparing her to several similar Greek characters, I disagreed with his heavy emphasis on her celestiality. She certainly does implore many aspects that a witch or mystical spirit would exhibit, such as her use of herbs and her method of escape, but I don’t think it is appropriate to blame her act of vengeance on aspects of alienation from humanity. Because Euripides’ intention of writing this play was to compel his audience to question social norms and gender roles in society, I don’t think he would have crafted Medea in a way that cast her outside of the human realm. While it certainly would have not been socially accepted
The exchange that takes place between Medea and the Chorus serves several purposes in Euripides' tragedy, The Medea. It allows us to sympathize with Medea in spite of her tragic flaws. It also foreshadows the tragic events that will come to pass. Finally, it contrasts rationality against vengeance and excess. The Chorus offers the sane view of the world to the somewhat insane characters of Medea, Jason, and Creon. As the passage begins on page 176, the leader of the Chorus reveals that she has high regards for Medea despite the fact that she is "savage still." She acknowledges Medea as a foreigner and an outsider and yet is sympathetic towards her. This alliance is apparently based on female bonds rather than on any kind of national loyalty. Medea wastes no time before she begins lamenting and cursing those who "dared wrong me without cause." The Chorus tries to comfort Medea, hoping that this might "lessen her fierce rage / And her frenzy of spirit." They show real concern for her well-being, as well as for the well-being of her loved ones. This unselfish attitude is in stark contrast to the attitudes of the main characters in the tragedy, who all seem to be extremely self-serving. So in just a few short lines, it's already become apparent that while the chorus doesn't necessarily agree with the way that Medea is handling her situation, they are sticking by her and supporting her. This idea supports one of the important themes of the play: the battle of the sexes. Medea now has a chance to get a few things off her chest. She addresses the "Women of Corinth," reminding them that of "all things that live upon the earth and have intelligence we women are certainly the most wretched." She discusses the sad lot that women must deal with in marriage and again stresses the fact that she is an outsider, "alone, without / a city. Her speech is clever and compelling.
The Canterbury Tales offer many characters whose vocation does not match his or her tale. This often provides humor and provokes much thought. Yet Chaucer makes the parson match his tale. This provokes a more serious train of thought. Thus Chaucer shows forth his brilliance in his versatility of subject matter.
Chaucer, Geoffrey. “The Canterbury tales: The Prologue”. Our Literary Heritage. Ed. Desmond Pacey. 4th ed. Montreal, Que.: Mcgraw-Hill Ryerson ltd., 1982.
The tragic play Medea is a struggle between reason and violence. Medea is deliberately portrayed as not a ‘normal woman’, but excessive in her passions. Medea is a torment to herself and to others; that is why Euripides shows her blazing her way through life leaving wreckage behind her. Euripides has presented Medea as a figure previously thought of exclusively as a male- hero. Her balance of character is a combination of the outstanding qualities of Achilles and Odysseus.
The effect of portraying characters in writing can make an impressionable mark on a readers mind. These descriptions can lead a reader to infer the type of character they are reading about or how they feel about a particular character. Sometimes as we read, things that appear to be certain may be ambivalent. Chaucer’s descriptions of his characters throughout “The General Prologue” are written in such a way where the characters seem to be doing things for the welfare of others or seem to have traits that are excessively praised. However, they really may embody insincerity, selfishness and greed. In “The General Prologue” from The Canterbury Tales by Geoffrey Chaucer, the Parson and the Pardoner, both members involved in the church, are described contrarily in order to provide two completely different effects for the reader. The Parson is shown to be pure and altruistic while the Pardoner who appears to be of good nature, is really not.
Chaucer, Geoffrey. The Canterbury Tales: Riverside Chaucer Third Edition. Ed. Larry D. Benson. Boston: Houghton Mifflin Company,1987. 3-328 Secondary
Euripides shows his views on female power through Medea. As a writer of the marginalized in society, Medea is the prime example of minorities of the age. She is a single mother, with 2 illegitimate children, in a foreign place. Despite all these disadvantages, Medea is the cleverest character in the story. Medea is a warning to the consequences that follow when society underestimates the
In ancient Greece, women lacked many of the fundamental rights held by men. Medea feels that this is unjust. These feelings are shown on page 195 when Medea states “...we must pay a great dowry to a husband who will be the tyrant of our bodies; and there is another fearful hazard: whether we shall get a good man or a bad. For separations bring disgrace on the woman and it is not possible to renounce one’s husband…” After being rejected by the one she loved, she beings to question the morals of those around her. She assumes that Greek women are weak and naive for allowing men to treat them this way; allowing men to cast them away at their heart’s content.
Ironically, Medea’s actions are similar to a man when she takes charge of her marriage, living situation, and family life when she devices a plan to engulf her husband with grief. With this in mind, Medea had accepts her place in a man’s world unti...
Many scholars and intellectual thinkers alike, from every corner of the world, have thoroughly studied the renowned work of Geoffrey Chaucer’s The Canterbury Tales. The examination and analysis of the relationship between the character’s descriptions in the general prologue and the themes and elements of their tales, is among the most fascinating of all open discussions about the distinguished text. Particular tales told in Chaucer’s work are presented as direct reflections of the depictions of the characters telling them, and other verbal stories can be argued to go completely against their teller’s characterization. One of the pilgrims, the Merchant, is a prime example of a character directly reflecting his or her own characteristics and
Women’s lives are represented by the roles they either choose or have imposed on them. This is evident in the play Medea by Euripides through the characters of Medea and the nurse. During the time period which Medea is set women have very limited social power and no political power at all, although a women’s maternal and domestic power was respected in the privacy of the home, “Our lives depend on how his lordship feels”. The limited power these women were given is different to modern society yet roles are still imposed on women to conform and be a dutiful wife.
... the Chorus, they condemn her for it, but, they can see and understand the reasons behind why Medea did what she did. For this reason at the end of the play the audience still has some sympathy for Medea, although severely diminished from that at the beginning of the play.