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The role of women in Medea
Role of Women in Medea
Role of Women in Medea
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Throughout studies of ancient civilizations Woman's place seems to be similar, but through a large spectrum of roles; as in the tales of Medea and Gilgamesh. Both tales tell their own views on Women, but also show each woman in their best and worst: The common, the priestess, the harlot, the wise, or just an evil witch. By analyzing and contrasting each woman one can see the view of women in ancient societies through the way stories detail them and their defining actions. During each of the tales, there is only one example of the common woman. Common women seem to be resigned to their fates, having similar morals and making no real effort to change the way they live. Also, they do not act upon their words, but act more as common sense. Gilgamesh simply shows the common girl's contentment by viewing them on their wedding day, when Gilgamesh is given the bride's virginity before the groom. “The Bride was ready for Gilgamesh as though for a god, she was waiting in her bed... to forget her husband and open to the king” (Mitchell, 89). In Medea we have the Women of Corinth; more complicated women who act only as the Chorus and have little power to alter plot. They flock around Medea, pleading and sympathizing with her. They stay inactive and only speak with emotions and ideals fitting superficial levels of their status as women and wives. At the beginning, when Medea was only a wronged woman, they chastise Jason (as it would be proper to do if a man committed adultery): “Still I think... You have betrayed your wife and are acting badly.” (Euripides, 19). However, later in the play, when Medea discloses her plan to kill her children they simply plead with her: “I both wish to help you and support the normal Ways of ma... ... middle of paper ... ...e Gods at them: The Bull of Heaven. Her rash behavior caused the bull to descend to the Earth and cause hundreds of deaths and years of famine; all because Gilgamesh told her the truth of her philandering. She even caused the death of Enkidu, since the two friends slew the Bull as it attacked. These deaths were the result of her own vain actions and lust. Even though the sexual aspects of a woman are one of the more influential, there are always the main examples of woman kind; usually pertaining to their roles as mothers. In both of these stories we have the extremes of women the mother. There is the wise and caring mother, Ninsun. Then there is the evil, Medea herself. Works Cited Mitchell, Stepehn, trans. Gilgamesh a new English version. New York: Free, 2004. Print. Euripides. Medea. Trans. Rex Warner. London: Bodley Head Limited, 1944. Print.
For the Greeks, Homer's Odyssey was much more than just an entertaining tale of gods, monsters, and men, it served as cultural paradigm from which every important role and relationship could be defined. This book, much more so than its counter part The Iliad, gives an eclectic view of the Achean's peacetime civilization. Through Odyssey, we gain an understanding of what is proper or improper in relationships between father and son, god and mortal, servant and master, guest and host, and--importantly--man and woman. Women play a vital role in the movement of this narrative. Unlike in The Iliad, where they are chiefly prizes to be won, bereft of identity, the women of Odyssey are unique in their personality, intentions, and relationship towards men. Yet, despite the fact that no two women in this epic are alike, each--through her vices or virtues-- helps to delineate the role of the ideal woman. Below, we will show the importance of Circe, Calypso, Nausicaa, Clytaemestra, and Penelope in terms of the movement of the narrative and in defining social roles for the Ancient Greeks.
Women, on the other hand, play many more roles than men in this classic. Take Ninsun, the mother of Gilgamesh, for example. She plays the role of the loving, caring mother and also that of the wise counselor that provides guidance. From the very beginning of the book, Gilgamesh seeks guidance from his mother. When he has two dreams about an axe and a meteor, full of concern, he seeks the advice of his mother. At this point, she plays the role of the guiding, comforting mother by analyzing his dreams and relating the two objects to something good, Enkidu, that will soon come into Gilgamesh's life. "My son, the axe you saw is a friend...and I, Ninsun, I shall make him your equal. A mighty comrade will come to you, and be his friend's saviour..." (George, I, 288-291).
While both women do wrong by the law of man, and Medea against the law of the gods, they do it for different reasons. In the beginning Medea kills many people and monsters with little or no concern of the consequence. When the story deals with modern times Medea kills out of pure revenge and spite for Jason. She plots for weeks to kill Jason’s new bride and poisons her, and then before she leaves the country she murders her two sons, she had with Jason, before she rides off in her bright white chariot.
Mortal and immortal women inspire many of the events that take place in The Odyssey and The Epic of Gilgamesh. For example, without the harlot, who “tames” Enkidu, the story of Gilgamesh would not be, as we know it. A chapter entitled, “Women in Ancient Epic” from A Companion to Ancient Epic by Helene Foley compares Ishtar in Gilgamesh to Calypso and Circe in The Odyssey. By comparing the role of immortal and mortal women in both The Odyssey and The Epic of Gilgamesh, one will be able to discern how the feminine figures have played a pivotal role in shaping the destiny of the epic heroes, as well as, understanding the interrelation amongst the female figures of both ancient epics.
A goddess in ancient Mesopotamia is considered a woman who is of the highest ranking and deserves the highest respect to be considered by men (Thompson). Ishtar, the goddess of love and war, has a small, destructive role in the epic. She essentially lets all fire and brimstone loose, which leads to a battle with Enkidu and Gilgamesh, which in turn leads to Enkidu getting the death penalty from the gods, which sends Gilgamesh off to his failed quest for immortality (shmoop). One more
Women in antiquity did not have an easy lot in life. They had few, if any, rights. Surviving early records of the civilizations of antiquity from ancient Greece, Egypt, China, and Rome suggest the diversity of women’s roles differed little from region to region. There were a few exceptions, mostly concerning women of nobility and the city-state of Sparta. Excluding the rare instances mentioned most antique women were generally limited on education, mobility, and almost all possibilities interfering with domestic or childbearing responsibilities. The limited social roles of women in antiquity suggest the perceived c...
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
Mortal females cause struggles among men and are portrayed as wicked in Greek Mythology. In the story of How the World and Mankind Were Created, the Father of Men and of the Gods, Zeus, swears to get revenge upon mankind because of the poor sacrifices made to the altars. Therefore, he “[makes] a great evil for men, a sweet and lovely thing to look upon… they [call] her Pandora… the first woman… who are an evil to men, with a nature to do evil… is the source of all misfortu...
Jason was expecting her to continue fulfilling her role as a woman, and Medea got so upset that she wanted to be the exact opposite of all that Jason wished for. The idea of a “powerful woman” is progressive in this time, and dissed by tradition. Jason is a good example of a traditional figure, just wanting a good heir to his kingdom. Medea, although portrayed by Euripides as thinking without a brain, could possibly be viewed as a hero. Maybe we only view her as a tragedy because she defies every premise that is set forward for women: have a healthy husband, a healthy bank account, and healthy children. Maybe Medea does not want these things and only wanted to prove her strength. It took a lot of strength to kill her children. It also shows women’s short temperament, but that doesn’t necessarily mean they need to be dependent on men, as this play shows the non-loyalty of men. In a way, Euripides levels out the desires of man and woman, as he makes both of their wishes
The Role of Women in Greek Mythology In learning about the feminist movement, we studied the three articles, discussed and reviewed the different authors perspectives on the topic, and learned how important the role of woman in Greek mythology is. In presenting the feminist theory to the class, we analyzed the three articles, Women in Ancient Greece; Women in Antiquity: New Assessments; and Women in Greek Myth, and discussed how although the three articles provided different views on Feminism in mythology, they all essentially are aiming to teach the same basic concept. In order to understand the feminist theory, we have to understand the notion that although myths are invented and that they involve fantasy, the concept of mythology does not necessarily imply that there is no truth of history in them. Some of the humans may have lived while some of the events may have taken place. Most importantly, the social customs and the way of life depicted in the myths are a valuable representation of Greek society.
Women’s myths were thought to be irrelevant and not socially dominant which as an effect overlook them. Generally, these myths made assumptions to sex differences almost resembling those that give credit to male dominance, while transforming these characterizations and reversing the moral interpretations. For example, men are childish and women are mature, men are morally weak but women are virtuous, men are brutish and women are gentle, and men are hardheaded and power-hungry while women are cooperative. Women’s specific beliefs could vary by period, region and social
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.
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.
In Greek society, the role of women was considered to be insignificant compared to the Greek men. The women had very few rights, no room to voice personal opinions, and a very bleak future with few options for a better life. According to Moses Hades, professor of Greek studies, women in ancient Greek plays are known to be the main characters and take the role of the villain, victim, or the heroine. In Euripides’ play Medea, Medea, the main character, plays all these roles. She represents the heroine by helping her husband secure the Golden Fleece prior to their marriage, and then portrays the victim by being betrayed by her husband, and finally the villain by murdering her loved ones. Therefore, Euripides follows the standard format for a Greek tragedy.
... knowing the ironic truth, and when he asks her why, she replies, "I'm their mother." She grieves for what she will lose in seeing them grow up, seeing them "[become] prosperous. I shall never see your brides, adorn your bridal beds, and hold the torches high." Through all this it is evident that the loving aspect of the Great Mother is still present in the drama. Though this loving characteristic is present, it is the persuasive and manipulative facet of Medea that is most important in terms of plot. If Medea had not been so able to persuade the other characters, then she would not have been able to stay in Corinth for the day it took her to carry out her plan, and would not have had a refuge in Athens. Thus, the Great Mother's manipulative aspect was the propelling factor in Medea and all else sprung from the effects of this manifestation of the Great Mother.