The Greek playwright, Euripides, is considered one of the three great tragedians of classical Athens. His individuality is attributed to the way he “pushes to the limits of what an audience can stand” . His masterpiece Medea , a fascinating classic centered on the Greek goddess Medea, is a prime example of this. During his time, Euripides was unpopular since he defied the commons themes of tragedies during the 430s B.C.E.; he instead introduced a nihilistic and disturbing tragedy focused on women, slaves and persons from the lower class. His mastery shines through as he guides the audience to sympathize with Medea even when she commits filicide, a seemingly horrendous act. He utilizes the Chorus, the Nurse, and the Children-which are all minor characters-to induce compassion for Medea, establish the development of her emotional state, and ascertain the importance of her pride. Although these characters guide the audience towards similar concepts, they represent a contradiction when it comes to the slaughter of the Children.
The Chorus in Medea consists of middle-aged Corinthian women who are present on-stage throughout the entire play. They defy their customary purpose of solely observing, and instead in Medea, they give their opinion on the events of the production and directly speak to the characters. For an instance, they warn Jason by saying: “you are acting wrongly in thus abandoning your wife” (p. 34). In this quotation, they voice the audience’s thoughts and feelings, while foreshadowing the consequences of the events.
The Nurse also shares a similar role with the Chorus. In Medea, Euripides uses the Nurse to introduce Medea and give an introduction to the play. The Nurse is the first character to appear; subsequently, sh...
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...help the audience feel compassionate, understand Medea’s emotional development, and her sense of pride. Although these characters are presented separately, generally they support each other although they represent different sides of views on the Children’s murder. Euripides, using these characters, transforms the play into a representative symbol of freedom and power. Medea is represented as a loving mother who was only forced to murder her children. Thus Euripides turns a story of jealousy and betrayal, to a play which represents fundamental human emotions.
Works Cited
The Cambridge History of Classical Literature I: Greek Literature, P.Easterling and B.Knox (ed.s), Cambridge University Press (1985), page 339
All references to Medea are from Euripides, Medea and Another Plays translated by Philip Vellacott, Harmonsworth, Middlesex: Penguin Books, 1963.
Euripides uses indirect/direct characterization of Medea, the plays antagonist, to help the readers understand a deeper reason for the things she has done, including kill her own brother and children. Through the use of the chorus, and other minor factors, we, as the audience, get to mentally interpret Medea’s side of the problems she and Jason undergo, and try to understand what she is going through and how she feels. Does she do it out of spite or out of revenge? Was she really in love with Jason, and was he worth killing all of these people she so deeply cared about? Although Medea is portrayed as the villain in the play due to her actions and rage, indirect/direct characterization from herself, other characters, and most importantly, the chorus, all reveal a deeper understanding as to why Medea did what she did and how she felt in the midst of all these problems she faced.
It is the reversal of “tradition, order” and “all things”. In her commitment to revenge, Medea defies the expectation of Greek society, transforming from the “poor Medea”, who is “scorned and shamed”, “[lying] collapsed in agony, into a “vile murderess”, who’s “rage will not relax till it has found its victim”. Medea is an anti-hero; she underplays the supposedly righteous and moral principles of society in demonstrating the contradictions of Jason’s character and generally men, who are themselves guilty of being “swayed by passion” and being “oath breakers, guest deceivers and liars.” As much as Jason is disloyal, Aegeus is equally loyal; he is so beguiled by Medea’s offer of being “granted fertility”, that he is willing to provide “sanctuary” in Athens for a “child killer”. Just as Medea is motivated by her personal passions in neglect of civilised laws, no less are the men in the play. Furthermore, the fact that the ending of the play unfolds in the manner that it does, where Medea evades punishment “in this chariot which the Sun has sent to save her from the hands of enemies” is a testimony to the idea that the constructs of society and their supposedly cultivated principles are arbitrary in the larger scheme of our existence. Through the deus ex machina ending of the play, Euripides condemns humanity’s fixation on contrived ideals and values that ultimately affect greater merit than is actually
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Euripides created a two-headed character in this classical tragedy. Medea begins her marriage as the ideal loving wife who sacrificed much for her husband's safety. At the peak of the reading, she becomes a murderous villain that demands respect and even some sympathy. By the end, the husband and wife are left devoid of love and purpose as the tragedy closes.
Medea and Lysistrata are two Greek literatures that depict the power which women are driven to achieve in an aim to defy gender inequality. In The Medea, Medea is battling against her husband Jason whom she hates. On the other hand, in Aristophanes' Lysistrata, the protagonist Lysistrata plotted to convince and organize the female gender to protest against the stubbornness of men. In terms of defining the purpose of these two literatures, it is apparent that Euripedes and Aristophanes created characters that demonstrate resistance against the domination of men in the society.
Throughout a person’s life, one goes through the process of rebellion. In the play Medea, a work in translation by Euripides, mythology is symbolic of rebellion. This statement will be proven through the analysis of mythology as fully symbolic of suppression. It will also be proven through an analysis of the world around the character Medea and analysis of Medea’s actions.
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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 dramatic ending serves a purpose as he wants to point out the flaws for Greek marriage traditions. He revealed the sexism in Greek marriages with Jason and Medea. Jason was very domineering and also portrayed as the antagonist, thus making his wrongdoings very unforgiving. His justification of leaving Medea was unreasonable and only made his situation worse. Jason, once the hero, is satirized by Euripides. His actions are not seen as heroic, even if he thinks about the well being of his sons. Medea, on the other hand, can be sympathized at first by seen from suffering from the lost of her love to an unfair reason. Her erratic behavior was well justified, she had the right to grieve over everything she had lost. However, her act of revenge went out of hand. Her act of revenge was worse than Jason’s act of betrayal. Her revenge add a dramatic effect which was intended to send a message. Euripides brought up a taboo aspect of marriage and divorce in Medea to show the flaws in Greek belief. Marriages were not fair, as shown in Medea. The character Medea, was used to send message that there needs to be justice for
The two contemporary productions of Medea were selected for this essay in an effort to contrast the ancient Greek version of the play with two modernized versions, which would demonstrate a wide distinction between the styles of production. Furthermore, both modernized versions of the play add their own innovation to the production, making for an even broader dissimilarity among the plays. Moreover, both recent productions are fashioned within cultures which have borrowed their political, social, and moral ways of life from Ancient Greek society, specifically, South Africa¹ (British Colonies), and The United States².
Aristotle, a philosopher, scientist, spiritualist and passionate critic of the arts, spent many years studying human nature and its relevance to the stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides 'Medea', a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedly perpetuates many of the Aristotelian rules, there are some dramatic structures which challenge its standing with relevance to Aristotle's guidelines, and the judgment of Medea as a dramatic success within the tragic genre.
Medea’s illegitimate marriage and the betrayal of Jason drive Medea to extreme revenge. Medea chooses to act with her immortal self and commit inhumane acts of murder rather than rationalize the outcomes of her actions. Medea see’s this option as her only resort as she has been banished and has nowhere to go, “stripped of her place”. To create sympathy for Medea, Euripides plays down Medea’s supernatural powers until the end of the play. Throughout the play Medea represents all characteristics found in individual women put together, including; love, passion, betrayal and revenge. Medea’s portrayal of human flaws creates empathetic emotions from the audience. The audience commiserates with Medea’s human flaws as they recognize them in themselves. Medea plays the major role in this play as she demonstrates many behavioral and psychological patterns unlike any of the other Greek women in the play; this draws the audience’s attention to Medea for sympathy and respect.
The Chorus, in this play, guides the audience. In the end, it is up to the individual as to what reaction they have to the play, but the Chorus is there to, in a way makes this reaction more complicated. One could leave the play totally condemning Medea, but the Chorus display’s Medea in a way that makes the audience sympathise with her, and so the moral conclusions that need to be come to side, become more complex. The audience has to base their reaction to Medea on what crimes they have seen her commit, and on what they have heard of her through the Chorus. Their integral part in the play acts in many ways, to follow, revise, and extend the plot of the play, and to influence the opinions and sympathies of the audience. It is a literary, and dramatic device that Euripedes uses, and uses well, to help portray a tragedy, and also a moralistic play, in which the Chorus is the voice that provides the morals.
In Medea, by Euripides, conflicts play a major role in the creation of the play. Some examples of these conflicts are with Medea and Jason, Medea and herself, and Medea and Creon. Medea is shown to be a strong, independent woman who does what she wants as well as doesn’t let anything stand in her way. She shares qualities of a traditional male at the time, and the qualities of a traditional female. Euripides makes this clear in the play by creating conflicts to prove women can be a powerful character and that the play in general challenges the idea of misogyny.