Medea study guide
rising action
Creon grants Medea one more day before her exile. Medea plots to kill Creon, Jason, and the princess. Medea arranges sanctuary in Athens. Medea plans to kill her sons as her final revenge on Jason. Medea sends poisoned gifts to kill the princess and Creon.
deus ex machina
In literature, the use of an artificial device or gimmick to solve a problem.
falling action
Jason arrives to take his sons but learns they are dead.
The sons
Medea and Jason's two sons are killed by their mother as revenge for their father's infidelity.
Compare Medea's emotional intensity with Jason's in Episode 2.
Medea anger is evident when she speaks. If medea had knew Jason would have betrayed her she would never got invall with him. Medea feelings are clear asfore Jason is calm and emotions towards Medea is distance. The situation is very clear for Jason. Madea states all the good she has done for jason while jason just demisses those deeds
Resolution
Medea flies off in a winged chariot with her sons' bodies.
Themes
Passion, betrayal, revenge, exile, and feminine power
When was Medea written?
431 BC
What happened when the princess put on the poisoned gifts, and how does the scene relate to the themes of Medea?
According to the messenger, the princess at first enjoyed the poisoned crown and gown and admired how they looked on her. But festivity quickly turned to horror as the poison took hold, causing her to froth at the mouth and collapse. The messenger reports that an older servant initially believed the princess to be having a "fit/inspired by Pan or some other god." Because the god Pan is the god of the wild, nature, and the music of nature, this idea is still in line with festivity. It did not take the servant long to realize the gods were not inspiring the princess's condition because there was "white spit foaming in her mouth, her eyes/bulging from their sockets." Three of Medea's main themes come together in this episode, in which Medea exerts her feminine power from a distance by exacting revenge for Jason's betrayal. These three themes are focused through the lens of the poisoned crown, which symbolizes Medea's destruction of Jason's marriage and of the royal house of Corinth.
What conditions does Aegeus impose on Medea for granting her sanctuary, and why?
Aegeus imposes that Medea should travel to his house alone so that she doesn't upset his friends.
Why does Aegeus seek out Medea in Episode 3?
Aegeus wants to have kids with Medea. " I went to ask how I can beget children."(pg 361)
Aegeus
Aegeus, the king of Athens, visits Medea and offers her sanctuary in exchange for magical help to cure his sterility.
princess
Although she does not appear in the play, the princess is an important target of Medea's revenge and is described as vain and disdainful of Jason's sons.
How does Euripides defy the common social view of enslaved people through his portrayal of the Nurse and the Tutor in the prologos of Medea?
As in society, in Ancient Greek theater enslaved people were viewed as flat characters doing the bidding of their masters. Euripides goes against this common characterization by voicing the thoughts of the enslaved people in Medea. From the start of the play, he shows the audience the independent thoughts of the Nurse and the Tutor, who openly speak their minds about their former master, Jason. Both consider Jason unfaithful and an enemy to the people he once loved. The Tutor says, "Jason is no friend of people in this house." The Nurse goes as far as to say, "My curse on him! ... a bad man/to his own family."
creon
As the King of Corinth, Creon attempts to banish Medea and her children, but in the end he unwittingly allows her the time she needs to take revenge.
Tutor
As the servant assigned to the children of Medea and Jason, the Tutor also comments on Medea's mental state while watching over the children.
How are Medea's magical abilities displayed through her words and actions?
At the beginning of the play, the Chorus tells the audience about Medea's former sorcery, which helped Jason in his adventures with the Argonauts and in reclaiming his father's throne. At the end of the play, Medea displays her magical abilities by traveling in Helios's flying golden chariot. She says she plans to take her children "to Hera's sacred lands/in Acraia," where their graves cannot be defiled and where she will use "mystic rites" to atone for her sins. Medea also foretells the future for Jason: she says his head will be "smashed in" by a "mouldy relic of [his] ship the Argo."
Without seeing Medea in the prologos, how does the audience get an image of her as a feminine power?
At the start of the play, the Nurse relates Medea's past adventures—how she saved Jason and helped him acquire the Golden Fleece, demonstrating resourcefulness and cleverness. Medea then fled her homeland and family to start anew with Jason. Women had a low position in Greek society, so the audience would have understood immediately that Medea's willingness to leave the protection of her father and become an exile from her homeland required boldness and strength. Thus, the Nurse portrays Medea as an embodiment of feminine power. All the while the audience can hear Medea's voice from inside the house (before she appears onstage), calling on Themis and Artemis for help, saying she hopes to see Jason and his new wife destroyed. She is lamenting her actions against her father and brother. Medea's words and attitude support the Nurse's portrayal of her.
In Episode 6 what does Medea's monologue express about her character?
At this point in the play, Medea no longer has a choice; she knows that, if she does not kill her sons, the state will. Still, she can hardly force herself to do it: "Why do I put off doing this dreadful act,/since it must be done? Come, pick up the sword,/wretched hand of mine. .../move to where your life of misery begins./... forget they are your children/and mourn them later." Earlier in the play, when Medea spoke of her plan to kill the children, it was linked with revenge on Jason. But now she doesn't mention him at all. In this monologue there's also no mention of revenge, just the agony of a mother about to lose her children. Perhaps surprisingly, Medea doesn't consider taking the boys with her when she flees to Athens. Her passionate emotions seem to have blinded her to other options, trapping her in her revenge plot.
From Medea's behavior in Episode 4, what can you infer about her inner thoughts, emotions, and motivations?
Both Medea and Jason appear calm and conciliatory during this episode. Medea weeps periodically and misrepresents her thoughts and motivations. It is clear that she truly loves her sons, but her need for revenge supersedes her maternal love. Her emotions and behavior are complex: Even though she is in the midst of carrying out her plot for revenge, Medea is expressing her very real feelings of love for her children. Jason views women as wise only if they follow a logical course of action. If emotion governs their actions, he sees them as less than a woman of "good sense." Medea is playing to his idea of a sensible woman.
How do Jason's actions in Episode 4 of Medea make him appear sympathetic?
Despite portraying Jason as a harsh and unfeeling character in much of the play, Euripides gives Jason's character the opportunity to appeal to the audience in this episode by showing his paternal side. As Jason interacts with his children, for instance, he says, "I pray I see you/mature into fine young men." This allows the audience to see Jason as an ordinary father looking forward to seeing his children grow up. He even tells them, "I've made secure provision for you both./At some future date, you'll be leaders here,/in Corinth, alongside your new brothers." This indicates his desire to be a part of their lives and to assure their future success. The audience can empathize with these very human feelings. Jason also assures Medea he will go to the princess and ask her to accept the children. His tone is gentle and conciliatory. The audience sympathizes because it has already heard Medea's plans. It knows that Jason is being tricked and that the children will never grow up or be with their father again.
Discuss how the children's few words in Medea show the nature of their situation.
Even though the children say few words, the ones they do say are powerful and show how trapped and powerless they feel. One child asks about "escape" from Medea's hands. They scream for help and beg the gods to stop their mother, but their cries go unanswered. We can only imagine their feelings of powerlessness when the second child announces that the sword is coming for them. Finally, the simile "like a snare" illuminates the situation, conveying the image of the trap shutting on the boys as they are murdered by their own mother. The cries of the children show they are connected as brothers in life as they will be in death. The first child asks, "What do I do?" But the other answers, "I don't know, dear brother./It's over for us." Once again the use of "dear brother" shows their closeness, which makes their deaths that much more painful for the audience.
How was Euripides's treatment of the Medea myth unconventional?
In the patriarchal society of ancient Greece, Medea, who was an intelligent and powerful woman and who had a habit of leaving a trail of bodies in her wake (her brother, Jason's uncle, Creon, Creon's daughter, and so forth), was considered a monster. She had broken society's rules, for instance, by marrying the man she chose rather than the one her father chose for her. What's more, Medea was a powerful, intelligent, and headstrong sorcerer, so it's easy to see why she was terrifying. But Euripides, while including all these monstrous traits in his Medea, also shows how human and vulnerable she is—especially in her suffering over Jason's betrayal, her gratitude for Aegeus's friendship, and her maternal adoration of her children. It is Euripides's sympathy for Medea that is so unconventional. This humanization of characters was one of the ways in which Euripides broke with the established traditions of Greek theater. Other notable ways were his use of technology and his growing reliance on individual actors coupled with a decreasing use of the chorus.
What is the significance of the mention of Ino by the Chorus in Stasimon 6 of Medea?
Ino is mentioned as another example from Greek mythology of a mother who kills her children. This story is linked directly to the actions of the gods, which is different from the ambiguity of divine intervention in Medea's life. The Chorus says Ino was "driven to madness by the gods" and killed her children. She then jumped into the sea to be with them. The significance is not only that it is another story of filicide—an act the Greeks and most cultures believe to be taboo or "unholy"—but that it stands in contrast to Medea's situation. Medea has murdered out of revenge, not insanity like Ino. It brings questions to the surface about what will happen to Medea after these crimes. Is the Chorus suggesting that Medea might commit suicide to escape the pain she will suffer after killing her children?
In the Exodos of Medea, what does the marriage house symbolize?
Jason arrives and is unaware that Medea has murdered their sons. He knocks on the outside of the door of the marriage house, but it does not open, which symbolizes his exclusion from it. The Chorus members, who are Corinthian citizens, tell Jason the horrific news. Jason shakes his fist and yells at the locked doors of the house, but he remains shut out. Then Medea rises above the house in her golden chariot with the dead bodies of their boys. Looming over the inaccessible marriage house, Medea displays her feminine power, moving above and beyond her life with Jason.
What can you infer about Jason's values based on his first speech to Medea at the start of Episode 2?
Jason does not value Medea or women in general, but he does value royalty. He says Medea is to blame for her exile because of her "stupid chatter." Though he is speaking specifically to Medea, it can be inferred that Jason feels this way about women in general. He says Medea's "silly rage" and her slander of the "royal house" have brought about her banishment. Jason believes that Medea is lucky that exile is her only punishment for speaking against the "ruler here." Even though he says he wants to help her in her banishment, he begins his speech with insults. This is another indication of his low opinion of women.
Jason
Jason is a Greek hero and Medea's husband, who leaves her to marry the Princess of Corinth for wealth and social standing
Is Jason sympathetic in the Exodos in Medea? Why or why not?
Jason may be considered sympathetic because he has come to protect the children from harm and he acts grief-stricken when he learns that Medea has killed the boys. When Medea denies his requests to bury his sons and touch their bodies one more time, he also elicits sympathy. However, it could be said that his continuing refusal to admit any guilt on his own part for his betrayal of Medea (which he considers "insignificant") and his continuing disdainful treatment of her make him unsympathetic. The Greeks who saw the original play may have had very different opinions on this issue than people in societies where more equality has been achieved.
Why does the Chorus say Jason was "wrong ... about [his] destiny" in Stasimon 4 of Medea?
Jason's backstory, which was known by the Greek audience and also related to readers through the play's dialogue, is that he is a Greek hero, an Argonaut, and the heir to the throne of Iolcus. He believes his destiny is to rule; but, because that cannot be the case in Corinth, where Creon is king, he will attach himself to royalty in order to improve his social standing. The Chorus is commenting that he could not be more wrong because his betrayal will result in the murder of his wife, keeping him from marrying into royalty, and in the death of his sons, ending his bloodline.
In Medea how does Jason rationalize marrying the princess of Corinth?
Jason's explains that the reasoning for marrying the Princess of Corinth is to only to acquire greater status that would secure their family.
Chorus Leader
Leader of the Corinthian women who speak for society.
Do you think Euripides's use of the deus ex machina device is an appropriate ending for the play?
Many scholars believe the use of a crane (mechane) to hoist an actor above the stage originated with Euripides. He used it extensively in his plays. Usually the hoister was a god (deus), who swooped in to pass judgment, make pronouncements, or otherwise resolve events. In Medea it is the protagonist who rises above the stage in Helios's chariot. This ending was and remains controversial. After all, Medea is a tragedy, so the audience would expect a tragic ending. As the Chorus points out, filicide is a crime that can bring down the wrath of the gods, and, because Medea's children are descended from Helios, the Chorus expects Medea to suffer for killing them. Given the horror of Medea's crimes, which also include regicide, it seems unjust that she is able to borrow Helios's chariot and escape unscathed. However, Euripides portrays Medea as a devoted wife who has sacrificed homeland, status, and family for Jason, whereas Jason himself is a thoughtless, self-centered, unfaithful lout. So it's satisfying to see Jason watch powerlessly as Medea escapes in glory instead of getting dragged off in chains. Also, because Medea is Helios's granddaughter, it's believable that the god would help her.
In Episode 5 of Medea, why does Medea say, "The gods and I .../have brought about this situation"?
Medea clearly knows she is the maker of her destiny as she manipulates people and executes her plot of revenge; however, ancient Greeks believed the gods interfered in the lives of mortals. Medea may be referring specifically to Aphrodite and Eros. If the goddess of love, Aphrodite, had her son Eros shoot Medea with an arrow to make her fall in love with Jason, then the course of Medea's life and the events of the present situation were all set in motion by the gods. This interpretation is supported by the Chorus blaming the gods.
In Episode 1 why does Medea enter the "public eye" and speak to the Chorus?
Medea hears the Chorus outside her door, and she does not want to appear to be ungrateful for their concern and presence, so she exits the house and greets them. The concept of the "public eye" is an expression she uses related to her feelings of being the "other," or a foreigner in Corinth. Medea says to the Chorus that people are not fair because they hate others on sight rather than getting to know them. It may be that Medea leaves the house and speaks to the Chorus not only out of custom and courtesy; she may also want to have a sounding board for her plan of revenge. Though she speaks openly with the Chorus about her plot, she rejects the Chorus's objections several times.
Medea
Medea is Jason's wife and the mother of his two children, whom she murders as revenge for Jason's betrayal
Why does Medea make Aegeus swear by the gods that he will keep his promise of protection?
Medea makes Aegeus swear by the gods that he will keep his promise of protection. she wants to make sure the promise isn't broken, so that she has somewhere to go after her exile.
Why does Medea persuade Jason to get royal permission for their sons to stay in Corinth even though she intends to murder the boys?
Medea needs plausibility for her request to send the poisoned gifts to the princess; otherwise the princess might reject the gifts, and Medea would have to come up with an alternate plan. By feigning desire for the children to remain in Corinth, she is providing a believable reason for sending gifts to a woman she openly threatened. Her request also has several other effects. First, it helps convince Jason that Medea has really let go of her anger toward him. Second, it softens his attitude toward her because he knows she loves the children and does not want to part from them. She is doing so, ostensibly, for their benefit only.
How does Medea explain and justify her plan to use her children to exact revenge?
Medea plans to use her children to seek revenge by explaining how she doesn't want her children to stay in a bad environment without her there.
Discuss the significance of Medea's use of the concept work at the end of Episode 1: "Let the work,/this deadly business, start. ... So get to work."
Medea repeats the word work at the end of Episode 1. In the quotation she calls the work "this deadly business," so she is clearly referring to her plot of murderous revenge for Jason's betrayal. She speaks to herself in the second person, almost as a rallying cry to motivate herself to act. The final reference to work is in the context of talking about Sisyphus, who, according to Greek myths, is punished in Hades by having to continually push a heavy boulder uphill. When it reaches the top, it immediately rolls back down again. Medea juxtaposes this image of useless, perpetual work with her own work, in which she will make sure to succeed. Sisyphus was the founder and first king of Corinth, so Medea may also be using this image to belittle Creon, the current king
What are Medea's and Jason's great loves as revealed in Episode 2, and how do these great loves speak to the themes of Medea?
Medea says her love for Jason has been greater than her wisdom, which directly addresses the theme of passion. But her passionate love has been turned to jealousy and spite by Jason's betrayal, which wounds Medea so deeply that she is unable to reason and use wise judgment when making decisions. Therefore, the two themes of passion and betrayal resonate in those lines. Jason's great loves—status and power—also speak to the themes of passion and betrayal. Not only have they led him to betray Medea, but passionate love also surpasses his love of wisdom, leaving him vulnerable to being betrayed.
What does Medea plan to do with the bodies of her sons?
Medea says she plans to bury the children with her "own hands." She plans to take them to "Hera's sacred lands" so that none of her enemies will destroy their graves. It is noteworthy that Hera is the wife of Zeus and goddess of marriage. Medea may want to link herself to this goddess for protection because Jason betrayed her by breaking his marriage vow. Medea says she will have "mystic rites" at the sites of their burials to atone "for this profane murder." Whether or not that will appease the gods, it shows Medea's concern for keeping the children from harm after their death.
climax
Medea stabs her sons.
Discuss Medea's internal conflict during her monologue in Episode 5 of Medea.
Medea voices regret over the course of her life with her children. She regrets the hardships, the pain of childbirth, and the difficulties of motherhood especially considering now it will all have led to nothing but their deaths. She looks at the children and feels she cannot go through with their murders. Then she changes her mind, saying she will have the strength for the task because she will not give them to her enemies to put to death. Though she weeps for them and wavers in her decision to kill them, she hardens her heart and pushes forward with her plan.
Why does Medea weep at the start of Episode 5?
Medea weeps because she knows what will happen next: she must kill her own children. With the presentation of the poisoned gifts to the royal house, her revenge plot is unfolding as planned. The princess will die, and, though this actually pleases Medea, it means that the murder of her children is imminent. She has set herself on a destructive path, one from which there is now no turning back because the children have delivered the murder weapon. Even if she did not intend to kill them with her own hands, her sons would be executed as traitors by Corinth.
Why do Medea's encounters with Aegeus and Creon influence her to murder her children?
Medea's encounters influence her to murder her children because Aegeus gives her shelter and loyalty. Creon influences Medea because he is the one that will exile her and Jason would loss heir.
What is Medea's mood at the start of Episode 6, when she awaits news of what has happened to the princess?
Medea's mood is one of nervous anticipation in this episode. She says she has been waiting "in suspense" for news of what happened after the princess received the poisoned crown and gown. She wonders if her plan has worked. When she witnesses the coming of the messenger, Medea seems to be filled with sick anticipation to hear "news of some fresh catastrophe." She is happy when she hears that the princess and Creon are dead, but this also means she has to execute the difficult part of her plan: killing her children.
In the Exodos how is the theme of feminine power expressed through Medea's actions and words?
Medea's words express the theme of feminine power. She accepts Jason's comparisons to Scylla, the six-headed monster from the Odyssey, and to a she-lion, taking these names with relish as a tribute to feminine power. She coolly responds to Jason's raging sorrow with quick retorts such as "Well, your sons are gone./That should cause you pain." Medea's actions also reflect the theme of feminine power. She stays inside, not responding to Jason's shouts and knocks until she is ready to rise above the house in her divine chariot. By placing herself above the house and Jason, Medea takes a position of power. She shows power, too, by denying Jason his wish to give the children a proper Greek burial. Finally, the act of flying away in a chariot given to her by a god displays her power.
Introduction
Nurse and Tutor discuss Jason's betrayal; Medea cries.
What is the significance of the double entendre when Medea says in Episode 5, "Where you live now your father takes away"?
On the surface Medea is telling the children that, because of Jason's marriage to the princess, the boys will have to leave their dwelling place, their home with her, and live "somewhere else." After all, Medea herself will be going into exile. But there is another, deeper meaning, of course. Medea is actually speaking to the children about life and death; it is their lives that they will have to leave, and the "somewhere else" is the afterlife. She blames Jason, saying he is the one taking their lives away through his betrayal of their family, which has forced her to take revenge.
How does the Chorus's language in Stasimon 3 of Medea express the themes/topics of passion and betrayal?
Passion is shown by the positive word choice used to describe Athens. Athens is beautiful with lots of happiness and love. Betrayal is shown through the Chorus because of the reasoning as why Medea want to kill her children. Being a mother and wanting to kill your own children is an act of betrayal.
Explain why Medea's reaction to the messenger's news in Episode 6 is situational irony.
Situational irony is when the opposite happens from what is intended or expected. When the messenger arrives at Medea's house to report the deaths, he expects that she will be ready and willing to flee immediately. He does not expect that she will be happy when she hears the news, but Medea says, "What really splendid news you bring." The messenger thinks Medea will be afraid for her life because she has killed royalty, but instead she wants to relish the news of their deaths. She says, "If you report/they died in pain, you'll double my rejoicing."
What is the role of situational irony in the Exodus in Medea?
Situational irony plays a significant role in the Exodos because every one of Jason's expectations is turned on its head. First, Jason arrives at the marriage house, expecting to find his sons alive and to protect them from punishment, but the opposite occurs. The Chorus informs him that Medea has killed them. He then says he will take revenge, but he will never get the chance. Instead, he'll learn that he has been the victim of Medea's revenge. Jason also arrives expecting that, even if Medea has already fled, she will be caught and punished by what is left of the royal house in Corinth: "She'll have to ... fly up to heaven's overarching vault,/if she's going to avoid her punishment." It never occurs to Jason that Medea has done exactly that: she confronts him from the golden chariot and escapes to safety, taking with her the bodies of his children. In general, Jason's life has not turned out as he anticipated it would when he married the princess.
What does the Chorus say about having children in Stasimon 5 of Medea? How could the opposite view be supported?
The Chorus comments on the woes of having children, presenting having children as a fast track to grief. The Chorus explains that people without children are much happier because they do not have to provide for them or worry that their children will not turn out well. Similarly, those without children are happier because, if a child is raised well and dies before the parent, the grief is so great it overcomes any joy that came from having had children. (It was much more common in the ancient world for children to die prematurely, so many in the audience might well have had personal experience of this grief.) An argument could be made that having children is actually a positive experience. Many would point to the joy that comes from interacting with children, from seeing them turn into successful adults, and from having someone to carry on the family name and traditions.
How does the Chorus react when Medea takes her sons into the house to kill them?
The Chorus first asks the Earth and Sun to intercede and keep Medea from carrying out her vengeful plan of killing the children. It reminds the Sun—the god Helios—that these boys are his descendants and that "it's a fearful thing for men/to spill the blood of gods." The Chorus then addresses the king of the gods, Zeus, and asks that he stop Medea, almost as if it wanted him to strike her dead: "take from the house/this blood-thirsty savage Fury/gripped by the spirit of revenge." Although the Chorus condemns her act of revenge, it makes no move to stop Medea. The boys' cries can be heard from inside the house, begging for help. Despite their distress the Chorus does nothing. It stands by and allows the final destruction of Medea's marriage and Jason's bloodline. Even now the Chorus feels sorry for Medea—"you unhappy woman,/why does your anger/fall so heavily upon your heart"—but nevertheless sees a certain justice in her suffering: "For the gods send down/onto the houses of the ones who kill/sorrows to match their crimes."
the chorus
The Chorus is a group of Corinthian women who speak for society as they observe Medea's words and actions and offer moral advice.
In Medea why doesn't the Chorus go into the house to stop the murder of the children?
The Chorus is a representation of society, and its hesitation could represent how society allows crimes to happen without stepping in to stop them. Also, the Chorus may view the murder as Fate because the gods themselves have not interfered. While Medea kills her sons, the Chorus stands outside of the house hearing the cries from within and says, "Should I go in the house?/I'm sure I must prevent this murder." Despite this momentary conflict on what to do, the Chorus remains outside and does not intervene; after all, children are the property of their parents, and it is the parents' right to do with them as they see fit. Of course, in Ancient Greek drama, although the chorus might be considered an actor, it often primarily comments, informs, interprets, or persuades but doesn't have a greater level of active agency.
What do you think the Chorus means by saying Jason is a "lawless husband" in Stasimon 4 of Medea?
The Chorus is most likely referring to the natural law that governs marriage, according to which a husband and wife are faithful to one another and a father cares and provides for his children. By betraying Medea, Jason has broken this law and is thus "lawless." As the moral voice of society, the Chorus comments on his immorality. Jason sees it differently, claiming that he did not marry the princess to be unfaithful but to help his family by ensuring they will have status and wealth. Medea agrees with the Chorus, though, and seeks revenge, which she sees as necessary punishment for his transgression.
What view of the gods is presented by the Chorus in Stasimon 5 of Medea?
The Chorus mentions the Muse who guides it in wisdom, which is highly valued by the Chorus and by Greek society in general. It is this wisdom, the Chorus says, that it will now impart. Then, it speaks of the gods in general, arguing that being without children is a happier, easier state, partly because of the gods' control of human lives. For instance, because the gods control Fate, even if parents rear their child to grow up well, the gods may determine the child's Fate is to die young: "the gods inflict on mortal men/... this most painful further sorrow."
What is the Chorus saying about the roles of men and women in Stasimon 1 of Medea?
The Chorus sings that Medea's plans are the reverse of the usual order of things. Despite being a woman, she is plotting to guide events in order to take revenge. According to the Chorus, it is men who form the traditional focal point of human history and the work of the ancient poets; women have been considered ineffectual and irrelevant. As females the Chorus wishes for a counter-history to tell more of women's lives. In the final two stanzas of the song, the Chorus gets specific about Medea's situation while continuing to comment on the roles of men and women in general. It points out that Medea has no "father's house" to go to and that another, "stronger woman" is now in charge of her household and "queen" of Jason's marriage bed. These references evoke thoughts of the ruling father who protects and the new queen who has usurped Medea's place of honor as wife, thus making marriage the main role for women and minimizing feminine power.
How might the Greek audience have responded to Medea's words before she goes into the house to kill her sons?
The Greek audience may have anticipated a change of heart from Medea, expecting her, as the Chorus did, to have difficulty killing her sons. Even as she prepares to go in and kill the children, Medea could have stopped what she was doing and just gone into exile in Athens. She could perhaps have even taken the children with her. Alternatively, the audience may have been satisfied with her decision because it expected the completion of Medea's revenge and the fulfillment of her promises. This display of power from a woman might also have surprised members of a patriarchal society.
Messenger
The Messenger reports the gory details surrounding the murders of the princess and King Creon.
How does the Nurse in Medea introduce the theme of revenge in the prologos, or opening scene?
The Nurse gives the first expression of the revenge theme when she talks of Medea and Jason's past and of Jason's marriage to the princess. After recounting these events, she says she worries that Medea may be up to "new mischief" because she thinks "in extremes." The Nurse wonders if Medea will kill herself with a sword or sneak into Creon's house and murder him and the princess. While speaking about Medea's character and her penchant for getting back at those who do her wrong, the Nurse foreshadows the murders to come.
How does the Chorus address the themes of passion and exile in Stasimon 2 of Medea?
The chorus used passion to express their wish for self-control. The chorus describe the exile as " death, I would bargain with death/ And die such a day to finish./ For nothing is like the sorrow/Or supersedes the sadness/Of the..."(360). Death is more desirable than being exile.
What is the symbolic meaning of the "house's suffering" as mentioned by the Chorus leader in the parados of Medea?
The house symbolizes the marriage of Jason and Medea. Also, because ancient Greece was a patriarchal society, the "house" represents Jason and his bloodline—his children and any future children born to them, and so on. In the parados the most obvious suffering is Medea's cries over Jason's betrayal, which can be heard from within the marriage house. The reference to the "house's suffering" could also foreshadow the suffering that will afflict Jason as a result of Medea's murdering their two sons. The Chorus leader, as the ideal spectator, expresses the view of society by taking "no pleasure" in Medea's plan of revenge to obliterate Jason's "house" by killing their sons, his heirs.
How does the Chorus leader's response to the messenger's monologue in Episode 6 of Medea address the idea of justice?
The idea of justice can be seen in the Chorus leader's reference to the control of the gods. She says that Jason is being rightly punished for his betrayal: "the god tightens troubles around Jason,/and justly so." Although she feels sorry for the princess—"O poor Creon's daughter,/how we pity your misfortune"—in the next breath she says that the princess is now with Hades, the god of the Underworld, and that this is "the price you pay/for marrying Jason." Thus, both Jason and his new bride are suffering the consequences of their actions.
How do the messenger's words to Medea in Episode 6 address the motif of wisdom versus passion?
The messenger is a sensible man attached to Jason's household. Since Jason's marriage, he points out, the princess is now his "mistress," but it's clear that his emotional attachment is still to Medea and her sons: He relates that he and the other servants were "glad,/... /that you and your husband's previous quarrel/was now over." He speaks to Medea almost as a brother might, with disapproval and concern, making clear that he finds her vengeful, passionate actions foolish and advising her to flee. When she is pleased with his news, he incredulously asks, "Are you in your right mind, lady, or insane?" He clearly believes that Medea's passion has overcome her wisdom. The messenger also comments on people of the higher classes in general by saying, "Those mortals/who seem wise, ... /are guilty of the greatest foolishness." Medea is in a position to have servants and may "seem wise" to those servants, but she does not temper her thoughts, words, or deeds with reason. It is likely the messenger would extend his comments to include Jason, the princess, and even Creon, considering their thoughtless actions prompted Medea's revenge.
In Medea what does the messenger's story suggest about the princess's feelings toward the children?
The messenger's story suggests that the princess would be unkind to Medea's children if they were left in her care. The messenger says that, when the children arrived, the princess "wanted to fix her eyes on Jason only." By the way she turned her cheek, the messenger gathered she was "disgusted that they'd come." The only thing that stopped her behavior was the sight of the glorious gifts (the poisoned crown and gown) the children had brought her. Apparently, it was only because of the gifts that she agreed to allow the children to remain in Corinth. This shows that the princess is more interested in material wealth and beauty than in her new husband's children, whom he sired with another woman. It is likely that the princess only pretended to like or accept the children and would later revert to her original dislike of them.
What do the references to "gold" and "rich possessions" in Episode 4 suggest about Medea's and Jason's characters?
The poisoned crown and gown, the ones intended for the princess, are "twisted gold." They are also from Helios, the sun god and Medea's grandfather. The use of the phrase "twisted gold" enriches the plot by speaking to how Medea twists her speech for Jason, acting one way and feeling another. Her plot of revenge, to murder her own children, could also be called twisted, and the gold could represent the royal family she intends to eliminate. Jason questions Medea's precious gift, saying that he sees it as unlikely that the royal family needs more gold than they already have and that he believes the princess cares more for him than for "rich possessions." Though Medea does not let her peaceful mask slip, this must incite her and spur her to continue with her plan of revenge. Medea says the gods favor the princess and that she would "trade more than gold" if only the princess will allow her sons to stay. This is an example of dramatic irony: no matter what Jason believes, the audience knows Medea is indeed planning a trade, but a very different one—her golden crown for the death of the princess and Creon.
Nurse
The servant of Medea, the Nurse comments on Medea's emotional state.
How does the confrontation between Medea and Creon in Episode 1 advance the plot?
Though Creon arrives declaring that Medea has been banished from Corinth because of her threats of revenge against Jason, Creon, and the princess, he is willing to show her mercy and allow her to stay one more day. He also fears stories of Medea's past and her reputation for using sorcery. A Greek king, he seems to adhere to the notion that Medea is a foreigner who is not to be trusted. This instinct is correct in this case, because his willingness to compromise is no match for Medea's powers of manipulation. Medea, in Episode 1, steers the dialogue with manipulative precision. She has already openly threatened the royal family and Jason, who show her temerity. Creon shows weakness, and Medea uses that and his love for his daughter to gain the upper hand. Preying upon his devotion as a father, she pretends to need only one day to seek refuge for herself and her sons in exile. Creon's willingness to negotiate and Medea's ability to manipulate take the plot one step closer to its tragic ending: the murders of Creon, his daughter, and Medea's children.
Do you think Medea is a traditional Greek tragedy?
Traditionally, an ancient Greek tragedy focused on how a central (male) character with power and influence is brought low by a combination of his own character flaws and circumstances he cannot overcome. Euripides's Medea differs in that its central character is a divorced woman living in exile who successfully achieves what she sets out to do and then triumphantly escapes punishment. If considered from Jason's perspective, however, the play is very much a traditional tragedy. Jason begins as a renowned Greek hero and the new husband of Corinth's princess. By the end of the play, he has lost everything—his new wife, his status, his sons, and any hope of having more children; he has also heard his own death foretold. All this has come about through his egotism, avarice, and inconstancy as well as through the actions of the wife he set aside.
In Medea to what extent do the characters' actions challenge or confirm their assumptions about the meaning of being Greek versus "barbarian"?
When Jason and Medea arrive in Corinth, both are exiles. Neither is Corinthian, so both may be considered "other." But Jason is Greek and therefore able to fit in. As a prince of Iolcus, he is considered noble and accepted into the royal family. For Medea the situation is very different. Although a princess by birth, Medea is non-Greek, a barbarian, and has no claim on Jason or any right to remain in Corinth. Jason taunts her with this in their first conversation: "you now live among the Greeks,/not in a country of barbarians." He characterizes her homeland as lawless and uncivilized, saying that in Greece she's "familiar with justice and the laws, rather than brute force." Medea is also "other" because she's descended from the gods, uses magic, and murders her own children. Knowing her past, Creon exiles her. The Chorus leader worries, "What country, what home will you ever find/to save you from misfortune?" Later the Chorus points out that killing her sons will only serve to worsen her exile: "How will [Athens]/welcome you—a murderess/who slaughtered her own children ... ?" Jason blames Medea's unnatural deed on her barbarian roots: "No woman from Greece would dare/to do this."
In medis res
refers to opening a story in the middle of the action, necessitating filing in past details by exposition or flashback; literally, "in the midst of things"
