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Friday, May 4, 2012

Medea as a Woman

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Medea as Woman, Hero and God Four Sources In Euripides play the title role and focus of the play is the foreign witch Medea. Treated differently through the play by different people and at different times, she adapts and changes her character, finally triumphing over her hated husband Jason. She can feasibly be seen as a mortal woman, Aristotles tragic hero figure and even as an exulted goddess. Medeas identity as a weak woman is emphasised at the very start of the play. It is made very clear that she has come to misfortune through no fault of her own and is powerless in her problem (her world has turned to enmity). Being unable to change her situation is an example of her portrayal as a weak woman figure. We are told that she has been crying for days (lies collapsed in agony). Soon after these descriptions of her weeping, the Tutor arrives and informs us that yet more bad news is coming her way (not heard the worst banish them). At this point all the pity is directed towards Medea, shunned by her husband. More than just a cold cunning, Medeas cleverness manifests a sensitivity to other peoples psychological weak points when Creon makes a casual reference to the absolute devotion he feels for his daughter, Medea appeals to him on behalf of her own children and secures the one-day grace period before his decree of banishment takes effect. Unlike other ancient tragedians who used dialogue more abstractly, Euripides places a lot of emphasis on revealing a characters personality through his or her way of maneuvering a conversation. In his characteristically innovative style, Euripides employs the device to suggest that a rise to power by women would similarly unhinge the universe--to contemplate their comeuppance remains as unnatural as a kings murder.


Medea as Woman, Hero and God Four Sources In Euripides play the title role and focus of the play is the foreign witch Medea. Treated differently through the play by different people and at different times, she adapts and changes her character, finally triumphing over her hated husband Jason. She can feasibly be seen as a mortal woman, Aristotles tragic hero figure and even as an exulted goddess. Medeas identity as a weak woman is emphasised at the very start of the play. It is made very clear that she has come to misfortune through no fault of her own and is powerless in her problem (her world has turned to enmity). Being unable to change her situation is an example of her portrayal as a weak woman figure. We are told that she has been crying for days (lies collapsed in agony). Soon after these descriptions of her weeping, the Tutor arrives and informs us that yet more bad news is coming her way (not heard the worst banish them). At this point all the pity is directed towards Medea, shunned by her husband. More than just a cold cunning, Medeas cleverness manifests a sensitivity to other peoples psychological weak points when Creon makes a casual reference to the absolute devotion he feels for his daughter, Medea appeals to him on behalf of her own children and secures the one-day grace period before his decree of banishment takes effect. Unlike other ancient tragedians who used dialogue more abstractly, Euripides places a lot of emphasis on revealing a characters personality through his or her way of maneuvering a conversation. In his characteristically innovative style, Euripides employs the device to suggest that a rise to power by women would similarly unhinge the universe--to contemplate their comeuppance remains as unnatural as a kings murder.


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