Medea
Essay title: Medea
MEDEA
Euripides lived during the Golden Age of Athens, the city where he was born and lived most of his years. Born in 484 BC, his infancy saw the repulsion of the Persian invasion, a military victory that secured Athens political independence and eventual dominance over the Mediterranean world. His death in 406 came as Athens was surrendering its supremacy as a result of its protracted defeat to Sparta, its main rival, in the Peloponnesian War. Sandwiched between these two wars lies a creative period of political, economic, and cultural activity that spawned many of Western civilizations distinctive traits, including the flourishing of tragic drama. The art was mastered by Euripides older contemporaries, Aeschylus and Sophocles, playwrights who created the dramatic tradition that he would amplify significantly.
Although he is reputed to have written 92 plays, of which 17 (more than any other Classical playwright) survive, Euripides standing as a dramatist has often been disputed, especially during his lifetime. While Aristotle heralded him “the most tragic of poets,” he also criticized Euripides confused handling of plot and the less-than-heroic nature of his protagonists. Aristophanes, a comic dramatist, constantly mocked Euripides tendency towards word-play and paradox. Euripides role as a dramatic innovator, however, is unquestionable: the simplicity of his dialogue and its closeness to natural human speech patterns paved the way for dramatic realism, while the emotional vacillations in many of his works created our understanding of melodrama. Admired by Socrates and other philosophers, Euripides also distinguished himself as a free thinker; criticisms of traditional religion and defenses of oppressed groups (especially women and slaves) enter his plays with an explicitness unheard of before him. More than edifying pieces of art, works such as The Bacchae, Trojan Women,Iphigenia at Aulis,Alcetis, and Electra would become basic components of the Athenian citizens political education.
As with most of the myths recounted in ancient Greek tragedy, the story-line of Euripides Medea, originally produced in 431 BC, is derived from a collection of tales that circulated informally around him. His audience would have been familiar with its general parameters and many of its specifics. The plays merit consequently lies in its manner of exposition and its emotional focus, which Euripides places squarely in the flights of amoral passion that afflict the protagonist, Medea. Her infamous murders of her own children challenged the Athenian moral universe that continually hovers in the background of the play.
Short summary
Euripedes Medea opens in a state of conflict. Jason has abandoned his wife, Medea, along with their two children. He hopes to advance his station by remarrying with Glauce, the daughter of Creon, king of Corinth, the Greek city where the play is set. All the events of play proceed out of this initial dilemma, and the involved parties become its central characters.
Outside the royal palace, a nurse laments the events that have lead to the present crisis. After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability. Jasons recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children.
Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for “justice”–at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyones best interest. Medea finds him spineless, and she refuses to accept his token offers of help.
Appearing by chance in Corinth, Aegeus, King of Athens, offers Medea sanctuary in his home city in exchange for her knowledge of certain drugs that can cure his sterility. Now guaranteed an eventual haven in Athens, Medea has cleared all obstacles to completing her revenge, a plan which grows to include the murder of her own children; the pain their loss will cause her does not outweigh the satisfaction she will feel in making Jason suffer.
For the balance of the play, Medea engages in a ruse; she pretends to sympathize with Jason (bringing him into her confidence) and offers his wife “gifts,” a coronet and dress. Ostensibly, the gifts are meant to convince Glauce to ask her father to