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Medea (play)
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Medea ( / Medeia) is an ancient Greek tragedy play written by Euripides, based upon the myth of Jason and Medea and first produced in 431 BC. The plot largely centers on the protagonist in her struggle with the world, and the revenge she brings about against her husband Jason who has betrayed her for another woman, the princess Glauce. For this reason it is often seen as the most Sophoclean of Euripides' extant plays.
Along with the plays Philoctetes, Dictys and Theristai, which were all entered as a group, it won the third prize (out of three) at the Dionysia festival for that year.
Plot The play tells the story of the revenge of a woman betrayed by her husband.

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Medea ( / Medeia) is an ancient Greek tragedy play written by Euripides, based upon the myth of Jason and Medea and first produced in 431 BC. The plot largely centers on the protagonist in her struggle with the world, and the revenge she brings about against her husband Jason who has betrayed her for another woman, the princess Glauce. For this reason it is often seen as the most Sophoclean of Euripides' extant plays.
Along with the plays Philoctetes, Dictys and Theristai, which were all entered as a group, it won the third prize (out of three) at the Dionysia festival for that year.
Plot The play tells the story of the revenge of a woman betrayed by her husband. All of the action of the play is at Corinth, where Jason has brought Medea after the adventures of the Golden Fleece. He has now left her to marry Glauce, the daughter of King Creon (Not to be confused with King Creon of Thebes) (Glauce is also known in Latin works as Creusa - see Seneca the Younger's Medea and Propertius 2.16.30). The play opens with Medea grieving over her loss and with her elderly nurse fearing what she might do to herself or her children.
Creon, also fearing what Medea might do, arrives determined to send Medea into exile. Medea pleads for one day's delay. In the next scene Jason arrives to confront her and explain himself. He believes he could not pass up the opportunity to marry a royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she saved him and slew the dragon.
- "It is not you," answers Jason, "who once saved me, but love, and you have had from me more than you gave. I have brought you from a barbarous land to Greece, and in Greece you are esteemed for your wisdom. And without fame of what avail is treasure or even the gifts of the Muses? Moreover, it is not for love that I have promised to marry the princess, but to win wealth and power for myself and for my sons. Neither do I wish to send you away in need; take as ample a provision as you like, and I will recommend you to the care of my friends."
She refuses with scorn his base gifts, "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."
Next Medea is visited by Aegeus, King of Athens, who shares the prophecy that will lead to the birth of Theseus; Medea begs him to protect her, in return for her help in his wife conceiving a child. Aegeus does not know what Medea is going to do in Corinth, but promises to give her refuge in any case, provided she can escape to Athens.
Medea then returns to her plotting how she may kill Creon and Glauce. She decides to poison some golden robes (a family heirloom and gift from the sun god), in hopes that the bride will not be able to resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is the best way to hurt Jason. She calls for Jason once more, falsely apologizes to him, and sends the poisoned robes with her children as the gift-bearers.
- "Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection."
The request is granted and the gifts are accepted. Offstage, while Medea ponders her actions, Glauce is killed by the poisoned dress, and Creon is also killed by the poison while attempting to save her. These events are related by a messenger.
- "Alas! The bride had died in horrible agony; for no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died too."
Medea is pleased, and gives a soliloquy pondering her next action:
- "In vain, my children, have I brought you up,
- Borne all the cares and pangs of motherhood,
- And the sharp pains of childbirth undergone.
- In you, alas, was treasured many a hope
- Of loving sustentation in my age,
- Of tender laying out when I was dead,
- Such as all men might envy.
- Those sweet thoughts are mine no more, for now bereft of you
- I must wear out a drear and joyless life,
- And you will nevermore your mother see,
- Nor live as ye have done beneath her eye.
- Alas, my sons, why do you gaze on me,
- Why smile upon your mother that last smile?
- Ah me! What shall I do? My purpose melts
- Beneath the bright looks of my little ones.
- I cannot do it. Farewell, my resolve,
- I will bear off my children from this land.
- Why should I seek to wring their father's heart,
- When that same act will doubly wring my own?
- I will not do it. Farewell, my resolve.
- What has come o'er me? Shall I let my foes
- Triumph, that I may let my friends go free?
- I'll brace me to the deed. Base that I was
- To let a thought of wickedness cross my soul.
- Children, go home. Whoso accounts it wrong
- To be attendant at my sacrifice,
- Let him stand off; my purpose is unchanged.
- Forego my resolutions, O my soul,
- Force not the parent's hand to slay the child.
- Their presence where we will go will gladden thee.
- By the avengers that in Hades reign,
- It never shall be said that I have left
- My children for my foes to trample on.
- It is decreed."
She rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason rushes to the scene to punish her for the murder of Glauce and learns that his children too have been killed. Medea then appears above the stage in the chariot of the sun god Helios; this was probably accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children again:
"I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me all that evil, I prophesy an evil doom."
She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions:
- Manifold are thy shapings, Providence!
- Many a hopeless matter gods arrange.
- What we expected never came to pass,
- What we did not expect the gods brought to bear;
- So have things gone, this whole experience through!"
Themes In the Medea, Euripides shows the inner emotions of passion, love, and vengeance. The play is sometimes seen as one of the first works of feminism, and Medea is seen as a feminist heroine. Other scholars of Greek theatre have challenged the theory that Medea reflects any feminist ideologies.
Reaction Although the play is considered one of the great plays of the Western canon, the Athenian audience did not react so favourably, and awarded it only the third place prize at the Dionysia festival in 431 BC. This was possibly because of Euripides' extensive changes to the conventions of Greek theatre. To have included an indecisive chorus, his criticism of Athenian society and his eventual disrespect for the gods —exhibited in Artemis, the acclaimed goddess of light and justice, acting for the now apparently evil Medea in carrying her to King Aegeus, was to repeal the purpose of the Dionysian plays: to appreciate Grecian society and uphold the power of the gods. However, it has also been argued that Medea was awarded third place because the competition at that particular Dionysia was so fierce, not because the Athenians were in any way opposed to the play's content.
In the 4th century BC, South-Italian vase painting offers a number of Medea-representations that are connected to Euripides' play — the most famous is a krater in Munich. However, these representations always differ considerably from the plots of the play or too general ones to support any direct link to the play of Euripides - this might reflect the judgement on the play. However, the violent and powerful character of princess Medea, and her double — loving and destructive -became a standard for the later periods of antiquity and seems to have inspired numerous adaptations thus became standard for the literal classes.
With the rediscovery of the text in first-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger and Hosidius Geta, among others), again in 16th-century Europe, and in the light of 20th century modern literary criticism, Medea has provoked differing reactions from differing critics and writers who have sought to interpret the reactions of their societies in the light of past generic assumptions; bringing a fresh interpretation to its universal themes of revenge and justice in an unjust society.
Modern Adaptations
Theatre
Medee, of 1946. Robinson Jeffers adapted Medea for a hit Broadway play in 1946. Ben Bagley's Shoestring Revue performed a musical parody Off-Broadway in the 1950s which was later issued on an LP and a CD, and was revived in 1995. The same plot points take place, but the parody of "Medea in Disneyland" is that it's happening in a Walt Disney animated cartoon. A 1993 dance-theatre retelling of the Medea myth was produced by "Edafos Dance Theatre", directed by avant-garde stage director and choreographer Dimitris Papaioannou.John Fisher wrote a campy musical version of Medea entitled Medea the Musical which gave privilege to the gay culture. The production was first staged in 1998. Neil Labute wrote Medea Redux a modern retelling, first performed in 1999 staring Calista Flockhart as part of his one act series entitled Bash. In this version the main character is seduced by her middle school teacher. He abandons her, and she kills their child out of revenge. Michael John LaChuisa, 1999 - musical adaptation work for Audra McDonald entitled Maire Christine. McDonald portrayed the title role and the show was set in New Orleans and Chicago respectively in 1899. Tom Lanoye (2001) used the myth of Medea to bring up modern problems (migration, man vs. woman) which results in a modernised version of Medea. His version also aims to analyse the love that develops from passion at the beginning to problems in the marriage and the "final hour" of the love between Jason and Medea. Peter Stein directed Medea in Epidaurus 2005. Irish Playwright Marina Carr's By the Bog of Cats is a modern re-telling of Euripides' Medea Incorporated with musical verse, the play was re-written by Yasmine Gad and Shahd Al-Shemmari and performed in Kuwait University, Faculty of Arts in 2008. Centering around a feminist reading of Euripides' play, the writers exposed Medea's struggle in light of the injustices inflicted upon her.
Film
Medea is loosely based on Euripides' play.
Television
Translations
- Edward P. Coleridge, 1891 - prose:
- Woodhull, 1908 - verse
- Gilbert Murray, 1912 - verse:
- Arthur S. Way, 1912 - verse
- Augustus T. Murray, 1931 - prose
- R. C. Trevelyan, 1939 - verse
- Rex Warner, 1944 - verse
- Philip Vellacott, 1963
- J. Davie, 1996
- James Morwood, 1997 - prose
- Paul Roche, 1998 - verse
- George Theodoridis, 2004 - prose:
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