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EURIPIDES,
MEDEA
EURIPIDES (ca. 480–406 B.C.), son of Mnesarchos, of the Deme of Phlya in Athens; and
of Klito (a shopkeeper and greengrocer–according to a hostile and doubtful
tradition). Euripides had an estate on the island of Salamis. He held a local
priesthood of Zeus at Phlya, and once served as ambassador to Syracuse in
Sicily. He had three sons.
Euripides first produced a play in 455 B. C. (winning Third Prize), and first
won First Prize in 441. He won a total of only five victories, one victory
being posthumous ( Bacchai
). His total output is said to have been 92 plays. He was the most popular of
the Athenian tragedians. In 408 or 407 he left Athens and went to Macedonia at
the invitation of King Archelaus, where he died in 406. He was buried at
Arethusa in Macedonia.
The
Medea
was first produced in Athens in 431 B.C., the year after the great war began
between Athens and Sparta (II Peloponnesian War). It only won Third Prize.
PROLOGOS
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The Nurse of Medea tells the story of Jason and Medea in Colchis, love and murders.
Now Medea hates Jason, however, because he is leaving her for the Princess of
Corinth. Medea is remorseful and vengeful.
-
The
Tutor
to the children of Medea and Jason brings the children in, and relates the
bad news that King Creon of Corinth intends to send Medea into exile along
with the children. The Nurse fears what Medea might do and plans to keep the
children away from her. Medea's voice is heard, lamenting her situation. The
Nurse speaks about the value of moderation. |
1–130 |
PARODOS |
Chorus
(Corinthian Women) inquires of the
Nurse
about Medea's `mood'.
Medea
is heard lamenting and begging for death, then threatening vengeance, then
suicide. The chorus consoles her and advises caution. The Nurse describes
Medea's fierce character, and speaks of the sadness of life and the soothing
power of music. |
131–213 |
EPISODE I |
-
Medea
enters, and recounts her problems, especially that she is an alien. She also
speaks of the problems of married women in general. She speaks of vengeance.
-
King Creon
orders Medea to leave Corinth forthwith. He fears her powers. She cunningly
minimizes her power, swears that she will keep the peace, and asks to be
allowed to stay. When the King refuses, she uses the argument of parent and
child to get him to give her at least another 24 hours. When she is alone,
Medea reveals to the Chorus that she got the extra day to accomplish vengeance,
through her powers, on her enemies.
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214–409 |
STASIMON I |
Rapid change in the world, with destruction of old standards. Woman's place
in society is gaining importance. Medea is an independent and vital person. |
410–445 |
EPISODE II |
Jason and Medea confront each other. Jason claims that Medea is bringing all her problems on
herself. He offers her financial support in her exile, but advises her to keep
quiet. Medea attacks Jason and his motives: the divorce is unjust, and a
homeless woman with children in a strange land will be a terrible life to live.
She insists she helped Jason for selfless motives. Jason attempts to refute
her claims, blaming everything on Aphrodite (Love/Lust), and saying that
everything he is doing (including especially the new marriage) is for the
benefit of Medea and the children. Medea objects that he married the Princess
secretly, and that he just wanted a younger woman who could help his ambitions.
She refuses his finacial settlement, and he departs. |
446–626 |
STASIMON II
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Love without control does harm. Moderation is best, above all in love. It is
terrible to be an exile from one's native land. |
627–662 |
EPISODE III
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King Aegeus of Athens (future father of Theseus), who is passing through
Corinth from Delphi to Troezen, greets Medea. She explains she is about to be
exiled and asks for refuge in Athens. She promises Aegeus help in producing a
child, in exchange for an oath that he will never expel her from Athens or turn
her over to her enemies. After Aegeus departs, the thought of children helps
Medea to fix her plan for revenge--to destroy Jason's hopes of children and a
family. She will pretend to be reconciled to her situation, but will send
(poisoned) gifts to the Princess by the hands of Jason's children. Then she
wil kill the children. |
663–823 |
STASIMON III |
Praise of Athens. Athens is blessed. But how can Athens accept a murderess,
one who has killed her own children? How could a mother do such a thing? |
825–865 |
EPISODE IV |
Jason visits Medea again. She begs forgiveness (though deceitfully) for what
she only recently said to him, pretending that she `understands'. He is
delighted. She asks him to talk to King Creon and get permission for the
children to stay in Corinth. She sends gifts to Jason's new wife by way of the
children--a poisoned crown and a robe. |
866–975 |
STASIMON IV |
Pity for the children and Medea, for the children who will be part of Medea's
murderous plans, for Medea who will commit murder. |
976–1001 |
EPISODE V |
The Tutor announces that the decree of banishment will not be imposed on the
children. Medea, however, is in a quandary: whether love of her children is
more important, or the desire to punish Jason by killing them. Her resolve
weakens, motherly love exerts itself. But finally her hatred wins out. |
1002–1250 |
STASIMON V |
It is rare for a woman to be wise. People without children avoid cares;
children do not always fill parental expectations. |
1251–1292 |
EXODOS |
- The Messenger Speech: The death of the Princess and then of King Creon is
described to Medea and the Chorus; she gloats, then rushes inside to kill her
children. The sound of their cries reaches the audience.
- Jason enters, expecting to rescue his children from the citizens of
Corinth, who are angry at the role they played in the death of the Royal
Family. Medea appears, above the stage in a chariot drawn by dragons (Deus ex
machina), with the bodies of the children. Jason asks for the bodies, in order
to bury them, but he is refused. Medea predicts Jason's future and death,
leaving him a broken man. She flies off to Athens.
|
1293–1419 |
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QUESTIONS:
- Medea's character: benevolent? capacity to love? self-deceptive?
wild/barbarian? quality of her intelligence? Why does King Creon fear Medea?
- Medea's will: When does she decide to destroy the children? Is the
Nurse just imagining things in the opening scene, or is there something about
Medea which gives her grounds to fear? Why does Medea hesitate? Or does she
really? Why does she hesitate?
- Jason and Medea: love? Once, in the past? Now? Or just passion?
Self-interest?
- Jason's character: What of his motives, expressed in the speech in
Episode II? Is he sincere? A cad? A cheap lawyer (no offense intended)?
- What do you make of the nature of Medea's revenge? Appropriate?
Immoderate? Why must the children die? Does she take pleasure in the deeds?
- Chorus: Whom do they favor? What do they understand of things and
motives?
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07/23/2003 |
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