Month: September 2008

Additional Thought (Idea) – The Desire for Revenge

I wholeheartedly agree with everything Amy has thus far said about the idea of gender roles in Medea, but there are a few other thoughts/ideas that recur throughout the play as well:

 Another main thought/idea of Medea is that of the ‘torn nuclear family.’  This all begins right at the beginning of the play, in the first 16 lines, when Jason decides to abandon Medea and his first two children to remarry Glauce.  Ultimately this decision comes down to a quest for power by Jason, and this becomes more evident as the play goes on.  This thought is Euripides comment on how he thinks people often act in Greek society.

 Another prevalent thought that goes hand-in-hand with the familial problems is that of how to handle revenge.  Early on in the play, the Nurse becomes afraid of Medea and her thirst for revenge against Jason, because it is becoming all consuming.  Medea even discusses wanting to go so far as to hurt her own children just so that she can get back at Jason for the pain he has caused her.  Euripides wants to show the idea that someone going through intense emotional stress doesn’t just turn against the cause, but rather against the entire world around them (evidenced in lines 95-96, and 110-114).  Under normal circumstances, any loving mother, no matter how angry, would never want to hurt her own children for an act of revenge.

This line of thought continues in lines 659-660 as the Chorus curses men for unlocking female desire and then “disowning” it.  Which shows that a person’s anger for revenge affects even other people and has them thinking ill thoughts about others (ie: Medea desiring revenge on Jason so badly that some of that anger rubs off on the Chorus until they too begin to dislike men, more).

In lines 796-797 Euripides shows just how strong and overwhelming the desire for revenge can be to a person.  Medea is quoted as saying, “Yes, I can endure guilt, however horrible; the laughter of my enemies I will not endure.”  At this point, her desire for revenge on Jason is so intense that she sees nothing but her ultimate goal.  Medea is so blinded by her desire for revenge that nothing else in her world takes precedence over that thought.  And, it is also known that it is a conscious decision by Medea to feel this way, because she says that she “will not endure.”  Had she said “can not endure,” it would mean that she had no choice, but the use of ‘will’ means that she is making the decision to deal with the guilt about killing her own children if it serves her ultimate goal.

Another place where Medea almost openly admits to giving in to her desire for revenge is in line 1076, where she says “Anger, the spring of all life’s horror, masters my resolve.”  This is the point where Medea has completely given herself to her desires for revenge.  In line 1053 Medea even goes so far as to call her own children a “sacrifice.”

All of these thoughts/ideas stem directly from things that Medea herself says to different other characters in the play.  Euripides is not 100% clear about his personal thoughts on the desire for revenge, but I think that he feels that revenge is something that is dealt with on a day to day basis in Greek society, for a multitude of reasons, but the struggle for power would be the most prominent.  The thought/idea of a burning desire for revenge takes a back seat to Euripides thoughts/ideas on feminism (Medea’s main focal point), but none-the-less is still a prominent idea within the play, and worth considering because it still has much relevance today.

Research from Epidaurus on how the audience could hear

Despite what many theories, Researchers at the Georgia Institute of Technology recently discovered the real reason for the great acoustics at the ancient Greek amphitheater, Epidaurus.  The reason that you can hear an actor's voice all the way in the back of the massive arena was not because of the slope or wind patterns as some suspected, but rather the rows of limestone seats.  The limestone created a highly efficient acoustics filter that deadened the lower frequency chatter of the crowd and reflected the higher frequency voices of the actors on stage all the way up the rigid structure to the top of the nosebleed section.  Their experiments revealed that frequencies below 500 Hz were hushed yet frequencies above 500 Hz were being echoed throughout the amphitheater.  Audience members were able to hear the lower frequency sounds of the actors' voices through a phenomenon called "virtual pitch", where our brains are capable of reconstructing frequencies and incomplete sounds in order to interpret noises that aren't really there.  This is just one interesting example of how the audience was able to hear.     

.Source: www.newswise.com

Language (the compiled version)

Language as an Indicator of Theme and Background

Throughout Medea, Euripides uses repetition of certain words to enforce Medea’s attitude and final actions. The following words are repeated in the text:

-Hate
-Hatred
-Savage
-Wild
-Vengeance
-Fury

Euripides also uses word choice to create imagery that compares Medea to an animal. These words include:

-Pounced
-Wild
-Lioness.

The time period of the text is shown through the characters’ vocabulary and jargon.

Words that are unique to the time period include:

Guest-friends- When rich and powerful men form ties or bonds of trust with their peers

Spear-friends- Used to describe kings of chiefs in armed alliances with one another (allies)

Wedding Room- The bedchamber of a husband and wife

House- An all-encompassing word for family (The word ‘family’ did not exist.)

Aiai- Medea uses this word as a cry of pain and mourning

Language as a Tool for Character Development

Euripides uses language to define his characters.
It is evident through word choice that the Nurse and the Chorus recognize Medea's fierce and cunning nature. Medea is stubborn and is driven toward her goal of revenge. When speaking about Medea, the Nurse says, "She lends as deaf an ear to her friend's warning as if she were a rock or ocean billow." This comparison draws a distinct image of Medea for the audience. The nurse continues, "She will not cease from her fury till she have pounced on some victim."Tis as I said, my dear children; wild fancies stir your mother's heart, wild fury goads her on. Into the house without delay, come not near her eye, approach her not, beware her savage mood, the fell tempest of her reckless heart. In, in with what speed ye may. For 'tis plain she will soon redouble her fury; that cry is but the herald of the gathering storm-cloud whose lightning soon will flash; what will her proud restless soul, in the anguish of despair, be guilty of?”  The language used by the chorus reinforces many of the assertions made by the nurse.  Throughout the play, the chorus uses words such as fierce, fury, and wrath when reffering to Medea.  The development of Medea is furthered by Creon, who uses the words “cunning woman” to describe her. 

While all of the language used to describe Medea greatly defines her character, it also highlights Jason’s tragic flaw.  While the nurse uses words like “lioness” to describe Medea, Jason talks about “how unruly a pest” her harsh nature is.  He also comments that she could not control her “silly rage.”  This use of language by Jason greatly clashes with the rest of the characters in the play.  While the other characters are truly worried about how Medea will react to Jason’s abandonment of her, Jason’s language suggests that she is not a threat to him at all.  This is a direct indicator of Jason’s tragic flaw, which is to be misled by his own desires and wishes.  Jason, now royalty, cannot be bothered by his past wife’s objection to the path he has set aside for himself.     

It is noted that Creon does not use the common jargon that the other characters use. Creon’s speech establishes a different rhythm because he does not use any words that are broken up such as

-mean’st

-o’er

-o’erreach

-e’en

-o’ercome

Broken up words are used by characters such as the nurse, Medea, the Chorus, Jason, and the messenger.

The Heroic Heroine: More on Gender within Medea and Others

In modern times, Medea can be interpreted as a play with main ideas in support of feminism and the breaking down of traditional gender roles. But after completing further research, it is clear that the main ideas in Medea are actually rooted in staunch misogyny. Through examination of Euripides's other major works, Hippolytus and Iphigenia in Tauris, greater insight is gained into the misogynistic messages contained within the play.

From studying Euripides's other heroines, it is clear that the female protagonist in Greek drama has a combination of both masculine and feminine traits that would have strongly affected the audience's interpretation of the play during the time in which it was written.  In the eyes of an ancient Athenian audience, Medea possesses the anger, passion, and desire for revenge that male warriors are meant to exhibit, but still maintains the role of successful housewife and loving mother. Her nurse even proclaims Medea's maternal devotion to the audience in one of the first monologues "a refugee who's won respect, admired, stable, domestic – supporting her husband as she should" (lines 10-12). So initially, Medea is painted for the audience as being a character the audience should sympathize with, or merely pity. Most scholars agree that Euripides describes the most "humanized" Medea, who is thought to be the "stereotypically perfect female within the male power structure," her position as a foreigner as well as her marriage to Jason impairs her from representing "Everywoman" (Durham, 55).

In Athens at the time, there was a great sense of nationalism and pride in Athenian citizenship. However since Medea is clearly, as stated, "a refugee," she would have faced a good deal of bias from the audience. The play also concerns the ideas of love and passion, and it would be incorrect to ignore these emotions when analyzing the character of Medea. In her marriage to Jason, she is set apart from typical Athenian wives in the fact that her marriage is based on passion. Wives in Athens would have been given in marriage by their fathers, "passing from the authority of one man to another" (Nimis, 403). This unique feature of her marriage then sets her apart from the position of normal women as well, and also introduces the overall theme of "warning against the consequences of unbridled passion" (Spranger, 4). And it is Medea's actions as a result of said passion that truly sets her apart from her role as a representation of the ideal feminine, and introduces the opposing side of her personality and emotion: the masculine or heroic side.

It is not simply the violent killings of Glauce, Creon, and her two sons that allow Medea to be classified as "masculine" but it is also the intelligence and power she has over men through her speech. Her masculine and feminine traits allow her to relate well to both sexes, and consequently give her a heavier hand in negotiations with both. Classical studies professor, Judith Fletcher, notes that "Medea uses this remarkable ability to co-opt a speech act use to create alliances between men within a civic context in order to dupe and bind her victims for her own personal vendetta" (Fletcher, 33). Examples of this can be found when Medea persuades Creon to let her stay an extra day, which gives her time to ultimately kill him and his daughter. It is also how she is able to persuade Aegeus to shelter her in Athens at the end of the play, in return for remedying his sterility. Consequently, it can be stated then that persuasiveness and speaking ability were considered masculine traits because they were so closely related to intelligence.

However this type of masculinity is not only found in Medea, but also in two other plays by Euripides, Hippolytus and Iphigenia in Tauris. Euripides's play, Hippolytus, follows the story of a character by the same name. Basically, Hippolytus upsets the goddess Aphrodite when he worships the goddess of chastity, Artemis, instead of her. The actions are mostly dictated by a series of oaths that are negotiated by Aphrodite (in an attempt to get back at Hippolytus for his dismissal of her) or other female characters in the play. Professor Fletcher again notes the similarities of the females' commanding tendencies within this script.

"The oath, its performance unseen by the audience has its consequences are unseen by Hippolytus, fulfills the same function in the sequence of speech acts as the blind oath of Aegeus to Medea€¦By letting a woman of servile status gain power over a king's son, Euripides' second version reworks the supplication/oath combination with even more emphasis on the oath's ability to skew the patriarchal power structure" (Fletcher, 37).

Iphigenia in Tauris follows the story of Iphigenia, who is supposed to be a virgin sacrifice to the gods, but instead, escapes. Iphigenia's escape is only made possible through the deception of a male who is bound by a promise made to a female. Although for the most part, these agreements made by males with females seem mostly deceptive and manipulative on behalf of the women, this deception is still attributed to intelligence, again, a masculine trait. Consequently, these tactics which are predominately employed by men are what allow the women in Greek tragedy to be so strong. "It is abundantly clear that when a powerful linguistic instrument, the oath, is exploited by an otherwise disempowered social group, it becomes an effective means of sabotaging the fundamental elements of a male hegemony" (Fletcher, 43). With this idea in mind, it is clear that although Euripides was conveying a strong woman in his writings, it was not meant in a positive light.

What is most interesting though about Euripides heroines is that they were not uncommon in the times of Ancient Greece. In the tale of Lysistrata, written by Aristophanes, the women of Sparta withhold sex from their husbands in order to end the Peloponnesian War. In the play there is an extensive exchange between the women and their husbands, bargaining and negotiating the females' terms. Although the play was written as a comedy, and the dialogue serves for humorous affect, the idea of the play is still based from the strong female character for which the play is titled.

Overall, the central idea of Medea, like most of Euripides's other plays, is one of warning. Medea is portrayed as "the other" to an audience of exclusively male citizens in a male-dominated society. Although initially her feminine traits allow her to be pitied, her masculine traits (which ultimately overpower the men within the play) cause her to be feared. Ultimately she is seen as an enemy of Greek society, the entire Athenian state, as she has easily manipulated men and succeeded with multiple killings. Consequently, the play is highly misogynistic as Euripides prevents his title character from being a hero. Instead he lets the men know what happens when a woman gains power, and that is breaking the gender roles of the society. Not only does this throw any familial normalcy out the window, but it also ruins the patriarchal supremacy, which is clearly seen as a threat.

Sources Cited:

Durham, Carolyn. “Hero or Heroine?” Frontiers: A Journal of Women’s Studies. 8.1. (1984) 54-59.

Fletcher, Judith. “Women and Oaths in Euripides.” Theatre Journal. 55.1. (2003) 30-46.

Nimis, Steven. “Autochthony, Misogyny, and Harmony: Medea.”  Arethusa. 40.3. (2007) 397-420.

Spranger, J.A. “The Attitude of Euripides Towards Love and Marriage.” The Classical Review. 24.1. (1910) 4-5.

Character (the compiled version)

Medea

Literal meaning of the word Medea: to ponder, cunning

Under Aristotelian analysis, Medea can be classified as a character who is larger than life. The implication of Medea's actions exceed Medea herself.

Medea, greatly disturbed by her husband's infidelity, plots against her own King and husband in an effort to satisfy her need for revenge. First, Medea sacrifices her belonging to the state of Corinth and security for her revenge. By displaying "sullen looks" and "angry thoughts," Medea attracts Creon's attention. After Creon exiles her, Medea does not beg for forgiveness. As she proves to be a master of manipulation as the play progresses, Medea does not use this power to stay in Thebes. Instead, she only asks for a day, so she can implement her plan that will ruin Creon, his daughter, and Jason. A fundamental part of Medea's plan involves fleeing from Thebes after she has carried out the deed against the three that have humiliated her. By fleeing Thebes, she sacrifices her own security and contact with Thebes. When she begs for another day, Medea has no knowledge of Aegeus' coming, so it is very probable that Medea may have envisioned herself wandering the land outside of Thebes looking for a city state that would take in the murderer of a King. ("Nor have I any landing-place to come at in my trouble")

By plotting against Creon, Medea goes against the Greek ideals of loyalty to the King and City State. Additionally, by plotting against her husband, Medea goes against Patriacal Greek Values. "Divorce is not honourable to women," "a captive I from a foreign shore," "without resenting the yoke, our life is a happy one; if not, 'twere best to die. But when a man is vexed with what he finds indoors, he goeth forth and rids his soul of its disgust, betaking him to some friend or comrade of like age; whilst we must needs regard his single self" are all quotes from Medea's mouth that identify these values of Greek society. By plotting against her husband, Medea is breaking the accepted norms of Greek society. She suggests that a wife has a right to retaliate against the wrongs committed by her husband.

In an effort to get revenge against her husband, Medea also sacrifices her own children. Early in the course of the play, Medea states "I would gladly take my stand in battle array three times o'er, than once give birth." Cutting of any ties to her family, and sacrificing the very children who have caused her much toil to bear, Medea murders her children in an effort to cause Jason great agony. Most importantly, Medea throws away a mother's bond to her children in an effort to get even with Jason.

Medea can also be seen as the antagonist within the play. She stands in the way of Jason's plan of marrying Creon's daughter and becoming royalty. When Jason believes that he has finally accomplished his goal, Medea implements her plan of revenge, killing both his new wife (princess) and his new father-in-law.

Important Characteristics of Medea- Proud, manipulative, vengeful.

Chorus

Using Aristotelian analysis, the chorus would be classified as a "character" that is like us. Compared to the chorus in Antigone, the chorus in Medea plays much less of a participative role in the plot of the play. Instead, as the chorus speaks, it seems to be observing the events that are unfolding and commenting on them.

Towards the beginning of play, we, the audience, are presented with the fact that Medea has been abandoned by her husband Jason. The reason Medea is abandoned is simply because Jason has the opportunity to marry a Princess. Medea has done nothing wrong herself. Looking upon the situation, it is quite likely that the audience would feel sympathetic towards Medea's grief. The chorus makes its sympathy for Medea quite clear. The chorus states "I do grieve, lady, for the sorrows of this house, for it hath won my love."

As Medea is still grieving the fact that Jason has left her, Creon comes to tell her that she will be exiled. Once again, the chorus expresses its feelings, very typical of how an audience would feel toward a woman who has been abandoned by her husband only to be exiled by her King. The chorus states,"Ah! poor lady, woe is thee! Alas, for thy sorrows! Whither wilt thou turn? What protection, what home or country to save thee from thy troubles wilt thou find? O Medea, in what a hopeless sea of misery heaven hath plunged thee!"

As the play continues, however, Medea makes it clear that she wishes to kill her children in an effort to get even with Jason. While these children have played no fault in Jason's abandonment of Medea, a reaction from the audience would most likely be repulsion from a mother's murder of her own children. The chorus, feeling as we would, states it views on Medea's plan by stating "Think on the murder of thy children, consider the bloody deed thou takest on thee. Nay, by thy knees we, one and all, implore thee, slay not thy babes." The chorus additionally states "Where shall hand or heart find hardihood enough in wreaking such a fearsome deed upon thy
sons? How wilt thou look upon thy babes, and still without a tear retain thy bloody purpose? Thou canst not, when they fall at thy feet for mercy, steel thy heart and dip in their blood thy hand."

The Tutor

Much like the Nurse, the tutor (or attendant) is considered a servant or slave of the family. Because of his lack of traits and the generic label he would be classified as a stock character. He simply serves as a means to relay information that has happened offstage. In the beginning he tells the Nurse about the "gossip" which he heard about Medea being exiled by Creon. Later he relays the information to Medea that her sons have been spared from exile and questions her actions to the news. The stories of the tutor set the plot in motion. His first account foreshadows Medea's exile while the second one causes Medea to go through with her scheme of causing Jason suffering by Killing the princess, Creon, and their two sons.A stock character, who is at peace with the violence.

Jason

Literal meaning of the name Jason: Healer

Jason is a legendary Greek hero who led the Argonauts. He sailed to Colchis in order to seize the Golden Fleece. It was said that the one to retrieve the Golden Fleece would have to power to overthrow a usurper. In Medea, Jason leaves his wife Medea for the Princess. He only reveals that he on left Medea in order to establish security for his family in the long run. By doing so this makes Jason the usurper or the one who wrongfully seizes power.

A Jason is also mentioned in the Biblical books of Acts and Romans, his house is used a refuge by Paul and Silas.

In Medea Jason is a very peculiar character. Because of his varying behavior and backwards ways of thinking I would place him in the Aristotelian category of Unique. I would also see him as the foil or the character who takes the brunt of the plot. Much of the plot is happening to him directly or indirectly. The death of the Princess, Creon, and his two sons all seem to directly affect him in a negative manner. He tries to play both Medea and the Royal family at the same time. Each time he speaks to Medea he has a different agenda and tone with her. Before the play even begins he has already left Medea for the Princess and basically abandoned his two sons. Once she is told she will be exile, Jason comes to her basically so say "I told you so" but at the same instance offers her help. He then comes at her request and tells Medea he only left her for the Princess in order to secure the well being of his family in the long run. This idea to help your family by hurting them is very strange and almost mirrors Medea actions of killing their children in order to obtain revenge on Jason. Jason comes to Medea in panic after the murder of his new wife and her father. However, even knowing Medea's wickedness and unstable state of mind, Jason is more concerned to protect his sons from the wrath of the Royal Family then from their own mother.

Although at first glance Medea appears to be the protagonist, at a closer look Jason better fits this role. Jason breaks oath to the Gods by promising fidelity to Medea but then not keeping his promise. He breaks his fidelity to Medea by leaving her for the Princess. In those days a man was allowed to "divorce" his wife by returning her to her father along with the dowry which was given at the time of the marriage. The woman is then allowed to be given away again to marry and the man does as he pleases. However, Jason simply leaves his wife but does not official rid himself of her. Throughout the text Medea and the Nurse still refer to Jason as her husband although they are not technically together. This not only upsets Medea and drives her to a crazed state of being but also the social "norm" of the times which in turn upsets the Gods. Jason is very self-centered and although he tells Medea he only left her and the children to secure their future. It seems as if he does what he needs to better him or the situation. He is very manipulative to people in order to get what he wants. However, he is very naïve to the fact of Medea's true power and craziness. Other characters, such as Creon, believe her to be utterly crazy and a threat to the Royal Family and therefore exile her. Creon even refers to Medea as a "cunning woman" and recognizes her true potential, while Jason sees her to be kind of silly and showing her emotions "as a woman should." In the end Jason realizes Medea's sincere disturbance and recognizes her as a powerful threat and undertaker.

Jason's tragic flaw is his willingness to give in to his wants and fantasies.

Nurse

Using Aristotelian analysis, the nurse can be identified as a stock character.

Being bound in service to Medea, the nurse exemplifies the assumed role of a servant in Greek times. She states, "Our masters' fortunes when they go awry make good slaves grieve and touch their hearts." As the Nurse recounts on Medea's previous history, she makes it clear that she knows Medea very well. She also makes it clear that she knows what Medea is capable of, and has a pretty good idea of what is about to happen. However, although she knows that it is very likely that Medea will commit violent acts, she can find no fault in her master. She states "Into the house without delay, come not near her eye, approach her not, beware her savage mood, the fell tempest of her reckless heart. In, in with what speed ye may. For 'tis plain she will soon redouble her fury; that cry is but the herald of the gathering storm-cloud whose lightning soon will flash; what will her proud restless soul, in the anguish of despair, be guilty of?"

While the chorus expresses sympathy for Medea, they object when Medea wishes to slay her own children. The chorus wishes that Medea would not commit the act. However, the nurse, knowledgable of what Medea will probably do, states "and I much do dread that she will plunge the keen sword through their hearts." It is important to remember that while she finds no comfort in the acts Medea will commit, she also finds no fault in Medea. This is because as a faithful servant, Medea cannot do so. All of the Nurse's assertions are that of sympathy.

When the chorus asks the nurse to try to convince Medea to accept the council they offer, the Nurse states "This will I do; but I doubt whether I shall persuade my mistress." While the nurse offers that the reason for this might be a refusal to listen to anyone due to her anguish, there is another inference that can be made here. Because the nurse is seen as lower than Medea, her advice bears no validity to Medea, who is of a higher power than she.

Aegeus

Literal meaning of the word Aegeus: protection, shield
Using Aristotelian analysis, Aegeus can be classified as a character who is "like us."

When Aegeus comes across Medea, he is happy to see her, and tells her that he has just come from the oracle of Phoebus. Aegeus and his wife wish to concieve a child, but have not been able to do so. His want of a child directly appeals to the audience, for the majority of people, especially in Greek times, wish to have children. Also, Aegeus comes across as a character easy to sympathize and familiarate with, for in Greek times, bearing children was no easy task. The complications with childbirth still exist today.

As Aegeus learns about Jason's abandonment of Medea, he is disgusted at what has happened to her. He truly sympathizes with her troubles and wishes to help. However, when given an opportunity to support Medea, Aegeus exhibits caution. Aegeus states, "Lady, on many grounds I am most fain to grant thee this thy boon, first for the gods' sake, next for the children whom thou dost promise I shall beget; for in respect of this I am completely lost. €˜Tis thus with me; if e'er thou reach my land, I will attempt to champion thee as I am bound to do. Only one warning I do give thee first, lady; I will not from this land bear thee away, yet if of thyself thou reach my halls, there shalt thou bide in safety and I will never yield thee up to any man. But from this land escape without my aid, for I have no wish to incur the blame of my allies as well."

Like many people, Aegeus is fearful of the consequences of association. If he leads Medea back to Athens, he will be seen as a staunch supporter of a woman with many enemies. So instead, he tells Medea that if she can reach Athens, then he will give her a place to stay. He is convinced by Medea to take an oath never to banish her from Athens.

Through his actions, Aegeus stands as a character "like us." He has good intentions and a sensible nature, but lacks the boldness that would be possessed by a "larger than life" character.

The Sons

The two sons are considered stock characters because they are labeled merely as "sons" instead of having individual names. The two appear several times throughout the play but only speak in the one scene where their mother, Medea, murders them. Although these characters do not speak

extensively, they play a vital role in the play in that they represent the only thing pure and untainted until they are finally brutally murdered. Both are very innocent to the raging actions around them although Medea sees them as a reminder of their father and his infidelity.

Messenger

The messenger lacks traits and a name which makes him a stock character. His single purpose in the script , although very important to the plot, is to bring the information to Medea. A messenger in those times, usually a slave, report some important event or piece of information that has happened indoors or away from the play's singular setting. Euripides uses this messenger to bring the news of the princess and Creon's death. He uses very descriptive and vivid details in order to portray the brutal happenings not seen by the audience and enable the messenger to bring the story to life. The messenger's account of their deaths is very important to the overall plot and without it the story could end very differently.

Creon

Literal meaning of the word Creon: ruler

Using Aristotelian analysis, Creon can be identified as a character who is larger than life.

Creon offers his daughter's hand in marriage to Jason, who is already married. Knowing this fact, Creon goes against the laws of the Gods, for the bond of marriage are supposed to be lifelong. Creon knows he will be causing a man to break an oath to the Gods, and goes ahead and does so.   It is clear that Creon is frightened by Medea and her threats or else he would not exile her.  He is aware of the fact that Medea is a very intellectual and clever woman and is capable of most anything she puts her mind to.   However, he still allows her to stay one extra day before being exiled.  This one extra day is literally the difference between life and death for four people.  He is very naive to the fact that Medea is capable of causing such a ruckus in one day – the one day extension he gives her.   Although Creon knew that Medea was more than capable of causing a catastrophe he does not rely on his gut instinct enough to save the lives of three other people as well as himself.  In the end what Creon was trying to protect he and his family from was the very thing that caused their tragic demise.

Tutor (attendant)

Much like the Nurse, the tutor (or attendant) would be considered a servant or slave of the family. Because of his lack of traits and the generic label he would be classified as a stock character. He simply serves as a means to relay information that has happened offstage. In the beginning he tells the Nurse about the "gossip" which he heard about Medea being exiled by Creon. Later he relays the information to Medea that her sons have been spared from exile and questions her actions to the news. The stories of the tutor set the plot in motion. His first account foreshadows Medea's exile while the second one causes Medea to go through with her scheme of causing Jason suffering by Killing the princess, Creon, and their two sons.

Character/ Classification of Creon

           Using Aristotelian analysis, Creon can be identified as a character who is larger than life. 

           Creon offers his daughter’s hand in marriage to Jason, a man whom is already married.  Knowing this fact, Creon goes against the laws of the Gods, for the bond of mariage is supposed to be lifelong.  Creon knows he will be causing a man to break an oath to the Gods, and goes ahead and does so. 

Sound

Eurypides uses sound to great effect in Medea. Perhaps most prevalent is the fact that all the women are played by men, most likely talking and singing in a high pitched falsetto, giving the play a high, screeching tone, which would certainly put the audience on edge. This would add to the tension, and provide an exaggerated contrast between the men, speaking in their natural voices, and the women in their falsetto. This also influences the musical nature of the play. As compared to other Greek tragedies where the chorus would have been male, Medea would have a very different sound, a much more feminine sound, as would be fitting for one of the few Greek plays with a female protagonist.

            The language Eurypides uses helps the audience understand her and her actions, as well as be able to empathize with her. Words of destruction, such as "kill," "broken," "refugee," "sick," "hate," "enraged," and "starves" all set the stage in the first 20 lines of the play. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her. These same words are used often throughout the play, especially "hate" and "betrayed" and give us great insight into the total fury and single mindedness of Medeas later actions. Jason's words, on the other hand, help us realize just how disconnected he is.  He is, as the Chorus says "ignorant beyond pity."  Jason thinks he is being "generous," and he somehow thinks leaving his wife for a younger woman makes him her "advocate."

            Eurypides carefully emphasizes the scene where the children are slaughtered by having it be the only time we hear them speak. They are on stage for many scenes, but they never do anything but watch, silent and obedient while their family falls apart around them. When they finally speak, it is because it is their only hope of saving themselves; it is too late for their family. They cry out, with young innocent voices, pleading for help in what is perhaps the most tense moment of the play. This tension is further heightened by the fact that the audience cannot see what is happening, they can only hear it. They are forced to rely on sound alone, and that sound for those few lines becomes the only thing that matters. One almost wants to watch Medea kill her children just to know what is actually happening behind that door instead of being denied perhaps our most important sense: sight. The audience becomes blind to the action of the play, as Medea has embraced her blind rage.

Crisis and Climax, Reversal and Resolution

While crisis and climax seem similar enough to be mistaken for each other, Medea‘s crisis and climax are two separate events which work together to create the highest tension of the play.  The crisis is the death of Glauce and Creon.  In one short event, both Jason’s fiance and his future father-in-law are dead.  With them go his hopes of fame and fortune for himself and his sons.  Already devastated by this, Jason is set up for the final blow of the climax.  Medea, who has already destroyed Jason’s hopes for upward mobility, goes on to kill their children.

The reversal that occurs with these actions is an act of total revenge on Jason.  First, he loses those who would help him move up in the world; next, he loses his entire reason for leaving Medea in the first place.  He now has nothing and no one except Medea, which is the position in which Medea found herself at the beginning of the play.  Their roles have been switched, and now Jason is at her mercy.   Jason demands the bodies of his sons, much as Medea begged to keep them when she discovered that she had been exiled.  Just as Jason denied her requests, Medea now rejects his.  In an ironic parody of Jason’s thirst for upward mobility, Medea ascends to the skies in Apollo’s chariot, taking her sons’ bodies with her.  Jason is left at the end with no family, having caused their deaths, feeling much as Medea did when she left her grieving father in Colchis.

Actions

As I was detailing the actions of  Medea, I focused on the goal of describing events that could be put into active verbs which force another character into doing something, as we discussed in class.  After reading Glenn’s post, I feel that I may have oversimplified some of the action of the play, but I also agree that our ways of detailing the action are equally important.  Hopefully this list will be comparable to hers, and we will find some way to combine them into one thorough plot analysis.

My list is as follows:

1) Jason leaves Medea.

2) Creon banishes Medea.

3) Chorus endorses (accepts, agrees with?) Medea’s anger.

4) Medea begs Creon for one more day in Corinth.

5) Jason berates Medea for retaliating/not understanding his plan.

6) Medea rejects Jason’s offer of security.

7) Medea offers her skills in magic in return for refuge with Aegeus.

8) Chorus challenges Medea’s plan.

9) Medea sends her sons to Glauce with gifts.

10)  Chorus condemns Medea’s actions.

11) Medea says goodbye to her sons.

12) Chorus condemns having children for the pain that they cause.

13) Creon and Glauce die.

Frankly, I’m not really sure if I did this correctly – that is, if I actually got down the plot instead of the story.  Ideas?

Also, I’m not sure why there is a bespectacled smiley face instead of an eight…I can’t seem to fix it.