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.

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.

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.

           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. 

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 turn out very different. 

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.

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 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 is willingness to give in to his wants and fantasies.

Euripides uses language to define the characters, especially Medea, Jason, and the Chorus.

Medea’s vengeful temperment is greatly amplified by the language used in the play…The words vengeance, hate, and savage are continually repeated throughout the course of the play. Many “animal-like” words are used to describe Medea such as lionness, pounced, and wild.

…

A prime example:

-How Jason refers to Medea- While others recognize her fierce and cunning nature, Jason refers to Medea as ‘silly’…By doing so, Jason’s tragic flaw is highlighted. He wishes to become a Prince, and by solely focusing on his new wife, he fails to realize Medea’s potential. The nurse tells the audience that she is the afraid of the acts that Medea will undoubtedly commit. Creon tells Medea that he is afraid of what she would do to his daughter and knows that she is a cunning woman. Jason, who has been married to Medea, simply refers to her as “silly.”

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.

       However, 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 fully back Medea, Aegeus becomes a bit cautious.  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, 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. 

Nurse(On Medea) 

“she lends as deaf an ear to her friend’s warning as if she were a rock or ocean billow“

“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?

This will I do; but I doubt whether I shall persuade my mistress; still willingly will I undertake this trouble for you; albeit, she glares upon her servants with the look of a lioness with cubs, whenso anyone draws nigh to speak to her.

Chorus(On Medea)

I heard the voice, uplifted loud, of our poor Colchian lady, nor yet is she quiet; speak, aged dame, for as I stood by the house with double gates I heard a voice of weeping from within, and I do grieve, lady

Would that she would come forth for us to see, and listen to the words of counsel we might give, if haply she might lay aside the fierce fury of her wrath, and her temper stern.

I heard a bitter cry of lamentation! loudly, bitterly she calls on the traitor of her marriage bed

Creon

Hark thee, Medea, I bid thee take those sullen looks and angry thoughts against thy husband forth from this land in exile,

thou art a witch by nature, expert in countless sorceries, and thou art chafing for the loss of thy husband’s affection. I hear, too, so they tell me, that thou dost threaten the father of the bride, her husband, and herself with some mischief.

Thy words are soft to hear, but much I dread lest thou art devising some mischief in thy heart, and less than ever do I trust thee now; for cunning woman, and man likewise, is easier to guard against when quick-tempered than when taciturn.

Begone, thou silly woman, and free me from my toil.

Jason(On Medea)

At least I call the gods to witness, that I am ready in all things to serve thee and thy children, but thou dost scorn my favours and thrustest thy friends stubbornly away; wherefore thy lot will be more bitter still.