This play is Euripides' classic revenge-plot.
Non-Appearing Part:
Glauce or Creusa [princess of Corinth, daughter of king Kreon]
Setting: The Skene is Medea's palace in Corinth.
Analysis and Summary:
Prologue [Lines 1 -130]:
Medea's Nurse comes out of the palace.
Scene 1 (1-48)
An old female servant of Medea, who from her story appears to have been her wet nurse [trophos] in her childhood, wearied with vain endeavours to console her mistress, comes out of the house to relieve her feelings by complaining “to earth and heaven”.
Nurse (laments): If only the trees had never fallen on the mountain and the ship Argo had never been built nor gone to Colchis to bring Medea to Greece !
She describes with bitter regret the flight of Medea from her old home to Iolkos, and from Iolkos to Corinth, and about the recent marriage of Jason with the princess Glauce, and the effect it has had upon Medea . She is anxious about Medea's health and much alarmed by her strange and menacing behaviour towards her children. Medea has withdrawn into her house, where she eats nothing, weeps and broods over vengeance, refusing to see her two boys.
Scene 2 (49-130)
Enter Tutor with Medea's two sons from the right.
Presently the children arrive, escorted by their Tutor [paedagogos - the children's slave-guardian]. From the conversation between the two servants we learn that there are rumours in the city of a fresh misfortune. King Kreon is said to have resolved upon the banishment of Medea from Corinth. While they are speaking, Medea is heard from within, uttering laments and curses, which are repeated at the sight of the children as the Tutor, after warnings to keep his news to himself and be careful of his charges, conducts them into the house
Exit Tutor and the two sons into the palace.
Parodos [Lines 131 — 212]:
The Chorus of Corinthian Women enter from the right. Medea is inside the palace. The Nurse is on stage.
First Episode [Lines 214 - 409]
Divided into three scenes: (1) Medea and the Chorus-leader, (2) Kreon and Medea, (3) Medea.
Scene 1 (214-270)
Enter Medea from the Palace acccompanied by servants
Medea attended by servants is led from the house and apologizes to her visitors for her hesitation before meeting them. She describes her forlorn condition, and protests against the hard destiny of women, who are compelled to choose a husband in ignorance and stake their whole existence upon the choice. She feels that her friends, having happy homes, can only imperfectly sympathize with her, but is encouraged to hope that if she forms a plan to avenge herself upon her husband, for the sake of the sex they will not betray it. To this they all agree, and are thus morally bound over to the part of acquiescence which they afterwards play, and which, as theatrical usage required their presence throughout the piece, it was practically convenient that they should play.
Scene 2 (271-356)
Enter King Kreon with his guards
Kreon, who is to be portrayed as a very old man, arrives accompanied by guards, and orders Medea to quit the city "at once and under his own eyes". Medea humbly asks the reason and is told that the king fears danger to himself, his daughter and Jason, because of her skill in the black arts and her reported menaces.. Medea exclaims against the disadvantages of learning and the reputation of learning, which yields no profit, and exposes the possessor to dislike in two forms , the contempt of the ignorant, and the jealousy of pretenders to knowledge. All this she has long known, but in Kreon she now finds the new hostility of fear. This fear is needless; with Kreon and his daughter she has no quarrel, and though she will not conceal her resentment against Jason, she knows her helplessness too well to think of revenge. Kreon replies that a dissembling enemy is even more dangerous than an open one, and repeats his commands. Medea falls at his feet , and after the Greek manner of supplication lays her hands first upon his knees and then upon his arm. She entreats and he insists, the dialogue becoming rapid , and almost passing into a personal struggle. She then begs for a single day to prepare. To this Kreon reluctantly consents, and with strict injunctions not to exceed the time she has been allowed, leaves her.
Exit King Kreon with his guards.
Scene 3 (357-409)
The Chorus express compassion for her desperate situation. Medea, instantly changes her tone, answers them that the delay which the king has been fool enough to grant will be quite enough for her vengeance. She deliberates upon open violence but decides at first to employ the safer and more familiar method of poison. On second thoughts, she remembers that she has no home and therefore no motive for escaping, and resolves to wait a little for the chance of finding a refuge, but in the alternative to seek death and revenge together. She clenches her resolution by recalling once more her dignity and her wrongs, and then addresses herself in earnest to the consideration of her plans.
First Stasimon [Lines 410-445]:
They sing of Nature being out of course. Treachery and perjury must, after the conduct of Jason, be attributed to the male sex, whilst women will have her turn of praise. Poets must give up their favourite theme, the faithlessness of women; for had women been poets the charge might have been countered; the past supplies abundant material to argue both sides of this case. It is Medea's own fault that she has lost both home and father, now she has lost by misfortune both home and husband, and has become an outcast. Truth and honour, it seems, have fled Hellas.
Second Episode [Lines 446—626]:
Enter Jason (Jason and Medea are on stage)
Jason addresses Medea in a cold and contemptuous manner. Her obstinacy in provoking powerful enemies has cost her a comfortable home, and it is well for her that it is no worse; for his own part, he bears no grudge; he has done his best to save her from herself, and for the sake of old kindness is ready even now to supply her and the children with the means for their journey.
Medea replies with a torrent of invective. She is glad that his impudence in facing her has given her the opportunity of speaking her mind. She reminds him that she saved his life and avenged his wrongs, in return for which he has broken his solemn oath and, though a father, has deserted his wife and children for the sake of indulging a new passion. With an ironical assumption of friendly confidence she requests his advice as to her future course. Is not every home that she has had now closed against her by injuries done for his sake? Her exile will publish his gratitude and doubtless redound to his credit.
Medea: Zeus, you have given men the means to test when a gold coin is counterfeit, but on the body have put no stamp by which means to know when a man is bad.
The Chorus stand shocked and helpless, their leader remarking that the quarrel of old lovers is without remedy. Jason, however, is at no loss for a reply. After a sneer at his wife's “plague of tongue”, he observes that if she saved his life it was because she could not do without him. His thanks are due therefore not to her but to Love. And, waiving that, she has been more than paid in exchanging a brutal and obscure existence among savages, who could not appreciate her, for renown and a decent life in civilized Hellas. As for the charge that he has sacrificed her to his new love—on the contrary, his conduct has proved that he can both use his wits and control his protect her and his children. He is neither weary of Medea nor in love with the princess, but having though an exile had the happiness to please her, he has grasped the chance of raising himself, Medea and his family by means of the connexion from poverty to opulence. The prudence of this any one might see; but a woman, where her love is concerned, can see nothing else, and Medea is like the rest.
Chorus-Leader: Jason, you have well-adorned these arguments of yours with rhetoric, but nonetheless, even if I may speak reluctantly, you appear to me to be acting unjustly by betraying your wife
“Your present behaviour,” replies Jason, "answers why.” Medea repeats her charge, and Jason his denial. The arguments are exchanged for insults, till Jason abruptly terminates the row by repeating his offer of assistance; Medea indignantly refuses; Jason simply remarks that the responsibility is now hers and not his, and exits without saing goodbye. Medea flinges a taunt and a threat after him as he leaves, and then lapses into meditation.
Exit Jason
Second Stasimon [Lines 627—662]:
The painful scene just past: Jason has been humiliated and the fury of Medea; these suggest to the Chorus that a prayer to be saved from the excesses of Love be said, and also from the dangers of exile. They conclude with a curse upon ingratitude.
Third Episode [Lines 663-823]
(is divided into two scenes)
Scene 1: Aigeus and Medea,
Enter Aigeus
Aigeus, king of Athens, has arrived at Corinth by accident. He is on his way back home from Delphi, where he has been consulting the oracle respecting his childlessness, but he is first going to Troizen, to submit to the wisdom of Pittheus, its king, about the answer he was given by the oracle. Medea is well known to him and he greets her with great respect. After a dialogue which discloses these facts, Medea emphatically wishes him blessing and godspeed. Her tone awakens his attention; he notices the signs of grief in her face and enquires the cause. In a rapid alternation of question and answer. Medea acquaints him with the wrongs done to her, and follows up the impression produced by imploring him, upon her knees, to give her asylum in Athens. In return she promises by her arts to put an end to his childlessness.
Aigeus, a kindly but cautious personage is tempted to consent, but gives Medea to understand that he will run no risk of offending his ally, the king of Corinth. Once in Athens, she would have, according to the custom of the land of the Hellenes, the right of a suppliant, and her enemies could not complain if she were protected; but in getting to Athens she must fend for herself.
Medea accepts the terms, but there a difficulty arises. Medea knows, though Aigeus does not, that she intends before leaving Corinth to murder this very ally and his daughter. She foresees the pressure which the Corinthians will put upon Aigeus to give her up, and desires to lay him under the strongest possible obligation not to do so, the obligation of an oath. At the same time she is unwilling to betray suspicion in the very act of invoking his generosity. She puts her request, therefore, in the form of a suggestion for his benefit. Her enemies are powerful, and it will be well for him as a man of honour to secure himself against yielding by providing himself beforehand with a good answer to them. He will be better able to resist, if he can say “I have sworn”, than if he can merely say “I have promised”. Aigeus drily compliments her on her “diplomatic foresight”, but agrees that for him and for her it will be safer that he should swear, which accordingly he does, Medea dictating the oath, and then somewhat abruptly departs.
The Chorus pray for his safe return and the fulfilment of his desires, and pronounce him “a worthy man”.
Exit Aigeus
Scene 2: Medea and the Chorus (764 - 823)
Medea, having now secured the refuge for which she was looking, exults in the near prospect of revenge. She opens her plans to the Chorus, begging them, in her fierce impatience and telling them not to expect to receive her words with pleasure: she will recall Jason, and by feigned submission obtain leave to send her children to the bride with a complimentary gift of a wreath and robe, under pretence of procuring, for them only, remission of the sentence of banishment. The gifts will be poisoned, and if the bride puts them on, she will die. Next, to complete the ruin of Jason's home, she will slay her own children and fly. Revenge is now her one possible good, and that she will have. The Chorus-leader attempts to protest, but Medea declines discussion, and dispatches an attendant [The Nurse] to fetch Jason.
Exit The Nurse
The Chorus chant the praises of Athens. They ask Medea to consider how the citizens [the sons of Erectheus] of a "city of sacred streams", a "land of strolling lovers" will react to the presence amongst then of a woman who has murdered her own children. They begs Medea to give up on her plan and show mercy to her children. Athenians love wisdom to foster all fine things, not betrayal and revenge which happens when passion overcomes wisdom.
Chorus: Nothing can stop the Children's death. They are walking into their murder. The bride will accept the curse of the gold, and the diadem around her head. She will put on the dress of death with her own hands. She will fall into the trap laid for her. Wretched bridegroom can't you see that you have brought destruction on your Children and she, your bride. All this in vengeance because you betrayed your wife.
Fifth Episode [Lines 1003-1250]:
(1) Paedagogos and Medea, (2) Medea, (3) Interlude sung or recited by
the Chorus-leader, (4) Medea and a Servant of Jason, (5) Medea.
Scene 1 (1003-1020)
Medea and Paedagogos
The Paedagogos enters with the children, and announces the success of the embassy, and is surprised at Medea's manner of receiving the news, which however he attributes to her grief at separating from her children. She sends him in (1002—1020).
Scene 2 (1021—1080)
Medea’s Monologue (Medea's farewell to her children).
Medea orders the children in, and speaks as if on the very point to follow them and execute her purpose, but wavers again. Then, suddenly remembering the princess, she embraces them passionately once more, and sends them hastily into the house. At the conclusion of the speech Medea either remains on the watch, or perhaps leaves the stage o£ Jason's house as if looking anxiously for tidings,
Scene 3 (1081-1115)
(Interlude)
The Chorus-Leader relates the following: I have often engaged in argument, often subtle and often more heated than is suitable for a woman, but women, too, have intelligence which is part of our nature and instructs us. Not all of us, but a select few. You, too, may perhaps find amongst a large number of women a few capable of reflection.
Childless people enjoy an advantage over those who are parents. They live a life exempt from many troubles. I have seen in those homes blessed with the gift of children parents who are burdened and worn with incessant worry how to raise them in health and safety and bequeath them, in time, enough to live on; and whilst they do all this they know no whether this has been spent on worthy or worthless children. And then there is one further matter. Suppose they are pretty well off, and their child has grown up to become kind and honest, only for Death to come along and to carry it off into the unknown. Why thank the gods for this most grievous event?
Scene 4 (1116 -1230)
Medea suddenly returns. A messenger (angelos) (servant of Jason) enters at full speed.
He shrieks at Medea to flee, telling her to escape by whatever means she can. Medea calmly asks the reason. He tells her that Kreon and his daughter are dead, killed by her poisons. She says she is pleased with his news. He shouts at Medea that she must be mad to commit such a crime against the royal household. He describes how it all happened: he tells her of the visit of the children to the princess:-
The two little boys entered the palace with their father where the wedding was taking place. All the servants were delighted. All weresorry at how Medea had been treated. But word went round saying that Jason and Medea had made up. The messgenger said he followed the boys into the room where the princess was, but she had only eyes for Jason, and was upset that the boys had come into her room. Jason told her not to behave like that. She too must love the people that her husband loves. He handed her the gifts Medea had given for her and asked her to persuade her father to revoke the exile of the children for his sake. On seeing the beautiful gifts she was won over. She put the golden coronet on her head and tried the dress on.
Suddenly the princess changed colour, staggering she collapsed onto a chair. White froth oozed from her mouth. The pupils in her eyes twisted themselves out of sight. the blood drained away from her skin. An old woman who had thought the princess had angered Pan and that the god had struck her realised this was not the case and howled. Another maid ran off to fetch the king. The whole palace was in uproar, people running here and there. The golden coronet around her head discharged a stream of fire, From the top of her head blood oozed out. Flesh dropped away from her bones.
The king came to the house where his daughter was. Falling on his knees he hugged the corpse of his daughter. He called out who had destroyed her. But he too stuck to the poisoned dress. He tried to struggle to his feet. but the corpse of his daughter was pulling hime down. He too gave up the ghost.
The two corpses side by side were laid on the ground.
The Messenger said he would say no more, other than amongst mortals there is no one who is happy.
Exit Messenger
Scene 5 (1231 - 1250)
During the words of the Chorus-leader Medea is nerving herself for the murder of the children. She briefly announces her final resolution to the Chorus, spurring herself to the deed with a few sharp sentences, and then, with a cry of desperation, enters the house and shuts the door.
Fifth Stasimon [Lines 1251-1292]:
Off–stage the cries of the children are heard within, first two voices, then a single voice. as they try to no avail to escape their mother’s sword.
All being over, the Chorus moralize upon the unexampled horror of the act, observing that in the only such murder previously recorded the murderess also condemned herself by suicide.
Exodos [Lines 1293 - 1351]:
Scene 1. Jason and the Chorus-Leader (1293 -
Jason enters in haste from the royal palace accompanied by servants, seeking to rescue his sons from the wrath of the Corinthians. He asks for Medea, but stops himself, observing that her punishment is in other hands and it will be difficult to save even his children from the relatives of the murdered king and princess.
From the Chorus, he learns the awful truth. He has to hear it twice before he can believe it, In despair, he rushes up to the palace doors and tries to open them.
Scene 2. Medea and Jason (1317-1414).
But Medea has already raised her chariot using the mechané onto the roof of the palace (Skene) (a golden chariot drawn by dragons, given to her by the sun-god, Helios). In it are the bodies of the two boys. The chariot is her protection. Jason cannot touch her while she is in it. Jason delivers a long string of curses at what she has done. She replies that the gods have been witness to the deeds he’s done that have merited this revenge. She defies Jason, and he answers her with curses and reproaches. Medea treats his invective with disdain, and triumphs over his helplessness, and retorts his insults with insult. Finally she refuses his request to give the children’s bodies to him. She is going to find a place of burial for them safer than Corinth. Upon this a storm of mutual rage breaks out between them. The scene concludes with Jason wildly screaming his head off.
Jason: I wish I had never begat them to see them slaughtered by you.
Meanwhile the Chorus steals away in silence exiting to the rhythm of anapaests.
References
Medea (play) - Wikipedia
Medea - Wikipedia
Jason - Wikipedia
Aegeus - Wikipedia
Medea GreekMythology.com
MEDEA - EURIPIDES - PLAY SUMMARY - MEDEA GREEK MYTHOLOGY
Argonautica - Wikipedia
Creusa (Glauce) of Corinth - Wikipedia
Euripides: Medea (Mήδεια) - - Major Reference Works - Wiley Online Library
Crowell's handbook of classical drama Medea p. 204- : R.Y. Hathorn - Internet Archive
Medea by Euripides GreekMythology.com
Medea Study Guide - Course Hero
What is the Story of Jason and the Golden Fleece? Theoi,com
The Book of Wonder Voyages/The Argonauts - Wikisource
Apollodorus on Medea.
Colchis - Wikipedia
Iolcus - Wikipedia
Euxine Sea - Oxford Classical Dictionary [The Black Sea]
Symplegades - Oxford Classical Dictionary [aka The Clashing Rocks]
Looking at Medea : essays and a translation of Euripides' tragedy - Google Books https://bit.ly/32Xc5R7
Granddaughter of the Sun - Google Books https://bit.ly/32S71xy
Euripides' Medea: the incarnation of disorder - Google Books https://bit.ly/3HKBPz0
Most, Glenn W. “Two Problems in the Third Stasimon of Euripides' Medea.” Classical Philology, vol. 94, no. 1, 1999, pp. 20–35. JSTOR, www.jstor.org/stable/270421.
Hopman, Marianne. “Revenge and Mythopoiesis in Euripides' ‘Medea.’” Transactions of the American Philological Association (1974-), vol. 138, no. 1, 2008, pp. 155–183. JSTOR, www.jstor.org/stable/40212078
Greek Versions
Teubner - Eurpides - Medea
The Hecuba and Medea of Euripides, Chiefly from the Text of Dindorf. With E... - Google Books
The Medea; : Euripides - Internet Archive
Medea : Euripides - Internet Archive
Medea; : Euripides - Internet Archive
Euripides, Medea David Kovacs Perseus Digital Library
Euripides Medea p. 283 - Loeb edition - Internet Archive
Euripidou Medeia. The Medea. Edited with introd. and notes by A.W. Verrall : Euripides - Internet Archive
Euripides (1821). Εὐριπιδου Μηδεια.-The Medea of Euripides [with the Greek text] literally translated into English prose; from the text of Porson. With notes. By T. W. C. Edwards.
Euripides (1876). The Medea of Euripides, with brief notes by F.A. Paley.
Translations
The Medea. Translated into English rhyming verse with explanatory notes by Gilbert Murray : Euripides - Internet Archive
Euripides, Medea David Kovacs Perseus Digital Library
Euripides Medea p. 283 - Loeb edition - Internet Archive
The Project Gutenberg eBook of "The Medea of Euripides", by Gilbert Murray
Euripides (1891). The Plays of Euripides Vol I: Translator's preface. Memoir of Euripides. Rhesus. Medea. Hippolytus. Alcestis. Heracleidae. The suppliants. The Trojan women. Ion. Helen. Medea: G. Bell. pp. 30–. Edward P. ColeridgeThe Internet Classics Archive - Medea by Euripides
The Medea of Euripides trans by T.A. Buckley (1897) - Internet Archive
Hecuba, Orestes, Phoenician virgins, and Medea (p.189 -). Literally translated into English prose, from the text of Porson : Euripides - Internet Archive
Euripides (1865). The tragedies of Euripides Vol. II trans. by T.A. Buckley. Medea. pp. 137–.
The Medea of Euripides : Euripides - Internet Archive Gilbert Murray
Euripides : Euripides - Internet Archive David Kovacs
Medea (Euripides) - Wikisource
Medea, and other plays (Penguin Books) : Euripides - Internet Archive
Euripides I p. 55 - Medea - Internet Archive ed. David Grene
Euripides I- Medea - Internet Archive
Medea and other plays: Euripides - Internet Archive Oxford World's Classics
Euripides: Medea - Cambridge University Press - NanoPDF
La Lorona Mexican Myth
La Llorona - Wikipedia
Audio/Visual
Medea - YouTube
Euripides' Medea - Fiona Shaw - BBC Radio 3 - YouTube
Medea 1969 di Pier Paolo Pasolini - Maria Callas - YouTube
Medea Performance 2018 - YouTube
Medea - Center for Hellenic Studies
Episode_033_woman_the_barbarian Doug Metzger
Medea - Euripides Podcast - Podbean
