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    Medea of Euripides
    Medea of Euripides
    Medea of Euripides
    Ebook136 pages3 hours

    Medea of Euripides

    By Gilbert Murray and Euripides

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    LanguageEnglish
    PublisherArchive Classics
    Release dateJan 1, 1910
    Medea of Euripides

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    Reviews for Medea of Euripides

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    • 4/5
      Ancient greek feminist revenge fantasy
    • 4/5
      Medea by Euripedes was a play I chose for my 2015 reading challenge. The play, only 47 pages took about 1/2 hour to read. My first thought was.....doesn't the woman on the cover look like Salma Hayek?The play centers around Medea, a goddess who falls madly in love, emphasis on MADLY, with Jason. She gives up everything for this man. We're talking killing, stealing, betraying her father and home, the whole kitten caboodle. She has 2 sons by him then one day, bang........homeboy hooks up with this younger chick, leaves Medea and the kids and marries this home-wrecker. Say what???? Say it isn't so........ oh, it's so!To put icing on the cake, this home-wrecker's daddy (Creon) banishes her from the land. Allowed to stay one more day she plots her revenge and baby she went for it. Unfortunately her revenge is an act that would cost a lifetime of suffering not only for her husband but herself as well.Medea, although a quick read, is very powerful. You will agree with Medea and understand her pain but will hate her for her decisions. Jason is a loser who tries to convince Medea that what he was doing was for a good reason. Let me tell you something, no one (woman) in there right mind would believe it. What's interesting is the mentality of both individuals. Medea was not afraid to show her emotions, whether sadness, fear or anger but Jason remained calmed and had no hatred towards her. She screamed at him, called him names, yet he thought they could still remain friends until the end.I had no idea what this play was about or how it would turn out. I just chose it for my reading challenge and I'm glad I did.
    • 4/5
      Not sure what I think of the translation, but I liked that this was annotated.
    • 5/5
      The ultimate story of betrayal and tragedy.
    • 5/5
      Surely, of all creatures that have life and will, we womenAre the most wretched. When, for an extravagant sum,We have bought a husband, we must then accept him asPossessor of our body. This is to aggravateWrong with worse wrong. Then the great question: will the manWe get be bad or good? For woman, divorce is notRespectable; to repel the man, not possible. (Trans Phillip Veracott)These few lines near the opening of Euripides' Medea pretty much describes what life was like for women in Ancient Greece: it was not pretty. What struck me when I read this play again (and it is one of my favourites) is how astute Euripides was to the plight of Greek women, and it was not as if it was any better elsewhere. Granted, women did have more rights in Ancient Rome (and would become very astute political maneuverers, such as Nero's mother Agripina) but in general the freedoms that women have won over the past 150 years are probably the furthest that they have come to participate in society than any other time throughout history (with a few exceptions).I should talk about about the play and its background (the legend that is, not the writing of it, which took place just prior to the Peloponesian War). The play is set sometime after Jason's return to Greece after obtaining the Golden Fleece from Cholchis. When he was in Cholcis, he had wooed Medea, the daughter of the king, and with her aid managed to steal the fleece and escape, but in doing so Medea was forced not only to kill her brother but renounce her citizenship of Colchis never to return. Years later, after they returned to Greece, Jason and Medea married and had children. However, Jason received an offer from King Creon of Corinth to marry his daughter and thus take the throne, so he pretty much ditched Medea, arranged for her exile, and shacked up with his new wife.If I can describe the play in one sentence, it would be 'hell hath no fury like a woman scorned'. Let all men out there understand this, and if there is one piece of literature I would recommend that all men who wish to have a relationship with a woman should read it should be this one. It is not so much that Medea is a noble character, she is not. She poisons Jason's wife and father-in-law, and then proceeds to murder both of her children, and this is after she forced an oath out of the King of Athens to provide her protection, no matter what. Medea is not a lovely person, and despite the argument that she was driven to this point by a nasty man just simply does not cut it. I agree that Jason is not a noble man either, but still does not justify Medea's actions.One can simply feel the pain of Medea in this play as she struggles with this change to her life. Yes, she acts on instinct and out of vengeance, but she has renounced her country and her people and fled to an alien land, all over the love of a man, only to discover that this man discards her once she is no longer needed by him. As she says, a Greek woman still has family and friends, whereas she has nobody (not quite true, as she secured sanctuary in Athens). We are reminded, over and over again, of the plight that is to be a woman, and an alien woman, in Ancient Greece, and it is not pleasant.Does Euripides' write a decent female character then? Well, that is difficult since we have fragments of only one female Greek poet, and that is Sappho. Everything else is written by men, though not necessarily about men. I believe Medea's character is representative of a woman scorned, seeking vengeance upon he who discarded her. She cries, and is in deep emotional pain, but then lines like 'it is the nature of a woman to cry' is clearly the writing of a man. However Euripides is different from the other Greek playwrights in that he stands up for the woman, and we see this clearly in this play. There are others where he covers such themes as well, but we will look at them when we do. Further, not all of Greek literature deals only with strong men and weak women. Homer's Odyssey is a clear example of this as Penelope is painted as a strong, loyal, and dedicated woman that we resist even the wise men to remain faithful to a husband that she believes is still alive. Further, we have gods like Athena and Artemis, who clearly break out of that mould that we like to put Greek women into (both of these gods are major gods, not married to any other gods, are warriors, and are worshipped by many Greeks of the time).Another thing that struck me in this play this time is the nature of children. Medea weeps about how it is difficult to know how a child turns out. Is all that time wasted in raising the child, only to see him either turn bad, or die in a war? Many parents fret and worry about that, and sometimes the more we worry, the less we actually look into ourselves and ask what can we do to make the situation better. This is a fallen world, and people die in fallen worlds: it is a fact of life. Death will always be painful, but sometimes we need to accept this. The more we try to mould our children into what we want, the more we force them away from us: many a piece of literature explores this (especially these days, just see Dead Poet's Society). However, Medea slays her children, if only out of spite.I have heard many people suggest that Christianity has made the world worse, not better, and that is something that I must heartily dispute. All we need to do is to look at the pre-Christian world to see how horrid and barbaric it was. In many of the Greek tragedies there are no noble characters. There are only two truly noble characters that I can think of in Greek antiquity, one of them being Penelope, the other being Leonidas. Athens, the beacon of freedom and democracy, oppressed women and maintained a slave economy. Further, during the early days of the Peloponesian War, they attacked the island of Mytilene, sacked the place, killed all of the men, and enslaved all of the women and children. While we may have had issues with the way the United States (and Britain) have acted in other lands, I cannot think (with the exception of the period of slavery) of any time where they have acted in such a way. Further, while birth control has always been around, the ancients would deal with unwanted pregnancies by breaking the baby's legs, and then leaving them in the wilderness to die.
    • 5/5
      Penetrating psychological study of Medea, the wronged wife, and Jason, the unfeeling, selfish contemptible husband. Classic revenge tragedy.
    • 5/5
      I bought this book and read it just before seeing the play in London last week (starring the amazing Sophie Okonedo). Reading it and then seeing it made it absolutely clear to me why a play written almost 2,500 years ago is still being performed — and still shocking audiences. This is the ultimate revenge fantasy, a play about women and men, about racism and immigration, about power and corruption. The violence, which takes place largely off-stage, is horrific. This play will give you nightmares. Highly recommended.
    • 4/5
      To be frank, I found this play in print to be less than my memory of seeing this on stage. In particular, Medea's murder of her two sons didn't come through as believable.… Of course, all plays suffer from this to some extent, and it may have been that this translation by Frederic Prokosch dampened some of the drama. I did find this translation quite easy to read though.
    • 3/5
      While my experience with Greek theatre is far from extensive, I feel comfortable proclaiming a general interest in and enjoyment of the genre. I find the level of bawdiness in the satyr plays and comedies extremely entertaining, and I find myself moved and repulsed by the tragedies in such a way that I would never deny their literary superiority.That is, until reading "Medea." Rarely do I come across a protagonist so static and repulsive in her inability to invoke emotion; Medea's actions, rather than her words or character, propel the plot, and the presentation of those actions is wooden at best. As a reader I felt myself moved only for the fate of her sons, and for that I credit my own maternal state over the development of the text. As always, I am willing to shift some blame to the particular translation, because no translator can help but influence the text in his work. My desire to read Euripides has been sated. I'll return to Sophocles and Aristophanes with pleasure.
    • 5/5
      Grækenland i oldtidenJason har svigtet sin hustru Medea og hun tager en grusom hævn ved først at dræbe hans nye brud og denne far og derefter dræbe sine og Jasons børn.
    • 4/5
      Maybe if Euripides had titled this play "Goin' through the Big D, and don't mean Dionysia," then it might have placed higher than third out of the three plays presented for that city's festival in 431 BC.

      Strange that a play written over 2000 years ago still perfectly reflects the worst side of human nature. Jason decides that it would be a super idea to marry the daughter of the king of Corinth, despite the fact that he is already married to Medea, who has given him two sons. Medea is about to be banished for bad mouthing the king, so she decides that it would be a super idea to send her kids to give the king's daughter a pretty, poisoned dress while they ask to not be banished with their mom.

      Plenty of other selfish, bizarro acts occur, accompanied by lots of rationalization as to why each of the crappy ideas was actually super. All the weirdness is interspersed with a Voice of Reason Chorus making poetic comments to the effect of "Jeez, are you sure that's a good idea?" or "Oh man, that can't turn out well." Sadly, neither Medea nor Jason pay any heed to the Chorus.

      What really gets me is that anyone who has gone through a nasty breakup will surely be reminded of some dopey or cruel thing that they did during their own breakup. I know I was.
    • 4/5
      One of the more interesting plays I studied in low level Classical Studies.
    • 4/5
      Despair, Anger and Hatred

      "Anger arises from offences against oneself, enmity may arise ...because of what we take to be their character. Anger is accompanied by pain, hatred is not;... for the one would have the offenders suffer for what they have done; the other would have them cease to exist."
      --Aristotle in "The Art of Rhetoric"

      Medea,  princess of Colchis and granddaughter of Helios, was both angry and hateful toward her husband Jason, who dishonored her by deserting her and their two children and marrying another woman, after he had sworn a solemn oath to her, and she had left her father, home and country to be with him. In revenge, she not only murdered Jason's bride and the bride's father by a cunning scheme, but also killed her own two children, for she knew that it would make him suffer the most, though she herself was also pained.

      By killing Jason's bride and two children, Medea made him suffer for what he had done to her, he would feel the pain of losing everything and the only thing that he cared for -- for her the love of her husband and the honor and integrity their marital union, for him the advancement and security of his political status; Not only that, he would have no children to build his fame and continue his line, nor any chance of begetting others since his bride was dead. He, "the basest of men", would live to suffer, and yet cease to exist.

      There is a precedent in Greek mythology. Procne, princess of Athens, killed her son and fed him to her husband King Tereus of Thrace, after the latter had raped her sister Philomela and cut out her tongue to silence her. The motive for the filicide was similar, i.e., to make the offender suffer and perish at the same time.

      If the aim of tragedy is to arouse fear and pity, as Aristotle wrote in "Poetics", this Greek tragedy by Euripides has certainly achieved its aim: it arouses fear in men and pity in women.

      Quote:

      Jason: "Yea, men should have begotten children from some other source, no female race existing; thus would no evil ever have fallen on mankind."

    • 4/5
      This play is more about Medea than Jason. Obviously. And primarily I think it is about the horrors that can befall people when they let passion for revenge overtake them. There is also a streak of feminism here too. I like that Euripides was different. He went against all kinds of traditions and rules. A female chorus. No tragic hero. No real sympathetic character at all really. No interference from the gods. This was written around the time of the decline of Athens. Things were being questioned and people were turning to rationalism instead of absolutism. Euripides brings it all to the forefront in his play. What's the point of live, he seems to be saying. Anyways, I liked the play. It's different than the other plays of its time. And Medea is a strong woman. A little insane with vengeance yes, but still very strong-willed. I don't know how authentic this translation was but I thought the dialogue and what is said between characters was also what made the play so memorable. If you like reading Greek plays, this is a must.
    • 3/5
      Disturbing, uninteresting, melodramatic-which makes since it is a drama. Helpful for studying that time period and greek myths but not a fun read if you are otherwise inclined.

    Book preview

    Medea of Euripides - Gilbert Murray

    The Project Gutenberg EBook of Medea of Euripides, by Euripides

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    Title: Medea of Euripides

    Author: Euripides

    Translator: Gilbert Murray

    Release Date: March 2, 2011 [EBook #35451]

    Language: English

    *** START OF THIS PROJECT GUTENBERG EBOOK MEDEA OF Euripides ***

    Produced by Barbara Watson and the Online Distributed

    Proofreading Canada Team at http://www.pgdpcanada.net (This

    file was produced from images generously made available

    by The Internet Archive/Canadian Libraries)

    THE MEDEA

    OF

    EURIPIDES

    TRANSLATED INTO ENGLISH RHYMING VERSE

    WITH EXPLANATORY NOTES BY

    GILBERT MURRAY, M.A., LL.D.

    SOMETIME PROFESSOR OF GREEK IN THE UNIVERSITY

    OF GLASGOW; FELLOW OF NEW

    COLLEGE, OXFORD

    OXFORD UNIVERSITY PRESS

    AMERICAN BRANCH

    NEW YORK: 35 WEST 32ND STREET

    1912

    Copyright, 1906, by

    Oxford University Press

    AMERICAN BRANCH

    INTRODUCTION

    The Medea, in spite of its background of wonder and enchantment, is not a romantic play but a tragedy of character and situation. It deals, so to speak, not with the romance itself, but with the end of the romance, a thing which is so terribly often the reverse of romantic. For all but the very highest of romances are apt to have just one flaw somewhere, and in the story of Jason and Medea the flaw was of a fatal kind.

    The wildness and beauty of the Argo legend run through all Greek literature, from the mass of Corinthian lays older than our present Iliad, which later writers vaguely associate with the name of Eumêlus, to the Fourth Pythian Ode of Pindar and the beautiful Argonautica of Apollonius Rhodius. Our poet knows the wildness and the beauty; but it is not these qualities that he specially seeks. He takes them almost for granted, and pierces through them to the sheer tragedy that lies below.

    Jason, son of Aeson, King of Iôlcos, in Thessaly, began his life in exile. His uncle Pelias had seized his father's kingdom, and Jason was borne away to the mountains by night and given, wrapped in a purple robe, to Chiron, the Centaur. When he reached manhood he came down to Iôlcos to demand, as Pindar tells us, his ancestral honour, and stood in the market-place, a world-famous figure, one-sandalled, with his pard-skin, his two spears and his long hair, gentle and wild and fearless, as the Wise Beast had reared him. Pelias, cowed but loath to yield, promised to give up the kingdom if Jason would make his way to the unknown land of Colchis and perform a double quest. First, if I read Pindar aright, he must fetch back the soul of his kinsman Phrixus, who had died there far from home; and, secondly, find the fleece of the Golden Ram which Phrixus had sacrificed. Jason undertook the quest: gathered the most daring heroes from all parts of Hellas; built the first ship, Argo, and set to sea. After all manner of desperate adventures he reached the land of Aiêtês, king of the Colchians, and there hope failed him. By policy, by tact, by sheer courage he did all that man could do. But Aiêtês was both hostile and treacherous. The Argonauts were surrounded, and their destruction seemed only a question of days when, suddenly, unasked, and by the mercy of Heaven, Aiêtês' daughter, Mêdêa, an enchantress as well as a princess, fell in love with Jason. She helped him through all his trials; slew for him her own sleepless serpent, who guarded the fleece; deceived her father, and secured both the fleece and the soul of Phrixus. At the last moment it appeared that her brother, Absyrtus, was about to lay an ambush for Jason. She invited Absyrtus to her room, stabbed him dead, and fled with Jason over the seas. She had given up all, and expected in return a perfect love.

    And what of Jason? He could not possibly avoid taking Medea with him. He probably rather loved her. She formed at the least a brilliant addition to the glory of his enterprise. Not many heroes could produce a barbarian princess ready to leave all and follow them in blind trust. For of course, as every one knew without the telling in fifth-century Athens, no legal marriage was possible between a Greek and a barbarian from Colchis.

    All through the voyage home, a world-wide baffled voyage by the Ister and the Eridanus and the African Syrtes, Medea was still in her element, and proved a constant help and counsellor to the Argonauts. When they reached Jason's home, where Pelias was still king, things began to be different. An ordered and law-abiding Greek state was scarcely the place for the untamed Colchian. We only know the catastrophe. She saw with smothered rage how Pelias hated Jason and was bent on keeping the kingdom from him, and she determined to do her lover another act of splendid service. Making the most of her fame as an enchantress, she persuaded Pelias that he could, by a certain process, regain his youth. He eagerly caught at the hope. His daughters tried the process upon him, and Pelias died in agony. Surely Jason would be grateful now!

    The real result was what it was sure to be in a civilised country. Medea and her lover had to fly for their lives, and Jason was debarred for ever from succeeding to the throne of Iôlcos. Probably there was another result also in Jason's mind: the conclusion that at all costs he must somehow separate himself from this wild beast of a woman who was ruining his life. He directed their flight to Corinth, governed at the time by a ruler of some sort, whether tyrant or king, who was growing old and had an only daughter. Creon would naturally want a son-in-law to support and succeed him. And where in all Greece could he find one stronger or more famous than the chief of the Argonauts? If only Medea were not there! No doubt Jason owed her a great debt for her various services. Still, after all, he was not married to her. And a man must not be weak in such matters as these. Jason accepted the princess's hand, and when Medea became violent, found it difficult to be really angry with Creon for instantly condemning her to exile. At this point the tragedy begins.

    The Medea is one of the earliest of Euripides' works now preserved to us. And those of us who have in our time glowed at all with the religion of realism, will probably feel in it many of the qualities of youth. Not, of course, the more normal, sensuous, romantic youth, the youth of Romeo and Juliet; but another kind—crude, austere, passionate—the youth of the poet who is also a sceptic and a devotee of truth, who so hates the conventionally and falsely beautiful that he is apt to be unduly ascetic towards beauty itself. When a writer really deficient in poetry walks in this path, the result is purely disagreeable. It produces its best results when the writer, like Euripides or Tolstoy, is so possessed by an inward flame of poetry that it breaks out at

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