By David Stuttard
Euripides' Medea is without doubt one of the mostly learn, studied and played of all Greek tragedies. A searingly merciless tale of a woman's brutal revenge on a husband who has rejected her for a more youthful and richer bride, it's strange between Greek dramas for its acute portrayal of woman psychology. Medea can look right away undying and strikingly glossy. but, the play is particularly a lot a made of the political and social global of 5th century Athens and an realizing of its unique context, in addition to a attention of the responses of later a long time, is important to appreciating this paintings and its legacy. This number of essays by way of major teachers addresses those matters, exploring key topics equivalent to revenge, personality, mythology, the tip of the play, the refrain and Medea's position as a witch. different essays examine the play's context, spiritual connotations, stagecraft and reception. The essays are followed through David Stuttard's English translation of the play, that's performer-friendly, available but actual and heavily trustworthy to the unique.
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Additional resources for Looking at Medea: Essays and a Translation of Euripides' Tragedy
Example text
Considering the lack of evidence, this satyr-play may be only generally linked with the three preceding tragedies through the shared theme of otherness, which is also a distinctive feature of satyrs. 8 The dominant notions of exile and otherness permeating this tetralogy should be explored within the Athenian sociopolitical framework of midfifth century BC. As mentioned at the outset, the definition of ‘self ’ and ‘other’ 42 Looking at Medea relies on the distinction between the Athenian male citizen and socially marginalized groups, such as women, slaves, foreigners and disabled people.
As we shall see, the early vase paintings allow differing interpretations. Nevertheless, the ability to make men or animals young must have been an integral part of her story from earliest times and, as in the case of the children’s deaths in Corinth, there was no fixed version. Both Sophocles and Euripides wrote Aegeus plays, which probably involved Medea after she left Corinth and took refuge in Athens with King Aegeus, where, in keeping with her other dramatic portrayals, she tried to poison Aegeus’ illegitimate son, Theseus, when he came to Athens to claim his birthright.
This chapter sets out to explore certain common underlying themes, which, despite the plot differences, pervade the plays of this tetralogy. I shall argue that the tragedies are conceptually interrelated by means of the key notions of exile and otherness and shall investigate the manner in which these ideas are embedded within their contemporary sociopolitical and cultural context. While exploring the treatment of these ideas in the tetralogy of 431 BC, it should be borne in mind that the typical Greek way of defining the Athenian ‘self ’ was by negative polar opposition to a whole series of ‘others’.