https://litwiki.org/api.php?action=feedcontributions&feedformat=atom&user=JWilliamsLitWiki - User contributions [en]2026-04-22T15:43:19ZUser contributionsMediaWiki 1.43.0https://litwiki.org/index.php?title=Medea&diff=3597Medea2005-04-15T01:45:41Z<p>JWilliams: /* Works Cited */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]The play [[Medea]] begins in turmoil and escalates until the tragic end. ''Medea'' tells the story of passion that transforms from love to hate. Consumed with a passionate rage ''Medea'' seeks to avenge her husband, [[Jason]] who has wronged her. Jason has left ''Medea'' and taken a new wife. To add insult to injury, Jason’s new bride is the daughter of king [[Kreon]] and a Greek.<br />
<br />
<br />
The play opens outside the house of ''Medea'' and Jason in [[Corinth]]. The [[Nurse]] tells the sorrows of ''Medea'' and how Jason has abandoned ''Medea'' after all she has done for him. The Nurse is afraid ''Medea'' will harm someone close to her. ''Medea’s'' heart is full of violence especially for Jason and the children. ''Medea'' is overwhelmed with grief that is manifesting as jealousy and rage. <br />
<br />
<br />
The [[Tutor]] appears with ''Medea'' two young children who have been outside playing. ''Medea’s'' children are oblivious to the resentment their mother is beginning to feel towards them. The Nurse warns the children to stay out of their mother’s sight. The Tutor is the bearer of bad news. The Tutor has heard rumors that ''Medea'' and her children will be exiled from Corinth. The Nurse is sympathetic to ''Medea’s'' plight while the Tutor is blasé. <br />
<br />
<br />
The [[Chorus]] of Corinthian women arrives to check on ''Medea''. The Chorus hears ''Medea'' cries and curses from inside the house. The Chorus asks the Nurse to go see if ''Medea'' will come outside so they can console her. <br />
<br />
<br />
A distraught ''Medea'' enters the courtyard and delivers a poignant speech on the sufferings and indignations of women in an oppressively man’s world. ''Medea'' points out to the Chorus being a woman is even worst for her because she is a foreigner without a family or a home. The Chorus sympathizes with ''Medea''. ''Medea'' despises Jason for taking another wife, and condemns Jason, his new bride, and king Kreon. ''Medea'' makes the Chorus promise if she finds a way to revenge Jason, they will remain silent. The Chorus gives ''Medea'' a vow of silence agreeing ''Medea'' is right to seek revenge. <br />
<br />
<br />
''Medea'' has been blatantly lamenting her disgruntlements. ''Medea’s'' condemnations have come to the attention of king Kreon. King Kreon enters and exiles ''Medea'' and her children because he is afraid of ''Medea''. Using her children, ''Medea'' appeals to king Kreon on a paternal level and asks for one more day for the sake of the children so she can get her affairs in order. King Kreon reluctantly agrees and allows ''Medea'' to stay in Corinth one more day convinced she could not do the evil he fears in one day. <br />
<br />
<br />
The Chorus pities ''Medea'' but ''Medea'' assures them one day is all she needs to avenge Jason faithlessness. When considering how to kill her enemies, ''Medea'' rules out swords or fire because that would mean close contact with the victims and she may get caught giving her enemies a reason to laugh at her. Being humiliated is one of ''Medea'' greatest fears and motivates her to lash out to save face. ''Medea'' decides to use poison. A conniving manipulator ''Medea'' schemes to poison Jason, his new bride, and king Kreon. ''Medea'' is determined no one especially a man will mistreat her and live to tell about it.<br />
<br />
<br />
Jason visits ''Medea''. Similar to Kreon when he visited ''Medea'', Jason immediately chastises ''Medea'' for her behavior and blames her for her own exile. ''Medea'' calls Jason a coward and reminds him of all she has done for him in the name of love. ''Medea'' is instrumental in assisting Jason in obtaining the Golden Fleece. ''Medea'' betrays her father, murders her brother, an exile from her homeland, and orchestrates the death of Pelias … all for a man who has snubbed her. Jason tries to convince ''Medea'' he married king Kreon daughter for her and their children sake. Marrying into prosperity will benefit them all. Jason argues ''Medea'' has benefited from their marriage more than he. Jason took ''Medea'' away from a barbaric, lawless land. ''Medea'' is very popular living among the Greeks. ''Medea’s'' cleverness is admired in Corinth whereas in [[Colchis]] cleverness is not revered. Also, the children need royal siblings to protect them. ''Medea'' and Jason continue to argue. ''Medea'' feels Jason should have been man enough to tell her he has taken a new bride. Jason believes ''Medea'' is too irrational to handle the news of his bride and her behavior now reflects he was correct in his assumption. Jason offers ''Medea'' contacts with his friends that will help her once she and the kids are exiled from Corinth. Fiercely pride ''Medea'' refuses to take anything from Jason who betrayed her.<br />
<br />
<br />
By chance ''Medea’s'' friend king [[Aigeus]] of [[Athens]] visits. ''Medea'' envisions a safe haven for escape. ''Medea'' tells Aigeus of Jason’s treachery and her pending exile. ''Medea'' beseeches Aigeus for asylum in Athens. King Aigeus unaware of ''Medea’s'' murderous intentions offers ''Medea'' sanctuary in return for her offer of drugs that will end his childlessness. However, king Aigeus gives Medea one condition for sanctuary, ''Medea'' must come to Athens on her own will. Aigeus swears an oath to all the gods at ''Medea'' appeal that he will not turn her over to her enemies no matter what. Reassured ''Medea'' sets her scheme for vengeance in motion. ''Medea'' tells the Chorus of her plans.<br />
<br />
<br />
''Medea’s'' scheme of murder is coming together. ''Medea'' has a safe haven once the murders are complete. As her scheme unfolds, ''Medea'' realizes she must also murder her own children to completely avenge Jason’s dishonor. ''Medea'' wants to hurt Jason deeply and she cannot risk anyone who does not love her children hurting them. The Chorus begs ''Medea'' to reconsider murdering her children. ''Medea'' says,” No compromise is possible” (803). <br />
<br />
<br />
''Medea'' sends for Jason. ''Medea'' uses an assuaging attitude with Jason. ''Medea'' apologizes for her angry and tells Jason he is right to have married king Kreon’s daughter. ''Medea'' pretends to be submissive like Jason expects a good wife to be. After “''kissing up''” to Jason, ''Medea'' sends her children along with Jason and the Tutor to the bride with gifts of a poison woven dress and a golden diadem. <br />
<br />
<br />
The Tutor returns with the children and tells ''Medea'' the royal princess will let the children stay in Corinth. The Tutor is baffled by ''Medea’s'' melancholy behavior. ''Medea'' exhibits tenderness and cold-heartedness as she cries and talks to her children preparing herself to murder them. When ''Medea’s'' children smile at her she considers relinquishing her murderous scheme. The fury ''Medea'' feels at being betrayed by Jason conquers her resolve. ''Medea'' is compelled to finish what has already been started.<br />
<br />
<br />
''Medea'' anxiously waits for news from the palace. The [[Messenger]] enters surprise ''Medea'' is hanging around. The Messenger tells ''Medea'' to run. The Messenger brings news that the royal princess and king Kreon are dead. ''Medea'' glories in the details as the Messenger tells her of the anguish deaths. Jason’s bride and king Kreon die an awful, torturous death with suffering as well. The golden diadem burst into flames sitting upon the royal princess head burning her body and the woven dress sloughs the flesh from her bones. As king Kreon cradles his daughter dead body the poison consumes him as the poisonous woven dress adhered to his flesh. <br />
<br />
<br />
Jason returns looking for his children to protect them from the angry Corinthian mob after he finds out his new bride and father-in-law have been murdered by ''Medea''. The Chorus tells Jason his children have been murdered by their mother’s hand. Jason is appalled and looks for ''Medea''. ''Medea'' has hung around to gloat. ''Medea'' appears above the place in a chariot drawn by dragons provided by her grandfather, [[Helios]], the sun god. The children bodies are on the chariot. Jason begs for the children’s bodies, but ''Medea'' cynically laughs at him refusing to give his the honor of burying the children dead bodies. Jason desperately wants to kiss his dead children and bury them, but ''Medea'' refuses to give him the satisfaction. Jason insults ''Medea'' by telling her a Greek woman would never do the things she has done. ''Medea'' and Jason blame each other for the children’s death. ''Medea'' prophesies Jason’s death. ''Medea'' and Jason argue violently as the play comes to an end. The Chorus closes the play reflecting on capricious nature of gods’ will. ''Medea'' succeeds in revenge and Jason is lonely and tormented. Jason has lost his financial security, his status, and children to carry on his name. Jason is left without distinction. ''Medea’s'' avenge is achieved. Passionate love turned to passionate hate. <br />
<br />
<br />
Additional Reading <br />
<br />
http://www.pantheon.org/articles/m/medea.html<br />
<br />
http://www.perseus.tufts.edu<br />
<br />
== Themes and Motifs ==<br />
=== Right Message, Wrong Messenger ===<br />
<br />
Euripides’ Medea, was the first in a series of plays in which vivid, powerful women appeared on the Euripidean stage. It was produced in the year that the Peloponnesian War began, and sought to play on the low morale of the public to restore the female sex in positions of social influence and power. Throughout the centuries it has been regarded as one of the most powerful of the Greek tragedies, and also one in which the theme of women was more important than most. It is in this play that Euripides could either restore or condemn the female populace in society (Pelling). <br />
<br />
Euripides questions many social norms of the period, but he uses a female such as Medea to convey his message. While Medea has no legal rights, she is the sorceress’ grandchild of the Sun God and therefore able to articulately explain her actions and passionately act on her plans. She is initially able to gain the sympathy and support of the Corinthian women for her plight by passionately pleading her case to the public at large. Medea’s passionate arguments fly in the face of the Greek tradition that only the male has the ability and right to lucid, rational argument. Jason although regarded as civilized by Greek society, is by contrast weak, compromised and cowardly. Medea also challenges ancient Greek society’s decree that the greatest glory for a woman was to bear children, provide sex and to fulfill the demands of her husband (Rassidakis 220-226). From the first compelling moments of this one-act play the audience is drawn into contradictions confronting Medea: to challenge injustice and betrayal or accommodate to it and the financial security and comfort it could bring (Pucci). Traditional behavior of women was a very important aspect of this play, and portraying Medea as both similar and different to fellow womankind allowed the audience to make judgment on the role of women as they knew it. Medea recurrently assaulted fundamental and sacred values and that gave the play much of its power and allowed Euripides to most persuasively portray her as an incarnation of disorder. Could any male audience possibly start to respect any woman that could crush basic human order? Euripides did not himself condemn Medea. Rather, he gave the audience a choice on whether to accept her character and actions. However by implication he is associating a breakdown in human order as being due to the wickedness in such a woman. Yet associating such a drastic event with women would imply that they had the power to be so destructive, and that was not an option of the times - especially when a war had just broken out, and unity was of great importance (McDermott).<br />
<br />
In the tragedy Medea, Euripides fails to rehabilitate the female sex. He chooses a semi-divine, foreign sorceress to voice the appeals of ordinary Athenian wives. She is a woman capable of murder, manipulation and deception, and she has no sense of remorse. In choosing her, Euripides appears to be sending out mixed signals concerning women. Her concerns are those that apply to the majority of women at the time, and an audience would no doubt have understood these; yet Medea deals with them in a way that is abhorrent for a woman of fifth-century Athens (Easterling). She invokes both pathos and disgust, and, for a male audience, she would encourage distrust and continuing ‘imprisonment’ and lower social status for women. Although Euripides may well have believed in promoting womankind, it would have been difficult to put this idea across to the male audience of the day, and that may be why he is unable to make any significant advances in the Medea. He had the right message, but used the wrong messenger (Strauss 237-270).<br />
<br />
=== Xenophobia ===<br />
<br />
Euripides’s Medea explores the tensions which existed between citizens and foreigners and Greece’s subsequent Xenophobia. In the play, Medea represents the non-citizen who completely lacked legal and social rights. Not only is she far from the comforts of her native land, but also, as both a woman and a foreigner, she is viewed as a “poor creature” (643), below the level of a human being. <br />
<br />
As Doctor Gerry Lucas pointed out in his lecture, marriage was a citizen’s contract, meaning Medea had no legal hold on Jason and could not take any form of official recourse. The Nurse laments that “…she has discovered by her sufferings/ What it means to one not to have lost one’s own country” (643). The Nurse is making a deliberate comparison to Jason, who as a male citizen enjoyed legal protection and political activity. Medea, a female non-citizen, is left without a voice or support. Her lack of institutional support led to the necessity that she herself administer Jason’s punishment. <br />
<br />
Jason most aptly expresses the Xenophobic snobbery inherent in such disparity between citizen and foreigner. As he explains to Medea the advantages of living in a ‘civilized’ culture he insists that “…instead of living among barbarians/ You inhabit a Greek land and understand our ways/ How to live by law instead of the sweet will of force” (653.) Such ethnocentric attitudes were both stemmed from and perpetuated by the lack of citizen’s rights. According to Wikipedia, women and foreigners were unable to vote and therefore could not create public policy that would help eradicate Ancient Greece’s sexism and xenophobia. <br />
<br />
===Feminist Concerns===<br />
<br />
Euripides wrote ''Medea'' in 431 B.C. (640). Greek mythology shows us how Greeks, at that time, had firm beliefs on how women should behave themselves and the values they should hold. The perceived submissive behavior of women begins the very moment a wife arrives in her husband’s home (O’Higgins 104). A woman is supposed to provide heirs to the man (O’Higgins 104). <br />
<br />
An Athenian perception pertaining to a “good woman” was that a woman be loyal to her husband and children (Sourvinou-Inwood 254). The most common characteristics of a good woman would be goodness, self-control and the fact that she was devoted to her husband and children (Sourvinou-Inwood 254). A good woman would reflect the culture’s established values and provide a look into the culture itself. A bad woman would be the opposite of the positive norm. In the beginning of ''Medea'', she portrays herself as a good woman. She was devoted to Jason and loved him so much that she felt as though she could not survive without him. When the nurse is talking in the beginning she states that “poor Medea is slighted, and cries aloud on the vows they made to each other, the right hands clasped in eternal promise (643).” Even though the play begins as seeing Medea as a normal, possibly good woman, she has already shown signs of abnormality in her behavior for a woman at that time. Medea is already showing signs of hatefulness towards her children. “I hate you, children of a hateful mother (645).” Medea is already showing behavior that women would not dare show in this time. <br />
<br />
Medea could be seen as a heroine for women who do not want to be confined to the role of the “producer of legitimate offspring (McDonald 303).” By killing her children, she separates herself independently from her husband and the general patriarchy (McDonald 304). Even though at this time, husband’s were expected to be with other women, Medea feels as though her family rights were violated. Medea was also different in this aspect. She didn’t believe that and felt vengeful. The ultimate punishment for Jason, was to violently take his heirs from him. Medea’s anger turned into aggressive action, which can make her into a symbol for women (McDonald 304). <br />
<br />
Throughout the play, Medea was more or less an ordinary woman portrayed as a bad woman. However, she could be the victim of male power and just seemed very out of the ordinary for the role of females at this time (Sourvinou-Inwood 258). She ended up being a version of a very bad woman, by killing her son’s and wreaking havoc on Jason and male power (Sourvinou-Inwood 258). <br />
<br />
The idea explored in this play possibly suggests that women like Medea “use the weapons of the weak, which are both deceitful and violent and hurt men where they are vulnerable to women (Sourvinou-Inwood 261).” The play suggests that normal philosophy is not perfect and easy and if things go wrong men also suffer. <br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
<br />
* [[Kreon]]<br />
''Medea'' is the princess of the Isle of Colchis(642). ''Medea'' is a sorceress, skilled in magic, and is renowned for her cleverness. ''Medea'' comes from a prestigious lineage. Medea is the daughter of king Aeetes and Idyia. ''Medea'' is also the granddaughter of the sun god Helios and the niece of Circe who is also known as a sorceress. ''Medea'' admires and is a protégé of goddess Hecate a patron of witchcraft. <br />
<br />
''Medea'' falls in love with a man named [[Jason]] when he reached the land of Colchis in pursuit of the Golden Fleece.(642) ''Medea'' falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
''Medea'' learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving ''Medea'' and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of ''Medea’s'' anger with Jason and the king’s daughter.(648) Kreon approaches ''Medea'' and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as ''Medea'' in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) ''Medea'' first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now ''Medea'' plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to ''Medea'' where she kills them right before Jason returns to find out what dastardly deed she has done.(669) ''Medea'' escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
== Works Cited ==<br />
<br />
<U>Athenian Democracy.</U> 2005. Wikipedia. 8 April 2005 <http://en.wikipedia.org/wiki/Athenian_democracy#Citizenship_in_Athens>.<br />
<br />
Euripides. ''Medea. The Norton Anthology of World Masterpieces''. Eds. Lawall, Sarah and Mack, Maynard. 7th. NY: W.W. Norton & Co., Inc., 1999. 642-672.<br />
<br />
Ferguson, John.'' A Companion to Greek Tragedy''. TX: University of Texas Press. 1972.<br />
<br />
Lattimore, Richard. ''The Poetry of Greek Tragedy.'' MD: John Hopkins Press. 1958.<br />
<br />
Rassidakis, Kristina. The origins of love, hate, and retaliation in Euripides tragedy; Medea: a psychodynamic approach. Changes: International Journal of Psychology and Psychotherapy 15, 1997.<br />
Pucci, Pietro. The Violence of Pity in Euripides’ Medea. Cornell University, 1980. <br />
Pelling, Christopher. Greek Tragedy and the Historian. Oxford, 1997.<br />
Ober, Josiah and Strauss, Barry. Drama, Political Rhetoric, and Discourse of Athenian Democracy in Winkler, John J. Athenian Drama in Its Social Context. Princeton, 1990. <br />
McDermott, Emily A. Euripedes’ Medea: The Incarnation of Disorder. University Park, PA. 1989. <br />
Easterling, P.E. The Infanticide in Euripides’ Medea. YCS 25, 1977.<br />
<br />
O’Higgins, Dolores M., Sourvinou-Inwood, Christiane, and McDonald, Marianne. Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. Princeton: Princeton University Press, 1997.<br />
<br />
Buxon, Richard. ''The Complete World of Greek Mythology''. NY: Thames & Hudson. 2004.<br />
<br />
Graves, Robert. ''Greek Myths''. NY: Penguin Books. 1981.<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3586Medea2005-04-15T01:42:57Z<p>JWilliams: </p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]The play [[Medea]] begins in turmoil and escalates until the tragic end. ''Medea'' tells the story of passion that transforms from love to hate. Consumed with a passionate rage ''Medea'' seeks to avenge her husband, [[Jason]] who has wronged her. Jason has left ''Medea'' and taken a new wife. To add insult to injury, Jason’s new bride is the daughter of king [[Kreon]] and a Greek.<br />
<br />
<br />
The play opens outside the house of ''Medea'' and Jason in [[Corinth]]. The [[Nurse]] tells the sorrows of ''Medea'' and how Jason has abandoned ''Medea'' after all she has done for him. The Nurse is afraid ''Medea'' will harm someone close to her. ''Medea’s'' heart is full of violence especially for Jason and the children. ''Medea'' is overwhelmed with grief that is manifesting as jealousy and rage. <br />
<br />
<br />
The [[Tutor]] appears with ''Medea'' two young children who have been outside playing. ''Medea’s'' children are oblivious to the resentment their mother is beginning to feel towards them. The Nurse warns the children to stay out of their mother’s sight. The Tutor is the bearer of bad news. The Tutor has heard rumors that ''Medea'' and her children will be exiled from Corinth. The Nurse is sympathetic to ''Medea’s'' plight while the Tutor is blasé. <br />
<br />
<br />
The [[Chorus]] of Corinthian women arrives to check on ''Medea''. The Chorus hears ''Medea'' cries and curses from inside the house. The Chorus asks the Nurse to go see if ''Medea'' will come outside so they can console her. <br />
<br />
<br />
A distraught ''Medea'' enters the courtyard and delivers a poignant speech on the sufferings and indignations of women in an oppressively man’s world. ''Medea'' points out to the Chorus being a woman is even worst for her because she is a foreigner without a family or a home. The Chorus sympathizes with ''Medea''. ''Medea'' despises Jason for taking another wife, and condemns Jason, his new bride, and king Kreon. ''Medea'' makes the Chorus promise if she finds a way to revenge Jason, they will remain silent. The Chorus gives ''Medea'' a vow of silence agreeing ''Medea'' is right to seek revenge. <br />
<br />
<br />
''Medea'' has been blatantly lamenting her disgruntlements. ''Medea’s'' condemnations have come to the attention of king Kreon. King Kreon enters and exiles ''Medea'' and her children because he is afraid of ''Medea''. Using her children, ''Medea'' appeals to king Kreon on a paternal level and asks for one more day for the sake of the children so she can get her affairs in order. King Kreon reluctantly agrees and allows ''Medea'' to stay in Corinth one more day convinced she could not do the evil he fears in one day. <br />
<br />
<br />
The Chorus pities ''Medea'' but ''Medea'' assures them one day is all she needs to avenge Jason faithlessness. When considering how to kill her enemies, ''Medea'' rules out swords or fire because that would mean close contact with the victims and she may get caught giving her enemies a reason to laugh at her. Being humiliated is one of ''Medea'' greatest fears and motivates her to lash out to save face. ''Medea'' decides to use poison. A conniving manipulator ''Medea'' schemes to poison Jason, his new bride, and king Kreon. ''Medea'' is determined no one especially a man will mistreat her and live to tell about it.<br />
<br />
<br />
Jason visits ''Medea''. Similar to Kreon when he visited ''Medea'', Jason immediately chastises ''Medea'' for her behavior and blames her for her own exile. ''Medea'' calls Jason a coward and reminds him of all she has done for him in the name of love. ''Medea'' is instrumental in assisting Jason in obtaining the Golden Fleece. ''Medea'' betrays her father, murders her brother, an exile from her homeland, and orchestrates the death of Pelias … all for a man who has snubbed her. Jason tries to convince ''Medea'' he married king Kreon daughter for her and their children sake. Marrying into prosperity will benefit them all. Jason argues ''Medea'' has benefited from their marriage more than he. Jason took ''Medea'' away from a barbaric, lawless land. ''Medea'' is very popular living among the Greeks. ''Medea’s'' cleverness is admired in Corinth whereas in [[Colchis]] cleverness is not revered. Also, the children need royal siblings to protect them. ''Medea'' and Jason continue to argue. ''Medea'' feels Jason should have been man enough to tell her he has taken a new bride. Jason believes ''Medea'' is too irrational to handle the news of his bride and her behavior now reflects he was correct in his assumption. Jason offers ''Medea'' contacts with his friends that will help her once she and the kids are exiled from Corinth. Fiercely pride ''Medea'' refuses to take anything from Jason who betrayed her.<br />
<br />
<br />
By chance ''Medea’s'' friend king [[Aigeus]] of [[Athens]] visits. ''Medea'' envisions a safe haven for escape. ''Medea'' tells Aigeus of Jason’s treachery and her pending exile. ''Medea'' beseeches Aigeus for asylum in Athens. King Aigeus unaware of ''Medea’s'' murderous intentions offers ''Medea'' sanctuary in return for her offer of drugs that will end his childlessness. However, king Aigeus gives Medea one condition for sanctuary, ''Medea'' must come to Athens on her own will. Aigeus swears an oath to all the gods at ''Medea'' appeal that he will not turn her over to her enemies no matter what. Reassured ''Medea'' sets her scheme for vengeance in motion. ''Medea'' tells the Chorus of her plans.<br />
<br />
<br />
''Medea’s'' scheme of murder is coming together. ''Medea'' has a safe haven once the murders are complete. As her scheme unfolds, ''Medea'' realizes she must also murder her own children to completely avenge Jason’s dishonor. ''Medea'' wants to hurt Jason deeply and she cannot risk anyone who does not love her children hurting them. The Chorus begs ''Medea'' to reconsider murdering her children. ''Medea'' says,” No compromise is possible” (803). <br />
<br />
<br />
''Medea'' sends for Jason. ''Medea'' uses an assuaging attitude with Jason. ''Medea'' apologizes for her angry and tells Jason he is right to have married king Kreon’s daughter. ''Medea'' pretends to be submissive like Jason expects a good wife to be. After “''kissing up''” to Jason, ''Medea'' sends her children along with Jason and the Tutor to the bride with gifts of a poison woven dress and a golden diadem. <br />
<br />
<br />
The Tutor returns with the children and tells ''Medea'' the royal princess will let the children stay in Corinth. The Tutor is baffled by ''Medea’s'' melancholy behavior. ''Medea'' exhibits tenderness and cold-heartedness as she cries and talks to her children preparing herself to murder them. When ''Medea’s'' children smile at her she considers relinquishing her murderous scheme. The fury ''Medea'' feels at being betrayed by Jason conquers her resolve. ''Medea'' is compelled to finish what has already been started.<br />
<br />
<br />
''Medea'' anxiously waits for news from the palace. The [[Messenger]] enters surprise ''Medea'' is hanging around. The Messenger tells ''Medea'' to run. The Messenger brings news that the royal princess and king Kreon are dead. ''Medea'' glories in the details as the Messenger tells her of the anguish deaths. Jason’s bride and king Kreon die an awful, torturous death with suffering as well. The golden diadem burst into flames sitting upon the royal princess head burning her body and the woven dress sloughs the flesh from her bones. As king Kreon cradles his daughter dead body the poison consumes him as the poisonous woven dress adhered to his flesh. <br />
<br />
<br />
Jason returns looking for his children to protect them from the angry Corinthian mob after he finds out his new bride and father-in-law have been murdered by ''Medea''. The Chorus tells Jason his children have been murdered by their mother’s hand. Jason is appalled and looks for ''Medea''. ''Medea'' has hung around to gloat. ''Medea'' appears above the place in a chariot drawn by dragons provided by her grandfather, [[Helios]], the sun god. The children bodies are on the chariot. Jason begs for the children’s bodies, but ''Medea'' cynically laughs at him refusing to give his the honor of burying the children dead bodies. Jason desperately wants to kiss his dead children and bury them, but ''Medea'' refuses to give him the satisfaction. Jason insults ''Medea'' by telling her a Greek woman would never do the things she has done. ''Medea'' and Jason blame each other for the children’s death. ''Medea'' prophesies Jason’s death. ''Medea'' and Jason argue violently as the play comes to an end. The Chorus closes the play reflecting on capricious nature of gods’ will. ''Medea'' succeeds in revenge and Jason is lonely and tormented. Jason has lost his financial security, his status, and children to carry on his name. Jason is left without distinction. ''Medea’s'' avenge is achieved. Passionate love turned to passionate hate. <br />
<br />
<br />
Additional Reading <br />
<br />
http://www.pantheon.org/articles/m/medea.html<br />
<br />
http://www.perseus.tufts.edu<br />
<br />
== Themes and Motifs ==<br />
=== Right Message, Wrong Messenger ===<br />
<br />
Euripides’ Medea, was the first in a series of plays in which vivid, powerful women appeared on the Euripidean stage. It was produced in the year that the Peloponnesian War began, and sought to play on the low morale of the public to restore the female sex in positions of social influence and power. Throughout the centuries it has been regarded as one of the most powerful of the Greek tragedies, and also one in which the theme of women was more important than most. It is in this play that Euripides could either restore or condemn the female populace in society (Pelling). <br />
<br />
Euripides questions many social norms of the period, but he uses a female such as Medea to convey his message. While Medea has no legal rights, she is the sorceress’ grandchild of the Sun God and therefore able to articulately explain her actions and passionately act on her plans. She is initially able to gain the sympathy and support of the Corinthian women for her plight by passionately pleading her case to the public at large. Medea’s passionate arguments fly in the face of the Greek tradition that only the male has the ability and right to lucid, rational argument. Jason although regarded as civilized by Greek society, is by contrast weak, compromised and cowardly. Medea also challenges ancient Greek society’s decree that the greatest glory for a woman was to bear children, provide sex and to fulfill the demands of her husband (Rassidakis 220-226). From the first compelling moments of this one-act play the audience is drawn into contradictions confronting Medea: to challenge injustice and betrayal or accommodate to it and the financial security and comfort it could bring (Pucci). Traditional behavior of women was a very important aspect of this play, and portraying Medea as both similar and different to fellow womankind allowed the audience to make judgment on the role of women as they knew it. Medea recurrently assaulted fundamental and sacred values and that gave the play much of its power and allowed Euripides to most persuasively portray her as an incarnation of disorder. Could any male audience possibly start to respect any woman that could crush basic human order? Euripides did not himself condemn Medea. Rather, he gave the audience a choice on whether to accept her character and actions. However by implication he is associating a breakdown in human order as being due to the wickedness in such a woman. Yet associating such a drastic event with women would imply that they had the power to be so destructive, and that was not an option of the times - especially when a war had just broken out, and unity was of great importance (McDermott).<br />
<br />
In the tragedy Medea, Euripides fails to rehabilitate the female sex. He chooses a semi-divine, foreign sorceress to voice the appeals of ordinary Athenian wives. She is a woman capable of murder, manipulation and deception, and she has no sense of remorse. In choosing her, Euripides appears to be sending out mixed signals concerning women. Her concerns are those that apply to the majority of women at the time, and an audience would no doubt have understood these; yet Medea deals with them in a way that is abhorrent for a woman of fifth-century Athens (Easterling). She invokes both pathos and disgust, and, for a male audience, she would encourage distrust and continuing ‘imprisonment’ and lower social status for women. Although Euripides may well have believed in promoting womankind, it would have been difficult to put this idea across to the male audience of the day, and that may be why he is unable to make any significant advances in the Medea. He had the right message, but used the wrong messenger (Strauss 237-270).<br />
<br />
=== Xenophobia ===<br />
<br />
Euripides’s Medea explores the tensions which existed between citizens and foreigners and Greece’s subsequent Xenophobia. In the play, Medea represents the non-citizen who completely lacked legal and social rights. Not only is she far from the comforts of her native land, but also, as both a woman and a foreigner, she is viewed as a “poor creature” (643), below the level of a human being. <br />
<br />
As Doctor Gerry Lucas pointed out in his lecture, marriage was a citizen’s contract, meaning Medea had no legal hold on Jason and could not take any form of official recourse. The Nurse laments that “…she has discovered by her sufferings/ What it means to one not to have lost one’s own country” (643). The Nurse is making a deliberate comparison to Jason, who as a male citizen enjoyed legal protection and political activity. Medea, a female non-citizen, is left without a voice or support. Her lack of institutional support led to the necessity that she herself administer Jason’s punishment. <br />
<br />
Jason most aptly expresses the Xenophobic snobbery inherent in such disparity between citizen and foreigner. As he explains to Medea the advantages of living in a ‘civilized’ culture he insists that “…instead of living among barbarians/ You inhabit a Greek land and understand our ways/ How to live by law instead of the sweet will of force” (653.) Such ethnocentric attitudes were both stemmed from and perpetuated by the lack of citizen’s rights. According to Wikipedia, women and foreigners were unable to vote and therefore could not create public policy that would help eradicate Ancient Greece’s sexism and xenophobia. <br />
<br />
===Feminist Concerns===<br />
<br />
Euripides wrote ''Medea'' in 431 B.C. (640). Greek mythology shows us how Greeks, at that time, had firm beliefs on how women should behave themselves and the values they should hold. The perceived submissive behavior of women begins the very moment a wife arrives in her husband’s home (O’Higgins 104). A woman is supposed to provide heirs to the man (O’Higgins 104). <br />
<br />
An Athenian perception pertaining to a “good woman” was that a woman be loyal to her husband and children (Sourvinou-Inwood 254). The most common characteristics of a good woman would be goodness, self-control and the fact that she was devoted to her husband and children (Sourvinou-Inwood 254). A good woman would reflect the culture’s established values and provide a look into the culture itself. A bad woman would be the opposite of the positive norm. In the beginning of ''Medea'', she portrays herself as a good woman. She was devoted to Jason and loved him so much that she felt as though she could not survive without him. When the nurse is talking in the beginning she states that “poor Medea is slighted, and cries aloud on the vows they made to each other, the right hands clasped in eternal promise (643).” Even though the play begins as seeing Medea as a normal, possibly good woman, she has already shown signs of abnormality in her behavior for a woman at that time. Medea is already showing signs of hatefulness towards her children. “I hate you, children of a hateful mother (645).” Medea is already showing behavior that women would not dare show in this time. <br />
<br />
Medea could be seen as a heroine for women who do not want to be confined to the role of the “producer of legitimate offspring (McDonald 303).” By killing her children, she separates herself independently from her husband and the general patriarchy (McDonald 304). Even though at this time, husband’s were expected to be with other women, Medea feels as though her family rights were violated. Medea was also different in this aspect. She didn’t believe that and felt vengeful. The ultimate punishment for Jason, was to violently take his heirs from him. Medea’s anger turned into aggressive action, which can make her into a symbol for women (McDonald 304). <br />
<br />
Throughout the play, Medea was more or less an ordinary woman portrayed as a bad woman. However, she could be the victim of male power and just seemed very out of the ordinary for the role of females at this time (Sourvinou-Inwood 258). She ended up being a version of a very bad woman, by killing her son’s and wreaking havoc on Jason and male power (Sourvinou-Inwood 258). <br />
<br />
The idea explored in this play possibly suggests that women like Medea “use the weapons of the weak, which are both deceitful and violent and hurt men where they are vulnerable to women (Sourvinou-Inwood 261).” The play suggests that normal philosophy is not perfect and easy and if things go wrong men also suffer. <br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
<br />
* [[Kreon]]<br />
''Medea'' is the princess of the Isle of Colchis(642). ''Medea'' is a sorceress, skilled in magic, and is renowned for her cleverness. ''Medea'' comes from a prestigious lineage. Medea is the daughter of king Aeetes and Idyia. ''Medea'' is also the granddaughter of the sun god Helios and the niece of Circe who is also known as a sorceress. ''Medea'' admires and is a protégé of goddess Hecate a patron of witchcraft. <br />
<br />
''Medea'' falls in love with a man named [[Jason]] when he reached the land of Colchis in pursuit of the Golden Fleece.(642) ''Medea'' falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
''Medea'' learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving ''Medea'' and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of ''Medea’s'' anger with Jason and the king’s daughter.(648) Kreon approaches ''Medea'' and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as ''Medea'' in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) ''Medea'' first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now ''Medea'' plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to ''Medea'' where she kills them right before Jason returns to find out what dastardly deed she has done.(669) ''Medea'' escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
== Works Cited ==<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
<U>Athenian Democracy.</U> 2005. Wikipedia. 8 April 2005 <http://en.wikipedia.org/wiki/Athenian_democracy#Citizenship_in_Athens>.<br />
<br />
Euripides. ''Medea. The Norton Anthology of World Masterpieces''. Eds. Lawall, Sarah and Mack, Maynard. 7th. NY: W.W. Norton & Co., Inc., 1999. 642-672.<br />
<br />
Ferguson, John.'' A Companion to Greek Tragedy''. TX: University of Texas Press. 1972.<br />
<br />
Lattimore, Richard. ''The Poetry of Greek Tragedy.'' MD: John Hopkins Press. 1958.<br />
<br />
Rassidakis, Kristina. The origins of love, hate, and retaliation in Euripides tragedy; Medea: a psychodynamic approach. Changes: International Journal of Psychology and Psychotherapy 15, 1997.<br />
Pucci, Pietro. The Violence of Pity in Euripides’ Medea. Cornell University, 1980. <br />
Pelling, Christopher. Greek Tragedy and the Historian. Oxford, 1997.<br />
Ober, Josiah and Strauss, Barry. Drama, Political Rhetoric, and Discourse of Athenian Democracy in Winkler, John J. Athenian Drama in Its Social Context. Princeton, 1990. <br />
McDermott, Emily A. Euripedes’ Medea: The Incarnation of Disorder. University Park, PA. 1989. <br />
Easterling, P.E. The Infanticide in Euripides’ Medea. YCS 25, 1977.<br />
<br />
O’Higgins, Dolores M., Sourvinou-Inwood, Christiane, and McDonald, Marianne. Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. Princeton: Princeton University Press, 1997.<br />
<br />
Buxon, Richard. ''The Complete World of Greek Mythology''. NY: Thames & Hudson. 2004.<br />
<br />
Graves, Robert. ''Greek Myths''. NY: Penguin Books. 1981.<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3585Medea2005-04-15T01:28:01Z<p>JWilliams: </p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]The play [[Medea]] begins in turmoil and escalates until the tragic end. ''Medea'' tells the story of passion that transforms from love to hate. Consumed with a passionate rage ''Medea'' seeks to avenge her husband, [[Jason]] who has wronged her. Jason has left ''Medea'' and taken a new wife. To add insult to injury, Jason’s new bride is the daughter of king [[Kreon]] and a Greek.<br />
<br />
<br />
The play opens outside the house of ''Medea'' and Jason in [[Corinth]]. The [[Nurse]] tells the sorrows of ''Medea'' and how Jason has abandoned ''Medea'' after all she has done for him. The Nurse is afraid ''Medea'' will harm someone close to her. ''Medea’s'' heart is full of violence especially for Jason and the children. ''Medea'' is overwhelmed with grief that is manifesting as jealousy and rage. <br />
<br />
<br />
The [[Tutor]] appears with ''Medea'' two young children who have been outside playing. ''Medea’s'' children are oblivious to the resentment their mother is beginning to feel towards them. The Nurse warns the children to stay out of their mother’s sight. The Tutor is the bearer of bad news. The Tutor has heard rumors that ''Medea'' and her children will be exiled from Corinth. The Nurse is sympathetic to ''Medea’s'' plight while the Tutor is blasé. <br />
<br />
<br />
The [[Chorus]] of Corinthian women arrives to check on ''Medea''. The Chorus hears ''Medea'' cries and curses from inside the house. The Chorus asks the Nurse to go see if ''Medea'' will come outside so they can console her. <br />
<br />
<br />
A distraught ''Medea'' enters the courtyard and delivers a poignant speech on the sufferings and indignations of women in an oppressively man’s world. ''Medea'' points out to the Chorus being a woman is even worst for her because she is a foreigner without a family or a home. The Chorus sympathizes with ''Medea''. ''Medea'' despises Jason for taking another wife, and condemns Jason, his new bride, and king Kreon. ''Medea'' makes the Chorus promise if she finds a way to revenge Jason, they will remain silent. The Chorus gives ''Medea'' a vow of silence agreeing ''Medea'' is right to seek revenge. <br />
<br />
<br />
''Medea'' has been blatantly lamenting her disgruntlements. ''Medea’s'' condemnations have come to the attention of king Kreon. King Kreon enters and exiles ''Medea'' and her children because he is afraid of ''Medea''. Using her children, ''Medea'' appeals to king Kreon on a paternal level and asks for one more day for the sake of the children so she can get her affairs in order. King Kreon reluctantly agrees and allows ''Medea'' to stay in Corinth one more day convinced she could not do the evil he fears in one day. <br />
<br />
<br />
The Chorus pities ''Medea'' but ''Medea'' assures them one day is all she needs to avenge Jason faithlessness. When considering how to kill her enemies, ''Medea'' rules out swords or fire because that would mean close contact with the victims and she may get caught giving her enemies a reason to laugh at her. Being humiliated is one of ''Medea'' greatest fears and motivates her to lash out to save face. ''Medea'' decides to use poison. A conniving manipulator ''Medea'' schemes to poison Jason, his new bride, and king Kreon. ''Medea'' is determined no one especially a man will mistreat her and live to tell about it.<br />
<br />
<br />
Jason visits ''Medea''. Similar to Kreon when he visited ''Medea'', Jason immediately chastises ''Medea'' for her behavior and blames her for her own exile. ''Medea'' calls Jason a coward and reminds him of all she has done for him in the name of love. ''Medea'' is instrumental in assisting Jason in obtaining the Golden Fleece. ''Medea'' betrays her father, murders her brother, an exile from her homeland, and orchestrates the death of Pelias … all for a man who has snubbed her. Jason tries to convince ''Medea'' he married king Kreon daughter for her and their children sake. Marrying into prosperity will benefit them all. Jason argues ''Medea'' has benefited from their marriage more than he. Jason took ''Medea'' away from a barbaric, lawless land. ''Medea'' is very popular living among the Greeks. ''Medea’s'' cleverness is admired in Corinth whereas in [[Colchis]] cleverness is not revered. Also, the children need royal siblings to protect them. ''Medea'' and Jason continue to argue. ''Medea'' feels Jason should have been man enough to tell her he has taken a new bride. Jason believes ''Medea'' is too irrational to handle the news of his bride and her behavior now reflects he was correct in his assumption. Jason offers ''Medea'' contacts with his friends that will help her once she and the kids are exiled from Corinth. Fiercely pride ''Medea'' refuses to take anything from Jason who betrayed her.<br />
<br />
<br />
By chance ''Medea’s'' friend king [[Aigeus]] of [[Athens]] visits. ''Medea'' envisions a safe haven for escape. ''Medea'' tells Aigeus of Jason’s treachery and her pending exile. ''Medea'' beseeches Aigeus for asylum in Athens. King Aigeus unaware of ''Medea’s'' murderous intentions offers ''Medea'' sanctuary in return for her offer of drugs that will end his childlessness. However, king Aigeus gives Medea one condition for sanctuary, ''Medea'' must come to Athens on her own will. Aigeus swears an oath to all the gods at ''Medea'' appeal that he will not turn her over to her enemies no matter what. Reassured ''Medea'' sets her scheme for vengeance in motion. ''Medea'' tells the Chorus of her plans.<br />
<br />
<br />
''Medea’s'' scheme of murder is coming together. ''Medea'' has a safe haven once the murders are complete. As her scheme unfolds, ''Medea'' realizes she must also murder her own children to completely avenge Jason’s dishonor. ''Medea'' wants to hurt Jason deeply and she cannot risk anyone who does not love her children hurting them. The Chorus begs ''Medea'' to reconsider murdering her children. ''Medea'' says,” No compromise is possible” (803). <br />
<br />
<br />
''Medea'' sends for Jason. ''Medea'' uses an assuaging attitude with Jason. ''Medea'' apologizes for her angry and tells Jason he is right to have married king Kreon’s daughter. ''Medea'' pretends to be submissive like Jason expects a good wife to be. After “''kissing up''” to Jason, ''Medea'' sends her children along with Jason and the Tutor to the bride with gifts of a poison woven dress and a golden diadem. <br />
<br />
<br />
The Tutor returns with the children and tells ''Medea'' the royal princess will let the children stay in Corinth. The Tutor is baffled by ''Medea’s'' melancholy behavior. ''Medea'' exhibits tenderness and cold-heartedness as she cries and talks to her children preparing herself to murder them. When ''Medea’s'' children smile at her she considers relinquishing her murderous scheme. The fury ''Medea'' feels at being betrayed by Jason conquers her resolve. ''Medea'' is compelled to finish what has already been started.<br />
<br />
<br />
''Medea'' anxiously waits for news from the palace. The [[Messenger]] enters surprise ''Medea'' is hanging around. The Messenger tells ''Medea'' to run. The Messenger brings news that the royal princess and king Kreon are dead. ''Medea'' glories in the details as the Messenger tells her of the anguish deaths. Jason’s bride and king Kreon die an awful, torturous death with suffering as well. The golden diadem burst into flames sitting upon the royal princess head burning her body and the woven dress sloughs the flesh from her bones. As king Kreon cradles his daughter dead body the poison consumes him as the poisonous woven dress adhered to his flesh. <br />
<br />
<br />
Jason returns looking for his children to protect them from the angry Corinthian mob after he finds out his new bride and father-in-law have been murdered by ''Medea''. The Chorus tells Jason his children have been murdered by their mother’s hand. Jason is appalled and looks for ''Medea''. ''Medea'' has hung around to gloat. ''Medea'' appears above the place in a chariot drawn by dragons provided by her grandfather, [[Helios]], the sun god. The children bodies are on the chariot. Jason begs for the children’s bodies, but ''Medea'' cynically laughs at him refusing to give his the honor of burying the children dead bodies. Jason desperately wants to kiss his dead children and bury them, but ''Medea'' refuses to give him the satisfaction. Jason insults ''Medea'' by telling her a Greek woman would never do the things she has done. ''Medea'' and Jason blame each other for the children’s death. ''Medea'' prophesies Jason’s death. ''Medea'' and Jason argue violently as the play comes to an end. The Chorus closes the play reflecting on capricious nature of gods’ will. ''Medea'' succeeds in revenge and Jason is lonely and tormented. Jason has lost his financial security, his status, and children to carry on his name. Jason is left without distinction. ''Medea’s'' avenge is achieved. Passionate love turned to passionate hate. <br />
<br />
<br />
Work Cited<br />
<br />
Euripides. ''Medea. The Norton Anthology of World Masterpieces''. Eds. Lawall, Sarah and Mack, Maynard. 7th. NY: W.W. Norton & Co., Inc., 1999. 642-672.<br />
<br />
Ferguson, John.'' A Companion to Greek Tragedy''. TX: University of Texas Press. 1972.<br />
<br />
Lattimore, Richard. ''The Poetry of Greek Tragedy.'' MD: John Hopkins Press. 1958.<br />
<br />
<br />
Additional Reading <br />
<br />
http://www.pantheon.org/articles/m/medea.html<br />
<br />
http://www.perseus.tufts.edu<br />
<br />
== Themes and Motifs ==<br />
== Right Message, Wrong Messenger ==<br />
<br />
Euripides’ Medea, was the first in a series of plays in which vivid, powerful women appeared on the Euripidean stage. It was produced in the year that the Peloponnesian War began, and sought to play on the low morale of the public to restore the female sex in positions of social influence and power. Throughout the centuries it has been regarded as one of the most powerful of the Greek tragedies, and also one in which the theme of women was more important than most. It is in this play that Euripides could either restore or condemn the female populace in society (Pelling). <br />
<br />
Euripides questions many social norms of the period, but he uses a female such as Medea to convey his message. While Medea has no legal rights, she is the sorceress’ grandchild of the Sun God and therefore able to articulately explain her actions and passionately act on her plans. She is initially able to gain the sympathy and support of the Corinthian women for her plight by passionately pleading her case to the public at large. Medea’s passionate arguments fly in the face of the Greek tradition that only the male has the ability and right to lucid, rational argument. Jason although regarded as civilized by Greek society, is by contrast weak, compromised and cowardly. Medea also challenges ancient Greek society’s decree that the greatest glory for a woman was to bear children, provide sex and to fulfill the demands of her husband (Rassidakis 220-226). From the first compelling moments of this one-act play the audience is drawn into contradictions confronting Medea: to challenge injustice and betrayal or accommodate to it and the financial security and comfort it could bring (Pucci). Traditional behavior of women was a very important aspect of this play, and portraying Medea as both similar and different to fellow womankind allowed the audience to make judgment on the role of women as they knew it. Medea recurrently assaulted fundamental and sacred values and that gave the play much of its power and allowed Euripides to most persuasively portray her as an incarnation of disorder. Could any male audience possibly start to respect any woman that could crush basic human order? Euripides did not himself condemn Medea. Rather, he gave the audience a choice on whether to accept her character and actions. However by implication he is associating a breakdown in human order as being due to the wickedness in such a woman. Yet associating such a drastic event with women would imply that they had the power to be so destructive, and that was not an option of the times - especially when a war had just broken out, and unity was of great importance (McDermott).<br />
<br />
In the tragedy Medea, Euripides fails to rehabilitate the female sex. He chooses a semi-divine, foreign sorceress to voice the appeals of ordinary Athenian wives. She is a woman capable of murder, manipulation and deception, and she has no sense of remorse. In choosing her, Euripides appears to be sending out mixed signals concerning women. Her concerns are those that apply to the majority of women at the time, and an audience would no doubt have understood these; yet Medea deals with them in a way that is abhorrent for a woman of fifth-century Athens (Easterling). She invokes both pathos and disgust, and, for a male audience, she would encourage distrust and continuing ‘imprisonment’ and lower social status for women. Although Euripides may well have believed in promoting womankind, it would have been difficult to put this idea across to the male audience of the day, and that may be why he is unable to make any significant advances in the Medea. He had the right message, but used the wrong messenger (Strauss 237-270).<br />
<br />
Works cited:<br />
<br />
Rassidakis, Kristina. The origins of love, hate, and retaliation in Euripides tragedy; Medea: a psychodynamic approach. Changes: International Journal of Psychology and Psychotherapy 15, 1997.<br />
Pucci, Pietro. The Violence of Pity in Euripides’ Medea. Cornell University, 1980. <br />
Pelling, Christopher. Greek Tragedy and the Historian. Oxford, 1997.<br />
Ober, Josiah and Strauss, Barry. Drama, Political Rhetoric, and Discourse of Athenian Democracy in Winkler, John J. Athenian Drama in Its Social Context. Princeton, 1990. <br />
McDermott, Emily A. Euripedes’ Medea: The Incarnation of Disorder. University Park, PA. 1989. <br />
Easterling, P.E. The Infanticide in Euripides’ Medea. YCS 25, 1977.<br />
<br />
== Xenophobia ==<br />
<br />
Euripides’s Medea explores the tensions which existed between citizens and foreigners and Greece’s subsequent Xenophobia. In the play, Medea represents the non-citizen who completely lacked legal and social rights. Not only is she far from the comforts of her native land, but also, as both a woman and a foreigner, she is viewed as a “poor creature” (643), below the level of a human being. <br />
<br />
As Doctor Gerry Lucas pointed out in his lecture, marriage was a citizen’s contract, meaning Medea had no legal hold on Jason and could not take any form of official recourse. The Nurse laments that “…she has discovered by her sufferings/ What it means to one not to have lost one’s own country” (643). The Nurse is making a deliberate comparison to Jason, who as a male citizen enjoyed legal protection and political activity. Medea, a female non-citizen, is left without a voice or support. Her lack of institutional support led to the necessity that she herself administer Jason’s punishment. <br />
<br />
Jason most aptly expresses the Xenophobic snobbery inherent in such disparity between citizen and foreigner. As he explains to Medea the advantages of living in a ‘civilized’ culture he insists that “…instead of living among barbarians/ You inhabit a Greek land and understand our ways/ How to live by law instead of the sweet will of force” (653.) Such ethnocentric attitudes were both stemmed from and perpetuated by the lack of citizen’s rights. According to Wikipedia, women and foreigners were unable to vote and therefore could not create public policy that would help eradicate Ancient Greece’s sexism and xenophobia. <br />
<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
<br />
<br />
== Feminist Concerns ==<br />
Euripides wrote ''Medea'' in 431 B.C. (640). Greek mythology shows us how Greeks, at that time, had firm beliefs on how women should behave themselves and the values they should hold. The perceived submissive behavior of women begins the very moment a wife arrives in her husband’s home (O’Higgins 104). A woman is supposed to provide heirs to the man (O’Higgins 104). <br />
<br />
An Athenian perception pertaining to a “good woman” was that a woman be loyal to her husband and children (Sourvinou-Inwood 254). The most common characteristics of a good woman would be goodness, self-control and the fact that she was devoted to her husband and children (Sourvinou-Inwood 254). A good woman would reflect the culture’s established values and provide a look into the culture itself. A bad woman would be the opposite of the positive norm. In the beginning of ''Medea'', she portrays herself as a good woman. She was devoted to Jason and loved him so much that she felt as though she could not survive without him. When the nurse is talking in the beginning she states that “poor Medea is slighted, and cries aloud on the vows they made to each other, the right hands clasped in eternal promise (643).” Even though the play begins as seeing Medea as a normal, possibly good woman, she has already shown signs of abnormality in her behavior for a woman at that time. Medea is already showing signs of hatefulness towards her children. “I hate you, children of a hateful mother (645).” Medea is already showing behavior that women would not dare show in this time. <br />
<br />
Medea could be seen as a heroine for women who do not want to be confined to the role of the “producer of legitimate offspring (McDonald 303).” By killing her children, she separates herself independently from her husband and the general patriarchy (McDonald 304). Even though at this time, husband’s were expected to be with other women, Medea feels as though her family rights were violated. Medea was also different in this aspect. She didn’t believe that and felt vengeful. The ultimate punishment for Jason, was to violently take his heirs from him. Medea’s anger turned into aggressive action, which can make her into a symbol for women (McDonald 304). <br />
<br />
Throughout the play, Medea was more or less an ordinary woman portrayed as a bad woman. However, she could be the victim of male power and just seemed very out of the ordinary for the role of females at this time (Sourvinou-Inwood 258). She ended up being a version of a very bad woman, by killing her son’s and wreaking havoc on Jason and male power (Sourvinou-Inwood 258). <br />
<br />
The idea explored in this play possibly suggests that women like Medea “use the weapons of the weak, which are both deceitful and violent and hurt men where they are vulnerable to women (Sourvinou-Inwood 261).” The play suggests that normal philosophy is not perfect and easy and if things go wrong men also suffer. <br />
<br />
Works Citied:<br />
<br />
O’Higgins, Dolores M., Sourvinou-Inwood, Christiane, and McDonald, Marianne. Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. Princeton: Princeton University Press, 1997.<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
<br />
* [[Kreon]]<br />
''Medea'' is the princess of the Isle of Colchis(642). ''Medea'' is a sorceress, skilled in magic, and is renowned for her cleverness. ''Medea'' comes from a prestigious lineage. Medea is the daughter of king Aeetes and Idyia. ''Medea'' is also the granddaughter of the sun god Helios and the niece of Circe who is also known as a sorceress. ''Medea'' admires and is a protégé of goddess Hecate a patron of witchcraft. <br />
<br />
''Medea'' falls in love with a man named [[Jason]] when he reached the land of Colchis in pursuit of the Golden Fleece.(642) ''Medea'' falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
''Medea'' learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving ''Medea'' and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of ''Medea’s'' anger with Jason and the king’s daughter.(648) Kreon approaches ''Medea'' and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as ''Medea'' in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) ''Medea'' first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now ''Medea'' plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to ''Medea'' where she kills them right before Jason returns to find out what dastardly deed she has done.(669) ''Medea'' escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
Work Cited<br />
<br />
Buxon, Richard. ''The Complete World of Greek Mythology''. NY: Thames & Hudson. 2004.<br />
<br />
Graves, Robert. ''Greek Myths''. NY: Penguin Books. 1981.<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
== Works Cited ==<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
<U>Athenian Democracy.</U> 2005. Wikipedia. 8 April 2005 <http://en.wikipedia.org/wiki/Athenian_democracy#Citizenship_in_Athens>.<br />
<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3581Medea2005-04-15T01:25:37Z<p>JWilliams: /* Sources */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]The play [[Medea]] begins in turmoil and escalates until the tragic end. ''Medea'' tells the story of passion that transforms from love to hate. Consumed with a passionate rage ''Medea'' seeks to avenge her husband, [[Jason]] who has wronged her. Jason has left ''Medea'' and taken a new wife. To add insult to injury, Jason’s new bride is the daughter of king [[Kreon]] and a Greek.<br />
<br />
<br />
The play opens outside the house of ''Medea'' and Jason in [[Corinth]]. The [[Nurse]] tells the sorrows of ''Medea'' and how Jason has abandoned ''Medea'' after all she has done for him. The Nurse is afraid ''Medea'' will harm someone close to her. ''Medea’s'' heart is full of violence especially for Jason and the children. ''Medea'' is overwhelmed with grief that is manifesting as jealousy and rage. <br />
<br />
<br />
The [[Tutor]] appears with ''Medea'' two young children who have been outside playing. ''Medea’s'' children are oblivious to the resentment their mother is beginning to feel towards them. The Nurse warns the children to stay out of their mother’s sight. The Tutor is the bearer of bad news. The Tutor has heard rumors that ''Medea'' and her children will be exiled from Corinth. The Nurse is sympathetic to ''Medea’s'' plight while the Tutor is blasé. <br />
<br />
<br />
The [[Chorus]] of Corinthian women arrives to check on ''Medea''. The Chorus hears ''Medea'' cries and curses from inside the house. The Chorus asks the Nurse to go see if ''Medea'' will come outside so they can console her. <br />
<br />
<br />
A distraught ''Medea'' enters the courtyard and delivers a poignant speech on the sufferings and indignations of women in an oppressively man’s world. ''Medea'' points out to the Chorus being a woman is even worst for her because she is a foreigner without a family or a home. The Chorus sympathizes with ''Medea''. ''Medea'' despises Jason for taking another wife, and condemns Jason, his new bride, and king Kreon. ''Medea'' makes the Chorus promise if she finds a way to revenge Jason, they will remain silent. The Chorus gives ''Medea'' a vow of silence agreeing ''Medea'' is right to seek revenge. <br />
<br />
<br />
''Medea'' has been blatantly lamenting her disgruntlements. ''Medea’s'' condemnations have come to the attention of king Kreon. King Kreon enters and exiles ''Medea'' and her children because he is afraid of ''Medea''. Using her children, ''Medea'' appeals to king Kreon on a paternal level and asks for one more day for the sake of the children so she can get her affairs in order. King Kreon reluctantly agrees and allows ''Medea'' to stay in Corinth one more day convinced she could not do the evil he fears in one day. <br />
<br />
<br />
The Chorus pities ''Medea'' but ''Medea'' assures them one day is all she needs to avenge Jason faithlessness. When considering how to kill her enemies, ''Medea'' rules out swords or fire because that would mean close contact with the victims and she may get caught giving her enemies a reason to laugh at her. Being humiliated is one of ''Medea'' greatest fears and motivates her to lash out to save face. ''Medea'' decides to use poison. A conniving manipulator ''Medea'' schemes to poison Jason, his new bride, and king Kreon. ''Medea'' is determined no one especially a man will mistreat her and live to tell about it.<br />
<br />
<br />
Jason visits ''Medea''. Similar to Kreon when he visited ''Medea'', Jason immediately chastises ''Medea'' for her behavior and blames her for her own exile. ''Medea'' calls Jason a coward and reminds him of all she has done for him in the name of love. ''Medea'' is instrumental in assisting Jason in obtaining the Golden Fleece. ''Medea'' betrays her father, murders her brother, an exile from her homeland, and orchestrates the death of Pelias … all for a man who has snubbed her. Jason tries to convince ''Medea'' he married king Kreon daughter for her and their children sake. Marrying into prosperity will benefit them all. Jason argues ''Medea'' has benefited from their marriage more than he. Jason took ''Medea'' away from a barbaric, lawless land. ''Medea'' is very popular living among the Greeks. ''Medea’s'' cleverness is admired in Corinth whereas in [[Colchis]] cleverness is not revered. Also, the children need royal siblings to protect them. ''Medea'' and Jason continue to argue. ''Medea'' feels Jason should have been man enough to tell her he has taken a new bride. Jason believes ''Medea'' is too irrational to handle the news of his bride and her behavior now reflects he was correct in his assumption. Jason offers ''Medea'' contacts with his friends that will help her once she and the kids are exiled from Corinth. Fiercely pride ''Medea'' refuses to take anything from Jason who betrayed her.<br />
<br />
<br />
By chance ''Medea’s'' friend king [[Aigeus]] of [[Athens]] visits. ''Medea'' envisions a safe haven for escape. ''Medea'' tells Aigeus of Jason’s treachery and her pending exile. ''Medea'' beseeches Aigeus for asylum in Athens. King Aigeus unaware of ''Medea’s'' murderous intentions offers ''Medea'' sanctuary in return for her offer of drugs that will end his childlessness. However, king Aigeus gives Medea one condition for sanctuary, ''Medea'' must come to Athens on her own will. Aigeus swears an oath to all the gods at ''Medea'' appeal that he will not turn her over to her enemies no matter what. Reassured ''Medea'' sets her scheme for vengeance in motion. ''Medea'' tells the Chorus of her plans.<br />
<br />
<br />
''Medea’s'' scheme of murder is coming together. ''Medea'' has a safe haven once the murders are complete. As her scheme unfolds, ''Medea'' realizes she must also murder her own children to completely avenge Jason’s dishonor. ''Medea'' wants to hurt Jason deeply and she cannot risk anyone who does not love her children hurting them. The Chorus begs ''Medea'' to reconsider murdering her children. ''Medea'' says,” No compromise is possible” (803). <br />
<br />
<br />
''Medea'' sends for Jason. ''Medea'' uses an assuaging attitude with Jason. ''Medea'' apologizes for her angry and tells Jason he is right to have married king Kreon’s daughter. ''Medea'' pretends to be submissive like Jason expects a good wife to be. After “''kissing up''” to Jason, ''Medea'' sends her children along with Jason and the Tutor to the bride with gifts of a poison woven dress and a golden diadem. <br />
<br />
<br />
The Tutor returns with the children and tells ''Medea'' the royal princess will let the children stay in Corinth. The Tutor is baffled by ''Medea’s'' melancholy behavior. ''Medea'' exhibits tenderness and cold-heartedness as she cries and talks to her children preparing herself to murder them. When ''Medea’s'' children smile at her she considers relinquishing her murderous scheme. The fury ''Medea'' feels at being betrayed by Jason conquers her resolve. ''Medea'' is compelled to finish what has already been started.<br />
<br />
<br />
''Medea'' anxiously waits for news from the palace. The [[Messenger]] enters surprise ''Medea'' is hanging around. The Messenger tells ''Medea'' to run. The Messenger brings news that the royal princess and king Kreon are dead. ''Medea'' glories in the details as the Messenger tells her of the anguish deaths. Jason’s bride and king Kreon die an awful, torturous death with suffering as well. The golden diadem burst into flames sitting upon the royal princess head burning her body and the woven dress sloughs the flesh from her bones. As king Kreon cradles his daughter dead body the poison consumes him as the poisonous woven dress adhered to his flesh. <br />
<br />
<br />
Jason returns looking for his children to protect them from the angry Corinthian mob after he finds out his new bride and father-in-law have been murdered by ''Medea''. The Chorus tells Jason his children have been murdered by their mother’s hand. Jason is appalled and looks for ''Medea''. ''Medea'' has hung around to gloat. ''Medea'' appears above the place in a chariot drawn by dragons provided by her grandfather, [[Helios]], the sun god. The children bodies are on the chariot. Jason begs for the children’s bodies, but ''Medea'' cynically laughs at him refusing to give his the honor of burying the children dead bodies. Jason desperately wants to kiss his dead children and bury them, but ''Medea'' refuses to give him the satisfaction. Jason insults ''Medea'' by telling her a Greek woman would never do the things she has done. ''Medea'' and Jason blame each other for the children’s death. ''Medea'' prophesies Jason’s death. ''Medea'' and Jason argue violently as the play comes to an end. The Chorus closes the play reflecting on capricious nature of gods’ will. ''Medea'' succeeds in revenge and Jason is lonely and tormented. Jason has lost his financial security, his status, and children to carry on his name. Jason is left without distinction. ''Medea’s'' avenge is achieved. Passionate love turned to passionate hate. <br />
<br />
<br />
Work Cited<br />
<br />
Euripides. ''Medea. The Norton Anthology of World Masterpieces''. Eds. Lawall, Sarah and Mack, Maynard. 7th. NY: W.W. Norton & Co., Inc., 1999. 642-672.<br />
<br />
Ferguson, John.'' A Companion to Greek Tragedy''. TX: University of Texas Press. 1972.<br />
<br />
Lattimore, Richard. ''The Poetry of Greek Tragedy.'' MD: John Hopkins Press. 1958.<br />
<br />
<br />
Additional Reading <br />
<br />
http://www.pantheon.org/articles/m/medea.html<br />
<br />
http://www.perseus.tufts.edu<br />
<br />
== Themes and Motifs ==<br />
== Right Message, Wrong Messenger ==<br />
<br />
Euripides’ Medea, was the first in a series of plays in which vivid, powerful women appeared on the Euripidean stage. It was produced in the year that the Peloponnesian War began, and sought to play on the low morale of the public to restore the female sex in positions of social influence and power. Throughout the centuries it has been regarded as one of the most powerful of the Greek tragedies, and also one in which the theme of women was more important than most. It is in this play that Euripides could either restore or condemn the female populace in society (Pelling). <br />
<br />
Euripides questions many social norms of the period, but he uses a female such as Medea to convey his message. While Medea has no legal rights, she is the sorceress’ grandchild of the Sun God and therefore able to articulately explain her actions and passionately act on her plans. She is initially able to gain the sympathy and support of the Corinthian women for her plight by passionately pleading her case to the public at large. Medea’s passionate arguments fly in the face of the Greek tradition that only the male has the ability and right to lucid, rational argument. Jason although regarded as civilized by Greek society, is by contrast weak, compromised and cowardly. Medea also challenges ancient Greek society’s decree that the greatest glory for a woman was to bear children, provide sex and to fulfill the demands of her husband (Rassidakis 220-226). From the first compelling moments of this one-act play the audience is drawn into contradictions confronting Medea: to challenge injustice and betrayal or accommodate to it and the financial security and comfort it could bring (Pucci). Traditional behavior of women was a very important aspect of this play, and portraying Medea as both similar and different to fellow womankind allowed the audience to make judgment on the role of women as they knew it. Medea recurrently assaulted fundamental and sacred values and that gave the play much of its power and allowed Euripides to most persuasively portray her as an incarnation of disorder. Could any male audience possibly start to respect any woman that could crush basic human order? Euripides did not himself condemn Medea. Rather, he gave the audience a choice on whether to accept her character and actions. However by implication he is associating a breakdown in human order as being due to the wickedness in such a woman. Yet associating such a drastic event with women would imply that they had the power to be so destructive, and that was not an option of the times - especially when a war had just broken out, and unity was of great importance (McDermott).<br />
<br />
In the tragedy Medea, Euripides fails to rehabilitate the female sex. He chooses a semi-divine, foreign sorceress to voice the appeals of ordinary Athenian wives. She is a woman capable of murder, manipulation and deception, and she has no sense of remorse. In choosing her, Euripides appears to be sending out mixed signals concerning women. Her concerns are those that apply to the majority of women at the time, and an audience would no doubt have understood these; yet Medea deals with them in a way that is abhorrent for a woman of fifth-century Athens (Easterling). She invokes both pathos and disgust, and, for a male audience, she would encourage distrust and continuing ‘imprisonment’ and lower social status for women. Although Euripides may well have believed in promoting womankind, it would have been difficult to put this idea across to the male audience of the day, and that may be why he is unable to make any significant advances in the Medea. He had the right message, but used the wrong messenger (Strauss 237-270).<br />
<br />
Works cited:<br />
<br />
Rassidakis, Kristina. The origins of love, hate, and retaliation in Euripides tragedy; Medea: a psychodynamic approach. Changes: International Journal of Psychology and Psychotherapy 15, 1997.<br />
Pucci, Pietro. The Violence of Pity in Euripides’ Medea. Cornell University, 1980. <br />
Pelling, Christopher. Greek Tragedy and the Historian. Oxford, 1997.<br />
Ober, Josiah and Strauss, Barry. Drama, Political Rhetoric, and Discourse of Athenian Democracy in Winkler, John J. Athenian Drama in Its Social Context. Princeton, 1990. <br />
McDermott, Emily A. Euripedes’ Medea: The Incarnation of Disorder. University Park, PA. 1989. <br />
Easterling, P.E. The Infanticide in Euripides’ Medea. YCS 25, 1977.<br />
<br />
== Xenophobia ==<br />
<br />
Euripides’s Medea explores the tensions which existed between citizens and foreigners and Greece’s subsequent Xenophobia. In the play, Medea represents the non-citizen who completely lacked legal and social rights. Not only is she far from the comforts of her native land, but also, as both a woman and a foreigner, she is viewed as a “poor creature” (643), below the level of a human being. <br />
<br />
As Doctor Gerry Lucas pointed out in his lecture, marriage was a citizen’s contract, meaning Medea had no legal hold on Jason and could not take any form of official recourse. The Nurse laments that “…she has discovered by her sufferings/ What it means to one not to have lost one’s own country” (643). The Nurse is making a deliberate comparison to Jason, who as a male citizen enjoyed legal protection and political activity. Medea, a female non-citizen, is left without a voice or support. Her lack of institutional support led to the necessity that she herself administer Jason’s punishment. <br />
<br />
Jason most aptly expresses the Xenophobic snobbery inherent in such disparity between citizen and foreigner. As he explains to Medea the advantages of living in a ‘civilized’ culture he insists that “…instead of living among barbarians/ You inhabit a Greek land and understand our ways/ How to live by law instead of the sweet will of force” (653.) Such ethnocentric attitudes were both stemmed from and perpetuated by the lack of citizen’s rights. According to Wikipedia, women and foreigners were unable to vote and therefore could not create public policy that would help eradicate Ancient Greece’s sexism and xenophobia. <br />
<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
<br />
<br />
== Feminist Concerns ==<br />
Euripides wrote ''Medea'' in 431 B.C. (640). Greek mythology shows us how Greeks, at that time, had firm beliefs on how women should behave themselves and the values they should hold. The perceived submissive behavior of women begins the very moment a wife arrives in her husband’s home (O’Higgins 104). A woman is supposed to provide heirs to the man (O’Higgins 104). <br />
<br />
An Athenian perception pertaining to a “good woman” was that a woman be loyal to her husband and children (Sourvinou-Inwood 254). The most common characteristics of a good woman would be goodness, self-control and the fact that she was devoted to her husband and children (Sourvinou-Inwood 254). A good woman would reflect the culture’s established values and provide a look into the culture itself. A bad woman would be the opposite of the positive norm. In the beginning of ''Medea'', she portrays herself as a good woman. She was devoted to Jason and loved him so much that she felt as though she could not survive without him. When the nurse is talking in the beginning she states that “poor Medea is slighted, and cries aloud on the vows they made to each other, the right hands clasped in eternal promise (643).” Even though the play begins as seeing Medea as a normal, possibly good woman, she has already shown signs of abnormality in her behavior for a woman at that time. Medea is already showing signs of hatefulness towards her children. “I hate you, children of a hateful mother (645).” Medea is already showing behavior that women would not dare show in this time. <br />
<br />
Medea could be seen as a heroine for women who do not want to be confined to the role of the “producer of legitimate offspring (McDonald 303).” By killing her children, she separates herself independently from her husband and the general patriarchy (McDonald 304). Even though at this time, husband’s were expected to be with other women, Medea feels as though her family rights were violated. Medea was also different in this aspect. She didn’t believe that and felt vengeful. The ultimate punishment for Jason, was to violently take his heirs from him. Medea’s anger turned into aggressive action, which can make her into a symbol for women (McDonald 304). <br />
<br />
Throughout the play, Medea was more or less an ordinary woman portrayed as a bad woman. However, she could be the victim of male power and just seemed very out of the ordinary for the role of females at this time (Sourvinou-Inwood 258). She ended up being a version of a very bad woman, by killing her son’s and wreaking havoc on Jason and male power (Sourvinou-Inwood 258). <br />
<br />
The idea explored in this play possibly suggests that women like Medea “use the weapons of the weak, which are both deceitful and violent and hurt men where they are vulnerable to women (Sourvinou-Inwood 261).” The play suggests that normal philosophy is not perfect and easy and if things go wrong men also suffer. <br />
<br />
Works Citied:<br />
<br />
O’Higgins, Dolores M., Sourvinou-Inwood, Christiane, and McDonald, Marianne. Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. Princeton: Princeton University Press, 1997.<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
<br />
* [[Kreon]]<br />
''Medea'' is the princess of the Isle of Colchis(642). ''Medea'' is a sorceress, skilled in magic, and is renowned for her cleverness. ''Medea'' comes from a prestigious lineage. Medea is the daughter of king Aeetes and Idyia. ''Medea'' is also the granddaughter of the sun god Helios and the niece of Circe who is also known as a sorceress. ''Medea'' admires and is a protégé of goddess Hecate a patron of witchcraft. <br />
<br />
''Medea'' falls in love with a man named [[Jason]] when he reached the land of Colchis in pursuit of the Golden Fleece.(642) ''Medea'' falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
''Medea'' learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving ''Medea'' and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of ''Medea’s'' anger with Jason and the king’s daughter.(648) Kreon approaches ''Medea'' and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as ''Medea'' in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) ''Medea'' first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now ''Medea'' plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to ''Medea'' where she kills them right before Jason returns to find out what dastardly deed she has done.(669) ''Medea'' escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
Work Cited<br />
<br />
Buxon, Richard. ''The Complete World of Greek Mythology''. NY: Thames & Hudson. 2004.<br />
<br />
Graves, Robert. ''Greek Myths''. NY: Penguin Books. 1981.<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== Works Cited ==<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
<U>Athenian Democracy.</U> 2005. Wikipedia. 8 April 2005 <http://en.wikipedia.org/wiki/Athenian_democracy#Citizenship_in_Athens>.<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3580Medea2005-04-15T01:24:11Z<p>JWilliams: /* Works Cited */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]The play [[Medea]] begins in turmoil and escalates until the tragic end. ''Medea'' tells the story of passion that transforms from love to hate. Consumed with a passionate rage ''Medea'' seeks to avenge her husband, [[Jason]] who has wronged her. Jason has left ''Medea'' and taken a new wife. To add insult to injury, Jason’s new bride is the daughter of king [[Kreon]] and a Greek.<br />
<br />
<br />
The play opens outside the house of ''Medea'' and Jason in [[Corinth]]. The [[Nurse]] tells the sorrows of ''Medea'' and how Jason has abandoned ''Medea'' after all she has done for him. The Nurse is afraid ''Medea'' will harm someone close to her. ''Medea’s'' heart is full of violence especially for Jason and the children. ''Medea'' is overwhelmed with grief that is manifesting as jealousy and rage. <br />
<br />
<br />
The [[Tutor]] appears with ''Medea'' two young children who have been outside playing. ''Medea’s'' children are oblivious to the resentment their mother is beginning to feel towards them. The Nurse warns the children to stay out of their mother’s sight. The Tutor is the bearer of bad news. The Tutor has heard rumors that ''Medea'' and her children will be exiled from Corinth. The Nurse is sympathetic to ''Medea’s'' plight while the Tutor is blasé. <br />
<br />
<br />
The [[Chorus]] of Corinthian women arrives to check on ''Medea''. The Chorus hears ''Medea'' cries and curses from inside the house. The Chorus asks the Nurse to go see if ''Medea'' will come outside so they can console her. <br />
<br />
<br />
A distraught ''Medea'' enters the courtyard and delivers a poignant speech on the sufferings and indignations of women in an oppressively man’s world. ''Medea'' points out to the Chorus being a woman is even worst for her because she is a foreigner without a family or a home. The Chorus sympathizes with ''Medea''. ''Medea'' despises Jason for taking another wife, and condemns Jason, his new bride, and king Kreon. ''Medea'' makes the Chorus promise if she finds a way to revenge Jason, they will remain silent. The Chorus gives ''Medea'' a vow of silence agreeing ''Medea'' is right to seek revenge. <br />
<br />
<br />
''Medea'' has been blatantly lamenting her disgruntlements. ''Medea’s'' condemnations have come to the attention of king Kreon. King Kreon enters and exiles ''Medea'' and her children because he is afraid of ''Medea''. Using her children, ''Medea'' appeals to king Kreon on a paternal level and asks for one more day for the sake of the children so she can get her affairs in order. King Kreon reluctantly agrees and allows ''Medea'' to stay in Corinth one more day convinced she could not do the evil he fears in one day. <br />
<br />
<br />
The Chorus pities ''Medea'' but ''Medea'' assures them one day is all she needs to avenge Jason faithlessness. When considering how to kill her enemies, ''Medea'' rules out swords or fire because that would mean close contact with the victims and she may get caught giving her enemies a reason to laugh at her. Being humiliated is one of ''Medea'' greatest fears and motivates her to lash out to save face. ''Medea'' decides to use poison. A conniving manipulator ''Medea'' schemes to poison Jason, his new bride, and king Kreon. ''Medea'' is determined no one especially a man will mistreat her and live to tell about it.<br />
<br />
<br />
Jason visits ''Medea''. Similar to Kreon when he visited ''Medea'', Jason immediately chastises ''Medea'' for her behavior and blames her for her own exile. ''Medea'' calls Jason a coward and reminds him of all she has done for him in the name of love. ''Medea'' is instrumental in assisting Jason in obtaining the Golden Fleece. ''Medea'' betrays her father, murders her brother, an exile from her homeland, and orchestrates the death of Pelias … all for a man who has snubbed her. Jason tries to convince ''Medea'' he married king Kreon daughter for her and their children sake. Marrying into prosperity will benefit them all. Jason argues ''Medea'' has benefited from their marriage more than he. Jason took ''Medea'' away from a barbaric, lawless land. ''Medea'' is very popular living among the Greeks. ''Medea’s'' cleverness is admired in Corinth whereas in [[Colchis]] cleverness is not revered. Also, the children need royal siblings to protect them. ''Medea'' and Jason continue to argue. ''Medea'' feels Jason should have been man enough to tell her he has taken a new bride. Jason believes ''Medea'' is too irrational to handle the news of his bride and her behavior now reflects he was correct in his assumption. Jason offers ''Medea'' contacts with his friends that will help her once she and the kids are exiled from Corinth. Fiercely pride ''Medea'' refuses to take anything from Jason who betrayed her.<br />
<br />
<br />
By chance ''Medea’s'' friend king [[Aigeus]] of [[Athens]] visits. ''Medea'' envisions a safe haven for escape. ''Medea'' tells Aigeus of Jason’s treachery and her pending exile. ''Medea'' beseeches Aigeus for asylum in Athens. King Aigeus unaware of ''Medea’s'' murderous intentions offers ''Medea'' sanctuary in return for her offer of drugs that will end his childlessness. However, king Aigeus gives Medea one condition for sanctuary, ''Medea'' must come to Athens on her own will. Aigeus swears an oath to all the gods at ''Medea'' appeal that he will not turn her over to her enemies no matter what. Reassured ''Medea'' sets her scheme for vengeance in motion. ''Medea'' tells the Chorus of her plans.<br />
<br />
<br />
''Medea’s'' scheme of murder is coming together. ''Medea'' has a safe haven once the murders are complete. As her scheme unfolds, ''Medea'' realizes she must also murder her own children to completely avenge Jason’s dishonor. ''Medea'' wants to hurt Jason deeply and she cannot risk anyone who does not love her children hurting them. The Chorus begs ''Medea'' to reconsider murdering her children. ''Medea'' says,” No compromise is possible” (803). <br />
<br />
<br />
''Medea'' sends for Jason. ''Medea'' uses an assuaging attitude with Jason. ''Medea'' apologizes for her angry and tells Jason he is right to have married king Kreon’s daughter. ''Medea'' pretends to be submissive like Jason expects a good wife to be. After “''kissing up''” to Jason, ''Medea'' sends her children along with Jason and the Tutor to the bride with gifts of a poison woven dress and a golden diadem. <br />
<br />
<br />
The Tutor returns with the children and tells ''Medea'' the royal princess will let the children stay in Corinth. The Tutor is baffled by ''Medea’s'' melancholy behavior. ''Medea'' exhibits tenderness and cold-heartedness as she cries and talks to her children preparing herself to murder them. When ''Medea’s'' children smile at her she considers relinquishing her murderous scheme. The fury ''Medea'' feels at being betrayed by Jason conquers her resolve. ''Medea'' is compelled to finish what has already been started.<br />
<br />
<br />
''Medea'' anxiously waits for news from the palace. The [[Messenger]] enters surprise ''Medea'' is hanging around. The Messenger tells ''Medea'' to run. The Messenger brings news that the royal princess and king Kreon are dead. ''Medea'' glories in the details as the Messenger tells her of the anguish deaths. Jason’s bride and king Kreon die an awful, torturous death with suffering as well. The golden diadem burst into flames sitting upon the royal princess head burning her body and the woven dress sloughs the flesh from her bones. As king Kreon cradles his daughter dead body the poison consumes him as the poisonous woven dress adhered to his flesh. <br />
<br />
<br />
Jason returns looking for his children to protect them from the angry Corinthian mob after he finds out his new bride and father-in-law have been murdered by ''Medea''. The Chorus tells Jason his children have been murdered by their mother’s hand. Jason is appalled and looks for ''Medea''. ''Medea'' has hung around to gloat. ''Medea'' appears above the place in a chariot drawn by dragons provided by her grandfather, [[Helios]], the sun god. The children bodies are on the chariot. Jason begs for the children’s bodies, but ''Medea'' cynically laughs at him refusing to give his the honor of burying the children dead bodies. Jason desperately wants to kiss his dead children and bury them, but ''Medea'' refuses to give him the satisfaction. Jason insults ''Medea'' by telling her a Greek woman would never do the things she has done. ''Medea'' and Jason blame each other for the children’s death. ''Medea'' prophesies Jason’s death. ''Medea'' and Jason argue violently as the play comes to an end. The Chorus closes the play reflecting on capricious nature of gods’ will. ''Medea'' succeeds in revenge and Jason is lonely and tormented. Jason has lost his financial security, his status, and children to carry on his name. Jason is left without distinction. ''Medea’s'' avenge is achieved. Passionate love turned to passionate hate. <br />
<br />
<br />
Work Cited<br />
<br />
Euripides. ''Medea. The Norton Anthology of World Masterpieces''. Eds. Lawall, Sarah and Mack, Maynard. 7th. NY: W.W. Norton & Co., Inc., 1999. 642-672.<br />
<br />
Ferguson, John.'' A Companion to Greek Tragedy''. TX: University of Texas Press. 1972.<br />
<br />
Lattimore, Richard. ''The Poetry of Greek Tragedy.'' MD: John Hopkins Press. 1958.<br />
<br />
<br />
Additional Reading <br />
<br />
http://www.pantheon.org/articles/m/medea.html<br />
<br />
http://www.perseus.tufts.edu<br />
<br />
== Themes and Motifs ==<br />
== Right Message, Wrong Messenger ==<br />
<br />
Euripides’ Medea, was the first in a series of plays in which vivid, powerful women appeared on the Euripidean stage. It was produced in the year that the Peloponnesian War began, and sought to play on the low morale of the public to restore the female sex in positions of social influence and power. Throughout the centuries it has been regarded as one of the most powerful of the Greek tragedies, and also one in which the theme of women was more important than most. It is in this play that Euripides could either restore or condemn the female populace in society (Pelling). <br />
<br />
Euripides questions many social norms of the period, but he uses a female such as Medea to convey his message. While Medea has no legal rights, she is the sorceress’ grandchild of the Sun God and therefore able to articulately explain her actions and passionately act on her plans. She is initially able to gain the sympathy and support of the Corinthian women for her plight by passionately pleading her case to the public at large. Medea’s passionate arguments fly in the face of the Greek tradition that only the male has the ability and right to lucid, rational argument. Jason although regarded as civilized by Greek society, is by contrast weak, compromised and cowardly. Medea also challenges ancient Greek society’s decree that the greatest glory for a woman was to bear children, provide sex and to fulfill the demands of her husband (Rassidakis 220-226). From the first compelling moments of this one-act play the audience is drawn into contradictions confronting Medea: to challenge injustice and betrayal or accommodate to it and the financial security and comfort it could bring (Pucci). Traditional behavior of women was a very important aspect of this play, and portraying Medea as both similar and different to fellow womankind allowed the audience to make judgment on the role of women as they knew it. Medea recurrently assaulted fundamental and sacred values and that gave the play much of its power and allowed Euripides to most persuasively portray her as an incarnation of disorder. Could any male audience possibly start to respect any woman that could crush basic human order? Euripides did not himself condemn Medea. Rather, he gave the audience a choice on whether to accept her character and actions. However by implication he is associating a breakdown in human order as being due to the wickedness in such a woman. Yet associating such a drastic event with women would imply that they had the power to be so destructive, and that was not an option of the times - especially when a war had just broken out, and unity was of great importance (McDermott).<br />
<br />
In the tragedy Medea, Euripides fails to rehabilitate the female sex. He chooses a semi-divine, foreign sorceress to voice the appeals of ordinary Athenian wives. She is a woman capable of murder, manipulation and deception, and she has no sense of remorse. In choosing her, Euripides appears to be sending out mixed signals concerning women. Her concerns are those that apply to the majority of women at the time, and an audience would no doubt have understood these; yet Medea deals with them in a way that is abhorrent for a woman of fifth-century Athens (Easterling). She invokes both pathos and disgust, and, for a male audience, she would encourage distrust and continuing ‘imprisonment’ and lower social status for women. Although Euripides may well have believed in promoting womankind, it would have been difficult to put this idea across to the male audience of the day, and that may be why he is unable to make any significant advances in the Medea. He had the right message, but used the wrong messenger (Strauss 237-270).<br />
<br />
Works cited:<br />
<br />
Rassidakis, Kristina. The origins of love, hate, and retaliation in Euripides tragedy; Medea: a psychodynamic approach. Changes: International Journal of Psychology and Psychotherapy 15, 1997.<br />
Pucci, Pietro. The Violence of Pity in Euripides’ Medea. Cornell University, 1980. <br />
Pelling, Christopher. Greek Tragedy and the Historian. Oxford, 1997.<br />
Ober, Josiah and Strauss, Barry. Drama, Political Rhetoric, and Discourse of Athenian Democracy in Winkler, John J. Athenian Drama in Its Social Context. Princeton, 1990. <br />
McDermott, Emily A. Euripedes’ Medea: The Incarnation of Disorder. University Park, PA. 1989. <br />
Easterling, P.E. The Infanticide in Euripides’ Medea. YCS 25, 1977.<br />
<br />
== Xenophobia ==<br />
<br />
Euripides’s Medea explores the tensions which existed between citizens and foreigners and Greece’s subsequent Xenophobia. In the play, Medea represents the non-citizen who completely lacked legal and social rights. Not only is she far from the comforts of her native land, but also, as both a woman and a foreigner, she is viewed as a “poor creature” (643), below the level of a human being. <br />
<br />
As Doctor Gerry Lucas pointed out in his lecture, marriage was a citizen’s contract, meaning Medea had no legal hold on Jason and could not take any form of official recourse. The Nurse laments that “…she has discovered by her sufferings/ What it means to one not to have lost one’s own country” (643). The Nurse is making a deliberate comparison to Jason, who as a male citizen enjoyed legal protection and political activity. Medea, a female non-citizen, is left without a voice or support. Her lack of institutional support led to the necessity that she herself administer Jason’s punishment. <br />
<br />
Jason most aptly expresses the Xenophobic snobbery inherent in such disparity between citizen and foreigner. As he explains to Medea the advantages of living in a ‘civilized’ culture he insists that “…instead of living among barbarians/ You inhabit a Greek land and understand our ways/ How to live by law instead of the sweet will of force” (653.) Such ethnocentric attitudes were both stemmed from and perpetuated by the lack of citizen’s rights. According to Wikipedia, women and foreigners were unable to vote and therefore could not create public policy that would help eradicate Ancient Greece’s sexism and xenophobia. <br />
<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
<br />
<br />
== Feminist Concerns ==<br />
Euripides wrote ''Medea'' in 431 B.C. (640). Greek mythology shows us how Greeks, at that time, had firm beliefs on how women should behave themselves and the values they should hold. The perceived submissive behavior of women begins the very moment a wife arrives in her husband’s home (O’Higgins 104). A woman is supposed to provide heirs to the man (O’Higgins 104). <br />
<br />
An Athenian perception pertaining to a “good woman” was that a woman be loyal to her husband and children (Sourvinou-Inwood 254). The most common characteristics of a good woman would be goodness, self-control and the fact that she was devoted to her husband and children (Sourvinou-Inwood 254). A good woman would reflect the culture’s established values and provide a look into the culture itself. A bad woman would be the opposite of the positive norm. In the beginning of ''Medea'', she portrays herself as a good woman. She was devoted to Jason and loved him so much that she felt as though she could not survive without him. When the nurse is talking in the beginning she states that “poor Medea is slighted, and cries aloud on the vows they made to each other, the right hands clasped in eternal promise (643).” Even though the play begins as seeing Medea as a normal, possibly good woman, she has already shown signs of abnormality in her behavior for a woman at that time. Medea is already showing signs of hatefulness towards her children. “I hate you, children of a hateful mother (645).” Medea is already showing behavior that women would not dare show in this time. <br />
<br />
Medea could be seen as a heroine for women who do not want to be confined to the role of the “producer of legitimate offspring (McDonald 303).” By killing her children, she separates herself independently from her husband and the general patriarchy (McDonald 304). Even though at this time, husband’s were expected to be with other women, Medea feels as though her family rights were violated. Medea was also different in this aspect. She didn’t believe that and felt vengeful. The ultimate punishment for Jason, was to violently take his heirs from him. Medea’s anger turned into aggressive action, which can make her into a symbol for women (McDonald 304). <br />
<br />
Throughout the play, Medea was more or less an ordinary woman portrayed as a bad woman. However, she could be the victim of male power and just seemed very out of the ordinary for the role of females at this time (Sourvinou-Inwood 258). She ended up being a version of a very bad woman, by killing her son’s and wreaking havoc on Jason and male power (Sourvinou-Inwood 258). <br />
<br />
The idea explored in this play possibly suggests that women like Medea “use the weapons of the weak, which are both deceitful and violent and hurt men where they are vulnerable to women (Sourvinou-Inwood 261).” The play suggests that normal philosophy is not perfect and easy and if things go wrong men also suffer. <br />
<br />
Works Citied:<br />
<br />
O’Higgins, Dolores M., Sourvinou-Inwood, Christiane, and McDonald, Marianne. Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. Princeton: Princeton University Press, 1997.<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
<br />
* [[Kreon]]<br />
''Medea'' is the princess of the Isle of Colchis(642). ''Medea'' is a sorceress, skilled in magic, and is renowned for her cleverness. ''Medea'' comes from a prestigious lineage. Medea is the daughter of king Aeetes and Idyia. ''Medea'' is also the granddaughter of the sun god Helios and the niece of Circe who is also known as a sorceress. ''Medea'' admires and is a protégé of goddess Hecate a patron of witchcraft. <br />
<br />
''Medea'' falls in love with a man named [[Jason]] when he reached the land of Colchis in pursuit of the Golden Fleece.(642) ''Medea'' falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
''Medea'' learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving ''Medea'' and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of ''Medea’s'' anger with Jason and the king’s daughter.(648) Kreon approaches ''Medea'' and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as ''Medea'' in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) ''Medea'' first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now ''Medea'' plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to ''Medea'' where she kills them right before Jason returns to find out what dastardly deed she has done.(669) ''Medea'' escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
Work Cited<br />
<br />
Buxon, Richard. ''The Complete World of Greek Mythology''. NY: Thames & Hudson. 2004.<br />
<br />
Graves, Robert. ''Greek Myths''. NY: Penguin Books. 1981.<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== Sources ==<br />
<br />
<U>Athenian Democracy.</U> 2005. Wikipedia. 8 April 2005 <http://en.wikipedia.org/wiki/Athenian_democracy#Citizenship_in_Athens>.<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Thetis&diff=8563Thetis2005-04-13T03:15:53Z<p>JWilliams: </p>
<hr />
<div>Nymphs are the lower level divinities that personify everyday forces of nature (Herzberg 101). Silver-footed Thetis, a sea nymph, is regarded as being among the fairest of the goddesses (Herzberg 186). Many of the Olympians had sought her hand until a prophecy about her future child was revealed. This prophecy declared that Thetis would bear forth a son, who was to be much greater than his father (Herzberg 187). Since the gods want to retain their superiority over any children they may sire, none of them would take the final step with Thetis. In an attempt to diffuse this problem, [[Zeus]] decided to arrange a marriage between Thetis and a human (Herzberg 187). This seemed the perfect solution, since humans actually desire for their children to be greater than themselves.<br />
<br />
Zeus chooses Pealus, king of Phthia, to wed the reluctant Thetis. At their wedding banquet, the goddess of discord, Eris, who had not been invited to the festivities, tossed a gold apple into the hall with the words, “FOR THE FAIREST” inscribed upon it (Hamilton 256). The three most powerful goddesses in attendance each claimed the prize for themselves. This eventually led to the Judgment of [[Paris]], which then resulted in the outbreak of the Trojan War (Hamilton 257).<br />
<br />
The marriage of Pealus and Thetis yielded a son, that powerful hero, [[Achilles]]. It is said that Thetis sought to make her son immortal by baptizing him in the River Styx (Herzberg 190). It is thought that her plan failed because she held onto the child’s heel and the waters did not contact his flesh at that point (Herzberg 190).<br />
<br />
Near the last year of the battle for Troy, the Greek aristocracy offended Achilles (107-111). He then asked his mother to persuade Zeus to bring battle losses and destruction upon the Greeks as long as Achilles refrained from fighting (114). He avoided the field until after his dear friend, [[Patroclus]], was slain by [[Hector]] (160).<br />
<br />
Consumed by anguish, Achilles mourned for his friend (162), and asked his mother to help him replace the armor taken by Hector (163). Knowing that Achilles must soon die, Thetis approached Hephaestus, blacksmith for the gods, and gained a fantastic shield and accessories for her son to use in the last days of his heroic career (172-176). <br />
<br />
===Works Cited===<br />
Herzberg, Max. ''Myths and their Meaning''. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Hamilton, Edith. ''Mythology''. Little, Brown and Company. Boston. 1942.</div>JWilliamshttps://litwiki.org/index.php?title=Thetis&diff=3570Thetis2005-04-11T06:29:20Z<p>JWilliams: </p>
<hr />
<div>Nymphs are the lower level divinities that personify everyday forces of nature (Herzberg 101). Silver-footed Thetis, a sea nymph, is regarded as being among the fairest of the goddesses (Herzberg 186). Many of the Olympians had sought her hand until a prophecy about her future child was revealed. This prophecy declared that Thetis would bear forth a son who was to be much greater than his father (Herzberg 187). Since the gods want to retain their superiority over any children they may sire, none of them would take the final step with Thetis. In an attempt to diffuse this problem, [[Zeus]] decided to arrange a marriage between Thetis and a human (Herzberg 187). This seemed the perfect solution, since humans actually desire for their children to be greater than themselves.<br />
<br />
Zeus chooses Pealus, king of Phthia, to wed the reluctant Thetis. At their wedding banquet, the goddess of discord, Eris, who had not been invited to the festivities, tossed a gold apple into the hall with the words, “FOR THE FAIREST” inscribed upon it (Hamilton 256). The three most powerful goddesses in attendance each claimed the prize for themselves. This eventually led to the Judgment of [[Paris]], which then resulted in the outbreak of the Trojan War (Hamilton 257).<br />
<br />
The marriage of Pealus and Thetis yielded a son, that powerful hero, [[Achilles]]. It is said that Thetis sought to make her son immortal by baptizing him in the River Styx (Herzberg 190). It is thought that her plan failed because she held onto the child’s heel and the waters did not contact his flesh at that point (Herzberg 190).<br />
<br />
Near the last year of the battle for Troy, the Greek aristocracy offended Achilles (107-111). He then asked his mother to persuade Zeus to bring battle losses and destruction upon the Greeks as long as Achilles refrained from fighting (114). He avoided the field until after his dear friend, [[Patroclus]], was slain by [[Hector]] (160).<br />
<br />
Consumed by anguish, Achilles mourned for his friend (162), and asked his mother to help him replace the armor taken by Hector (163). Knowing that Achilles must soon die, Thetis approached Hephaestus, blacksmith for the gods, and gained a fantastic shield and accessories for her son to use in the last days of his heroic career (172-176). <br />
<br />
===Works Cited===<br />
Herzberg, Max. ''Myths and their Meaning''. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Hamilton, Edith. ''Mythology''. Little, Brown and Company. Boston. 1942.</div>JWilliamshttps://litwiki.org/index.php?title=Thetis&diff=3556Thetis2005-04-11T06:27:45Z<p>JWilliams: </p>
<hr />
<div>Nymphs are the lower level divinities that personify everyday forces of nature (Herzberg 101). Silver-footed Thetis, a sea nymph, is regarded as being among the fairest of the goddesses (Herzberg 186). Many of the Olympians had sought her hand until a prophecy about her future child was revealed. This prophecy declared that Thetis would bear forth a son who was to be much greater than his father (Herzberg 187). Since the gods want to retain their superiority over any children they may sire, none of them would take the final step with Thetis. In an attempt to diffuse this problem, [[Zeus]] decided to arrange a marriage between Thetis and a human (Herzberg 187). This seemed the perfect solution, since humans actually desire for their children to be greater than themselves.<br />
<br />
Zeus chooses Pealus, king of Phthia, to wed the reluctant Thetis. At their wedding banquet, the goddess of discord, Eris, who had not been invited to the festivities, tossed a gold apple into the hall with the words, “FOR THE FAIREST” inscribed upon it (Hamilton 256). The three most powerful goddesses in attendance each claimed the prize for themselves. This eventually led to the Judgment of [[Paris]], which then resulted in the outbreak of the Trojan War (Hamilton 257).<br />
<br />
The marriage of Pealus and Thetis yielded a son, that powerful hero, [[Achilles]]. It is said that Thetis sought to make her son immortal by baptizing him in the River Styx (Herzberg 190). It is thought that her plan failed because she held onto the child’s heel and the waters did not contact his flesh at that point (Herzberg 190).<br />
<br />
Near the last year of the battle for Troy, the Greek aristocracy offended Achilles (107-111). He then asked his mother to persuade Zeus to bring battle losses and destruction upon the Greeks as long as Achilles refrained from fighting (114). He avoided the field until after his dear friend, [[Patroklus]], was slain by [[Hector]] (160).<br />
<br />
Consumed by anguish, Achilles mourned for his friend (162), and asked his mother to help him replace the armor taken by Hector (163). Knowing that Achilles must soon die, Thetis approached Hephaestus, blacksmith for the gods, and gained a fantastic shield and accessories for her son to use in the last days of his heroic career (172-176). <br />
<br />
===Works Cited===<br />
Herzberg, Max. ''Myths and their Meaning''. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Hamilton, Edith. ''Mythology''. Little, Brown and Company. Boston. 1942.</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3552Medea2005-04-06T05:31:41Z<p>JWilliams: /* Works Cited */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]Medea’s husband has left her for another woman. The daughter of King Kreon. She despises him for doing so, and curses him and his father. King Kreon has allowed her to stay in Corinth one more day, as long as she doesn’t do any evil. Jason was trying to tell Medea he was doing it for her and the children. Marry into prosperity. Then they would have brother and sisters of royalty. Medea says it is still evil to betray your wife in that way. Jason offers her some alimony, child support, and contacts with his friends that will help her once she and the kids have left the city. Medea refuses to take anything from him. Her friend Aigeus visits Medea. She asked him to make an oath to the gods that if she escapes her city on her own will; he will keep her with him safely and will not turn her over to her enemies (Jason & Kreon). Medea plans to kill the bride with poison. Medea sends the children with Jason to the bride with the poison dress and crown. She and her father die an awful death with suffering as well. Medea then kills the children, even though the chorus told her not to do so. Jason returns looking for Medea. She is on a chariot built by her father, and ready to flee to Aigeus. Jason desperately wants to kiss his dead children or even bury them but Medea refuses to give him the satisfaction. Medea succeeds in her plan and Jason is lonely and tormented.<br />
<br />
== Themes and Motifs ==<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
=== Works Cited ===<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
== Feminist Concerns ==<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
Medea is the princess of the Isle of Colchis.(642) She falls in love with a man named Jason when he reached the land of Colchis in pursuit of the Golden Fleece.(642) Medea falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
Medea learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving Medea and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of Medea’s anger with Jason and the king’s daughter.(648) Kreon approaches Medea and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as Medea in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) Medea first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now Medea plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to Medea where she kills them right before Jason returns to find out what dastardly deed she has done.(669) Medea escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3548Medea2005-04-06T05:31:14Z<p>JWilliams: /* Historical Context */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]Medea’s husband has left her for another woman. The daughter of King Kreon. She despises him for doing so, and curses him and his father. King Kreon has allowed her to stay in Corinth one more day, as long as she doesn’t do any evil. Jason was trying to tell Medea he was doing it for her and the children. Marry into prosperity. Then they would have brother and sisters of royalty. Medea says it is still evil to betray your wife in that way. Jason offers her some alimony, child support, and contacts with his friends that will help her once she and the kids have left the city. Medea refuses to take anything from him. Her friend Aigeus visits Medea. She asked him to make an oath to the gods that if she escapes her city on her own will; he will keep her with him safely and will not turn her over to her enemies (Jason & Kreon). Medea plans to kill the bride with poison. Medea sends the children with Jason to the bride with the poison dress and crown. She and her father die an awful death with suffering as well. Medea then kills the children, even though the chorus told her not to do so. Jason returns looking for Medea. She is on a chariot built by her father, and ready to flee to Aigeus. Jason desperately wants to kiss his dead children or even bury them but Medea refuses to give him the satisfaction. Medea succeeds in her plan and Jason is lonely and tormented.<br />
<br />
== Themes and Motifs ==<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
==== Works Cited ====<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
== Feminist Concerns ==<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
Medea is the princess of the Isle of Colchis.(642) She falls in love with a man named Jason when he reached the land of Colchis in pursuit of the Golden Fleece.(642) Medea falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
Medea learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving Medea and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of Medea’s anger with Jason and the king’s daughter.(648) Kreon approaches Medea and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as Medea in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) Medea first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now Medea plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to Medea where she kills them right before Jason returns to find out what dastardly deed she has done.(669) Medea escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3547Medea2005-04-06T05:28:23Z<p>JWilliams: /* Works Cited */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]Medea’s husband has left her for another woman. The daughter of King Kreon. She despises him for doing so, and curses him and his father. King Kreon has allowed her to stay in Corinth one more day, as long as she doesn’t do any evil. Jason was trying to tell Medea he was doing it for her and the children. Marry into prosperity. Then they would have brother and sisters of royalty. Medea says it is still evil to betray your wife in that way. Jason offers her some alimony, child support, and contacts with his friends that will help her once she and the kids have left the city. Medea refuses to take anything from him. Her friend Aigeus visits Medea. She asked him to make an oath to the gods that if she escapes her city on her own will; he will keep her with him safely and will not turn her over to her enemies (Jason & Kreon). Medea plans to kill the bride with poison. Medea sends the children with Jason to the bride with the poison dress and crown. She and her father die an awful death with suffering as well. Medea then kills the children, even though the chorus told her not to do so. Jason returns looking for Medea. She is on a chariot built by her father, and ready to flee to Aigeus. Jason desperately wants to kiss his dead children or even bury them but Medea refuses to give him the satisfaction. Medea succeeds in her plan and Jason is lonely and tormented.<br />
<br />
== Themes and Motifs ==<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
<br />
<br />
== Feminist Concerns ==<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
Medea is the princess of the Isle of Colchis.(642) She falls in love with a man named Jason when he reached the land of Colchis in pursuit of the Golden Fleece.(642) Medea falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
Medea learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving Medea and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of Medea’s anger with Jason and the king’s daughter.(648) Kreon approaches Medea and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as Medea in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) Medea first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now Medea plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to Medea where she kills them right before Jason returns to find out what dastardly deed she has done.(669) Medea escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Medea&diff=3546Medea2005-04-06T05:18:06Z<p>JWilliams: /* Historical Context */</p>
<hr />
<div>== Summary ==<br />
<br />
[[Image:MedeaChariot.jpeg|thumb|Medea’s Chariot]]Medea’s husband has left her for another woman. The daughter of King Kreon. She despises him for doing so, and curses him and his father. King Kreon has allowed her to stay in Corinth one more day, as long as she doesn’t do any evil. Jason was trying to tell Medea he was doing it for her and the children. Marry into prosperity. Then they would have brother and sisters of royalty. Medea says it is still evil to betray your wife in that way. Jason offers her some alimony, child support, and contacts with his friends that will help her once she and the kids have left the city. Medea refuses to take anything from him. Her friend Aigeus visits Medea. She asked him to make an oath to the gods that if she escapes her city on her own will; he will keep her with him safely and will not turn her over to her enemies (Jason & Kreon). Medea plans to kill the bride with poison. Medea sends the children with Jason to the bride with the poison dress and crown. She and her father die an awful death with suffering as well. Medea then kills the children, even though the chorus told her not to do so. Jason returns looking for Medea. She is on a chariot built by her father, and ready to flee to Aigeus. Jason desperately wants to kiss his dead children or even bury them but Medea refuses to give him the satisfaction. Medea succeeds in her plan and Jason is lonely and tormented.<br />
<br />
== Themes and Motifs ==<br />
<br />
== Historical Context ==<br />
<br />
Greek tragic playwright, Euripides was born in Athens circa 480 BCE. He is credited with authoring at least 80 plays, 19 of which have survived until modern times. Several of his tragedies feature very strong female characters, including ''The Trojan Women'' and ''Medea''. He died at the court of the Macedonian king in 406 BCE. His work gained a greater popularity after his death than it had received during his lifetime (Crystal 317). <br />
<br />
''Medea'' was first produced in Athens in 431 BCE. According to legislation passed, twenty years earlier, a foreign woman could not legally marry an Athenian male. Any children begotten through such a union would not be considered legitimate heirs in the eyes of the law (Vandiver 217-16).<br />
<br />
== Works Cited ==<br />
<br />
Crystal, David. ''The Cambridge Biographical Encyclopedia.'' Press Syndicate of the University of Cambridge. New York. 1995.<br />
<br />
Vandiver, Elizabeth. ''Greek Tragedy''. The Teaching Company. Course # 217. Lectures 1-24.<br />
<br />
== Feminist Concerns ==<br />
<br />
== Characters ==<br />
* [[Jason]]<br />
<br />
* [[Medea]]<br />
Medea is the princess of the Isle of Colchis.(642) She falls in love with a man named Jason when he reached the land of Colchis in pursuit of the Golden Fleece.(642) Medea falls in love with Jason, helps him steal the Golden Fleece from her own country and leaves with him.(642) She eventually marries Jason and has children with him as they have moved to live in exile in Corinth.(643)<br />
<br />
Medea learns Jason has been dipping his noodle in the King of Corinth’s daughter.(643) She learns he has intentions of marrying her and leaving Medea and the kids to fend for themselves.(647) Kreon, King of Corinth, hears of Medea’s anger with Jason and the king’s daughter.(648) Kreon approaches Medea and sentences her to exile.(648) <br />
<br />
Nothing like a woman scorned as Medea in her angered state plans for the demise of her husband, his new bride to be, and her father.(658) Medea first covers her base by finding a safe place to live in exile. (656) King Aigeus, King of Athens, agrees that if she can find her way to his doorstep she can stay forever and be safe.(656) <br />
<br />
Now Medea plans the way to kill Jason’s bride to be and anyone who touches her.(658) She plans to poison two bridal gifts for Jason’s new bride and have the children hand deliver them to her.(659) Jason falls for the plan and takes the children to his bride to be where she receives her gifts and puts them on falling to her death.(664) The children return to Medea where she kills them right before Jason returns to find out what dastardly deed she has done.(669) Medea escapes Corinth with her dead children on a dragon drawn chariot given to her by Helios, her father’s father to protect her from her enemies.(670) She escapes to live in Athens and Jason never sees his children again.(670)<br />
<br />
== Commentaries ==<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000320.shtml Euripides' ''Medea'': Patriarchal Terrorism]]<br />
<br />
== External Links ==<br />
<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=The_Iliad&diff=3328The Iliad2005-03-02T03:40:26Z<p>JWilliams: /* The Gods */</p>
<hr />
<div>[[Image:Achilles-chiron.jpg|thumb|Achilles and Chiron the Centaur]] The ''Iliad'' (a song about Ilium, or Troy) along with its companion [[Epic Poetry|epic]] the <i>[[Odyssey]]</i> form the foundation of ancient Greek culture and address the extremes of human experience through war and peace. Both [[Epic Poetry|epic]] are primary, or oral, [[Epic Poetry|epic]] that draw on an enormous wealth of cultural stories in unified structures that we attribute to the poet [[Homer]], in eighth century B.C.E. The [[Epic Poetry|epic]] are written in an unsentimental style: the ''Iliad'' depicts the ambivalence of war in meticulously accurate details. Both the nightmare of war and its excitement find expression in the ''Iliad'', just as the <i>[[Odyssey]]</i>’s pages quest for a home, or a peace that seems hard-won after the devastation of war.<br />
<br />
==The Epic Theme==<br />
As the narrator states first thing: the subject of the ''Iliad'' is the rage of [[Achilles]] and the consequences of that rage for both the Achaeans and the Trojans. War effects not only the men who fight the battles, but also the women and children whose lives are then shaped by its outcome. War represents the worst and, ironically, the best of humanity: ugly brutality and terrible beauty. We both pity with [[Hector]] and sympathize with [[Achilles]]; neither side of the war holds all of our sentiments. The final outcome of the war, then, becomes truly tragic: only one culture can continue while the other is destroyed or enslaved.<br />
<br />
The brutality of [[Achilles]] and its consequences are most evident in Book XXII of the ''Iliad''. [[Achilles]]’ rage blinds him to anything but the death of [[Hector]], the Trojan champion that kills [[Patroclus]]. Replete with [[Epic Poetry|epic]] [[simile|similes]] of the hunt, book twenty-two illustrates [[Hector]]’s own reluctance to do what he sees as his duty to face [[Achilles]], yet thinks only of himself and what his people might think if he doesn’t face the Greek killing machine (cf. ll. 108-156). [[Hector]]’s resolve is soon shaken as he sees [[Achilles]] closing, bloody rage the only thing that [[Achilles]] sees. [[Hector]] flees, but is soon tricked by [[Athena]] into stopping to face [[Achilles]], perhaps a commentary on [[Hector]]’s need for companionship and [[Achilles]]’ desire for only personal vengeance and renown. [[Hector]] is mercilessly murdered in front of Troy’s walls, like a fawn at the jaws of a lion.<br />
<br />
The death of [[Hector]], then, is given a final cultural context from [[Hector]]’s widow [[Andromache]]. She now sees the demise of Troy, but personally she sees no future for their son [[Astyanax]]. The death of the father, then, is a weighty metaphor for the Trojans: the order that they secured will soon be rendered useless by the barbarity of war; the father’s death leads to the destruction of social order. This theme will be taken up in the <i>[[Odyssey]]</i> as well: what is the responsibility of the son for maintaining order in the absence or death of the father? As [[Andromache]] sees no future for [[Astyanax]], life does continue even after the carnage of war, yet a new order is imposed on the losers — those who escape death. This theme of continuity is also addressed by [[Virgil]] in his <i>[[Aeneid]]</i>.<br />
<br />
Is war, then, a necessary component of human life? Just because it has been historically up until this point, are we to be like [[Achilles]] who could not hear reason through his bloody thoughts: “No truce / till one or the other falls and gluts with blood” (XXII.313-14)? When do we decide that war is better than order?<br />
<br />
== Summary ==<br />
In book one of the ''Iliad'', we discover that because of [[Agamemnon]]’s refusal to relinquish Chryseis, [[Apollo]] has rained a plague upon the Achaean forces. Because he is eventually challenged by [[Achilles]] — who represents the wishes of the rest of the men — [[Agamemnon]] decides to claim Achilles’ prize (a girl named Briseis) to reassert his authority and put Achilles in his place for his challenge. Achilles shows cunning and restraint — qualities that are usually associated with [[Odysseus]] — in his argument with [[Agamemnon]], while the latter rages and rails like a wounded child. Yet, when [[Agamemnon]]’s men take Briseis, [[Achilles]], also child-like, begins to pout by his ships, cries to his mother, and refuses to play the war game anymore. This final decision precipitates the death of many Achaeans, including Achilles’ friend [[Patroclus]]. Achilles’ resulting rage ends with the death of [[Hector]] in book twenty-two, and Achilles’ own apocryphal death under the bow of [[Paris]] before the war’s end. See more in [[The Iliad Summary]].<br />
<br />
== Characters ==<br />
The ''Iliad''’s participants are the nobility of both cultures, or the ''aristoi'': “the best people.” They are the hereditary holders of wealth and power, and their decisions effect all of the culture. For example, [[Agamemnon]]’s decision to infuriate [[Achilles]] at the outset of the ''Iliad'' has lasting effects on the Greek warriors during the last weeks of the Trojan War. Like most [[Epic Poetry|epic]], of which the ''Iliad'' is really the definitive example, the action begins <i>[[in medias res]]</i>, a few weeks before the end of a ten-year campaign, with all of the [[Epic Poetry|epic]]’s traditional accouterments. The ''Iliad'' poses questions, as will the <i>[[Odyssey]]</i>, about the nature of political order and what humans must do to maintain that vision and structure. The initial contention in the ''Iliad'' is between the Greek champion [[Achilles]] and the Greek commander [[Agamemnon]]. Who has the stronger claim to right: [[Agamemnon]] who has the hereditary position, or [[Achilles]], the one with merit? Ultimately does it matter? When swords are drawn, reason becomes irrelevant.<br />
<br />
=== Achaeans ===<br />
* [[Achilles]]<br />
* [[Agamemnon]]<br />
* [[Ajax]]<br />
* [[Menaleus]]<br />
* [[Nestor]]<br />
* [[Odysseus]]<br />
* [[Patroclus]]<br />
<br />
=== Trojans ===<br />
* [[Hector]]<br />
* [[Hecuba]]<br />
* [[Helen]]<br />
* [[Paris]]<br />
* [[Priam]]<br />
<br />
=== The Gods ===<br />
* [[Apollo]]<br />
* [[Athena]]<br />
* [[Hera]]<br />
* [[Poseidon]]<br />
* [[Thetis]]<br />
* [[Zeus]]<br />
<br />
== Internal Links ==<br />
* [[Homer]]<br />
* [[The Iliad Summary]]<br />
<br />
== External Links ==<br />
<br />
* [http://library.thinkquest.org/19300/data/homer.htm Homer’s <i>Iliad</i> and <i>Odyssey</i>]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000312.shtml The <i>Iliad</i>: Rage and War]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000503.shtml Hector: Family Man, but Hero First]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000456.shtml Fighting Beyond Their Fates]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]<br />
<br />
== Suggested Reading ==<br />
<br />
----<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=The_Iliad&diff=3300The Iliad2005-03-02T03:34:40Z<p>JWilliams: /* The Gods */</p>
<hr />
<div>[[Image:Achilles-chiron.jpg|thumb|Achilles and Chiron the Centaur]] The ''Iliad'' (a song about Ilium, or Troy) along with its companion [[Epic Poetry|epic]] the <i>[[Odyssey]]</i> form the foundation of ancient Greek culture and address the extremes of human experience through war and peace. Both [[Epic Poetry|epic]] are primary, or oral, [[Epic Poetry|epic]] that draw on an enormous wealth of cultural stories in unified structures that we attribute to the poet [[Homer]], in eighth century B.C.E. The [[Epic Poetry|epic]] are written in an unsentimental style: the ''Iliad'' depicts the ambivalence of war in meticulously accurate details. Both the nightmare of war and its excitement find expression in the ''Iliad'', just as the <i>[[Odyssey]]</i>’s pages quest for a home, or a peace that seems hard-won after the devastation of war.<br />
<br />
==The Epic Theme==<br />
As the narrator states first thing: the subject of the ''Iliad'' is the rage of [[Achilles]] and the consequences of that rage for both the Achaeans and the Trojans. War effects not only the men who fight the battles, but also the women and children whose lives are then shaped by its outcome. War represents the worst and, ironically, the best of humanity: ugly brutality and terrible beauty. We both pity with [[Hector]] and sympathize with [[Achilles]]; neither side of the war holds all of our sentiments. The final outcome of the war, then, becomes truly tragic: only one culture can continue while the other is destroyed or enslaved.<br />
<br />
The brutality of [[Achilles]] and its consequences are most evident in Book XXII of the ''Iliad''. [[Achilles]]’ rage blinds him to anything but the death of [[Hector]], the Trojan champion that kills [[Patroclus]]. Replete with [[Epic Poetry|epic]] [[simile|similes]] of the hunt, book twenty-two illustrates [[Hector]]’s own reluctance to do what he sees as his duty to face [[Achilles]], yet thinks only of himself and what his people might think if he doesn’t face the Greek killing machine (cf. ll. 108-156). [[Hector]]’s resolve is soon shaken as he sees [[Achilles]] closing, bloody rage the only thing that [[Achilles]] sees. [[Hector]] flees, but is soon tricked by [[Athena]] into stopping to face [[Achilles]], perhaps a commentary on [[Hector]]’s need for companionship and [[Achilles]]’ desire for only personal vengeance and renown. [[Hector]] is mercilessly murdered in front of Troy’s walls, like a fawn at the jaws of a lion.<br />
<br />
The death of [[Hector]], then, is given a final cultural context from [[Hector]]’s widow [[Andromache]]. She now sees the demise of Troy, but personally she sees no future for their son [[Astyanax]]. The death of the father, then, is a weighty metaphor for the Trojans: the order that they secured will soon be rendered useless by the barbarity of war; the father’s death leads to the destruction of social order. This theme will be taken up in the <i>[[Odyssey]]</i> as well: what is the responsibility of the son for maintaining order in the absence or death of the father? As [[Andromache]] sees no future for [[Astyanax]], life does continue even after the carnage of war, yet a new order is imposed on the losers — those who escape death. This theme of continuity is also addressed by [[Virgil]] in his <i>[[Aeneid]]</i>.<br />
<br />
Is war, then, a necessary component of human life? Just because it has been historically up until this point, are we to be like [[Achilles]] who could not hear reason through his bloody thoughts: “No truce / till one or the other falls and gluts with blood” (XXII.313-14)? When do we decide that war is better than order?<br />
<br />
== Summary ==<br />
In book one of the ''Iliad'', we discover that because of [[Agamemnon]]’s refusal to relinquish Chryseis, [[Apollo]] has rained a plague upon the Achaean forces. Because he is eventually challenged by [[Achilles]] — who represents the wishes of the rest of the men — [[Agamemnon]] decides to claim Achilles’ prize (a girl named Briseis) to reassert his authority and put Achilles in his place for his challenge. Achilles shows cunning and restraint — qualities that are usually associated with [[Odysseus]] — in his argument with [[Agamemnon]], while the latter rages and rails like a wounded child. Yet, when [[Agamemnon]]’s men take Briseis, [[Achilles]], also child-like, begins to pout by his ships, cries to his mother, and refuses to play the war game anymore. This final decision precipitates the death of many Achaeans, including Achilles’ friend [[Patroclus]]. Achilles’ resulting rage ends with the death of [[Hector]] in book twenty-two, and Achilles’ own apocryphal death under the bow of [[Paris]] before the war’s end. See more in [[The Iliad Summary]].<br />
<br />
== Characters ==<br />
The ''Iliad''’s participants are the nobility of both cultures, or the ''aristoi'': “the best people.” They are the hereditary holders of wealth and power, and their decisions effect all of the culture. For example, [[Agamemnon]]’s decision to infuriate [[Achilles]] at the outset of the ''Iliad'' has lasting effects on the Greek warriors during the last weeks of the Trojan War. Like most [[Epic Poetry|epic]], of which the ''Iliad'' is really the definitive example, the action begins <i>[[in medias res]]</i>, a few weeks before the end of a ten-year campaign, with all of the [[Epic Poetry|epic]]’s traditional accouterments. The ''Iliad'' poses questions, as will the <i>[[Odyssey]]</i>, about the nature of political order and what humans must do to maintain that vision and structure. The initial contention in the ''Iliad'' is between the Greek champion [[Achilles]] and the Greek commander [[Agamemnon]]. Who has the stronger claim to right: [[Agamemnon]] who has the hereditary position, or [[Achilles]], the one with merit? Ultimately does it matter? When swords are drawn, reason becomes irrelevant.<br />
<br />
=== Achaeans ===<br />
* [[Achilles]]<br />
* [[Agamemnon]]<br />
* [[Ajax]]<br />
* [[Menaleus]]<br />
* [[Nestor]]<br />
* [[Odysseus]]<br />
* [[Patroclus]]<br />
<br />
=== Trojans ===<br />
* [[Hector]]<br />
* [[Hecuba]]<br />
* [[Helen]]<br />
* [[Paris]]<br />
* [[Priam]]<br />
<br />
=== The Gods ===<br />
* [[Apollo]]<br />
* [[Athena]]<br />
* [[Hera]]<br />
* [[Poseidon]]<br />
* [[Zeus]]<br />
<br />
== Internal Links ==<br />
* [[Homer]]<br />
* [[The Iliad Summary]]<br />
<br />
== External Links ==<br />
<br />
* [http://library.thinkquest.org/19300/data/homer.htm Homer’s <i>Iliad</i> and <i>Odyssey</i>]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000312.shtml The <i>Iliad</i>: Rage and War]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000503.shtml Hector: Family Man, but Hero First]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000456.shtml Fighting Beyond Their Fates]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]<br />
<br />
== Suggested Reading ==<br />
<br />
----<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=The_Iliad&diff=3299The Iliad2005-03-02T03:32:24Z<p>JWilliams: /* The Gods */</p>
<hr />
<div>[[Image:Achilles-chiron.jpg|thumb|Achilles and Chiron the Centaur]] The ''Iliad'' (a song about Ilium, or Troy) along with its companion [[Epic Poetry|epic]] the <i>[[Odyssey]]</i> form the foundation of ancient Greek culture and address the extremes of human experience through war and peace. Both [[Epic Poetry|epic]] are primary, or oral, [[Epic Poetry|epic]] that draw on an enormous wealth of cultural stories in unified structures that we attribute to the poet [[Homer]], in eighth century B.C.E. The [[Epic Poetry|epic]] are written in an unsentimental style: the ''Iliad'' depicts the ambivalence of war in meticulously accurate details. Both the nightmare of war and its excitement find expression in the ''Iliad'', just as the <i>[[Odyssey]]</i>’s pages quest for a home, or a peace that seems hard-won after the devastation of war.<br />
<br />
==The Epic Theme==<br />
As the narrator states first thing: the subject of the ''Iliad'' is the rage of [[Achilles]] and the consequences of that rage for both the Achaeans and the Trojans. War effects not only the men who fight the battles, but also the women and children whose lives are then shaped by its outcome. War represents the worst and, ironically, the best of humanity: ugly brutality and terrible beauty. We both pity with [[Hector]] and sympathize with [[Achilles]]; neither side of the war holds all of our sentiments. The final outcome of the war, then, becomes truly tragic: only one culture can continue while the other is destroyed or enslaved.<br />
<br />
The brutality of [[Achilles]] and its consequences are most evident in Book XXII of the ''Iliad''. [[Achilles]]’ rage blinds him to anything but the death of [[Hector]], the Trojan champion that kills [[Patroclus]]. Replete with [[Epic Poetry|epic]] [[simile|similes]] of the hunt, book twenty-two illustrates [[Hector]]’s own reluctance to do what he sees as his duty to face [[Achilles]], yet thinks only of himself and what his people might think if he doesn’t face the Greek killing machine (cf. ll. 108-156). [[Hector]]’s resolve is soon shaken as he sees [[Achilles]] closing, bloody rage the only thing that [[Achilles]] sees. [[Hector]] flees, but is soon tricked by [[Athena]] into stopping to face [[Achilles]], perhaps a commentary on [[Hector]]’s need for companionship and [[Achilles]]’ desire for only personal vengeance and renown. [[Hector]] is mercilessly murdered in front of Troy’s walls, like a fawn at the jaws of a lion.<br />
<br />
The death of [[Hector]], then, is given a final cultural context from [[Hector]]’s widow [[Andromache]]. She now sees the demise of Troy, but personally she sees no future for their son [[Astyanax]]. The death of the father, then, is a weighty metaphor for the Trojans: the order that they secured will soon be rendered useless by the barbarity of war; the father’s death leads to the destruction of social order. This theme will be taken up in the <i>[[Odyssey]]</i> as well: what is the responsibility of the son for maintaining order in the absence or death of the father? As [[Andromache]] sees no future for [[Astyanax]], life does continue even after the carnage of war, yet a new order is imposed on the losers — those who escape death. This theme of continuity is also addressed by [[Virgil]] in his <i>[[Aeneid]]</i>.<br />
<br />
Is war, then, a necessary component of human life? Just because it has been historically up until this point, are we to be like [[Achilles]] who could not hear reason through his bloody thoughts: “No truce / till one or the other falls and gluts with blood” (XXII.313-14)? When do we decide that war is better than order?<br />
<br />
== Summary ==<br />
In book one of the ''Iliad'', we discover that because of [[Agamemnon]]’s refusal to relinquish Chryseis, [[Apollo]] has rained a plague upon the Achaean forces. Because he is eventually challenged by [[Achilles]] — who represents the wishes of the rest of the men — [[Agamemnon]] decides to claim Achilles’ prize (a girl named Briseis) to reassert his authority and put Achilles in his place for his challenge. Achilles shows cunning and restraint — qualities that are usually associated with [[Odysseus]] — in his argument with [[Agamemnon]], while the latter rages and rails like a wounded child. Yet, when [[Agamemnon]]’s men take Briseis, [[Achilles]], also child-like, begins to pout by his ships, cries to his mother, and refuses to play the war game anymore. This final decision precipitates the death of many Achaeans, including Achilles’ friend [[Patroclus]]. Achilles’ resulting rage ends with the death of [[Hector]] in book twenty-two, and Achilles’ own apocryphal death under the bow of [[Paris]] before the war’s end. See more in [[The Iliad Summary]].<br />
<br />
== Characters ==<br />
The ''Iliad''’s participants are the nobility of both cultures, or the ''aristoi'': “the best people.” They are the hereditary holders of wealth and power, and their decisions effect all of the culture. For example, [[Agamemnon]]’s decision to infuriate [[Achilles]] at the outset of the ''Iliad'' has lasting effects on the Greek warriors during the last weeks of the Trojan War. Like most [[Epic Poetry|epic]], of which the ''Iliad'' is really the definitive example, the action begins <i>[[in medias res]]</i>, a few weeks before the end of a ten-year campaign, with all of the [[Epic Poetry|epic]]’s traditional accouterments. The ''Iliad'' poses questions, as will the <i>[[Odyssey]]</i>, about the nature of political order and what humans must do to maintain that vision and structure. The initial contention in the ''Iliad'' is between the Greek champion [[Achilles]] and the Greek commander [[Agamemnon]]. Who has the stronger claim to right: [[Agamemnon]] who has the hereditary position, or [[Achilles]], the one with merit? Ultimately does it matter? When swords are drawn, reason becomes irrelevant.<br />
<br />
=== Achaeans ===<br />
* [[Achilles]]<br />
* [[Agamemnon]]<br />
* [[Ajax]]<br />
* [[Menaleus]]<br />
* [[Nestor]]<br />
* [[Odysseus]]<br />
* [[Patroclus]]<br />
<br />
=== Trojans ===<br />
* [[Hector]]<br />
* [[Hecuba]]<br />
* [[Helen]]<br />
* [[Paris]]<br />
* [[Priam]]<br />
<br />
=== The Gods ===<br />
* [[Apollo]]<br />
* [[Athena]]<br />
* [[Zeus]]<br />
<br />
== Internal Links ==<br />
* [[Homer]]<br />
* [[The Iliad Summary]]<br />
<br />
== External Links ==<br />
<br />
* [http://library.thinkquest.org/19300/data/homer.htm Homer’s <i>Iliad</i> and <i>Odyssey</i>]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000312.shtml The <i>Iliad</i>: Rage and War]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000503.shtml Hector: Family Man, but Hero First]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000456.shtml Fighting Beyond Their Fates]<br />
* [http://litmuse.maconstate.edu/~glucas/archives/000297.shtml Friendship and Two Epics]<br />
<br />
== Suggested Reading ==<br />
<br />
----<br />
[[Category:World Literature]]</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=8103Odysseus2005-03-02T03:29:20Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, [[Telemakhos]] live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed [[Helen]], daughter of [[Zeus]]. He is credited with coming up with a plan to soothe the tensions among her suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from [[Paris]] of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed [[Penelope]], a cousin of Helen, and had a newborn son to care for. The Greeks sent [[Palamedes]] to Ithaka to recruit their king, and Odysseus faked madness in an attempt to dodge his pledged responsibilities. He hooked an ox and an ass to a plow, and began to sow salt down by the seashore(Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant [[Telemakhos]] and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of [[Achilles]]. According to this story, [[Thetis]], mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''[[The Iliad]]'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''[[The Odyssey]]'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was shipwrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
<br />
== Works Cited ==<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
<br />
<br />
Herzberg, Max. ''Myths and their Meaning''. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3297Odysseus2005-02-25T16:08:10Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemakhos live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He hooked an ox and an ass to a plow, and began to sow salt down by the seashore<br />
(Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was shipwrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. ''Myths and their Meaning''. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3269Odysseus2005-02-25T08:48:43Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemakhos live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He hooked an ox and an ass to a plow, and began to sow salt down by the seashore<br />
(Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was shipwrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3268Odysseus2005-02-25T08:47:47Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemakhos live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He hooked an ox and an ass to a plow, and began to sow salt down by the seashore<br />
(Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was shipwrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3267Odysseus2005-02-25T08:34:58Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemachus live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He hooked an ox and an ass to a plow, and began to sow salt down by the seashore<br />
(Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was ship-wrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3266Odysseus2005-02-25T08:32:16Z<p>JWilliams: </p>
<hr />
<div>Odysseus is a mythical Greek hero His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemachus live. Odysseus is well known for his brain and crafty ways.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He “harnessed an ox and an ass together to the plow, and began to sow salt along the seashore” (Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was ship-wrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3265Odysseus2005-02-25T08:27:30Z<p>JWilliams: </p>
<hr />
<div>Homer, in his epic, ''The Odyssey'', tells the story of Odysseus’s adventures to return home to Ithaka after the fall of Troy. He was one of the leaders of the Trojan War. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaka (219), where his wife, Penelope and son, Telemachus live. Odysseus is well known for his brain as well as his muscle.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaka to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He “harnessed an ox and an ass together to the plow, and began to sow salt along the seashore” (Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaka, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaka, but once again he ran into Poseidon's furious storm (269) and was ship-wrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaka that there would be peace and that the King of Ithaka was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3264Odysseus2005-02-25T08:20:47Z<p>JWilliams: </p>
<hr />
<div>Homer, in his epic, ''The Odyssey'', tells the story of Odysseus’s adventures to return home to Ithaca after the fall of Troy. Odysseus is a great hero and king of Ithaca. He was one of the leaders of the Trojan War. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaca (219), where his wife, Penelope and son, Telemachus live. Odysseus is well known for his brain as well as his muscle.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaca to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He “harnessed an ox and an ass together to the plow, and began to sow salt along the seashore” (Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaca, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaca, but once again he ran into Poseidon's furious storm (269) and was ship-wrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaca that there would be peace and that the King of Ithaca was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
Additional Sources:<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliamshttps://litwiki.org/index.php?title=Odysseus&diff=3263Odysseus2005-02-25T08:17:34Z<p>JWilliams: </p>
<hr />
<div>Homer, in his epic, ''The Odyssey'', tells the story of Odysseus’s adventures to return home to Ithaca after the fall of Troy. Odysseus is a great hero and king of Ithaca. He was one of the leaders of the Trojan War. His father is Laertes (332); his mother is Antikleia (333). He is king of the land of Ithaca (219), where his wife, Penelope and son, Telemachus live. Odysseus is well known for his brain as well as his muscle.<br />
<br />
Before the Trojan War, he was among those seeking to wed Helen, daughter of Zeus. He is credited with coming up with a plan to soothe the tensions among her contentious suitors. He proposed that all suitors must abide by Helen’s final decision in picking a husband and that each should swear an oath to protect the sanctity of this marriage, if it were ever threatened from outside (Herzberg 188).<br />
<br />
When this threat did come, from Paris of Troy, Odysseus was reluctant to fulfill the oath he had originally proposed. By this time he had wed Penelope, a cousin of Helen, and had a newborn son to care for. When the Greeks sent Palamedes to Ithaca to recruit their king, Odysseus faked madness in an attempt to dodge his pledged responsibilities. He “harnessed an ox and an ass together to the plow, and began to sow salt along the seashore” (Herzberg 189).<br />
<br />
Palamedes saw through this trick and managed to get the better of wily Odysseus. He took up the infant Telemakhos and placed him in the path of the plow. When Odysseus turned away to avoid the boy, his sanity was proven (Herzberg 189).<br />
<br />
Odysseus held a grudge against Palamedes from this moment on. Later, during the Trojan War, Odysseus framed Palamedes for treachery and brought about his death at the hands of the Greeks (Parada).<br />
<br />
Once Odysseus is drafted to fight, he turns his attention to gathering other members of the Greek force. <br />
<br />
One unusual story involves the recruitment of Achilles. According to this story, Thetis, mother of Achilles, sent her son to stay in a far away kingdom, where he was persuaded to dress like a woman, to keep his identity unknown. Odysseus, knowing that Achilles was hiding among the ladies of the court, comes to the palace disguised as a peddler. He displays his various goods for sale. Most items shown are appealing to ladies. Mixed among the ribbons and other pretties, he has placed a sword. One ‘lady’ ignores the jewelry and picks up the sword, revealing the identity of the manly hero Achilles (Herzberg 190).<br />
<br />
Odysseus is one of the major characters in ''The Iliad'', regarded as the craftiest of all the Greeks at Troy. He is credited with the invention of the Trojan horse, bringing about the end of the war (301). <br />
<br />
He is the star of ''The Odyssey'', which is named in his honor. This epic details his adventures on the journey home from the war and the troubles he finds in Ithaca when he arrives there (100).<br />
<br />
During the 10 year journey from Troy back to Ithaca, Odysseus had many encounters that prolonged his journey home. He has to free his men from the Lotus-Eaters, the Kyklops giant, Polyphemus, and the enchantress Kirke. He traveled to the underworld, where he receives valuable information to help him continue his trip home. This new knowledge that he received helped him to have a safe passage from the Sirens, Scylla, and Charybdis. But, he could not save his crew when they violated commandments by slaughtering and eating the cattle of the sun god. Through this action their ship was struck by a thunderbolt and only Odysseus survived. He swam on the island of the nymph Kalypso, where he became her lover, was held prisoner (263), and lived there for seven years. He built a raft and sailed for Ithaca, but once again he ran into Poseidon's furious storm (269) and was ship-wrecked on the island of the Phaiakians where he told his tale of wandering at a banquet in the palace (303). After his fabulous tale, he was allowed onboard a Phaiakian ship, given untold riches, and deposited, sleeping, on his home island (362-363).<br />
<br />
Once he returned home, he still had problems. After being gone for twenty years, Penelope had remained faithful. But the palace was occupied by a group of suitors who were waiting on Penelope to pick one of them to marry. Odysseus arrived at the palace disguised as a beggar and saw everything in disarray. He slaughters the suitors and cleansed the palace before Penelope sees all the blood and bodies. But, then he had to deal with the anger families of the suitors. But Athena stepped in and told the people of Ithaca that there would be peace and that the King of Ithaca was home.<br />
<br />
There are conflicting reports surrounding the end of his life. Some stories say that he died peacefully at home. There is another account that says he went on more adventures and found death in a strange land, far from home (Herzberg 215).<br />
<br />
<br />
<br />
<br />
“Odysseus.” Encyclopedia Britannica from Encyclopedia Britannica Online.<br />
http://www.britannica.com/ebc/article?tocID=9373899&query=odysseus><br />
<br />
“Odysseus.” The History Channel from The History Channel Online.<br />
http://www.historychannel.com/per/print_book><br />
<br />
“Odysseus.” The Mythweb from the MythWeb Online.<br />
http://wwwmythweb.com/odyssey><br />
<br />
Herzberg, Max. Myths and their Meaning. Allyn and Bacon, Inc. Boston. 1984.<br />
<br />
Parada, Carlos. http://homepage.mac.com/cparada/GML/Palamedes.html</div>JWilliams