Euripedes Medea Essay, Research Paper

The term “barbarian” is Greek in origin. The Greeks used it for any races that were not of a Greek origin, especially those that were very different from themselves. Because most of these “barbarians” regularly assaulted Greek cities, the term gradually evolved into a rude insult, a person who was a sub-human, uncivilized, and regularly practiced the most vile and inhuman acts imaginable. It is obvious that a barbarian was not considered as a member of society as well as a woman in Ancient Greece. In many Greek tragedies women either play a secondary role or are not represented at all. It is unusual to read a tragedy where woman is a main character and not only that, a barbarian.

Euripides Medea was written during the Peloponesian War. War, regardless of when it occurs, not only destroys and kills but also causes a reflection on the values in a society. Literature in ancient Greece was a main reflection of what the society thought and what values and rules it held dear, such as bravery, loyalty, ownership of property, and love for family as is shown in the Odyssey. Obviously, the Peloponesian War brought a much stress and chaos on the Greek society of this period, so during this time Euripedes was different in his subject matter and how he portrayed his characters, especially women. He created a play where he opposed a barbarian to someone civilized , as with Medea and Jason. The civilized Jason is more barbaric in his emotional callousness than the barbarian Medea, but by the end of the play she loses any sympathy the audience may have for her with her truly barbaric revenge.

The Nurse calls Medea a “strange woman.” She is anything but typical. Euripides admits from the outset that this is a bizarre tale of an exceptional human being.

Two great pains tear Medea; her betrayal of her own country and her exile, and the betrayal of Jason. The two are interwoven and double her sorrow. Guilt, loneliness, rejection, and love, all affect her. Of course Medea is barbarian. She came from a different country; she is violent, and everyone knows that she possesses a unique and in somewhat supernatural power to make people to do things her way. These characteristics match the definition of barbarian in ancient Greece. On the other hand, we realize that part of her power is her intellect, which is not typically a “barbarian”, but a Greek attribute. People, including the king, are afraid of Medea.

Their fear is based not only on the fact that she has a great passion and is able to do something terrible, but also on the fact that people realize something. A “barbarian” can think, has emotions and feelings and, moreover, can exercise power over them. Another factor that scares people is her being a woman. In Ancient Greece women did not have political power. Their voices were never been heard, unless through a man. Medea s voice is not only can be heard, but is also quite manipulative. She is able to use any persuasive language that appeals to the emotions of the people. Medea provokes a passion in them in response to her own. The king himself notes, “You are a clever woman, versed in evil arts, and are angry at having lost your husband s love” (lines 283-284). Medea is smart, she is greatly aware of being a “barbarian” and the Corinthians seem to echo that awareness. She understands why she is not welcomed in the society, and realizes that she has to leave, but her emotional pain makes her to do unthinkable.

Pain is often the source of anger and then violence, which is as obvious today as ever. That progression is one of Euripides’ main themes. The greatness of the temper is one measure of the greatness of the person who is angry. Medea s passion causes the great tragedy of this play. Medea also understands that her passion and anger are caused by betrayal. Jason did not keep his word, he had broken his oath and this was unacceptable to Medea. At the same time, she realized that in Greek society people are more materialistic and ideas of love and faithfulness seemed to be “barbaric” and not highly valued. As Jason says, “Change your ideas of what you want, and show more sense” (588). Medea s primitive passion is pitted against the civilized demands of Jason. He is empty inside. He has no emotions, no passion, only desire, the desire to stabilize his political position. He used Medea for his own good. She helped him to escape and to survive. Then it was time for Jason to move on with his life. He didn’t need Medea any more. Moreover, in some way he thought he helped Medea and she should have been thankful for that. At one point, he explains, “In so far as you helped me, you did well enough, but on this question of saving me, I can prove you have certainly got from me more than you gave” (521-523). Jason lived by the law instead of Medea’s sweet will of force , but what was the law? Who had it been written for?

In Ancient Greece all the laws were written for men, who had the political power. Jason is a perfect example of a typical make in this society. He even boldly declares that women are unnecessary creatures. They are needed only for producing children when he says, “It would be better far for men to have got their children in some other way, and women not to have existed. Then life would have been good .” Medea wanted to make Jason suffer by making him listen, but for Jason her argument is invalid. A society in which money and one s political position are two things that are all-important will not have any future. There are countless other things, such as love, dedication and ability to keep your word, that are needed in the society for its success. In this mode of thought Medea s ideas were more civilized than Jason s lack of emotion and desire for a power. As mentioned earlier, Medea s ideas were not valid in the Greek society, and so “Barbaric” lessons are learned and tables are turned when she murders her own children as revenge. Yeah, and you almost felt sorry for her for a minute, huh……..

Bibliography

Euripedes. Medea. Trans. Rex Warner. The Norton Anthology World Masterpieces. Gen.

ed. Maynard Macket al. 7th ed. Vol.1. New York: W.W. Norton & Co., 1992. 2 Vols. 739-772.