Medea is probably the sassiest and malicious woman in all of Greek Mythology. Her character is so complexly built comprising of many diverse identitties, such that any understanding will have to take place on a few different levels.
Medea is a Witch and a Barbarian
Medea is first and foremost established as a witch with a reputed past for her malice. She is the niece of the powerful sorceress Circe. However, unlike Circe, she is not immortal.
Witchcraft and dark magic have had a place in Ancient Greek and Roman literature since people believed in curses and the ability of one to bind another in spells. People who claimed to be witches (or wizards) generally had the ability to predict the future and cure strange illnesses. They usually lived on the outskirts, portraying rugged lifestyles, collecting odd herbs and making potions or brews. In ancient Greece, most practisers of this sort of magic were male. However, in dramas (which was always written by males), witchcraft was always practised by women.
Medea fits this into this description quite well. She lived in Colchis and was a barbarian, despite being a princess. She is capable of manipulating events and people with her magical skills and never shies away from an opportunity to do so. She boils Pelias, burns Creon and his daughter, grants fertility to Aigeus and summons a chariot driven by dragons from her grandfather.
Medea is cruel. Her magic distinguishes her from other women. It is this very difference that results in her cruel deeds. She is stronger than the average woman. Knowing she is worth more and capable of much more, Medea sees no need to settle as the forgotten wife of a man. Instead she takes matters into her own hands. It is later known, that Medea cleanses absolves herself from her children’s murder at the Island of Circe. Such an act is not possible for a normal women. However, Medea lives on with confidence that she is forgiven by the Gods.
Witchcraft and dark magic have had a place in Ancient Greek and Roman literature since people believed in curses and the ability of one to bind another in spells. People who claimed to be witches (or wizards) generally had the ability to predict the future and cure strange illnesses. They usually lived on the outskirts, portraying rugged lifestyles, collecting odd herbs and making potions or brews. In ancient Greece, most practisers of this sort of magic were male. However, in dramas (which was always written by males), witchcraft was always practised by women.
Medea fits this into this description quite well. She lived in Colchis and was a barbarian, despite being a princess. She is capable of manipulating events and people with her magical skills and never shies away from an opportunity to do so. She boils Pelias, burns Creon and his daughter, grants fertility to Aigeus and summons a chariot driven by dragons from her grandfather.
Medea is cruel. Her magic distinguishes her from other women. It is this very difference that results in her cruel deeds. She is stronger than the average woman. Knowing she is worth more and capable of much more, Medea sees no need to settle as the forgotten wife of a man. Instead she takes matters into her own hands. It is later known, that Medea cleanses absolves herself from her children’s murder at the Island of Circe. Such an act is not possible for a normal women. However, Medea lives on with confidence that she is forgiven by the Gods.
Medea is a Wife and a Mother
Even though both the audience and Medea know that she is a foreigner, both are quite content in seeing her as a Greek wife. The audience expect her to mould into the stereotype and Medea sees her faithfulness to Jason as a Greek wife betrayed due to his infidelity.
Throughout the drama, there is constant shifting from the ‘wife’ Medea to the ‘witch’ Medea.
Passage 49 from the sourcebook is an excellent example of Medea playing the ‘wife’. She almost seems ‘human’ and the audience despite their stance in the drama are drawn to shed sympathy for her. In this passage, one can hear the deep hurt in her voice, the frustration of finding herself in a foreign land, the pain of realising she has no friends and the man she loved is now with another woman. If she were mere any Greek housewife, one could say Medea was on the verge of an emotional breakdown. Now that Corinth has exiled her, she has nowhere to turn to, no land to call home and no one to call family or friend. All around her are enemies she created, because of her strong love for Jason.
Her response to Jason, when he blames her for her own undoing, strikes the heart of every viewer. We are forced to recognise its truth. Jason is rendered speechless. He can say nothing to defend himself when his opponent is truth in flesh.
Medea shows a side to her that the audience have not yet seen. She is guilty and repents for her betrayal towards her father and her murder of Pelias at the hands of his own daughters. She says, “Where now can I turn? Back to my country and my father’s house, which I betrayed to come with you? Or to Iolchus, to Pelias’s wretched daughters? What a we;come they would offer me, who killed their father! Thus it stands: My friends at home now hate me; and in helping you I have earned the enmity of those I had no right to hurt.” This is the speech of a woman, a wife and mother, not a witch. This is the speech of a woman who truly believes that she is doomed. It lacks the confidence that magic brings with it. Instead it shows despair.
Throughout the drama, there is constant shifting from the ‘wife’ Medea to the ‘witch’ Medea.
Passage 49 from the sourcebook is an excellent example of Medea playing the ‘wife’. She almost seems ‘human’ and the audience despite their stance in the drama are drawn to shed sympathy for her. In this passage, one can hear the deep hurt in her voice, the frustration of finding herself in a foreign land, the pain of realising she has no friends and the man she loved is now with another woman. If she were mere any Greek housewife, one could say Medea was on the verge of an emotional breakdown. Now that Corinth has exiled her, she has nowhere to turn to, no land to call home and no one to call family or friend. All around her are enemies she created, because of her strong love for Jason.
Her response to Jason, when he blames her for her own undoing, strikes the heart of every viewer. We are forced to recognise its truth. Jason is rendered speechless. He can say nothing to defend himself when his opponent is truth in flesh.
Medea shows a side to her that the audience have not yet seen. She is guilty and repents for her betrayal towards her father and her murder of Pelias at the hands of his own daughters. She says, “Where now can I turn? Back to my country and my father’s house, which I betrayed to come with you? Or to Iolchus, to Pelias’s wretched daughters? What a we;come they would offer me, who killed their father! Thus it stands: My friends at home now hate me; and in helping you I have earned the enmity of those I had no right to hurt.” This is the speech of a woman, a wife and mother, not a witch. This is the speech of a woman who truly believes that she is doomed. It lacks the confidence that magic brings with it. Instead it shows despair.
Medea is the granddaughter of the Sun God, Helios
As the graddaughter of Helios, Medea is a very powerful force to reckon with. It appears throughout the play that Medea, being human, is still above all human laws. She kills her brother and betrays her father. She isn’t caught or punished. She kills Pelias. Nobody hunts her down and punishes her. Then she kills her own children. Surprising still she is allowed to seek refuge in Athens, start a new life and bear new sons. She is able to evade all forms of punishment for the gruesome crimes she commits. This gives the impression that she is aided or in a way protected by her grandfather, the God Helios. After all, it is he who gives her the dragon chariot at the end of the play to whisk her away from the fury of Corinth. Throughout Greek mythology, we see that the Gods are able to get away with any crime they commit. Murder, cruelty, rape, adultery, etc are common terms among the God’s in Greek mythology. Under this light, it is not so unexpected that Medea, who is descended from a powerful God is able to get away with her own crimes.
Is she wicked, though? We must note that it precisely when she completely destroys Jason that she can be seen as the most impressive and empowering character in all of Greek mythology. She has given Jason exactly what he gave her. She condemns him to a life of loneliness, depression and hatred. Not only has he lost his young bride and two sons, he has also gained the spite of the people of Corinth who see him as the husband of the woman who brought so much disarray to their city.
Is she wicked, though? We must note that it precisely when she completely destroys Jason that she can be seen as the most impressive and empowering character in all of Greek mythology. She has given Jason exactly what he gave her. She condemns him to a life of loneliness, depression and hatred. Not only has he lost his young bride and two sons, he has also gained the spite of the people of Corinth who see him as the husband of the woman who brought so much disarray to their city.
Is Medea a hero or an anti-hero?
Witch or mother or wife…can Medea ever be the hero or the anti-hero? While her pain and the truth in her statement cannot be denied, the fact that she killed her children always looms in the background. While we can easily sympathise with her, we can never approve of her murder.
The question often asked is whether Medea is justified in killing her children. Given that she is betrayed by her husband, can she be seen as a victim? If so, is she the victim of a man? Or is she the victim of a society that encourages marriage to be an act of alliance between socially privileged and influential? Or in the end, is Medea just a victim of fate?
If she is read as a victim, then we are lead to see the world of Ancient Greece in a different light. What kind of society drives a women to kill her own children? What kind of dilemma could lead a woman to act against her personal beliefs or moral centres? Is it patriarchy? Chauvinism? Or is it just strictly conservative? Euripides cleverly instils into the minds of his audience a view of Greece they are not accustomed to. It is a disordered world. One where social status and pride is placed above love and morals. It is a world where the good may suffer and the evil can get away with anything.
Can Euripides be seen as a misogynist? Or was he a feminist? He plays with gender equalities and expectations throughout his play. Women are put in scenarios that require them to take drastic decisions. The women, who otherwise lie in the margins of society are now put on centre stage. He gives them a voice and not only that. He gives them power.
In Medea, he gives Medea the power to manipulate people. She knows exactly what to say and when. When the chorus discourage her revengeful thoughts, she appeals to them as a woman, as a deceived wife. She emotionally draw them to accept her views and agree that she has no other choice than to make Jason pay for his mistake. She recognises Aigeus’s yearning for a male heir. She promises him the gift of fertility in return for safe haven in Athens. Here she manipulates him by reasoning with him and telling him how lost and desperate she would be once the man she loves abandons her. Then she tells him how much he need her help. Medea manipulates Jason by pretending she has finally given up her stubborn nature. She appears calm and accepts Jason’s views as wise and hers as merely based on the jealous feelings of a wife. Then she is able to tell exactly how Glauke, Jason’s bride will react at the sight of all the fine presents Medea will give her. She knows, Glauke, excited, will try on the clothes and crown and burn to death. This way, Medea is able to influence the actions and fates of those around her. Therefore, can the manipulative woman be seen as a victim? After all, she is so calculating and seems to get away with almost anything.
The classification of Medea has always been one of the most debated topics in ancient and classical literature. It is highly subjective.
The question often asked is whether Medea is justified in killing her children. Given that she is betrayed by her husband, can she be seen as a victim? If so, is she the victim of a man? Or is she the victim of a society that encourages marriage to be an act of alliance between socially privileged and influential? Or in the end, is Medea just a victim of fate?
If she is read as a victim, then we are lead to see the world of Ancient Greece in a different light. What kind of society drives a women to kill her own children? What kind of dilemma could lead a woman to act against her personal beliefs or moral centres? Is it patriarchy? Chauvinism? Or is it just strictly conservative? Euripides cleverly instils into the minds of his audience a view of Greece they are not accustomed to. It is a disordered world. One where social status and pride is placed above love and morals. It is a world where the good may suffer and the evil can get away with anything.
Can Euripides be seen as a misogynist? Or was he a feminist? He plays with gender equalities and expectations throughout his play. Women are put in scenarios that require them to take drastic decisions. The women, who otherwise lie in the margins of society are now put on centre stage. He gives them a voice and not only that. He gives them power.
In Medea, he gives Medea the power to manipulate people. She knows exactly what to say and when. When the chorus discourage her revengeful thoughts, she appeals to them as a woman, as a deceived wife. She emotionally draw them to accept her views and agree that she has no other choice than to make Jason pay for his mistake. She recognises Aigeus’s yearning for a male heir. She promises him the gift of fertility in return for safe haven in Athens. Here she manipulates him by reasoning with him and telling him how lost and desperate she would be once the man she loves abandons her. Then she tells him how much he need her help. Medea manipulates Jason by pretending she has finally given up her stubborn nature. She appears calm and accepts Jason’s views as wise and hers as merely based on the jealous feelings of a wife. Then she is able to tell exactly how Glauke, Jason’s bride will react at the sight of all the fine presents Medea will give her. She knows, Glauke, excited, will try on the clothes and crown and burn to death. This way, Medea is able to influence the actions and fates of those around her. Therefore, can the manipulative woman be seen as a victim? After all, she is so calculating and seems to get away with almost anything.
The classification of Medea has always been one of the most debated topics in ancient and classical literature. It is highly subjective.