Medea

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Haralu, L. (2017). Madwomen and Mad Women: An Analysis of the Use of Female Insanity and Anger in Narrative Fiction, From Vilification to Validation. ProQuest Dissertations Publishing. (Accession No. 10643100) Medea: "But when a man is vexed with what he finds indoors, he goeth forth and rids his soul of its disgust, betaking him to some friends or comrade of like age, whilst we must needs regard his single self..."

Catulle Mendès adapted Medea into his play Medée in 1898, in three acts and in verse. Alfons Mucha drew a poster for a performance of this play starring Sarah Bernhardt. The plot of Doctor Foster is actually 2,500 years old, reveals writer Mike Bartlett". Radio Times . Retrieved 4 November 2019. Kaggelaris, N. (2017). " "Euripides in Mentis Bostantzoglou's Medea", [in Greek] Carpe Diem 2". Carpe Diem 2: 379–417 . Retrieved 1 June 2018. Michael John LaChiusa created a Broadway musical adaptation work for Audra McDonald entitled Marie Christine in 1999. McDonald portrayed the title role, and the show was set in 1890s New Orleans and Chicago respectively. John Robinson Jeffers (January 10, 1887 – January 20, 1962) was an American poet known for his work about the central California coast.

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Theatre Lab's production, by Greek director Anastasia Revi, opened at The Riverside Studios, London, on 5 March 2014. Forgive what I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and a golden crown, and pray for her protection. Medea kills her son, Campanian red-figure amphora, c. 330 BC, Louvre (K 300). The one extraordinary visual moment occurs after the sons are murdered. It begins to rain on On Adrienne Rich, R.I.P., and Radical Transformation". jewishweek.timesofisrael.com . Retrieved February 4, 2020.

bloodbath of four persons that includes her sons and that leaves Jason’s life a total desolation, one feels only horror. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason. Jason accuses Medea of overreacting. By voicing her grievances so publicly, she has endangered her life and that of their children. He claims that his decision to remarry was in everyone's best interest. Medea finds him spineless, and she refuses to accept his token offers of help. Gerry Max, Horizon Chasers – The Lives and Adventures of Richard Halliburton and Paul Mooney (McFarland, c2007), pp. 80-82, qtd. at p. 80. a b Helene P. Foley. Reimagining Greek Tragedy on the American Stage. University of California Press, 1 Sep 2012, p. 190 Medea's complaint that Jason married another might have carried less weight had Jason followed the conventional method of divorce in Athens. Although women could only under exceptional conditions obtain a divorce, any Athenian man could rid himself of a wife simply by publicly renouncing his marriage. Marriages were arranged by the parents with no input from the daughter; thus Medea's flight with Jason was scandalous impertinence. The daughter carne with a dowry, a substantial one if the family was wealthy. Once married, the woman served her husband by caring for the children and slaves, who legally belonged to her husband. Medea accurately describes the conditions of married life for women in lines 231-251. Athenian women never experienced independence during then-lives. They received no education, lived in separate quarters from their husbands, and seldom went out. The ideal woman was "spoken of as little as possible among men, whether for good or for ill" according to the historian Thucydides (c. 460-400 B.C.). Athenian law forbade Athenian men to marry any but Athenian women, but it was not uncommon for Athenian men to keep foreign concubines, who often had more education than their Athenian rivals. However, the children of these unions were not official citizens of Athens, just as the children of Jason and Medea would not be official citizens of Corinth, while Creusa's offspring by Jason would enjoy the full benefits of Corinthian citizenship.Many books followed Jeffers's initial success with the epic form, including an adaptation of Euripides' Medea, which became a hit Broadway play starring Dame Judith Anderson. Hyginus Fabulae 25; Ovid Met. 7.391ff.; Seneca Medea; Bibliotheca 1.9.28 favors Euripides' version of events, but also records the variant that the Corinthians killed Medea's children in retaliation for her crimes. The production stars Sophie Okonedo (Medea) and Ben Daniels (Jason/Tutor/Creon/Aegeus+). They are joined by Marion Bailey (Nurse), Penny Layden (3rd Woman of Corinth), Jo McInnes (1st Woman of Corinth) and Amy Trigg (2nd Woman of Corinth). At this performance the Boys are played by Oscar Coleman and Eiden-River Coleman.

Pier Paolo Pasolini adapted the legend into a movie of the same name in 1969 starring Maria Callas as Medea Saïd, Suzanne (2002). "Greeks and Barbarians in Euripides' Tragedies: The End of Differences?". In Harrison, Thomas (ed.). Greeks and Barbarians. Translated by Antonia Nevill. Taylor & Francis. ISBN 0-415-93959-3. It can be argued that in the play Euripides portrays Medea out to be an enraged woman who kills her children to get revenge on her husband Jason because of his betrayal of their marriage. Medea is often cited as an example of the "madwoman in the attic" trope, in which women who defy societal norms are portrayed as mentally unstable. [16] Although, Medea is not the only character in the play to use deception; other characters, such as Jason and Creon, also use lies and manipulation. A competing interpretation is that Medea kills her children out of kindness because she cares and worries for them and their well-being. Once Medea commits to her plan to kill Creon and Jason's new bride, she knows her children are in danger of being murdered. Medea is not paranoid. In another version of the myth, the people of Corinth kill her children to avenge the deaths of Creon and his daughter Glauke. At this time in myth and history, helping one's friends and hurting one's enemies was considered a virtue. Thus, by this ethic, the Corinthians will do right by avenging their king and princess. Conversely, a focus on Medea's rage leads to the interpretation that "Medea becomes the personification of vengeance, with her humanity 'mortified' and 'sloughed off'" (Cowherd, 129). [17] Medea's heritage places her in a position more typically reserved for the male in her time. Hers is the power of the sun, appropriately symbolized by her great radiance, tremendous heat and boundless passion. [12] In this view Medea is inhuman and her suffering is self-inflicted just as Jason argues in his debate with her. And yet, if we see events through Medea's eyes, we view a wife intent on vengeance and a mother concerned about her children's safety and the life they can be expected to live. Thus, Medea as wife kills Creon and Glauke in the act of vengeance. Medea as a mother thinks that her children will be better off killed by her kind hand than left to suffer at the hands of an enemy, intent on vengeance. And so, Medea saves her children from this brutality and a worse fate by killing them herself, providing them with as peaceful an outcome as she can. In conflict with this sympathetic undertone (or reinforcing a more negative reading) is Medea's barbarian identity, which some argue could antagonize [ need quotation to verify] a 5th-century BC Greek audience. [15]

In her inimitable style, Edith Hamilton describes the mind and spirit of ancient Greek culture and includes a brief chapter on Euripides. While both Jeffers and Euripides give the nurse shuddering premonitions in her entry monologue of the terror that is about to be unleashed, Jeffers paints a more detailed picture of Medea's crazed hatred. B.M.W. Knox. Word and Action: Essays on the Ancient Theatre. Baltimore: The Johns Hopkins University Press, 1979, p. 303. Chrysanthos Mentis Bostantzoglou makes a parody of this tragedy in his comedy Medea (1993). [35] [36] His poetry and philosophy inspired the founders of the U.K.-based Dark Mountain Project ( https://dark-mountain.net/); including taking its name from the last line of Jeffers' 1935 poem, Rearmament, ( https://robinsonjeffersassociation.org/his-writing/poetry/rearmament/). The group's 2009 genesis text, Uncivilisation: The Dark Mountain Manifesto, was also influenced by Jeffers' writing and "inhumanism" philosophy.