Medea Short Notes

Dues Ex Machina

It is Latin for a god from a machine. It describes the practice of some Greek playwrights, specially Euripides, to end a drama with a god, lowered to the stage by a mechanical device. This god by his judgement and commands resolved the dilemmas of the human characters. This phrase is now used for any forced and improbable device a telltale birthmark or unexpected inheritance, the discovery of a lost will or later by which a hard pressed author resolves a plot.

In Medea, Euripides has adopted this device. This is a divine intervention whenever a dramatist is at a loss to round off a story. The complications cannot be resolved and knots cannot be untied without divine intervention. Euripides has not employed this device as lavishly as is usually maintained. We should keep it in mind that Euripides introduced dues ex machina not because he was not a skilled dramatist. It was not that he was seeking intervention of god for his inability to round off the story. There were other reasons for adopting this device. The dramatist gained more time to unravel the plot. Euripides got rid of the myths by relegating them to the Prologue and to the dues ex machina.

The real dues ex machina appears not hovering in the air, nor gorgeous in dress, nor a god or son of a god, but man in flesh and blood-Aegeus, the King of Athens. He has been to Delphi to ascertain if he will have a son. He assures her of his hospitality.

The Golden Fleece

The Golden Fleece has a great importance in the story of Medea and Jason. Medea was the grand-daughter of the Sun. Her father, Aeetes, was the King of Colchis, at the eastern end of the Black Sea. There was the Golden Fleece in his kingdom. This treasure was guarded by a dragon. Medea met Jason when he came to Colchis in quest of the Golden Fleece.

Jason was the rightful King of the Greek state of lolcos. When he was too young to rule, he went away to be educated by the centaur Chiron and his uncle Pelias ruled over the state. When Jason was old enough, he returned, but Pelias was reluctant to give up the throne. He asked Jason what one should do to rid oneself of a man by whom one felt threatened. Jason replied, "Send him to get the Golden Fleece". Pelias took the advice and Jason accepted the challenge. After many adventures they came to Colchis. Aeetes was unwilling to part with the Fleece, but offered it to Jason if he could perform a series of difficult tasks like yoke two monstrous fire-breathing bulls and plough with them and sow some dragon's teeth, from which would spring armed warriors whom he had to kill and finally he would have to overcome the dragon guarding the Fleece.

The cloud goddess Nephele saved her two sons carrying them away through the air on the back of a ram with Golden Fleece. While crossing from Europe to Asia, Helle fell into the sea and was drowned. Phrixus came safely to Colchis and gave Aeetes the fleece of the ram. From all these instances, we may conclude that the Golden Fleece was very important for the plot.

Jason and Medea

Jason and Medea are the most important characters in the tragedy of Medea. Medea is present esent from the beginning to the end of the play. Jason was the undisputed leader and a distinguished hero, but he was a bloodless and colourless figure. He met Medea when he went to capture the Golden Fleece and they were struck by the arrow of the god of love. Medea won the sympathy of all when she appeared on the stage. The Nurse, the Attendant and even the Chorus had profound sympathy for her, but they had utter antipathy for Jason. Beside the heroine, he appeared to be a puny figure. We pity him but hardly, do we respect or sympathize with him. He betrayed Medea and secretly married Glauce, the daughter of Creon. It was a terrible shock to Medea and she became firmly determined to take revenge on him. She did not even spare her own children. She decided to kill her own children and in this way Jason would break down. She changed her ways and behaved very politely to keep her intention secret. Jason felt happy at her change of behaviour. She killed Glauce and Creon very tactfully. Jason was unmistakably an egoist but not a Machiavellian egotist.

The children were to die and realizing that Jason rushed to save them. We find him a helpless and doting father. He was no longer an infatuated husband and a fond father. He was no longer an ambitious father and not at all a match for her. Jason was no longer a monster of ingratitude. He was a completely crushed man who lost everything for his lust and passion. Medea fulfilled her desire.

The Importance of sons

In Medea we find that Medea has got two sons of her own. They have much importance in the action of the tragedy. Medea loved her sons well and they were loving to their mother. Jason was not duly attracted to his sons. When Jason betrayed her love and married the daughter of Creon, Medea was infuriated and firmly decided to avenge her betrayal. The first target was her sons which would move Jason deeply. The child-motive might be very active at this time. The Nurse tried to dissuade her from this motive, but was in vain. 

The Nurse expressed surprise that Jason would feel indifference about his sons. A father, as head of his household, was owed total obedience by his sons. He could renounce or disinherit them, but he expected them to look after him in old age and defend his honour and reputation after death. We may cite the example of Orestes who was obliged to avenge his father's death. It was Agamemnon. It was a matter of honour that the "aikos" should not die out or be destroyed. It was through his sons that a man perpetuated his "aikos". Medea was strongly determined to kill her own sons because it might move her husband's heart. Her revenge began with the killing of sons which appeared to Jason heartrending. It was a terrible shock to him and he could not stand the murder of his sons. So it was the child- motive which hurt Jason thoroughly. In this way, the children played a very important role in Medea.

The Chorus

The Chorus was an important instrument in the Greek dramas and specially, tragedies. The deployment of this instrument served an effective role in classical tragedies. At first sight, the Chorus appeared as a detached observer and remarked on the passing events. It did not involve itself in the consequences of the happenings. In Medea we find that the Chorus constitute of fifteen Corinthian women. In parodos the Chorus are drawn to the scene. This entry is unlike the usual, more formal entries of many plays in which the Chorus come on singing a structured ode. In Medea, they enter during a lyrical passage, and their first urgent, short lines are easily integrated in the mood of agitation created by Medea's cries.

At the time of Medea's first production (431 B.C.) there were fifteen members in the Chorus. They entered from the sides and performed in the open space of the orchestra. Viewed from above by the audience in the tiered seating, their dance and patterns of choreographed movements were an important element in the expressiveness of Greek Theatre. On the modern stage it is common to have fewer Chorus members. The Chorus were sympathetic to Medea. Lyrical passages, which include the formal choral odes, were an integral feature of classical Greek Theatre. They gave an offstage operatic quality to parts of the plays. In the passage (87-202) Medea would have been offstage, the Nurse on stage and the Chorus would be in the orchestra, moving as well as singing.

Minor characters in Medea

There are some minor characters in the tragedy, Medea, and they are wonderfully portrayed by Euripides. They are Nurse, the Tutor and the servants. We find them in the Prologue and they are exposed in the facts of the situation. The audience is enlightened of the facts. The servants are aged people and look after the interests of their mistress. The Nurse and the Tutor are always sympathetic to Medea. They give good advice. Even when Medea is determined to kill her children, they try to dissuade her from such a dastardly deed. The servants are very much devoted to their mistress. The speeches of the Nurse are true to life. She does not give facts and will retire very soon for good, but she is treated as one of the most successful characters of Euripides. She is a very devoted servant of Medea and identifies herself with the cause of her mistress. She expresses her tale with bits of homely philosophy. She says, "old friend, tutor of Jason's sons, an honest slave suffers in her own heart the blow that strikes her mistress". She is overwhelmed with grief and cries out the misfortunes of Medea.

The Tutor blatantly condemns Jason's conduct for his betrayal to Medea. He does not want anything else than humane treatment and behaviour from his master. Both the Nurse and the Tutor are depicted as types. They are very faithful slaves who are frequently found in the Euripidean plays.

Glauce stands in the path of Medea and makes her suffer intolerably. Creon is unforgettable in a short scene. He is a weak man who tries to rise above himself in firmness. At last he realizes that he fails to read the woman and that is why, he suffers so terribly and meets the doom.

The Conflict in Medea

The conflict is called the soul of a drama and this conflict that we find in Medea is an eternal conflict. This is the conflict of Man and Woman in all ages. This is the conflict between any husband and any wife. Even critical debates are there very much heard.

In Medea there is such a conflict between Jason and Medea. Everything went on quite happily, but after the lapse of years there came a breach between them. They had two sons. Civilized men loved and deserted uncivilized women and they accepted this kind of desertion as they thought that they were destined to be deserted. Medea was a sorceress and could do harm others with her art of sorcery. The conflict crept in with the second marriage of Jason who took Glauce, the daughter of Creon, as his second wife. This marriage of Jason made their life stormy and Medea was terribly infuriated. She decided to take revenge on Jason. In this way the conflict between Medea and Jason came to be culminated. The spirit of revenge on Medea became so terrible that she did not spare even her sons and killed them. It was because Jason's heart would be shattered by such killing. Other murders followed. Both Creon and Glauce were killed artfully. Jason tried to save the children but in vain. The tragedy came to the end after several murders.

The second marriage of Jason set the ball of conflict rolling and what followed further was a shattering blow to Jason and his betrayal of Medea paved the path of destruction.

Use of Prologues

Euripides made certain innovations in writing tragedies. He introduced prologues, epilogues and dues ex machina. In case of prologues, it is usually spoken by one of the characters. It happens occasionally. The prologues of Euripides are more than what we understand ordinarily by prologues. They include events and their narration which are absolutely necessary. They provide the sketches of the plot. The prologue is a narrative which throws light on the antecedent circumstances. The prologue of Euripides is delivered by some supernatural being or one of the characters of the play. So they contribute largely to the plays.

According to Symonds, "Euripides expanded the already existing elements in Greek tragedy, beyond their power of enduring the strain he put upon them. In their dramas the Greek poets did not aim a surprise; the spectators were expected to be familiar beforehand with the subject of the play. But when the plot became more complicate and the incidents more varied under the hands of Euripides, prologue was the natural expedient."

The Prologue performs a very important function. It makes the story intelligible to others. The Prologues are not always delivered dispassionately. The Nurse in Medea is emotionally involved. The paidagogos in Medea provides the Nurse with the information that Creon is determined to send her to exile. It presents a tense dramatic situation. It should be emphasized that a man or a woman does not predict the future in the Prologue. Grube points out, "The Prologues as a whole give the perspective of past events, describe the present situation, and put special emphasis on certain aspects of it". So the Prologues show their importance in the Greek tragedies.

Medea Short Notes

Use of the Epilogues

Euripides made a good use of the Epilogues in his plays. The choral ode which was presented last was called the epilogue. In the Greek dramas Prologues and Epilogues were two important elements. The culmination was reached in the Epilogues. Grube remarks, "the truth is that no one is tempted to speak or 'epilogues' except when a god or goddess comes to made a speech". He remarks further, "Far from looking on his 'divinities' speeches as 'epilogues', it seems that Euripides, on the contrary, took some pains to work them into the body of the play". A god is brought in to get the poet out of a situation which admits of no other situation.

Euripides introduced dues ex machina not being forced to do so to round off a plot which was unmanageable. The epilogues were presented at the end of the play as a supplementary narrative. Euripides presented the epilogues in about ten plays and only in two of them we find dues ex machina. Medea is one of the greatest dramas of Euripides. Some critics have found her inconsistent and with conflicting motives. Aristotle was displeased with Medea's unnatural escape by a chariot, drawn by horses. She was more a magician than a normal woman. She did everything with her sorcery. She was not a devoted and loyal wife but a betrayed wife burning with vengeance. Medea is the most pathetic of the tragedies of Euripides. She was a wronged wife as well as a mother. She wished Jason's lifelong suffering and unhappy existence.

This epilogue of the drama makes the play a story of terrible suffering. It is a drama of love, betrayal, vengeance and lifelong suffering.

The Messenger

A messenger was called a Herald in the Greek drama. It was his duty to report the action that did not take place on the stage. The incidents that took place offstage were reported or informed by the messenger. So he also played an important role in the Greek dramas. In Medea we find the presence of the Messenger to report the events happening offstage.

Gilbert Murray has pointed out the characteristics of the Messenger. They are "The quiet beginning, the constant rise of tension through various moods and various changes of tone up to a climax; the carefully arranged drop from the climax to the steady close, without bathos and without any wrecking of the continuity".

In Medea in the later part of the drama a Messenger came and said that Glauce and Creon, wrapped in a sheet of phosphoric flame, died in torments. The daughter put on the robe and the golden chaplet and was immediately consumed by poison. The father in an attempt to save his daughter was burnt to death. Medea was very happy when she heard it from the Messenger. A Messenger's speech should not only be a good story in itself, but it should be prepared and led up to that. The speaker begins with what we are wishing to hear what he has to say.

In this way, the Messenger came to inform how Medea paved the path of death of Glauce and Creon and how she satisfied her spirit of vengeance. So the Messenger served the purpose of Medea by delivering the news of death of Creon and his daughter.

Theme of Medea

The theme of Medea is the conflict between a man and a woman. It is an eternal conflict and it takes place in the case of any husband and wife. This conflict between Jason and Medea reflects this sort of conflict. Through centuries civilized husbands have loved and deserted uncivilized wives. Such wives have taken it for granted they have been destined to be like that. They have cursed their fate and there has been no redressal of it.

Medea is the mouthpiece of such women. She has given expression to the feelings of sufferings of such women. Here we find the theme of love, marriage and betrayal. Jason and Medea lived happily at the beginning, but complications cropped up after Jason married for the second time. This marriage of Jason to Glauce, daughter of Creon, made their life stormy as it was a betrayal to Medea. She was terribly infuriated and decided to avenge this betrayal and she was firmly determined. It was a shattering blow to her pride and passion which was inordinate. The spirit of revenge reached the culmination and Medea chalked out a plan to kill Creon and Glauce. She served her purpose and killed both father and daughter with an artful plan. Then came the turn of her children. Jason tried to save the children, but it was too late. He was left behind for a long unhappy life. This was Jason's punishment.

First, the marriage of Jason and Medea was unencumbered. Then came the second marriage of Jason to Glauce and it dealt a terrible blow to Medea. She could not stand it at all and the betrayal was dealt with most terribly. Thus the story of love, marriage and betrayal came to an end.

Euripides' gods

The classical dramatists had belief in gods and goddesses and it was supposed that they had their abode in Mount Olympia. They were god-fearing and influenced by the gods and goddesses. Their plays used to have a divine background. All the great Greek dramatists exhibited how the human beings were influenced greatly by the gods and goddesses. The Christian god is eternal and possesses human virtues and vices. The Greeks moulded their gods after the images of man. To the Christian god, good and love are synonymous. Euripides said, "If the gods do evil they are not gods". In contrast to Christian god, the Olympian divinities were very much human and sometimes sub-human.

Euripides' sensibility was refined and judged the Olympian gods critically. He was neither an atheist, nor a sceptic. He used myths and legends in different ways. In the presentation of gods Euripides was customary. He gave them human shape, personality and character. He did not ridicule them or caricature them. He was not antireligious.

In Medea Euripides adopted the device of dues ex machina and divine presence was felt in the times of need. As a dramatist, Euripides naturally used the present symbols to represent the divine. The divine presence either helped the character or gave proper guidance at difficult moments or situations. The question whether Euripides did or did not believe or led us to believe or wished us to believe in the gods. He wanted us to accept the divine framework as part of the story.

Change in the character of Medea

Medea was the princess of Colchis. She loved too well but not wisely. The scene was laid before Medea's house in Corinth. The Nurse was in full sympathy with her, but the day was accursed when Jason went to Colchis to recover the Golden Fleece. Medea and Jason fell deeply in love with each other, but Medea betrayed her father for the sake of love. They loved and married and had children. But their love did not live long and their happiness came to an end. Jason married secretly the princess, Glauce, the daughter of Creon, the King of Corinth. It was absolutely clear that nothing but evil would come out of the second marriage. It was a time of suffering and sad plight for Medea. She tried to change the mind of Jason by reminding him of all the good turns she had done to him. It went unheeded and Medea was in utter despair. She was in grief and became a symbol of horrible suffering.

Medea's character underwent a sea-change and she became very much vindictive and revengeful. She was a sorceress. She became furious and could not stand such a betrayal of Jason. She became firmly determined to teach him a good lesson. Thus her character underwent a total change and her spirit of vengeance knew no bounds. At any cost she would avenge Jason's betrayal.

The banishment of Medea and her children

Creon was determined to banish Medea and her two sons. Learning this from the Attendant the Nurse told him to keep a watchful eye on them and not to allow them to go outside or come before their mother. Medea's wrath would not be appeased till it would swoop down upon some prey. Her children might be her prey. She could not be calmed, rather she was becoming more and more furious. Medea wished to die for her betrayal by Jason. She invoked Themis, the goddess of justice and prayed to her to destroy both Jason and his newly married wife. She wanted Zeus to her side and she dwelt on the hardships of being a woman.

Creon, the father of Jason's second wife, was very much sceptical of Medea as she might do harm to his daughter on any occasion, knowing that discretion is the better part of valour, Medea did not display her wrath. She spoke very softly and behaved very politely and expressed that she did not bear any grudge against his daughter. Creon was not convinced and moved, but he feared that Medea would seize the earliest opportunity to do any kind of harm to his daughter. Creon conceded that instead of leaving the place that very day, she might leave with her two sons the next day. Jason rebuked her for her unseemly behaviours towards the royal house and she herself was responsible for their banishment. She had invited her doom. Jason tried to impress on her that his second marriage was politically motivated, but she was not moved at all and remained firmly determined to avenge the betrayal by hook or by crook.

Finally, the real dues ex machina of the tragedy appeared, not hovering in the air, nor a god, nor the son of a god, but a Gentleman, the King of Athens on his way home from Delphi. There was a condition that if she could go to Athens on her own, he would not refuse hospitality. So there was an opportunity to evade banishment.

Medea's killing of Creon, Glauce and her children

When Jason married Glauce, the daughter of King Creon, Medea was terribly infuriated and determined firmly to take revenge on Jason, Glauce and Creon. She wanted to see Jason in dire straits and chalked out a plan to avenge the betrayal to her by Jason. Her wronged children would be the fittest instruments of her vengeance. Medea decided not to kill Jason because death would be a relief to him. His suffering must be life-long. Medea became soft and polite, her tone was quiet and she pretended to be apologetic for her words. She was not furious to Jason and asked the children to bid good-bye to their father. She was tender and sympathetic to Glauce. Then she told her children to give a rose and a golden chaplet to their stepmother. They pressed her hard to accept the gifts, otherwise they would not leave Corinth. Medea's children went to Glauce with their gifts. She accepted the gifts and Jason was beside himself with joy. Glauce agreed to their request and told them to stay in Corinth. Medea was grim and determined. She knew that if the children were kept alive, they would be killed by the Corinthians. So she must kill the children. Glauce and Creon wrapped themselves in a sheet of phosphoric flame and died in torments. The daughter put on the robe and the golden chaplet. She was immediately consumed by poison, from which the fire emitted. The father tried to save the daughter and was also burnt to death. Hearing the story Medea was overjoyed as her plan to get rid of Glauce and Creon was successful. Then her children were also slain. The curtain on the story of revenge and murder was wrung down. This is a revenge tragedy of Euripides. Jason was left behind to suffer terribly with an accursed life. It may be called a revenge tragedy.

Meden as a romantic figure

Medea is regarded as one of the most romantic figures in the Greek legends, but she does not seem to be very romantic in this tragedy. She has committed a series of crimes to help Jason in his difficulty. She has betrayed her father's trust, she has murdered her own brother and hacked his body into pieces to throw them into the sea. Moreover, she has betrayed Pelias and his daughters. Jason has reaped the benefit and is placed on the throne. But in return Medea has been dishonoured and betrayed. Jason's love has been melted like the autumnal mist at the touch of the sun. In the moments of infatuation Jason seems to have forgotten what kinds of crimes she has committed. The crimes once committed for Jason's success and prosperity may be committed again for his doom and undoing. Her spirit glows and flickers dragon-like against him.

Jason claims to have civilized a barbarian. Very soon he shifts his ground. He betrays Medea and marries Glauce, Creon's daughter, not for love but for political expediency. He has mentioned the advantages of his second marriage. It is politically motivated. The near and dear ones of Jason do not have any importance to him. Medea, a sorceress, becomes furious and she forgets her love for Jason and only the spirit of vengeance is firmly rooted. Now there is no romantic relationship, only betrayal and treachery remain and humane qualities are forgotten. Personal gains preponderate and love evaporates.

Jason's argument in support of his second marriage

In the very beginning Medea is a blushing maiden. She has been described as an unsophisticated maiden who has found her ideal man in Jason. They married and had two children. Very soon Jason shifted his ground and married Glauce, daughter of Creon. Medea became heart-broken and wanted to take revenge at any cost. Jason wanted to justify his second marriage putting forward the argument he was compelled to marry for the second time for sheer political expediency. He gave a detailed account of the manifold advantages of marriage with the princess, Glauce. He would be politically rehabilitated and eventually succeed to the throne on the death of his father-in-law. At the moment Jason and his near and dear ones were in a state of exile. His relation with a rich and prosperous royal family would definitely stand him in good stead. Medea, with her children, would not have to move about from place to place. The speech was convincing but it did not take into account the writhing heart of an unfortunate wife. The political considerations and the prospect of the golden days had no appeal to Medea.

She knew that if he had the honesty of purpose, he would not have played hide and seek. Jason's speech was a mere make-believe, full of sound and fury signifying nothing.

Jason

Jason is the son of Aeson, the half-brother of Pelias, the king of Iolcos. The throne of lolcos was usurped by Pelias and so Aeson was afraid of his son's safety and sent him to the Centaur Chiron. When Jason reached maturity, he returned to lolcos and demanded the throne. But Pelias was warned by an oracle to beware of a one- sandled lad. Jason had arrived with only one sandle. To get rid of him Pelias promised to return the throne if he would first recover the golden fleece. Jason agreed and undertook the journey to Colchis where it was preserved and protected. He embarked in the ship Argo with some fifty heroes of Greece. But the king of Colchis, Aeetes subjected him to some apparently impossible tasks to get back the Golden Fleece. With the help of Medea who fell in love with him, Jason succeeded in doing the tasks and returned to lolcos with the fleece. Medea betrayed her father and killed her younger brother to help Jason.

On their return to lolcos, they demanded the throne as promised by Pelias. But he refused to surrender the throne. Medea took vengeance on Pelias for the wrong done to the family of Jason and eventually he was put to death. Acastus, the son of Pelias, took revenge by driving them away from lolcos and Jason and Medea took shelter in Corinth. When Creon, the king of Corinth, pressed Jason to marry his daughter, Glauce, he agreed. As he betrayed the oath of love to Medea by marrying Glauce, Medea killed the king and his daughter by a magical cloth and killed her two sons by Jason herself. Jason died later on, by the falling of a piece of wood of his ship Argo while he sat under the old Argo. In the first part of his life, Jason was really a hero but in the second part, he was a coward who broke his promise of love and reaped the fruit of his betrayal.