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The children are their mother's power in a very real sense. When Medea must appeal to the best intentions of Creon, she presents the case of her poor unfortunate children that are no deserving of any punishment. It is through his pity for the children that Medea is able to remain for a time long enough to fulfill her plans to get revenge. Again, her children assist her when no one else could by taking the poisoned gifts to their step mother. Because the children are innocent, no one would suspect any foul play, unlike if Medea herself delivered these items. Many times all of Medea's plans are built on the assistance that her children will provide for her, and they offer their services to her without any hesitation. She has complete power over them because she is their mother, and at the same time they are able to provide her with a grand amount of help.
Medea has allowed her wrath to overcome all other thoughts that she may have. "Immoderate love gives way to immoderate hate...
Additionally, the children have been the key to Medea's success in everything she does. They are powerless to save themselves from her wrath, despite being the only reason she was able to succeed in all else. This betrayal of innocence, trust, and loyal service is what makes the killing of Medea's children the most terrible event in the play.
Works Cited
Euripides. Medea. Trans. Ian Johnson. http://www.mala.bc.ca/~johnstoi/euripides/medea.htm
Geetanjali. "Feminist Reading of Euripides' Medea." Literary Mosaic II. 1 April 2004. http://literarymosaicii.blogspot.com/2004/04/feminist-reading-of-euripides-medea.html
Tagle, Steven. "The Dramatic Appeal of Human Props in Greek Drama." Stanford University. 9 March 2004. http://www.stanford.edu/~stagle/ESSAYS/WIN%20IHUM33A%20E02%20HumanProp.htm
Works Cited
Euripides. Medea. Trans. Ian Johnson. http://www.mala.bc.ca/~johnstoi/euripides/medea.htm
Geetanjali. "Feminist Reading of Euripides' Medea." Literary Mosaic II. 1 April 2004. http://literarymosaicii.blogspot.com/2004/04/feminist-reading-of-euripides-medea.html
Tagle, Steven. "The Dramatic Appeal of Human Props in Greek Drama." Stanford University. 9 March 2004. http://www.stanford.edu/~stagle/ESSAYS/WIN%20IHUM33A%20E02%20HumanProp.htm
This double standard is prominent in Medea, for example when Jason admits that it is normal for women to get very angry when their husband is being unfaithful, yet he expects Medea to forget about it. (Euripides, ln 908-910) This is yet another way in which Medea parallels the position of women in our society today who are also expected to keep their feelings hidden. Medea has an inclination towards
Medea also uses her children by having them deliver poison in the disguise of gifts, as no one would expect the children to have ill intentions. The children present the gifts as a request to let them avoid banishment, but in reality the gifts have been sent not to aid the children's situation at all. Throughout the play Medea acts like a puppet-master using the children to get her
"As a female foreigner whose relationship with Jason was only formalized with the birth of the children, Medea would have been viewed as an irregular companion, and after Jason's betrothal to Glauce, she would be reduced to the status of concubine." (Guastella in Claus) This makes them a helpful tool in securing her bond to Jason. Another means by which they can be useful props for Medea is when she
Although appearing to act in cold blood, Medea is obviously driven by the irrational forces of her subconscious when he murders her children. On the one hand her act is a reaction towards the threat that a hostile society poses against her identity. On the other hand, he murder is a revenge against her husband's infidelity. The fact that Jason tries to lessen his own deed and make it
play entitled Medea Euripides wished to make a political statement, which was that marriage could be used to forge political ties. He also wished to reveal the disadvantages that marriage to a barbarian brought upon an individual in ancient Greece. Barbarians were foreigners whom ancient Greeks were condescending towards because they considered them to be uncivilized. The character Medea was labeled a barbarian as Jason stated, "first, thou dwellest
Medea relates a story about the power of love, which induces sacrifice as well as jealousy and feelings of revenge aroused by betrayal. Medea, the principal character, is a woman, who is so smitten by her love for Jason that she forsakes her family, country and people to live in "...the land of Corinth with her husband and children, where her exile found favour with the citizens to whose land