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Medea’s transition from the background to the central character is executed very smoothly. She is first heard moaning in the background that she is “wretched” (53) and “a hateful mother” (54). She even asks “to die, and so find rest, leaving behind this loathsome life” (54). However, she comes forward, very composed, to address the Chorus, which shows that, though she is driven by her emotions and does not always have complete control over them, she does have the cunning to mask them when she needs. In Euripides’ play, Medea’s cunning is even more prominent because of the improvisation of her plan...
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Common topics in this essay:
- Medea
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- A Formal Comparison Of Euripides' Medea And Seneca'S Medea
- femininity in Euripides’ ‘Medea’ and Jean Rhys’ ‘Wide Sargasso Sea’.
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- To What Extent Can It Be Said That Bernarda Alba, From 'the House Of Bernarda Alba' By Federico Garcia Lorca And Medea, From The Play By Euripides, Although Created Millennia Apart, Are Very Similar Characters?
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