Transcript of "Medea" By:Euripides Analytical Project ..

period of gloom end with a strong, almost a mystically strong, note of peace and reconciliation. This note occurs, though with less intensity, at the end of other late plays, such as the and the and, though without a god, in the . It does not occur at all in the early plays. The and end in pure hate; the ends in wonderful beauty and a reconciliation between the hero and his father, who are natural friends, but it keeps up the feud of Aphrodite and Artemis and contains a strange threat of vengeance (v. 1420 ff.). The lovely Thetis of the brings comfort and rest but preaches no forgiveness; on the contrary the body of Pyrrhus is to be buried at Delphi as an eternal reproach. Euripides all through his life was occupied with the study of revenge. It was a time, as Thucydides tells us, when "men tried to surpass all the record of previous times in the ingenuity of their enterprises and the enormity of their revenges." Euripides seems first to have been almost fascinated by the enormous revenges, at least when they were the work of people who had suffered enormous wrong. He seems, in plays like the , to be saying: "If you goad

Herakles (Euripides) - Wikipedia

quoting from a lost play of Euripides in which the merits of a dutiful wife are praised.
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Literature Humanities Fall 2014

In the tragedy Medea, written by Euripides, Medea plays the major role in this story, unlike most Greek stories with women playing only minor roles, but she also demonstrates many behavioral and psychological patterns unlike any other Greek women....

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During his time, Euripides was unpopular since he defied the commons themes of tragedies during the 430s B.C.E.; he instead introduced a nihilistic and disturbing tragedy focused on women, slaves and persons from the lower class....

Euripides - Wikiquote
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Another large experiment of this time is the , or (410?). It is the longest Greek tragedy in existence, and covers the greatest stretch of story. Aeschylus, we remember, had the habit of writing true "trilogies"—three continuous dramas, carrying on the same history. The seems like an attempt to run the matter of a whole trilogy into one play. It does not fall into either of the divisions which I have sketched above: it is neither a play of fancy nor yet a realistic tragedy. But even if we had no external tradition of its date we could tell to what part of the author's life it belongs. It is written, as it is conceived, in the large and heroic style; but it shows in the regular manner of this period a general clash of hatreds and frantic ambitions and revenges and cruel statesmanship standing out against the light of a young man's heroism and a mother's and a sister's love. It is like Euripides, too, that this beautiful mother should be Jocasta,

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as in Sophocles." Aristotle may be thinking of the embolima of Euripides' later plays (satirized also by Aristophanes), but he is certainly wrong about the Medea.

A Room of One's Own - Project Gutenberg Australia

A good key to the first of these types of play is to be seen in Aristophanes’ comedy, . The gayest, sweetest and most irresponsible of all his plays, it was written just after the news of the final disaster in Sicily, when ruin stared Athens in the face. And the two heroes of it, disgusted with the ways of man, depart to live among the birds and build, with their help, a splendid Cloud City. In much the same spirit Euripides must have written his . He produced it in 412, the same year in which he was invited by the anti-war government which came into power after the news of the great disaster to write the national epitaph on the soldiers slain in Sicily. He wrote the