Euripides' "Medea" and the Problem of Spiritedness Author(s): Aristide Tessitore Source: The Review of Politics, Vol.

53, No. 4 (Autumn, 1991), pp. 587-601 Published by: Cambridge University Press for the University of Notre Dame du lac on behalf of
Review of Politics

Stable URL: http://www.jstor.org/stable/1407307 . Accessed: 16/01/2014 13:08

.
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

Cambridge University Press and University of Notre Dame du lac on behalf of Review of Politics are collaborating with JSTOR to digitize, preserve and extend access to The Review of Politics.

http://www.jstor.org

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

Euripides' Medea and the Problem of Spiritedness

kinds about the It alsosuggests that waslessthan Euripides sanguine enigmas. warwith waslikely tocallforth from citizen theimpending ofexcesses Sparta
of an it bringsto lightEuripides'soberassessment soldiers.Most importantly,

ofspiritedness, character the political problem: irreducibly ambiguous enduring virtue thewarrior parexcellence.

I. AMBIVALENCE a clearirony ofhistory; itsorigMedeademonstrates Euripides' in subsequent inallackofpopularity has beenreversed generations of suchthatit is verylikely thebestknownand mostinfluential The has of culture survived the transplants Euripides' plays. play and timeand continues to captivateaudienceswithits riveting theplay,ormoreprecisely, itsmaincharacter, power.Forall that, elicits an ambivalent reaction on thepartofaudiences. persistently a character Medea is hardly whomone couldlove. Although she is capable ofinspiring of audiencesas a champion contemporary women'srights, even thisenthusiasm is inevitably dampenedby theheinousness ofhercrime.Medea is less an objectoflove and sourceof inspiration and morean objectof fascination. one to dwell on one or another Although mightbe tempted side of her unwieldy to do justiceto the character, any attempt ofMedea requires attentiveness to boththe Euripidean portrayal elements which aresomehow sewntogether and shocking inspiring in Medea's soul.The tendency to simplify Medea byrendering her more consistently as a heroineor villain,althoughintelligible, has presented theMedea myth betrays Euripides' play.' Euripides
1. It is notdifficult B. M. W. Knox to find ofthese extremes. representatives makesa convincing case for in "The Medea ofEuripides," Medea's heroicstature YaleClassical Studies 25 (1977): 193-225. Denys L. Page seeksto render Medea's crimeintelligible heras a barbarianand a witch.Medea(Oxford: by depicting ClarendonPress, 1938; rpt. 1964), esp. pp. xvii-xxi.

587

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

588

THE REVIEW OF POLITICS

in sucha wayas toretain an intractable and perhaps evenaugment has not abouttheplay'scentral This ambiguity ambiguity figure.2 the fascination through onlyprovedto be a sourceof continued I will as to the but, points political argue, underlying teaching ages oftheplay.3 conflicts of On theeve ofone ofthegreatest military to the of his audience the all time,Euripides' directs attention play virtuepar excellence. As I the warrior problemof spiritedness, of is he to the problem sobering; diagnosis hope show,Euripides' at the character ofspiritedness reveals theineradicably ambivalent verymomentwhen we would expectthisqualityof soul to be If Euripides' endorsed citizens. mostenthusiastically byhis fellow from the of is the immediate of drawn analysis problem spiritedness as it context the War, is, continued Peloponnesian providedby in theplayattests, a messageforall time;Euripides' interest play ofpolitical on a permanent at theheart shedslight ambiguity life.4 oftheplayis provided The bestwayintothepolitical dimension To assertthat Euripidesrefuses to simplify by Medea herself. or at leastmoreconsisMedea by making hermoresympathetic theobjectofadmiration orvillainy is notyetprecise tently enough. It is notmerely thatEuripidessharpens thetwo-edged character in sucha way thateach of ofMedea, but thattheplay is crafted theseaspectsis presented in succession. It is onlyafter Euripides halfof the has drawnthe audiencetowarda heroinein the first in thesecond play,thathe goes on to revealherterrible brutality half. A. The playopenswith thenurse's ofMedea's account sympathetic on foreign past, one calculatedto conjureup heroicadventures
THE TRADITION OF THE GREEK HERO

shores romantic love and the delight (1-7), (8,13-15), (handanousa)

oftraditions thatcomprise theMedea legend,Euripides 2. Giventhevariety latitude in fashioning had considerable hischaracter. to one tradition According Medea unintentionally killed herchildren; to another, werekilled according they of Creon. See Page, Medea,pp. xxi-xxv. by kinsmen 3. For a thematic oftherelationship discussion between Greektragedy and see J. PeterEuben, ed., Greek andPolitical politicalphilosophy, Theory Tragedy ofCalifornia Press, 1986), esp. pp. 1-42. University (Berkeley: 4. For a treatment oftheproblem ofspiritedness as a theme in thehistory of see Catherine the Political Zuckert, ed., Understanding Spirit: political philosophy, toNietzsche Socrates Philosophical from Investigations (New Haven: Yale University Press, 1988).

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

589

of Corinth caused by Medea's presenceamongthe citizens (11her dismembered has murdered and Medea Actually, 12).5 to get abandonedher father's house, and used trickery brother, event this latter tokilltheir ownfather. Pelias'daughters Although is alluded to by the nurse(9-10), it is in the mostneutralway for thecrime Medea appearstolienotwith Responsibility possible. of Pelias. Aland gullibledaughters but withthe unsuspecting of a received within theconstraints Euripidesis working though hisplaybegins the most tradition, aspects objectionable bymuting of is initial Medea ofMedea'spast;Euripides' striking presentation in its restraint.6 force thefulland problematic Medea is a foreigner, Although This is blunted ofthisfactis initially apby Euripides. especially reactions of the chorusof Corinthian parentin the sympathetic concern Whenthey hearMedea's criesofanguish, their women.7 forMedea leads themto seekout hernurse.In thecourseofthis to them exchangetheyassertthreetimesthatMedea is a friend when she comes Medea uses the same expression (138, 179, 182). women outofherhousetospeaktotheCorinthian (227). Although Medea speaksofher statusas a foreigner, thespeechas a whole does not emphasizeforeignness but ratherthe solidarity of the a famous female sex.Medea delivers on the of women speech plight theunjusttreatment she has received from and, after explaining her confides intention to some to those find Jason, way avenge in actingas womenshowno hesitation wrongs.The Corinthian sincethey consider herdesireforretribution Medea's confidantes entirely just (endikus) (267-68). whenCreonannounces hisdecreeofbanishthereafter, Shortly aboutherintention to slaythree of ment,Medea is morespecific herenemies:Creon,Jason,and hisnewbride(374-75). Far from ofMedea's plan,theCorinthian beingdismayed bytheharshness womensing a song protesting the injustices perpetrated against
5. Pietro Pucciwrites, "The nurse 'celebrates' situaMedea's pastand present thepointofviewofpityand compassion, tion,and she does it from just as the Medea inthecourse ofthedrama" author, Euripides, presents Pity of (The Violence in Euripides' Medea[Ithaca: CornellUniversity Press, 1980], p. 32). 6. Medea is moreforthcoming aboutthemurder ofherbrother at 167. Howdistanced from hercrime; shows her ever,sheis at this point effectively Euripides herpast as shameful bemoaning folly. 7. Jason,forhis own purposesto be sure,also speaksofthehonorin which Medea is held amongtheGreeks(539-40), something thatis confirmed by the kindof reception Medea receives from King Aegeus.

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

590

THE

REVIEW

OF POLITICS

womankindby male poets, and anticipatea day when future poets will balance the ledger by singing of the heroic deeds of women (410-30). The relevantpoint is that, far fromseeing Medea as a wild and alien creature, the Corinthian women see her as their champion. Medea gives voice to the injustices sufferedby all women, barbarian and Greek alike. Her spirited promiseto requite those injustices, at least to some extent, is not presented as the excessivedesire ofa fierce barbarian but is embraced by theCorinthian women as their own.8 Not only does Euripides presentMedea as a new champion for Greek women, he also depicts her as belonging to a select group constituted by the greatestGreek heroes.' She has suffered unjustia bloody retribution fieddishonorand willinflict upon herenemies. Euripides fashionsMedea with the boldness, determination,and of the hero. The argumenthas characteristic passionate intensity been best made by Knox who concludes his descriptionof Medea in the followingway. She actsas ifshewerea combination ofthenakedviolence ofAchilles ofOdysseus, and thecoldcraft terms and, whatis more,itis in these her."Letno one,"shesays, thatthewordsofEuripides' playpresent "think me contemptible and weak,norinactive butquitethe either, - dangerous tomyenemies, tomyfriends. Suchare opposite helpful thequalitiesthatbringa lifeglory" It is thecreedby which (807ff). Homericand Sophocleanheroeslive- and die.1o Although Medea is a foreignwoman with a checkered past, Euripides' initial portraitof her is entirelysympathetic.Her past is painted in bold strokesand she is presentedas a new champion, a heroine who stands within the traditionof the greatestGreek heroes."
8. Contrary to Page's assessment, Medea,pp. xvii-xxi. 9. Forresemblances between see Knox, and Sophocles'Ajax, Euripides'Medea ofEuripides," p. 196 and ElizabethBryon "The Medea Bongie,"HeroicElements in theMedeaof Euripides,"Transactions Association 107 American ofthe Philological (1977): 27-56. 10. Knox, "The Medeaof Euripides," p. 202; cf. p. 198. 11. After Creonleavesthestage,Medea explains to theChorusherapparent as a necessary submissiveness retribution. partofherplanfor Bongiecomments: tearstheveilfrom hisMedea and we see her,clearly nowfor thefirst "Euripides Achilles or an Ajax, filled an unrelenting with resolve todestroy time,a veritable her enemiesand to vindicate herown honor" p. 38). ("HeroicElements,"

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA B.
MORE AND LESS THAN HUMAN

591

The turning of Medea beginsat pointin Euripides' portrayal the start of the secondhalfof the play. As the drama gradually buildsto itsappallingclimax,Euripidessystematically turns our his central character. sympathies away from It is after her encounter withKing Aegeus thatMedea first announcesher intention to killher children (791-93). The prechorusof Corinthian women protests this viouslysympathetic call changein Medea's plan for revenge they (811-16). Moreover, intoquestionMedea's intention in theholycityof to takerefuge Athens hometoall virtues, placeofharmony, (824-50). The birth and especially forwisdom,how could Athensprovide renowned forone polluted ofherown children? The refuge by themurder choruscompelsMedea and the audienceto consider in pictorial thehorror detail ofthedeedsheintends todo (851-65). The women willhonortheir ofsilence, butonceMedea setsin motion promise theinexorable chainofeventsthatwillresult in thedeathofher voice to their children, theygive despair(976-77). Medea's new for has set her at odds withher once sympathetic plan revenge friends. to unravelthe emotional bonds between Euripidescontinues Medea and theaudiencewhich he has been so careful to forge in thefirst halfoftheplay.Whenthemessenger arrives to announce thedeathofJason's brideand herfather, theviolence ofthescene is paintedin vividdetail.While theluridparticulars withwhich themessenger recounts thedeathagoniesofMedea's unsuspecting victims draws with itthesympathy oftheaudience, Medea isshown to be taking ofherhandiwork pleasurein thegoryconsequences itspityfor theinno(1127-28; 1134-35). As thechorus expresses centdaughter ofCreon whoseonlyfault is to have been takenin marriageby Jason (1233-35), Medea turnsher grim resolve those whoaremoreinnocent still Andas theplay against (1236ff.). reachesitsgrisly climaxand thewomenprayfor divineintervencriesofthechildren at the tion,theaudiencehearsthedesperate of their mother. As the terrified screams approach sword-wielding of thechildren giveway to deadlysilence,theonce sympathetic heroine has becomea repulsive and alien being. The gradual of Medea from theaudience iscompleted distancing in thelast scene.Fromherfinal above the position stage,Medea over her will She not even allow gloats victory. Jasonto see, much less touch,thebodiesofhis now dead sons. As she torments the

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

592

THE REVIEW OF POLITICS

a secondreversal. childless and wifeless Jason, Euripideseffects villainoftheplay,has now becomethe Jason,theunambiguous out he turns For all hisapparent strength, objectofoursympathy. Medea victim ofMedea'sdestroying tohavebeenthehelpless fury. however,has been cut loose fromthe cords of human herself, She seemsbothmoreand less thanhuman.The mursympathy. ofher she exaltsin thecompleteness deressofherown children, of on behalf Not onlyhave thegods failedto intervene triumph. theverychariot have furnished but they herinnocent victims, by far aboveJason which Medea's escapeis assured.As Medea stands his death,she has passed beyondsimplehuman and prophesies and terAs sheprepares to escape,Medea is distant proportions. a has become she rible; god.'2
II. THE FULCRUM OF SPIRITEDNESS constructed As I hope to have suggested,Euripides has carefully initialsympathy his play in such a way as to move his audience from to repellenthorror.'" His initial presentationof a new champion in the traditionof the greatestGreek heroes is gradually stripped away to reveal an alien being whose brutal crimesinspirefearand and what does Euripides mean dread. What accounts forthisshift to provide to accomplishby it?The remainderofthisessay attempts some answers to these questions.
A. THE FULCRUM

One way to address these questions is to consider with greater care exactly how Euripides effectsthe shiftin attitude toward Medea. We are helped in this regard by the chorus of Corinthian women. They consider Medea a friend,sympathizewithher victimization,and even approve her plan forbloody revenge. Their approbation turnsto protestonly when Medea decides to murder her children.To maintain thatit is Medea's resolveto murderher childrenthat, more than anythingelse, strainsthe emotional ties that have developed between Medea and the audience is to state the obvious. It is only slightly less obvious to point out that it is
12. Knox, "The Medeaof Euripides," p. 208. 13. T. V. Buttrey makesa similar observation aboutthewayin which Euripand Design idesmanipulates theattitude oftheaudiencein thisplay."Accident 79 (1958): 1-17, esp. pp. 7-9. in Euripides' American Medea," ofPhilology Journal

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

593

reveals morethananyother, ofthis deedwhich, thevery extremity Most women would be about Medea herself. full truth the angry A few wouldbe capable a younger wife. tobe setasidefor werethey But veryfew,perhapsonlyone, of exacting bloodyretribution. out a are capable of carrying revengewhichrequiresboth the to conand thewillingness murder ofone'schildren premeditated ofone'scrime.It oftheatrocity tinuelivingin thefullawareness with associated is Medea, and perhaps onlyMedea, whois forever thishorrific act. If thisdeed is more revealing of Medea than any other,it is reasonableto expectthatwhat enables Medea to make such a still.The would be morerevealing resolveand carryit through women ask: "Fromwherewill you get the courage Corinthian with . . . How willyou facetheblood ofyourchildren (thrasos)? intoMedea's thesequestionsis not onlyour best pointof entry of the also revealsa central soul, but, I would suggest, problem in first announces It is those where Medea play. especially passages her intention to killher children and thenstruggles againstand herown revulsion forthisplan thatwe find overcomes Euripides' answerto thesequestions. After thedeparture ofKing Aegeus,a specific retribupathfor she is willingenoughto tion has opened forMedea. Although theterrible deathshewillinflict onJason'snewbride contemplate she laments even to think about what mustfollow. To (783-89), her obliterate thehouseofJason the death of own children. requires How does sheaccountfor thefierce ofherchosenplan? extremity Medea explainssuccinctly witha phrasethatrecursat crucial theplay:"The mocking of moments throughout laughter (gelasthai) enemies is unendurable" no one consider me She "Let adds, (797). or weakor passive,butrather ofa different as one possessed petty to such belongthe mostgloriouslife"(807-10). Medea regards herself as belonging a to therace ofheroes.She seeksforherself ofany lifeofglory, one thatis utterly withdishonor incompatible kind. Medea will be victorious over her enemiesor die in the
14. Translations, to Arthur indebted although Way (Loeb edition)and Rex Warner(Complete are myown. Greek Tragedies),
- for character- sterntoward enemies and kindlytoward friends

" a steeled spirit(tlamoni (856, 865). Euripides' answer to thumai)?"

B.

SPIRITEDNESS

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

594

THE REVIEW OF POLITICS

Nor willshehesitate to use theswordagainst eventhose attempt. who are dearest to her,ifthatis whatis required to maintain her honor. When themoment forthefinaland But Medea does hesitate. mostbrutal actofrevenge Medea is torn asunderbyfeelarrives, love. imof maternal Not is Medea's reconsideration ings only if from heraudiportant she is to retainany degreeofsympathy her soul and in so within ence, it also lays bare a battleground whatit is that doingallowstheaudienceto see stillmoreclearly movesher most. smiles of As Medea contemplates thebright hopesand innocent herchildren she decidesthatshe cannotcarry out herplan. She willsparethelife ofherchildren and bring them intoexilewith her ofaction soonoverturned. is,however, (1040-48). Thisnewcourse The all butunendurable herchildren is overpain ofslaughtering I want come by another which is unendurable. "Do pain simply to bringupon myself enemies letting my mocking laughter, go This is unendurable" to do unpunished? (1049-51). She resolves the deed. Yet Medea againfalters thepart (1056-58). Thistimeshecurses ofhersoul whichfuels herdeadlycourse:"Wretched spiritedness do notdo thesedeeds."But eventhishesitation is over(thumos),15 come. Swearing the Medea declares she that furies, by avenging willneversurrender her children, them as victims to be leaving outraged byherenemies (kathubrisai) (1059-61). She is onceagain determined to do thedeed (1062-69). After thechildren toherself, Medea'sresolve a third is for calling timein dangerofunraveling Overcome the horror (1069-77). by ofwhatshe is about to do, she is compelled to sendherchildren reachtheirharrowing climaxas she away. Medea's vacillations makeswhatwillturnout to be herfinal one that determination, willremainunshaken to the end. Medea's tortured ruminations conclude with a general and revealing statement aboutherstate of soul.
I believe"spiritedness" 15. Although bestcaptures themeaning which Euripto thumos idesattaches in thiscontext, does notdependupon it. Spiritmythesis ednessis a convenient term for I have already theconstellation ofqualities which describedand whichare unambiguously at the heartof Medea's warrior-like character.

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

595

is stronger thanmysecond spiritthoughts, Spiritedness (thumos) which isthe causeofthe evils mortals. edness among greatest (107880)'6 The sword willcutloosethebondsofmaternal affection. Spiritthe warrior virtue is victorious on thebattleedness, parexcellence, groundof Medea's soul. Medeais untypical amongtheextant playsofEuripidesin that it consistently focuses our attention on a singleindividual; other characters to be so foils to reflect appear many enabling Euripides thedramaofhis central character morevividly. What Euripides in his central is the character displays problemof spiritedness. The play'scarefully crafted ambivalence towardMedea suggests her own ambivalence toward Euripides' passion.It is dominating the extreme character of Medea's spiritedness-her to inability tolerate dishonor and undaunted determination to exactthepenher enemies-that givesher stature altyfrom among the "most Greek heroes. It this same extreme ofspiritis,however, glorious" ednessthat leadstotheappalling murder ofherinnocent children. The difficulty withspiritedness is thatit can lead to bothnoble and savage extremes. The PlatonicSocrateslatermakesexplicit theproblematic character of spiritedness in whatis undoubtedly one of the mostfamousdiscussions of warrior virtuein classical literature. In their effort to construct a perfectly Socrates just city, and his interlocutors in whom speakabouttheclass of guardians the thumotic part of the soul dominates.The greatchallengein a class is to makethemfierce toward their eneforming guardian miesand gentle toward their sincethat fierceness couldjust friends, as easilybe turned towards fellow citizens (Rep. 375b-c).Clearly, is not in interested a philosophic forum within Euripides providing which toexamine theissue.He does,however, write a playwhich, on the powerinherent in drama,confronts his audience relying with theproblematic of What first character spiritedness. appears tobe sympathetic, attractive and evennobleturns outtobe repulsive, uglyand savage.
16. There is scholarly the authorship of 1021-80. controversy regarding M. D. Reeve arguesagainstthe authenticity of theselines. "Euripides' Medea 22 (1972): 51-61. G. M. A. Grube,on theother 1021-1080,"Classical Quarterly that 1078-80 is the climax of the entireplay. TheDramaof hand, maintains Euripides (Methuen:Barnes& Noble, 1941; rpt. 1961), p. 162.

C. THE AMBIVALENCEOF SPIRITEDNESS

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

596

THE

REVIEW

OF POLITICS

are occasioned by makingthe centralcharWhateverdifficulties acter of his play a woman, there is at least one powerfulconsequence thatis relevantto the thesisof thisessay." It heightensthe ofthe finalact and therebyintensifies Euripides' dramatibrutality zation of the problem of spiritedness:The very quality which is most necessaryto defend and protectone's own is shown to have a power capable of severingeven the powerfulnatural bond which unites motherand child.

III. THE

ATHENIAN CONNECTION

Euripides' Medea took last place in the competition. Many reasons are suggestedto explain itsinitialunpopularity,among which the triumphof a foreignfemale and the approbation of the gods of Medea's crime must loom large. A further despite the brutality reason suggestsitselfas well. The date of the performancein the springof 431 anticipatesby only a fewmonthsthe outbreakof the Peloponnesian War. Page's imaginativedescriptionof the tenorof life in Athens at the time of the performancemust be close to the truth. The imminent warwas thetopicofgeneral in Athens, conversation and patriotic was running was thebestcountry, feeling high.Athens war was a glorious and soldiers wereheroes.18 thing, Euripides begins his play by stokingthe firesof heroic warrior virtue as Athenians behold a sympatheticheroine unwilling to endure dishonor fromher enemies. However, in a bold reversal, Euripides' play reveals the potentiallydestructivepower of these same sentiments.
17. This statement is in no wayintended to dismiss theimportance ofgender in Medea, to putit aside. The complexity and nuanceofEuripides' treatmerely mentofthisissuefurnishes for an essayofitsown. I limit amplematerial myself totheobservation that bothacknowledges Euripides (in theChorusofCorinthian Greekviewofwomen. women)and defies (in personofMedea) theconventional in theplayto wielda sword,debunks thatarrogance Medea, theonlycharacter which stems from malesuperiority on thebattlefield the (248-51), outmaneuvers and complete on thehero defeat impotent King Aegeus,and inflicts devastating freedom from sexualstereotypes constituted Jason.It maywellbe thatEuripides' an obstacleto theaudience'sappreciation oftheplay. 18. Page, Medea,p. xi.

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

597

A. THE DRAMATIC WEAKNESS OF THE AEGEUS EPISODE the citizens That Euripideswishesto bringhometo his fellow revealed inthemuchmaligned ofspiritedness is,I believe, dangers Medea andKingAegeus.The scenehasno preparascenebetween effort does notmaketheslightest tionand no follow-up. Euripides a pretext for theencounter. to supply KingAegeus Quiteliterally, just happensto wanderacrossthe stage.The episodehas a long Aristotle of criticism goingall theway back to Aristotle. history forimprobability thattherecan be no defense maintains (alogon) b 19and no use is made ofit(Poetics whenitis notnecessary 1461 the an assessment of this is Whether adequate Aegeusepisode 21). atleastthis muchis incontrovertible. remains tobe seen.However, character of Aegeus' arrivalon stage The completely gratuitous ofthe play. does weakenthedramatic integrity an initial offer which is working The myth with Euripides might must the weakness of this scene. for Euripides accept explanation of a story thathas Medea escape to at least the generaloutlines whereshe willeventually takeup residence withAegeus. Athens be the It cannot,however, This is surely partoftheexplanation. The difficulty liesinthefact that wholestory. Euripides deliberately betweenMedea and Aegeus; he uses the encounter emphasizes whichhas theeffect of giving and exploits a classicalframework to thisepisode. specialprominence The play as a wholefallswithin a remarkably (especiallyfor framework. The usual elements-proEuripides) symmetrical inparallel five andexodos- arepresented logue/parodos, episodes, The form the and throughout play. opening (prologue parodos)is dominated ofMedea, who is heardfrom by theunseenpresence herposition This is paralleled scenein which offstage. bythefinal Medea is again offstage, thistimeovershadowing thescenefrom above. The first and fifth theroyalhouse: episodesbothdeal with Creon'sbanishment of Medea and Medea's triumphant revenge The secondand fourth over Creon and his unnameddaughter. toward episodes concernJason: his patronizing complacency Medea and, subsequently, hereasymanipulation ofhim.Onlythe third it is also thenumerical center ofthe episodeis unparalleled; lines 656 lines This is the scene which before; play (662 after). themeeting recounts between Medea and Aegeus.Ifitwas necesin his accountof the saryforEuripidesto includethismaterial

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

598

THE REVIEW OF POLITICS

it was certainly Medea story, not necessary forhim to build the ofhis play aroundit."1 dramatic structure Why would Euripideschoose to take the weakestlink of his a structural framework dramaand provide thatcastit intorelief? havebeenoffered. Variousexplanations Somecommentators have Medea with arguedthatit is theAegeus episodewhichprovides a specific of plan forrevenge.It is onlywhenshe sees theextent that Medea comes with the idea of Aegeus'suffering up destroying herretribution.20 as a way ofeffecting This is at Jason'schildren first her best a partialexplanation. Medea announces Although kill her children to after with the fear that speaking plan Aegeus, do violence Medea might toherchildren from had beenexpressed theoutset oftheplay,muchbefore Medea encounters Aegeus(90A moreambitious defense ofthesceneis offered byDunklewho, to relatethisepisode building upon theworkofButtrey, attempts tothetheme oftheplayas a whole.Dunklearguesthat self-interest themein theplayand thatthiscomesmostclearly is a dominant to lightin theAegeus episode,whichis the turning pointof the The scene looks back and demonstrates how the play. Medea-Jason also based on self-interest, came intobeing.22 On the relationship, other the scene looks The ahead. of hand, very irrationalityAegeus' thepartplayedby chanceand itsterrible appearanceanticipates thatprevails consequences giventhe self-interested opportunism in thedrama.23
19. Similarobservations about the formal designof the play are made by "Accident and Design,"pp. 5-6, 10 andJ. RogerDunkle,"The Aegeus Buttrey, andProceedings Medea,"Transactions Episode and the Theme of Euripides' ofthe American Association 100 (1969): 97-107, esp. p. 97. Philological 20. Forexample,H. DarnleyNaylor, "TheAegeusEpisode,Medea 663-773," TheClassical Review 23 (1909): 189-90 and Bongie,"Heroic Elements," p. 40. 21. See D.J. Conacher, Drama: Theme andStructure Myth, Euripidean (Toronto: ofTorontoPress, 1967), p. 190 note 11 and Buttrey, "Accident and University Design,"pp. 3-4. 22. Dunkle,"AegeusEpisode,"pp. 100-101, 107. 23. Ibid.,pp. 104-107.H. D. F. Kittodefends theAegeusscenein a different a "setting fortheoutburst ofunreason." He mainway. The encounter provides tainsthatEuripidesis justified in manipulating thesceneso as to put his thesis in theclearest possiblelight;namely,that"thepassionsand unreasonto which is subject are itsgreatest A Literary humanity scourge" (Greek Tragedy: Study [New York: DoubledayAnchor,1939; rpt. 1950], p. 206).

B. SOME

EXPLANATIONS

95, 98-117, 182-3).21

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

599

a to find ofDunkle'sattempt thesensibleness Notwithstanding theplayand itscentral linkbetween thematic scene,hisinterpretaall characters ofleveling It has theeffect tionis problematic. by withselfmodernpreoccupation to thema typically attributing somelight succeedsin shedding Dunkle surely interest. Although in theplay,he does so at thecost theme on Medea and a recurring itbecomes where tothepoint hercharacter offlattening impossible herheroicstature. even herattractiveness for to account less, and, ismorecomplex. As I havealready presentation Euripides' argued, eleand repulsive bothattractive ofMedea contains His portrayal character herunwieldy to collapseor simplify ments.Any effort which Euripides' cannot account for the enduringfascination theages. on audiencesthrough Medea has exerted theprominence reasonfor a muchlessesoteric I wouldsuggest effect The immediate the to which Aegeusepisode. Euripides gives thedramatic ofthesceneis to bringMedea to Athens.Whatever thatitsdidactic ofthescene,I wouldmaintain weakness strength itself. connection lies in theAthenian to someonewho claimsto The Athenian protection kingoffers withthemore be able to helphim.Perhapsitis hispreoccupation him thatprevents from ofchildlessness immediate seeing problem thefull force and destructive he really what gets.Medea personifies bothitsnoble peak and savage low point. powerof spiritedness, at theend oftheplay Indeed, Medea's morethanhumanstature and moreas invites theaudienceto viewherless as an individual of human ofthis What an exemplar aspect permanent experience.24 in Athens? does it mean thatMedea willnow takeup residence to it, will Does Athensharborsentiments which,unbeknownst as is shown fabric of its Medea to the polity proveas destructive to be forCorinth? withits In a word,yes. The policyof Athenianimperialism thespiritofglory must necessarily rely uponand cultivate promise learn manyyearslater, ednessof its citizens.As the Athenians will resultin the ruin of Athensand the thissame spiritedness of itsempire. dismantling
ofone oftheblindand thatMedea is "theimpersonation 24. Kittomaintains forces in humannature."Greek irrational p. 209; cf. pp. 204-209. Tragedy,

C. DIDACTIC STRENGTH

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

600

THE REVIEW OF POLITICS

thegrounds ofcomAt thetimetheplaywas beingperformed, andcausesofdisagreement between Athens and Spartawere plaint On the eve of war Periclesexplainedto his alreadyapparent.25 thatcapitulating to Spartandemandsout of fear fellow citizens to slavery. to wouldbe tantamount Rather,he urgedAthenians in withand couragedisplayed fathers emulate theresolve bytheir thePersiansand pointed out thatit is from thegreatest standing both the and the that the honors accrue to city greatest dangers The to to defend the Athenian individual.26 appeal spiritedness thefirst empirebecame even moremarkedafter yearofwar. In famous funeral he his fellow citizens Pericles' to oration, enjoined fixtheir in on the of Athens love with her and, falling power gaze tofind thecourageand daring tocontinue the necessary greatness, war." These sentiments reacheda climaxyearslaterwhen the Athenians endorsed a scheme to enlarge their ementhusiastically with an ill-fated The to defeat pire expedition Sicily.28 devastating in Sicilymarked ofAthenian forces thebeginning of theend for whichhad once seemedmostnecesAthens.The verysentiments thelifeand honorofAthens saryto preserve provedto ultimately be thecause of itsundoing. or anyonecouldhave My claimis not,ofcourse,thatEuripides the specific outcomeof theseevents.I would assert, anticipated was lessthansanguine thatEuripides aboutthekinds of however, excessesthatthe impending war was almostcertain to call forth from citizen At a timewhenAthenians soldiers. wouldhave most welcomeda patriotic the play extolling brightgloryof heroic chose instead to reveal the hiddenand destrucEuripides courage, tivedarkness whichlurksin thewarrior soul. The celebrated ofAthens which follows theAegeus songinpraise cited as evidence ofEuripides' ownpatrioepisode(824-65) isoften tism.The subsequent declineof Athensin the aftermath of the War leads Page to assert thatthiswas thelasttime Peloponnesian thatsucha tribute to theglory ofAthens couldbe written.29 This
ofthedisputes overEpidamnus 25. Thucydides speaksespecially (435-3) and 1, 146. Corcyra(433). Histories 26. Histories, 1, 140-41; 144. 27. Histories, 2, 43. 28. Thucydides ofthemasaysthattheexcessive eagerness (aganepithumian) fearedto speak lest their joritywas such thatthoseopposed to the expedition be construed as a lack of patriotism. Histories 6, 24. opposition 29. Page, Medea,p. viii.

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions

EURIPIDES' MEDEA

601

Euripides' appraisalneedstobe qualified. songdoes indeedpraise for its Athens harmony,virtue,and renowned unconquered howa city wisdom But it also asks suchas Athens could (824-45). a home the fierce inherent in for violence Medea provide possibly callstomindthebestqualities "patriotic song" (846-65). Euripides' ofAthenians whileat thesametimesuggesting that thesequalities withMedea and everything are incompatible she personifies. The playendswith Medea'simminent Medea, escapetoAthens. whowillbe welcomed to by King Aegeusbecause ofherpromise an heir(716-18), must in order helphimprocure escapetoAthens toavoidpunishment for theroyal linein Corhaving extinguished inth.She whowillbe received intothehearth ofAthens as a giver oflifeis in reality a harbinger of destruction.
CONCLUSION

Towardthebeginning oftheplay,Medea's nursecomplains of who write for those at ease poets pleasant songs living (190-203).3o She explainsthattheirhymnsare superfluous at best and comdevoidofwisdom.Theyunderstand oftheterrible pletely nothing which burden life. Whereas music that could heal these pains pains wouldbe truly have hitherto used their skills toaccomuseful, poets are least panycelebrations, providing pleasingsoundswhere they needed. Medea doesnotcelebrate butrather thepower Euripides' exposes ofspiritedness. not is one of the foolish who areonly Euripides poets concerned topleasetheir audience.Rather, he offers a beautiful but bitter with the deaths and terrible misfortunes which songdealing overturn homesand cities.The Athenians voteddownEuripides' would have better manifested Athens' renowned play. They wisdomhad theybeen willingto ponderthe cautionary notes soundedby one of the city's wisestpoets.

30. Puccinotes that while thepassageis consistent with thedramatic situation, itis also generally taken to describe ownview,constitutes the what,in Euripides' essenceof tragedy.Violence ofPity, p. 28.

This content downloaded from 202.41.10.30 on Thu, 16 Jan 2014 13:08:33 PM All use subject to JSTOR Terms and Conditions