Euripedes Medea versus Aristotlean Poetics Essay

Gabby Nunez The Use of Imagery and Figurative Language to Communicate Themes in Euripides’ Medea In the play, Medea by Euripides, there are many examples of imagery and figurative language to communicate themes such as: revenge, love, pride and culture. Medea falls in love with Jason, a man from Greece, she gives up everything and leaves her country to be with the one she loves. Shortly after Jason and Medea arrive to Corinth, Jason leaves Medea and marries the king’s daughter. Filled with anger and hurt, Medea plans to get revenge on those who have hurt her.

Shakespeare's play, “Othello, the Moor of Venice,” is a powerful example of a tragedy and it’s main character, Othello, is an excellent illustration of what Aristotle constitutes as a tragic hero. The play imitates life through basic human emotions such as jealousy and rage. In addition, Othello is far from being a perfect character - another quality that meets Aristotle's requirements. Othello also matches Aristotle's ideas of tragic hero because our Othello realizes the error of his ways, causing us to feel sympathy for him. If we carefully examine the third scene in the third act, we can see how Othello fits into Aristotle's definition of tragic hero. This passage reveals how much Othello has deteriorated as far as his ability to reason

Ancient expectations for women include always putting the responsibilities of being a mother above all else, as shown in Euripides’ Medea and Aeschylus’ Agamemnon, as well as Euripides’ Iphigenia at Aulis. Both Clytemnestra and Medea exhibit motherly love and tend to those responsibilities, but commit atrocious, unladylike acts, which jeopardize the sympathy felt for them by an audience. The respective playwrights of each story use their character’s motivations and how they align with their roles as mothers first and women second to ultimately characterize each in either a negative or positive light. The motherly motivation that Clytemnestra and Medea exhibit excuses their vengeful and deceitful actions, however Medea’s final action,

A “tragedy, for Shakespeare, is the genre of uncompensated suffering” (Dutton and Howard, 2003, p. 9). To really understand the play Othello is to truly understand a tragedy; thus, this researcher will analyze Aristotle’s view point and compare it to phrases (or quotes) from Shakespeare’s Othello.

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

Euripides' Medea Medea is the tragic tale of a woman scorned. It was written in 431 B.C. by the Greek playwright, Euripides. Eruipides was the first Greek poet to suffer the fate of so many of the great modern writers: rejected by most of his contemporaries (he rarely won first prize and was the favorite target for the scurrilous humor of the comic poets), he was universally admired and revered by the Greeks of the centuries that followed his death('Norton Anthology';). Euripides showed his interest in psychology in his many understanding portraits of women ('World Book';). Euripides choice of women support characters such as the nurse and the chorus is imperative to the magnification of Medea's emotions.

The most memorable writers are often those who diverge from the status quo, bending the lines just enough so that the curve of disbelief still faintly hits the border of reality. Although not the prime example, Athenian playwright Euripides deviated tremendously from the typical standards of Greek tragedies in his famous work Medea. Albeit the characterization was majorly based off of an existing Greek myth, Euripides’s manipulation of the protagonist and storyline created a drama encompassed by aberration and eccentricity far more peculiar than that of the established legend. However, Euripides used his audience’s developed knowledge of Greek mythology to his advantage and was still able to convey a believable story to the citizens of ancient Greece, earning him the third place prize at the Dionysian Festival that year.

Medea is an ancient Greek misfortune Witten by Euripides. The play is based on the myth of Jason and Medea and first produced in 431 BCE. Euripides was the first Greek poet to suffer the fate of so many of the great modern writers: rejected by most of his contemporaries. Euripides was the son of Mnesarchus. The family owned property on the island of Salamis, and Euripides was twice married and had three sons.

The Chorus delivers these final lines of Euripides’s Medea, “…the end men look for cometh not, / And a path is there where no man thought; so hath it fallen here.” (Euripides, 80) This quotation not only signifies the events, which have transpired in the plot of Medea, it also shows the recognition of a very curious aspect of Medea: that the protagonist of the play, Medea, is not the tragic hero. A tragic hero by Aristotelian standards is one who possesses a driving aspect– or hamartia – which causes his or her downfall, who endures a reversal of fortunes leading to immense suffering – called peripeteia, and who undergoes an anagnorisis: a profound change or realization. Medea does not have any of these attributes. Instead, it is

Amongst Euripides' most famous plays, Medea went against the audience's expectations at his time. Indeed, the main character of the play is Medea, a strong independent female who neglected moral and . She was therefore in all ways different to how women were perceived in Ancient Greece. This essay will explore how Euripides' controversial characters demonstrate that his views were ahead of his time.

Tragedy as an element of the human experience has been the subject of many of the great works of literature written in the Western tradition. For some, tragedy embodies the highest form of humanity. It is through suffering that we are able to reveal ourselves most completely. Others see tragedy as an element of morality where we are to learn well the lessons of those who tempt the gods. The Ancient Greek philosopher, Aristotle, outlined a theory of tragedy as archetypal drama in his classic work, the Poetics. He uses the play by Sophocles, Oedipus the King (hereafter "Oedipus"), as the standard model by which all other tragedies are measured. In Aristotle's view, a perfect

The Chorus influences our response to Medea and her actions in both a positive and negative manner. The Chorus, a body of approximately fifteen Corinthian women who associate the audience with the actors, is able to persuade and govern us indirectly through sympathy for what has been done to Medea, a princess of Colchis and the victim of her husband’s betrayal of love for another woman. The Chorus also lead us to through sympathy for Medea to accept her decision of taking revenge on princess Glauce and Jason. On the other hand the Corinthian women influence us and our responses towards Medea negatively by pleading to her when she decides to kill the children later in the story.

Throughout time, the tragedy has been seen as the most emotionally pleasing form of drama, because of its ability to bring the viewer into the drama and feel for the characters, especially the tragic hero. This analysis of tragedy was formed by the Greek philosopher Aristotle, and also noted in his Poetics (guidelines to drama). As a playwright, Shakespeare used Aristotle’s guidelines to tragedy when writing Othello. The play that was created revolved around the tragic hero, Othello, whose tragic flaw transformed him from a nobleman, into a destructive creature, which would inevitably bring him to his downfall. This transformation follows an organic movement of the complex plot from the beginning, middle, to the end of the drama while

As Bernard Knox and others have shown, she also is a woman whose behavior and motivation are cast in a male rather than a female mode and follow the male heroic code of honor and revenge. Medea thus comes to embody the problem of defining the nature of woman; and the female chorus is left just as puzzled as the everyone else.

When Medea kills her children, audiences react with shock and horror. Any sympathy viewers have built for the woman is, in the words of Elizabeth Vandiver, “undercut” by this act (15). Since Medea is the protagonist, we question why Euripides chose to make her a child murderer. Most scholars agree that he invented this part of the myth. He also lessened her role as witch by drawing attention to her human qualities. This only highlights the infanticide (14) because we cannot excuse her ruthless act as monstrous and non-human. However, Medea remains very human until after she kills her sons. Appearing at the end of the play in the deus ex machina, she takes over not only the position but also the