Examples Of Bad Mother In Mythology

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,

I chose to interview three family members in order to evaluate similarities and differences on experiences on what it’s like to be a parent. I believe that there is no right or wrong way to define what family is, but the definition of family comes with a wide range of beliefs about parenting and what it means to be “good parents” to their children. Every person is different and when it comes to every parent, they have their own style of parenting due to the environments as well as experiences within their environment. Throughout the interviews, I hope to gain knowledge and to be able to understand what it’s like to be a full time parent. Therefore, I have completed three interviews with three separate members of my family that were all raised by the same parents in the same household so it would be interesting to get an insight of how each individuals perspective as parents are. Furthermore, I will present a summary of questions that I’ve asked, a summary of their answers as well as an analysis of their way of parenting with some information that I’ve gathered and compare it to what I’ve learned in class.

In “Stereotype and Reversal in Euripides’ Medea,” Shirley A. Barlow argues that the protagonist refuses to play the customary role of an ancient Greek woman, except when it benefits her, which shows that Medea is a reversed stereotype (158). This is further shown when the Tutor states, “Take heart! You too, will, journey back with children’s help” (1015). In this circumstance, the Tutor is declaring how the children will be able to help their mother come back home, yet this is an example of dramatic irony because Medea ultimately kills her children at the end for revenge. Euripides uses dramatic irony to convey Medea’s strength and power. The characters mistakenly assume that Medea is weak, yet her will-power and desire for revenge is shown when she kills her sons. Next, Jason is expected to be strong and powerful, yet is weaker than any female. Rabinowitz also speculates that Jason’s role has feminine aspects: “Jason would seem to be the perfect example of a woman with a man” (152). For example, Jason exclaims, “I have come, however, to save my children’s lives, to keep the king’s family from making them pay for the foul murder committed by their mother” (1303-5). Jason hastily runs back to the house to save his children from a masculine

Although, the women often appears in Greek mythology as dangerous and immoral. In the myths of the Greeks from the earliest poems of the archaic period to the sophisticated dramas of classical Athens, there appears a pervasive fear of women. Female characters of many Greek dramas child killer Medea, the husband killing Clytemnestra, and the mother killing Electra. While these females appeared previously in Greek myth, the Greek authors further explored their characters and displayed their malice in greater depth. As can be seen from myths and drama, this fear as it surfaced in ancient Athens is voicing of the male concern that women are a threat to their masculine society and have the potential to disrupt and destroy

Furthermore, the disputed topic of the chorus supporting her, illustrates the ‘justice’ a society has. When the gods are pleaded to and do not take action against Medea’s acts of infanticide, it questions our morals on what we powerless humans can do to change a difficult situation. This concept portrays a system which lacks in authority which leads to doubt that surrounds the idea of ‘wild justice.’ The gods have a small role which plays in the part of revenge as a wild justice. It was always the goddess of love who obtained Medea’s help on Jason’s behalf. The Chorus had always believed that her actions were due her nature for loving Jason and sympathised her emotions as she was only a woman. “We were born women – useless for honest purposes, But in all kinds of evil skilled practitioners.” This ideally would have additionally been a reason for Medea to pursue a reason of right for women, which could have been a valid reason for a wild justice.

Then she was transferred to the home of her husband where she was to fulfill her principal function, the bearing and rearing children. Medea shows the inequality of women in Greek society. The betrayal of Medea by Jason through his marriage to another woman enrages Medea. She begins to question the role and position of women in a patriarchal society. "Are we women not the wretchedness? We scratch and save a dowry to buy a man?Our lives depends on how his lordship feels. For better for worse we can?t divorce him."(p.8, Medea). However, "a husband tired of domesticity, Goes out sees friends and enjoys himself?."(p.8and 9, Medea). Medea compares the virtual slavery of women to the absolute freedom of men, showing the inequality and disempowerment of women in society at that time.

In Euripedes’ play Medea, he depicts Medea as a woman who is consumed with vengeance and hatred after being betrayed by her husband Jason. This betrayal sparks a series of “unholy, horrible” murders. Medea’s actions can be justified through justice and revenge. Medea was motivated by Jason’s actions to pursue her own actions against Jason. Medea wanted revenge toward her husband for leaving her after she fully dedicated herself to Jason - and she also wanted to seek justice for the pain that he caused her. However, Medea went too far by killing her two children who were innocent in this matter. Ultimately, Medea’s final deeds are justifiable and outweigh Jason’s betrayal of his family.

Euripides also carefully reveals the elements of Medea's past that demonstrate her readiness to violate solidarity of family ties in order to pursue her intractable will; Jason and Medea's original tryst, for example, required that she kill her own brother, thus choosing marriage ties over blood ties. Secondly, Medea's selfishness provides power to her fatal flaw. Medea's selfishness and lack of humanity is displayed through the act of killing her own two sons. Medea understands that the slaying of her children will make Jason miserable. During this time, the chorus recognizes her self-worship and states, “But can you have the heart to kill your flesh and blood” (Euripides, The Medea, 816)? Medea does not stop to think what pain she may cause to herself by murdering them. She is only concerned about her happiness that will be derived from Jason's grieving. Medea comes to the conclusion that it is worth the suffering just to see her ex-husband unhappy. Medea states, “Yes, for this is the best way to wound my husband” (Euripides, The Medea, 817). This exhibits Medea's selfishness by the slaying of her sons just to cause sorrow to Jason for her own pleasure. Medea's rage also leads to her fatal flaw of excessive passion. Her excessive passion, fed by rage, leads Medea to do uncalled-for acts of violence and murder.

Medea accomplished that by giving birth to two children for Jason. As the play slowly unraveled, it plainly displayed that she was faithful towards her husband, but being an ideal Greek wife was not her factual nature. She was independent and her qualities made her different from the Corinth women. In the opening sequence, the nurse introduced Medea as a frightening woman when someone wronged her. “Her temperaments are dangerous and will not tolerate bad treatment. For she is fearsome. No one who joins in conflict with her will celebrate an easy victory”, the nurse presented (page 2, line). From this, the reader can envision how ordinary other Greek women were. How they didn’t have a mind of their own and were defenseless towards those shabby treatments from men. These women were submissive and didn’t have any control over their lives. However, the protagonist Medea did. She took matters in her own hands when her husband betrayed her.

There are several parenting styles which guide children throughout their life. These parenting styles can be either good or bad and this will have an effect on the child; either a positive or a negative one. This essay investigates the parenting styles from which emerge questions about the role of the mother and the father. It also focuses on the ways that either too much mothering or too much fathering might have an effect on the child’s identity later on in its life.

Society establishes a set of expectations by which males and females are expected to conduct themselves. For example, a mother is expected to nurture her child, stay at home to take care of her children, be patient, be kind, love unconditionally and to never get angry. If a mother does not live up to these expectations established by society, then that mother is deemed a “bad mother.” Since a mother gives birth to her children and nurtures them, a mother who kills her children is considered to be unredeemably bad. Medea, in the play of the same name, kills her two sons and by societal standards, she would be deemed a bad mother. Contrary to society’s expectations of mothers, I will argue that Medea is not a bad mother. I will do this by proving that: Medea defies the social conventions of motherhood in three ways; she kills her children in order to protect them; and, that she rebels against her husband’s control and male domination by depriving him of his “immortality” by killing his sons and ending his bloodline.

The books I’ve chosen to review are set on two different continents. This makes the comparison of the lives of women across the world more efficient and broader. What makes the comparison more practical, realistic and interesting is the fact that the characters in the two books 'The Woman Warrior ' and 'Wild ', lived in the same century. The authors specifically bring out the duties and the expectation that mothers were held to in the upbringing of their daughters as at that time and place. The authors, however, present the picture of motherhood in a fairly narrow view. They ignore the role of mothers in the upbringing of their sons and instead dwell on their duties and responsibilities in the bringing up of their daughters (Kingston & Gordon 2005). Therefore, I chose to compare how the theme of motherhood has been portrayed in the two ethnically diverse texts.

Experimental data suggest that the past experiences of the mother are a major determinant in molding her care-giving role. Children use adults, especially loved and powerful adults, as models for their own behaviour. Children development literature, states that the powerful process of imitation or modelling socially inclines children. Kennell and Klaus explain that unless adults consciously and painstakingly reexamine these learned behaviours, they will unconsciously repeat them when they become parents (Kennell and Klaus 11). Thus the way a woman was raised, which includes the practices of her culture and the individual idiosyncrasies of her own mother's child raising practices greatly influences her behaviour toward her own infant. Bob Brazelton in The Early Mother-Infant Adjustment says that, "It may seem to many that attachment to a small baby will come naturally and to make too much of it could be a mistake... but there are many, many women who have a difficult time making this adjustment...(Brazelton 10). He points out that we must understand the ingredients of attachment in order to help, because each mother-child dyad is unique and has individual needs of it's own (Brazelton 12).

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

Fairy tales are full of tropes and stereotypes that exist from story to story, one of the main ones being the “happily ever after” ending. Most fairy tales, especially the traditional Perrault or Grimm versions, fall prey to this trope where the main goal is for the princess to find her prince, get married, and live happily ever after. Many critics, particularly feminist critics, find this trope to be problematic because of the extreme emphasis placed on marriage as women’s main, if not only, objective in life. Karen Rowe, for example, states in her essay “Feminism and Fairy Tales”, that “fairy tales perpetuate the patriarchal status quo by making female subordination seem a romantically desirable, indeed an inescapable fate” (342). In other words, Rowe relates the “romanticizations of marriage” portrayed in fairy tales with promotions of “passivity, dependency, and self-sacrifice” expected of women in their everyday lives (342). However, it can be dangerous to assume that every fairy tale conforms to the singular promotion of marriage as women’s only option. While early fairy tales such as “Cinderella” and “Sleeping Beauty” tend to glorify the romantic ideal of marriage, and in turn female subordination, contemporary tales and adaptations such as Brave and Frozen, are working to give women a more powerful position.