Download e-book for iPad: Looking at Medea: essays and a translation of Euripides’ by David Stuttard
By David Stuttard
Euripides' Medea is without doubt one of the quite often learn, studied and played of all Greek tragedies. A searingly merciless tale of a woman's brutal revenge on a husband who has rejected her for a more youthful and richer bride, it's strange between Greek dramas for its acute portrayal of woman psychology. Medea can seem right away undying and strikingly glossy. but, the play is particularly a lot a made of the political and social global of 5th century Athens and an figuring out of its unique context, in addition to a attention of the responses of later a long time, is essential to appreciating this paintings and its legacy. This number of essays by way of best teachers addresses those concerns, exploring key topics comparable to revenge, personality, mythology, the top of the play, the refrain and Medea's position as a witch. different essays examine the play's context, non secular connotations, stagecraft and reception. The essays are observed through David Stuttard's English translation of the play, that is performer-friendly, obtainable but exact and heavily trustworthy to the unique.
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Additional resources for Looking at Medea: essays and a translation of Euripides’ tragedy
A little further reflection, a little more meditation, and we come up, very soon, with a rather unflattering result. He was very good looking; that is clear – why, Medea fell passionately in love with him at very first sight; fell so deeply in love, that she betrayed her father for the ‘extravagant and wheeling stranger’ (Othello again), and so made his heroic exploits quite easy! ), and who thinks he will always get away with it, whatever it may be, because he always has got away with it, and because he is – after all – so handsome and so charming.
Euripides turns the focus right away from all of that; and the daring journey, with all its perilous adventures en route, is now kept far from our minds. Medea has betrayed her father and stolen his cherished treasure; she has killed her brother Apsyrtus; and she has run away to a foreign land with a handsome foreigner, her father’s hated enemy. She did it for love: yes, all for love! What sort of person, then, must she be? Obviously, she is – clearly, she must be – a passionate and headstrong woman, who follows her passions, wherever they lead; and who, unreflectively and rather naturally, imagines that other people are, essentially, just like herself.
What about Medea? Before Euripides, other stories had been told about her, and about her sinister powers. It appears that practitioners of magic would invoke her name, as they chanted or mumbled their magical spells. The Roman poet Ovid, some 400 years after the play, would give Medea magic spells which Shakespeare would adapt for his hero, Prospero. Traditionally, Medea was a magician, but she was not (it appears) a child-murderess. That Medea, the Medea who would fascinate and eventually monopolize the minds of posterity, was the creation of Euripides, in this play.
Looking at Medea: essays and a translation of Euripides’ tragedy by David Stuttard