Broghan Swanepoel
G21s1480
Micah Camp
Classical Studies 301
Euripides, Tut 4
Which is your favourite Euripidean play? And which is your least
favourite?
Write a short piece (700-800 words) in which you discuss which play you
liked – and which play you disliked – the most, and why. You should
support your discussion with quotes from the plays, personal reflections
and observations, discussion on Euripides’ main themes and motifs, any
secondary readings you have done, and comparative references to the
other plays we have covered.
Submit via Turnitin by 5pm on Friday, 10 May.
30 marks
Medea is undoubtedly the play that resonates with me the most. At its core, Medea is a tale of
a woman scorned, a woman and a mother that is driven to unspeakable acts of vengeance in
the wake of her husband's betrayal. Euripides exceptionally captures the complexities of
Medea's character, portraying her not as a one-dimensional villain but as a tragic figure
grappling with profound emotional turmoil, and the decision to either be the one laughing or
the one being laughed at. Medea is ‘more’ than any other women portrayed during this time
period as she possess exceptional abilities and talents that go beyond the traditional roles and
expectations imposed on women in Greek society, as she possesses qualities and capabilities
that set her apart from other women, “She is clever, articulate and above all self-aware.”
(Barlow,1989.160). Meada is different from other Greek woman as she refuses to “stay in the
labelled pigeon-hole into which society has put her.” (Barlow,1989.159) and wants to be seen
and valued for who she is and what she has done and angers that she cannot control her own
destiny and fate as a woman. Which is what I believe to be her ultimate driving factor to kill
her children and seek vengeance against Jason. Her frustration can be seen when she says to
Jason “And after all these favours you have had from me, you stinking rat, you have betrayed
me.” (Medea,488-489). One of the most striking aspects of Medea is Euripides' portrayal of
Medea's inner conflict. Throughout the play, she vacillates between love and hatred,
tenderness and cruelty, rationality, and madness. In one moment, she laments the pain of exile
and the loss of her children and the pain and suffering this would cause her, and yet, in the
next breath, she coldly calculates her plan for revenge, plotting to kill both her husband's new
wife and their own children:
“Why should I use what’s bad for them to pierce their father’s heart, and so inflict
upon myself double the pain as well? No, I shall not, So good-bye, my resolutions.
But stop, what’s wrong with me? Do I want to be the laughing-stock, and let my
enemies get off scot-free?” (Medea, 1046-1050)
This juxtaposition of vulnerability and ruthlessness makes Medea a deeply tragic and
compelling character, eliciting both sympathy and horror from the audience. Ultimately it is
her reputation and honour that she values the most, an uncommon trait for a woman of the
time period to hold, and she is willing to do anything to protect it and win her own honour
“I’ll win the victory against my enemies.” (Medea, 765)
“I’m deadly to my enemies, supportive to my friends. It’s people of this sort whose lives are
crowned with glory.” (Medea, 809-810). Within Medea, Euripides exposes the inherent
contradictions of human relationships, highlighting the capacity for both boundless devotion
and profound betrayal.
In contrast, Hippolytus left me feeling somewhat underwhelmed. While I appreciate its
exploration of forbidden desire and the tragic consequences of hubris, there are elements of
the play that I find lacking in comparison to Medea. At its heart, Hippolytus is a cautionary
tale about the dangers of unchecked passion and the destructive power of divine intervention.
However my issue with the play lies with Euripides portrayal of Phaedra, Euripides presents
Phaedra as a victim of divine manipulation and internal conflict, I believe it is an
oversimplification to say she is without guilt and autonomy. Rather she has autonomy and
guilt in her actions but does not own her actions, rather Euripides emphasizes Phaedra's
victimhood by portraying her uncontrollable passion for Hippolytus as the result of divine
interference rather than her own volition, thus absolving her of any moral culpability.
“Next, I believed that I could conquer love, conquer it with discretion and good sense. And
when that too failed me, resolve to die.” (Hippolytus,398-401)
Euripides portrays Phaedra as a tragic figure trapped in a situation beyond her control, and
although she ‘tried’ and did not succeed, she is now framed as a victim of her circumstance,
creating a sympathetic reaction from the audience and mitigating any sense of guilt
associated with her actions. However, despite the influence of Aphrodite, Phaedra still bears
some responsibility for her actions. While she may be a victim of divine manipulation, she is
not entirely devoid of agency. Phaedra makes the conscious decision to act on her desires by
falsely accusing Hippolytus of rape, thereby initiating a chain of events that leads to tragedy.
Even if Phaedra is portrayed sympathetically as a victim of external forces, her actions still
have harmful effects on those around her. Phaedra does not claim and honor her own feelings
and wrong doings, but rather chooses to place her action on others, unlike Medea who owns
and acknowledges her own actions, she willing accepts agency of her actions and there
repercussions in order to gain what she wants. As a character, Phaedra, in comparison to
Medea, she feel somewhat one-dimensional, and her motivations are not as fully developed
as those in Medea, you do not feel for Phaedra in her victim/villain hood like you do for
Medea.
References:
Barlow, S. (1989) “Stereotype and Reversal in Euripides’ ‘Medea.’” Greece & Rome, vol. 36,
no. 2, pp. 158–171.
March, J. 1990. ‘Euripides the Misogynist?’ in: Euripides, Women, and Sexuality. (eds.
Powell, A) New York: Routledge
Euripides. Hippolytus (D. Grene and R. Lattimore, 2012) The university of Chicago Press:
Chicago.
Euripides. Medea (D. Grene and R. Lattimore, 2012) The university of Chicago Press:
Chicago.
