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Medea

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Anony Mous
Ms. Connolly

AP Language

5 January 2009

Medea & “Poetics”

Euripides’ Medea, a tale of love, sorrow, and revenge, is, by Aristotle’s standards, a tragedy. The play clearly includes each of the three unities and all of the six elements of theatre, as Aristotle discussed in “Poetics.” However, even though Medea can be accurately categorized as a Greek tragedy, the story lacks a tragic hero. Neither of the two main characters, Medea or Jason, possess all the traits that exist in a tragic hero.

According to Aristotle, there are three unities of theatre that make plays more pleasurable for the audience. Euripides employs all three. Medea has unity of action, as it only contains one main plot: Medea’s revenge. This makes the story simple for the audience to follow. There is also unity of time, because all of the action involved in the plot occurs in one day. This action unfolds in only one location: Medea’s home. The latter exemplifies unity of place. For example,

when Medea’s children bring Jason’s new bride the poison dress and diadem, the setting does not change to the home of Jason and his wife. Rather, a messenger arrives at Medea’s house to report what has happened to the princess. Euripides’ use of the three unities brings the plot together and makes it easy to understand.

In addition to the three unities, Medea includes all six of Aristotle’s elements of theatre. The most important element of theatre is the plot. The plot of Medea is very straightforward, and occurs in a logical sequence. The thought of this plot can be expressed in a single sentence: Medea’s heart is broken by Jason when he marries another woman, which leads her to seek revenge. In this play, characterization is the primary focus, and the characters are only a means of moving the plot forward. For example, Medea’s evil trait is developed through her vengeful actions. Another element of theatre which is demonstrated throughout the story is the use of

elevated diction, which heightens the emotions of the audience. Music, also an element of theatre, is used to stimulate emotion as well. The main demonstration of this element is the Chorus, which provides commentaries and summaries on the action occurring. As all

the events of Medea’s revenge progress, it is unclear how the conflict will be resolved. To end the play, Euripides incorporates the final element of theatre: spectacle. Just when it seems Medea has no escape from being punished, she appears “in a chariot drawn by dragons.” This

transpiration is considered a deus ex machina, as it is an unexpected and highly improbable.

Despite Euripides’ use of the three unities and the six elements of theatre, which indeed make Medea a tragedy, neither Medea nor Jason are the tragic hero. Both characters have most, but not all, of the necessary qualities. First, neither of the characters can be considered noble or virtuous, but both are considered to be great people in certain ways – Medea, for her cleverness, and Jason, for his high position in society. However, both Medea and Jason do possess flaws. Jason is arrogant, pretentious, and selfish, while Medea is cruel. Jason’s flaws ultimately lead to his downfall, because Medea is so filled with rage over his new wife that she murders the princess, the king, and her own children to make Jason endure the suffering he deserves. Even after Jason’s downfall, he is still convinced that what he did to Medea is not wrong. On the other hand, Medea did not deserve the misery she was faced with when Jason betrayed her. In the end, she does not have a downfall, because she escapes her fate in the dragon-drawn chariot.

At the conclusion of the play, the audience is not relieved from the tragedy, because the plot ends rather abruptly. Medea is in accordance with all the components of tragedy as stated by Aristotle. However, as tragic as this Greek play may be, it does not contain a true tragic hero.

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