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Through the entirety of the play, Jason's hubris drives his actions towards his desire for power - ultimately causing tragedy within the play. Jason's betrayal towards Medea prior to the play catalyses his quest for power where he has "taken a new wife, although having children of [his] own" thus demonstrating the extent to which he will go to obtain power and status through marriage to Glauce which subsequently, leaves Medea distraught with a thirst for revenge. Similarly, during the Agon, Jason's hubris is accentuated through the ensuring of "[his] prosperity" where he justifies his actions of marrying Glauce as an act of love and sacrifice for his family.

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Euripides portrays power as fundamental to enabling unjust decisions to be made, while also demonstrating its dynamic nature through illustrating the fluctuations experienced by characters. Creon, in his position as the king of Corinth, innately has extensive power as a facet of his identity: it is this power which enables Creon to make unjust decisions. The king exiles Medea out of fear, fearing that the eponymous character would cause “irreparable harm to my daughter”, which is unjust given Medea was yet to commit a crime. Nevertheless, Creon is able to act unjustly with no expected consequences due to his power. Unexpectedly, Creon is subject to retribution for this unfair decision when an inversion of power occurs: Medea utilises her power, stemming from her identity as a sorceress, to “desecrated a king’s home”. By being able exact revenge against a notably powerful character, Euripides portrays the dynamic nature of power through Medea’s increase. Additionally, Euripides illustrates the eponymous character’s control at the tragic conclusion of the play, where she is presented towering over Jason in a chariot following the deus ex machina. Medea states “so call me lioness… for I have my claws in your heart as you deserve” thereby highlighting the inversion of power between the roles and Medea’s success of acquiring justice against Jason. Moreover, the chariot drawn by dragons highlights the support of the gods, emphasising Medea’s power within the society. Overall, Euripides explores the relationship between an individual's power and their perceived righteousness, as well as the fragile and ever-changing nature of power.

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Euripides demonstrates a society where women are subjected to unfair treatment due to their gender. Medea describes women as “the most miserable of specimens!” which portrays women in society as inferior to men. Jason also looks down on women as he thinks that “without the need of a female sex; this would rid the world of all its troubles”. This shows that men view women as a bad influence to the world. Therefore, women are treated badly due to their gender.

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Euripides explores power through Medea's strong passion to seek vengeance as she becomes obsessed with gaining control over Jason.  Medea is the character that highlights this as she displays her animalistic desire by stating "I have my claws in your heart as you deserve" indicating that her revenge is almost instinctive as he betrayed her, thus fueling her desire to "hurt my husband the most". She does this by killing her children, the two innocents in the play, despite her desire to stop; demonstrating that passions is the master of my reason..[which causes] the greatest suffering in the world", accentuating her ability to cause Jason both pain and suffering.

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Medea's power is harnessed through her use of her position as a women in society, as she uses the stereotype of a weak woman to deceive her enemies and take revenge. Women in Ancient Greek society were viewed as the weaker sex, facing great disadvantages in almost every situation. Medea exposes the misfortune of women, as her "divorce brings disgrace" upon her, while Jason is able to move on to a "princess' bed". However, despite her weaker role in society, she is able to use this as a a facade and trick Creon into letting her stay one more day, allowing her to take revenge. Thereby demonstrating Medea's cunning nature and ability to take power in the most unfortunate circumstances. During her argument with Creon, she "[sinks to her knees]" and seizes "[Creon by the hand]" in order to manipulate and demonstrate to Creon that she is a helpless woman. Therefore, Medea's use of her position as a woman to manipulate those around her, shows how her role in society can be used as a source of power.

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The views of a patriarchal society on the weakened image of the titular character is significant in her ability to gain power in spite of status. In the second episode of the play, Medea uses her lack of power to show a submission of will to Creon, through Euripides' stage direction of [Sinking to her knees and seizing Creon by the hand]. This act of presenting a seemingly powerless position in front of the King makes the evil she commits to both him and his daughter more unpredictable and therefore a more powerful act.
Medea foreshadows her ability to gain power as she establishes that although women are "cowards when it comes to fighting... nothing on earth has a heart more murderous" - when their love is betrayed, depicting the ominous shift from a vulnerable character to a woman who ultimately gains authority over the situation.
After her similar act of pleading to Aegeus, the eponymous character is seen to [[rise] to her feet]. Medea returns more powerful in the society of the play after convincing the Athenian King of her protection - an act which could not be committed had Aegeus' view of her been one of an already powerful status.

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Jason's portrayal as a proud and arrogant sophrosyne challenges the audience's sense of sympathy and questions whether his childrens' death was justified. Jason's arrogance is evident in his lack of modesty towards Medea's contributions, as emphasised in, “Where you did give assistance it was of some benefit.” Whilst admitting that Medea's contributions were advantageous, Jason is too proud to admit that her actions to help him were beneficial to their fullest extent. Jason's logical sophrosyne qualities assist him to justify his actions towards Medea. Jason states that, “But in fact in saving me you gained more than you gave.” Thus rather than admitting to the faults in his actions, he utilises his logic to argue against Medea that his actions have been more beneficial rather than detrimental. Jason is depicted as a sophrosyne with typical qualities of Athenian society that undermines the power of women. Jason talks of Glauce as, “I expect I’ll win her round all right, if she’s a woman like all the rest!” His sexist and degrading remarks against women not only suggest that he assumes greater power of women, but also further distances audiences to sympathise with his childrens' death. Therefore, Jason's depiction as a proud sophrosyne challenges the audience's pity towards the death of his children.