Medea uses the stereotype of ‘weak women’ to her advantage, and regresses into that supposed weakness in order to gain sympathy from others, mainly Creon and Jason. This is one of her many cunning tactics that shows how calculated and well-thought through she is, which goes against the stereotype. Her self-control and shrewdness shows the strength and smarts a woman is capable of as well as her stubbornness, Medea is a prime example of a person who stands by what they believe and is never wavered by others.

“I see my own error but, for all that, your wish will be granted. 

Medea’s murderous actions against Jason are driven by her firm belief in revenge, and her determination not to be ‘mocked’ or taken advantage of by any other person. Medea’s hatred of Jason stems from his betrayal of her, and the reputational damage and mockery that Medea feels she has been subjected to because of his disloyalty. Medea claims that she kills her children as she “will not leave [her] children to the mockery of her enemies”, indicating the high importance she places on one’s pride and reputation. Further, she repeatedly makes clear her desire not to be regarded as a “weak and feeble woman”, like many others such as the nurse. Medea’s desire for vengeance is ever present in her considerations when conversing with other characters in the play. For example, almost immediately after convincing Creon to let her stay for one more day, Medea explores the “deadly routes to follow that will lead [Creon and Glaucy] to their deaths”. 

While Medea frames her actions as avenging Zeus (as an oath sworn by him has been broken), this may not be a true driver of her resentment for Jason, unlike her desire for revenge and not to be ‘mocked’.. While Jason claims that “the spirit of vengeance for [his] crimes has been sent by the gods to punish [him]”, it is more likely that Medea merely uses the method of framing her actions as avenging the gods to avoid repercussions for her crimes, than that she is actually driven to act by her anger at Jason for disrespecting the gods, as she very rarely discusses this anger as a motive. Therefore, Medea’s desire for revenge, and her determination for her and her children not to be taken advantage of drive her resentment and hatred of Jason, but the framing of her actions as ‘avenging the gods’ are less a personal motive than a method to satisfy her former motives. 

Many of Medea’s feelings are justified. Medea has been dishonoured and betrayed by Jason, and it is natural for her to feel hatred and resentment towards him in response to this. Medea’s bloodthirsty desire for revenge, though, is much greater than most people who experience these betrayals. While most may wish for revenge, almost none would undertake such a violent and bloody course of action as Medea to satisfy this desire. Further, Medea’s murder of her children is completely unproportionate to her desire for them not to be dishonoured. Medea had the opportunity to take the children into exile with her and protect them from mockery, but instead chose to murder them as a path for exacting her revenge. Therefore, while it is justified that Medea feels hatred and resentment towards Jason, her extreme and violent response to these feelings in order to satisfy her bloodthirsty desire for revenge cannot be considered the same. 

The overall effect of the delayed entrance from Medea at the beginning of the play is to draw suspense and pity from the audience. This is done through the exposition of the tutor and nurse discussing how “Jason has betrayed [Medea]” although she “seeks to please her husband in all she does”. In doing so, Medea’s dramatic entrance can be interpreted as a way to amplify the pity and sympathy that she receives from the chorus and audience. By playing the victim in the scenario, Medea was able to paint Jason in contempt, this provides the audience with a preconceived idea and prejudice of Jason before he first appears which further strengthened the audiences pity for Medea. 

This conversation between the messenger and Medea occurs straight after Glauce and Creon’s death. Where the messenger is delivering the ‘bad’ news in her eyes, however for Medea it is viewed as a success. Upon hearing the news, she appoints her messenger as one of her benefactors and friends representing how pleased she is with the messenger. Medea, without yet replying to the messenger’s question is more intrigued about the details of the death of Glauce and Creon. Medea might reply saying that her plan to take revenge on the royal family was a success and she is overjoyed with the results. Perhaps filled with a sense of accomplishment she is more eager to hear how the deaths of Glauce and Creon unfolded and how it potentially differed to what she had planned. This demonstrates the dedication towards her plan as if it were her own creation, this creation idea is what contributes to her behaviour upon hearing the ‘good news’. Seeing it performed successfully was a “welcome piece of news”, as the deaths were planned to occur, the news wasn’t received without prior knowledge of the plan. 

The two children in the play are the product of the relationship between Jason and Medea and the destruction of it entails the destruction of any bond between the husband and wife. This tragic murder of the children towards the end of the play could be seen as a symbol of feminism revolt. As Medea is set and played in the male-dominated ancient Greek era, being a mother seems to be a women’s only role and identity. When Medea is deserted by Jason and banished by Creon, her horrendous decision to murder her children could be seen as rebelling against the role of mother.  

In addition to this,  by only allowing the children’s cries to be heard offstage, Euripides allows the audience to imagine for themselves the brutality of the murder as well as highlighting the undecisivenss of the chorus, most likely conflicted between their portrayal as only mothers and their righteous moral values.

Euripides’ sense of dramatic effect throughout the play is shown through suspenseful scenes, such as scenes of conflict, scenes of death etc. The most powerful moments in Medea include the banishment of Medea and her children from the city by Creon. But after Medea pleads for mercy, she is granted one more day to stay in Corinth. This moment confines Medea’s range of options of what to do next and intensifies the pressures on her, until she is forced to do the irreversible act of using her powers to take revenge on all the people that have betrayed and hurt her. This helps to build up to the climax, which is the deaths of both her children. Another powerful moments is the conflict scenes between Jason and Medea. 

 

Jason is characterised as arrogant and somewhat sexiest, as “what we poor males really need is a way of having babies on our own – no females, please, Then the world would be completely trouble free”.  By placing these choice sexist remarks in the mouth of Jason, Euripides creates a character who is symbolic of the intensely patriarchal Greek society.

As concluded from the hearsay of the messenger, Glauce’s behaviour around Jason and the children are polar opposite, with Glauce’s eyes “lovingly on Jason”, and later showed her “revulsion” to the children. It is evident that Glauce is aware of the previous marriage between Medea and Jason, and as an adolescent, lacks any empathy or care for the feeling of Medea. It can also be concluded that the late princess is also extremely entitled / spoilt, being “unable to refrain” and completely agreeing to everything said by Jason. Acting as a stereotypical princess, Glauce prances the halls, with the dress equipped and coronet placed on her golden curls and occasionally pausing to look at her self. Glauce can be seen as a petty, privileged, unsympathetic adolescence whom lacks empathy.  

Medea is portrayed as a highly intelligent yet manipulative woman. Though Medea is a highly intelligent woman, she lets passion and revenge rule her actions. When her husband, Jason, marries Glauke, Medea goes crazy and decides to end the lives of her own children. Whilst one may call her a monster for her murderous actions, it can't go unsaid that Medea shows a good amount of motherly affection towards her two boys and ends up wrestling with her emotions before coming to the tragic decision. This emotional conflict creates in Medea a psychologically complex character. Medea can also be seen as both the "agent" and the "victim" of the tragedy of this story, she kills her kids in a fit of rage and revenge which ultimately causes her mourning and suffering.