به نظر من مده آ با این که به نظر میرسید فقط به خاطر خیانت و عشقی که به جیسون داشت شروع کرد به انتقام گرفتن حتی ذره ای برای عشق انتقام نگرفت،اونا از دو فرهنگ متفاوت با اصول متفاوت بودن،همه چیز برای این بود که کفه ترازوی قدرت سمت خودش باشه و غرورش حفظ بشه ،اون داشت فکر میکرد چه چیزایی رو فدا کرده ،چه پل هایی رو پشت سرش خراب کرده وچه کارهایی به خاطر جیسون کرده ،آزادی ای که ازش سلب شده و ...حالا نمیتونست بزاره اون راحت از کنار اینا بگذره ،باید تاوان میداد .جیسون هم برای قدرت و ادامه و آینده خاندانش داشت دوباره ازدواج میکرد که بتونه بچه هایی داشته باشه که از خاندان سلطنتی باشن .شخصیت مده آ خیلی واسم ملموس نبود و انتظار داشتم زیرک تر باشهچیزی که برای من جالب بود این بود که برخلاف بیشتر نمایشنامه ها ‌،در اخربا تمام چیزهایی که همسرایان و جیسون و ..مبنی بر اینکه مده آ نمیتونه بدون مواجه شدن با عواقب کاری که انجام داده زندگی کنه ،همون طوری که توی کل نمایشنامه چندین بار اشاره شد مده آ زن عادی نبودو پیروزمندانه فرار کرد و به جیسون گفت که دستش به اون نمیرسه

nice, έχει το πρωτότυπο κείμενο και τη μετάφραση.

Το original fuck them kids

The ancient Greek playwright Euripides wrote "Medea," a tragedy of extreme vengeance. Passion and love turned into rage and revenge when Medea was spurned by Jason. Medea had risked everything for Jason during his quest for the treasure of the Golden fleece. Now, Jason was putting his political ambitions first and marrying the daughter of King Creon of Corinth.

Medea is a strong woman who uses deception and manipulation. The tormented woman thinks up the ultimate revenge, lashing out at Jason, even though it means killing people she loves in a brutal ending. Medea is the poster child for the popular line by William Congreve: "Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned."

I found the new translation by Robin Robertson to be very readable with a helpful introduction.

medea is truly the ancient greek prototype of gone girl- she walked in 400 BC so miss amy dunne could run in 2010 AD✋

saoirse ronan’ın little women’da “women” diyip kitlendiği an gibi bir tragedya. muhteşem.

طفلی مده آ! از غصه و خشم کارش به جنون کشید...چرا چرا چرا مده آ آدم بده قصه ست؟ چرا هیشکی جیسون رو مقصر نمیدونه؟ جیسون ناسپاس ِ خیانتکارِ عهد شکن...میدونی کلا همه افسانه های یونان اینطوری ان: قهرمان ها میتونن هرکاری _بخونین هر غلطی_ که بخوان انجام بدن، چون قهرمانن...مثل همین جیسون...مثل هرکول...مثل ادیسه...بدون سرزنش...بدون تاوان...
یونانی ها هم مثل همه جای دنیا، نسبت به زنها بی انصاف بودن...
همچنان دلم برای مده آ میسوزه...
همین.

Yes, I'm giving this classic Greek play a 5 stars because it's classic, but DAMN. This is the classic trophy wife who's constantly misused by the men in her life I removed a classic Freudian wife, alasthen laying down the LAW... all for the sake of revenge. Sweet, sweet revenge.

But to think that she would go so far as to kill her own children just for the sake of it... is chilling in the extreme.

The furies definitely rode this woman.

Simple, classic, and clear.

Oh, and you men, if you get that freaking fleece, use your head. Sheesh.

کاشکی حال داشتم ریویو بنویسم

Me encanta leer a los griegos. Los precursores de toda la literatura moderna, del teatro, la épica y el drama. Las tragedias griegas siempre me atrajeron luego de mi paso de un año y medio en la carrera de Licenciatura en Letras.
Allí pude leer varias obras de los aedos más famosos como Esquilo y Sófocles así también como las clásicas epopeyas de Homero, pero nunca había leído nada de Eurípides. Eurípides ganó el tercer puesto con esta obra en un certamen realizado en el año 431 A.C.
Lo que sorprende de Eurípides es que se sale un poco del molde tradicional de la tragedia con el personaje de Medea.
A qué quiero llegar con esto: a que usualmente en la Grecia antigua, las tragedias en general (no siempre), estaban reservadas para reyes y dioses mientras que las comedias se representaban a partir del resto de los mortales y clases bajas.
Y casualmente el personaje principal es Medea, una mortal con la única salvedad de que es nieta del dios Helio, el sol. De todas maneras, toda la trama gira alrededor de ella, Jasón, Creonte y unos pocos personajes más.
Más allá de que Eurípides dispuso ciertos cambios en la representación ante el público (sobre todo con el coro y en un realismo más marcado que Esquilo o Sófocles), todos los elementos que tan claramente nos enseña Aristóteles en su poética aparecen en Medea: eleos, phobos, hamartia, catarsis, etc.
Medea es una mujer movida por un deseo de venganza irrefrenable contra Jasón y lo lleva al extremo transformándose en una fría filicida. El realismo expuesto por Eurípides en la obra es total y creo Medea anticipa a algunos de los más tremendos personajes asesinos de muchas novelas y cuentos.
Me gustó mucho esta tragedia, aunque debo reconocer que es extremadamente machista y misógina. De todos modos y aunque paradójico, el feminismo de Medea es intachable, a pesar de reconocer que la mujer ateniense era controlada totalmente por hombre.
Espero este año leer más tragedias griegas, porque como dije previamente, me encantan...

سرد شدن رابطه عادی و قابل قبول هست اما خیانت نه...
به هیچ وجه

There is scholarly evidence to support the idea that Euripides was hired by the people of Corinth to write this play to make Medea into a villain: not even crazy but a purely evil woman who would kill her own children. I did a paper on it in grad school. Of course I don't know where my paper is nor the citations but who needs references in an opinion piece? ;)

I did the research after I read The Dawn Palace, a young adult novel with a feminist take on the story. (That book was excellent in its own right, helping me to understand what it was like to live in that era, particularly as a woman. It's one of my very favorite books and I highly recommend it.)

I didn't mind the play but the inherent misogyny gave me pause even before I discovered that it was propaganda. I'm not disputing how well it was written but it was not enjoyable to me.

Medea begins with a displacement, and ends with a displacement.

Medea is perhaps one of the most ferocious female characters in all Greek tragedy, and I’m fascinated by her. Medea is a masterful manipulator, conniver, convincer: her stychomythia with Creon and later Aegeus each remind me of Clytemnestra’s with Agamemnon in Aeschylus’ Oresteia. She makes herself a suppliant to Aegeus, falling at his feet in honor. She kills her children out of revenge. Well, actually, her killing of her children functions here as somewhat of an attempt to cut her final ties. I think it’s interesting that the original myth does not actually even make her kill her children. Euripides has a tendency towards putting his female characters (most notably with Electra, who actually kills Clytemnestra rather than sympathizing with Orestes) into roles with less moral goodness, but more agency.

Yet she is also sympathetic. Medea’s role as the ‘other’ is downplayed, and her identity as a murderer sympathized with. Medea’s only ask for an oath to King Aegeus is that she never seeks expulsion: she desires a safe harbor, after one expulsion after another.

Jason is desperate for power, but throughout, it is Medea who has saved him, who has helped him, who has become a murderer to save him. When he betrays her, she has nothing to go back to, and an identity forever corrupted by her past deeds. Medea and Jason accuse each other of selfishness, a lack of love for their children, and a desire for power; both exhibit all of these traits themselves, but it is Jason, the familiar, whom we criticize most. The gods, towards the end, are on her side. (Interestingly, this ending, too, would’ve been a plot twist to Euripides’ original audience. Plot twists in this era of tragedy are rare.)

This play allegedly took third place in 431 BCE drama competition into which Euripides entered it, but by the end of the century, Aristophanes was cheerfully mocking it, and it made the ‘select’ plays of Euripides, the ones passed along.

Notable Lines (Rachel Kitzinger translation):
NURSE: The bonds of love are sick. (16)
NURSE: Moderation sounds best on the tongue. (127)
MEDEA: Oh, Father, oh, city, to my shame:
I killed my brother and left you. (168)
MEDEA: I’d rather three times over stand behind a shield than give birth once. (250)
MEDEA: And we’re women:
most helpless when it comes to noble deeds, most skillful at constructing every evil. (409)
CHORUS: Had Phoebus, lord of singing, given us the gift, we would have
sung in answer to men’s voices? (426)
MEDEA: O Zeus, you gave a sure test for false god:
why is there none for human baseness? (516-517)
MEDEA: Let me be thought the opposite of these:
harsh with my enemies, gentle with my friends. (805-806)
JASON: O, children dearest—
MEDEA: To their mother, yes. Not to you. (1396-1397)

Notable Lines (Paul Roche translation):
JASON: It was Aphrodite and no one else in heaven and earth who saved me on my voyage.
MEDEA: I would not touch anything of yours - how dare you offer it.
MEDEA: My heart dissolves when I look in their bright blue irises.
CHORUS: So ended this terrible thing.

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