Medea of Euripides - Softcover

The Medea, in spite of its background of wonder and enchantment, is not a romantic play but a tragedy of character and situation. It deals, so to speak, not with the romance itself, but with the end of the romance, a thing which is so terribly often the reverse of romantic. For all but the very highest of romances are apt to have just one flaw somewhere, and in the story of Jason and Medea the flaw was of a fatal kind. The wildness and beauty of the Argo legend run through all Greek literature, from the mass of Corinthian lays older than our present Iliad, which later writers vaguely associate with the name of Eumelus, to the Fourth Pythian Ode of Pindar and the beautiful Argonautica of Apollonius Rhodius. Our poet knows the wildness and the beauty; but it is not these qualities that he specially seeks. He takes them almost for granted, and pierces through them to the sheer tragedy that lies below. Jason, son of Aeson, King of Iolcos, in Thessaly, began his life in exile. His uncle Pelias had seized his father's kingdom, and Jason was borne away to the mountains by night and given, wrapped in a purple robe, to Chiron, the Centaur. When he reached manhood he came down to Iolcos to demand, as Pindar tells us, his ancestral honour, and stood in the market-place, a world-famous figure, one-sandalled, with his pard-skin, his two spears and his long hair, gentle and wild and fearless, as the Wise Beast had reared him. Pelias, cowed but loath to yield, promised to give up the kingdom if Jason would make his way to the unknown land of Colchis and perform a double quest. First, if I read Pindar aright, he must fetch back the soul of his kinsman Phrixus, who had died there far from home; and, secondly, find the fleece of the Golden Ram which Phrixus had sacrificed.