From: Getoarbe Mulliqi Bojaj
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The historical importance of ancient Greek literature lies in the development of world literature, because in ancient Greek literature there is a thesis on the art of writing, because there the great themes were reflected where the center of attention is man with the complex and psychological world - in relation with nature and the environment. In antiquity, the first foundations were laid with Aristotle's treatise.
Undoubtedly, the three great tragedians were contributors to this literature with their writings, which in small numbers escaped the tragedy of Alexandria. The time when they were dealing with these writings became mandatory for them, since from the beginning the appearances were made in rituals and festivals (of Dionysus), then those with choral appearances, then introducing the actors and finally the division of roles - something which perfected the theater and drama of that time. Later, the flourishing period of literature also had a great influence on the development of the democratic slave-owning order, where for the two classics, Aeschylus and Sophocles, this order was on the rise, while for Euripides this system is going towards decline.
Euripides - life and works
Writer and innovator of ideas in ancient Greek tragedy, or better known as the father of tragedy, Euripides, was born in Athens in 480 BC and died in 406 in Pele, Macedonia, where he was buried. Chronologically, Euripides is the third among the Greek tragedians Aeschylus and Sophocles.
His name, like that of Aeschylus and Sophocles, is associated with the famous war of Salamis. And, according to some possibly reliable records, Euripides was born on September 20, 480 BC, while the 16-year-old Sophocles hymned the exploits of war, while the 45-year-old, the famous Aeschylus, was a warrior. He was an ardent admirer of Democritus and Heraclius, and this was precisely the reason why he had a rich library of his own.
Although he came from a poor family, he was able to get all-round intellectual formation. He was a student of Anaxagoras and a close friend of Socrates. As a young man he was also involved in athletics and painting and music, while he studied philosophy but ended up with dramatic poetry.
Euripides was quite unfortunate among his co-writers, and was often played by the well-known Aristophanes, and especially in his well-known comedy "Frogs" which, due to its great success, was performed twice, which was not his custom to happen even so often, and it was eventually recognized as a great honor at the time.
Euripides is said to have lived and acted in one cavern of an island, where he had the opportunity to be inspired by the sea, which is evidenced by his knowledge of sailors and their life. Especially, in his tragedy "Iphigenia in Taulide".
Euripides was not a big fan of politics, so he never dealt with it, even though the presentations of his ideas resembled political-philosophical interpretations, from which he got the nickname "Philosopher of the Stage".
Out of a total of 42 appearances in various competitions, he was able to win only five times, while his sworn rival in these competitions was the great, Sophoklius.
Due to the misunderstandings and opposite worldviews he had with contemporary writers, he accepted the invitation of the King of Macedonia and went to Pele, to the royal court of Archelaus, where he died torn by hounds at the age of 75. They buried him in Aretus, near Amphipolis, with great honors. After his death, even after the demands of the Athenians to return his body, Arkelaus refuses. Meanwhile, Sophocles, in honor of Euripides, in the dionysia held, in a presentation of his work, is dressed in brown while the chorus appears on stage without crowns on their heads. The people of Athens erected a cenophatus (empty tomb) to the compatriot writer and carved an honorary epigram prepared by Thucydides on it.
As a husband he was unlucky, but he did not have a negative attitude towards women as presented by some researchers. In fact, with the presentation of female figures, it covers the bad vices of women and at the same time builds some wonderful, prosperous and very magnificent features. So, although not very lucky in marriage, he raises, appreciates and treats the cult of women delicately, which is evidenced in his famous and surviving works, such as: Medea, Electra etc. It cannot be said that Euripides was not religious, but he did not believe in divinity, which he proves when he says:
"They say that there is divinity in the sky
Gjepura,
Who has a crush on the brain
I won't believe the old legends."
And maybe for this very reason, the deities did not give him a happy life, as well as the co-writers who appreciated and exalted them.
Euripides belongs to the flourishing period of the Athenian polis, the beginning of the fall of the slave-owning democratic state, unlike Sophocles who also lived at the same time and wrote for the same audience and was called the poet of the flourishing of democracy. The realist Euripides was called a poet of crisis. While both deal with mythologizing, Euripides relates more to the essential problems which are problematic of the time by trying to strip them of epic grandeur and present them on an equal level with ordinary people. And precisely for this reason his works, which I would call the perfection of ancient literature, were not well received by the upper or conservative strata of Athenian society.
Euripides during his lifetime wrote a total of 72 plays of which unfortunately only 19 survived the years, of which 18 are tragedies and only one comedy.
Some of the works that survived time are: Medea, Iphigenia in Aulis, Iphigenia in Tauride, Andromache, Hecuba, Orestes, the Phoenicians, Heracles raging, Hippolytus, Helen, Trojans, Alcesidas etc. Undoubtedly, all his works are very valuable and highly valued, but "Medea", which later brought the third prize of the theater performance, is considered a masterpiece. Female figures who attract with the beauty of their sacrifice are Iphigenia and Alcesta.
Sophocles' wonderful saying: "Silence and modesty are the most beautiful ornament of a woman", ehis perhaps one of the most beautiful sayings about women today, and we find this beauty in his works in which he adorns his female characters with more than just silence and modesty. Otherwise, his characters were deeply psychological and quite enigmatic.
The artistic structure of the work
It is a tragedy in which the event takes place in thick dramaturgical lines, in terms of the construction of the Greek tragedy always referring to the Aristotelian laws, starting with the exposition or the location of the event and the characters, the combination or action of the characters who are in dramatic situations and the dialogue of the conflict that each time has to do with the main character, i.e. Medea, who, in addition to conflicts with other characters, also has an internal conflict, precisely when she commits the crime at the end, i.e. the killing of children, which is also the third Aristotelian point in in this case, the epilogue or catastrophe.
Euripides built his work, as we said, basing it on the three laws of Aristotelian poetics, developing the event in accordance with the character's action, thus motivating them in a very worthy and accurate way towards the goal, as well as he it places the character not by chance in the scene, creating the circumstances and the conflict both with himself and with others. Then we also have the events that make up the plot of the work, but also the situations in which the character is or is faced with, so that they are always presented as the existential or essential of human reality should be operationalized. This structure also includes the compositional side of the work, the dramatic situation, the conflict situation, the ideology, the message, the appeal, the structure of the character, as well as the author's own language and style in the functional construction of the work.
The tragedy "Medea"
With all the inspiring originality, the "father of tragedy" Euripides places the event of this tragedy, considered one of the ancient masterpieces, in Corinth, Athens. The way of presenting the main character of Medea makes us understand that Euripides aimed to reveal the character of his protagonist, showing the psychological worldview of man in this case of Medea, based on certain circumstances and situations but also the warnings that are made for her future.
Mendesha, after realizing that her mistress's husband, Medeas, had betrayed her, curses the day when the ship Argo arrives from Iolka to Colchis, captained by Jason himself. He had come there to take the golden skin, and there they meet, where Medea helps him take the golden skin from her father. She asks Jason to marry her if he is willing to help her get the golden skin. He agrees to marry Medea and together they leave for Jolka. But before leaving for Jolka, the cunning Medea takes her clogs and cuts her into pieces to prevent her from finding her father, and she also planned another trick by making the daughters of Pelias strangle her father. She had cut down an old ram and thrown its pieces into a cauldron, and she conjures a new lamb from its pieces. She convinces the daughters of Pelias that if they cut their father with this same magic from the old man he will turn into a young man. Deceived by Medea's promise, they cut off the father from whom they were greeted forever. Pelius's son, angry, expels Medea with her husband and sons from Jolka. They then go to Corinth where Jason decides to marry Glauca, the daughter of the Corinthian king Creon.
The mind behind this act of Jason mourns her Lady (Medean) and predicts that something bad will happen when she sees the teacher with the children. The pedagogue is interested to know why the woman is standing by the gate wailing and she replies with the strong reason that she was tormenting him, he does not take her seriously. While they are talking, Medea's cry is heard cursing herself, the children, fate and especially Jason or the traitor as she calls him. When the pedagogue hears Medea lamenting, he wants to tell the maid about the next unpleasant surprise he was preparing for her mistress, but keeps silent so as not to make it worse than it already is. But after the insistence of the woman, the teacher, whether he wanted to or not, is forced to tell her another bitter truth. When he passed by the place where the elders were playing backgammon, he heard that the king had decided to expel Medea from Corinth. Mendesha is interested in the reaction of Jason who had not cried his head off in fact to deal with the problems of the family he was destroying himself, she tells the boys that his father no longer loves them as he once loved them. Meanwhile, Medea is again heard cursing her sons, who were born to a mother whose husband was leaving her.
"you, oh cursed child,
Sons of a mother who strongly hated death".
The Chorus feels pain for everything that was happening to Medea, and tells the witch that they also felt the suffering of their mistress, because they loved her and it hurt her a lot. And while the maid tells the plight of Medea to the Corinthian women, Medea's oil from inside the palace confirms her words. She is heard begging the heavens to crush her:
"Oh! The flame of heaven
feet on me, on my head!
What joy will life have for me?
Medet! Medet! Mortja gave him
end of my life, black life!”
The chorus listens to Medea's plea and instructs her not to invoke death, for Zeus will avenge her. Medea after hearing the Chorus calls upon Zeus and Themis to take revenge for what she is taking away.
“O great Zeus!
Dear Temid!
See what I'm removing,
since I got a husband
a cursed,
with whom together
we made a big deal!
I killed them both,
this and the other
become ashes, dust
together with the palaces!
That these first ones
with great courage
they started against me
from injustices.
O father, O city,
I left you and ran away
completely shameless,
because earlier I killed my brother!"
After Mendesha listens to Medea's prayers, she realizes that her anger was not softening, but rather began to increase. The women of Corinth ask Mendesha to call Medea to soften her anger. Although guessed, Mendesha goes and calls her mistress. Kori excuses her husband and accuses Jason of betraying her.
Medea having been invited by Mendesha goes out and meets the Corinthian women warning them that she was not there to hear their accusations against her, but she began her game, making them her own and making them feel sorry for him. She first shows the injustices that are done to a woman in general, then she begins to be victimized, and convinces them and the reader precisely at the part:
"... Of all creatures with spirit and judgment,
we women are much more miserable"
And while complaining to the women, she tells you that above all they were in a better condition, since they had their loved ones near them, while Medea was alone and friendless. And, just when she manages to win the hearts of the choir, she asks for help to carry out her revenge.
The Chorus obeys her request and gives her all rights to condemn Jason, and instantly the Chorus sees Creon coming and warns Medea.
Creon meets Medea and after he kills her anger asks her to leave that same day with her sons. And he informs him that this order is firm and will not change. When Medea hears this from the king's mouth, she at least asks for an explanation, saying that there is nothing left for her enemies to do, since they did everything to make her life hell. Creon tells her that the only reason he wants Medea to leave is because he is afraid of her hurting his daughter who is effectively "stealing" her husband. He tells her that he has regard for her wisdom and the evils and sorceries she can do, and this is the height of hypocrisy, as she gloats even more, and tells Creon that it was her wisdom that got her this far. where is it. But, even though she is extremely upset, she does not empty herself in Creon, even though she is justified, she remembers that she has all the trouble with the traitor, that is, Jason. She controls her anger and behaves well with the king making Creon wonder what she is planning to do after all the things that are happening to her, why she wants to stay in Corinth.
"Sweet words you say, please my ears
I'm very afraid that you won't make it up
deep in the soul some evil plan;
even from now on I believe you less
than before…”
She again insists on staying, and even falls on Creon's knees, but he refuses. And after many attempts by Medea and many rejections by the King, she again achieves her goal and convinces the King to stay just one day to prepare the children. And the proud and powerful Creon informs her that if she does not leave, he will kill her the next morning. And after these words he leaves. As the chorus intervenes, lamenting the misfortune of Medea who had a suffering homelessness. And, for all that is happening to Medea, the chorus blames the gods. She admits to the disastrous situation in which she found herself, and informs them that Creon had made one of the biggest mistakes of his life by allowing him to stay one more day in Corinth. She swears that Creon, Glaucus and Jason would suffer her very badly. Now she had no doubts about whether to kill them, but only guessed how; and precisely poison was the best solution, perhaps even her best specialty. The Chorus supports Medea with pity, and this is exactly what she needed to anger her and remind her that Jason's cause was not to return home and to stay in Corinth.
Jason returns to escalate the situation by making Medea guilty because she vented what she had on him, telling her that if only she would be more careful maybe she would be able to continue her normal life in Corinth. And the height of the hypocrisy of a man like Jason is when he overestimates himself in such a situation, giving himself great credit for getting the king to change his mind about the sentence. From murder to exile, or "dispersal". Medea is even more irritated by Jason's presentation and especially his banal speech and calls him boastful, wicked and others:
"You, weak man, evil of the world!
I can't find words, greater blasphemy,
to qualify you, man..."
She moves on, but now remembering the sacrifices she made for Jason. She had betrayed her Father by killing her brother, she had sacrificed her country to enable Jason to get the golden fleece, she kills Pelius just so that Jason can be put on the throne. And above all, he accuses him of betraying his family. He is betraying the boys and the trust you gave her. And this is precisely the point where Medea's Bipolarity appears, which arouses doubts even in Jason, she now hopes that he will not return to her and tries the friendly way, which unfortunately does not go well. And now she had no other choice but to repent and accuse the gods of why they had not marked the bad man to distinguish himself as unlucky, as the latter calls himself persecuted, left and stained.
At this point the chorus interjects, noting that it takes a while for anger to flare up, but it takes twice as long to stop, and maybe it never stops. He already brings out the hypocrisy again by thanking Aphrodite for the good things she had brought him, denying the good things that Medea had done by sacrificing the good life to herself. Even after Jason's attempts to get Medea to thank her she has no intention of it, and just when he mentions the fact that she was the winner in this tollow he hyperbolizes the fact that life in a democratic country where there are rules and order was the best gift for Medea. Then making her feel coincidental in her knowledge, which did not need Jason's opinion, how famous she was in Corinth, and how she would never be famous where Jason got her from. And already when everything started to normalize a little, Jason tries to explain himself saying that this marriage is not done out of love but out of need and interest, he will raise the sons he has with Medea just like the sons he will have from the second marriage. And he already blames Medea for making it difficult for him to realize the plans that will affect the future, which maybe he is making for a better future for him and the children. Now the chorus praises Jason's words, but to the chorus he remains a traitor again. Meanwhile, Medea opposes the good orator on the grounds that wicked people try to atone for their guilt with beautiful words. She insists that now words are superfluous. These words should have been said before she decided to get married and not now. But Jason excuses himself by saying that if he had told Medea his intention in the beginning, she would have prevented him. But Medea insists that at any cost she categorically rejects anything good that would hurt her later. And she already reminds Jason that happiness is what she lacks and how can she have it with no roof over her head and no arms to lean on, and here's another point from a hypocrite to drop her mouth when Jason tells her that she is to blame because she cursed the king, more precisely the one who took away every right to happiness. And obviously she will not only curse Creon but also her eldest daughter and her new husband. And when Jason sees that this conversation is not going anywhere, he leaves. Even after leaving she curses Jason, reminding him that she will regret this marriage, and it is here that the chorus begins to plead with the goddess Aphrodite not to strike her with the poisoned arrow of love, since she has had enough love turned to mush.
And now Aegeus came from the shrine of Phoebe, and told her that he had gone there to ask why she still had children. Then Medea is interested to know why he had come to Corinth, he tells her that he was looking for Pythea, the king of Trizena, to get the right answer from him. And when he notices Medea's frowning face and asks him what happened she tells him about the tragedy she was going through and after they talk about it she begs him to accept her into his land. She takes the opportunity to be a good Medea by congratulating him on becoming a father and promising to help him, and this led Aegisthus to accept her into his land. And Medea, out of fear that she had already experienced twice, asks them to make a promise that he would never remove her from his land. Aegeu agrees to swear and after they got to know each other she wished Aegeu a good journey.
The Chorus also wishes him good luck and good luck as he has solved Medea's predicament by offering her shelter, hoping that this will soften her anger. But, on the contrary, this made Medea more confident, and now that she has found refuge, she is calling herself victorious in her spiritual struggle more and more.
Happy about this, she tells the women the plan and tells them that I will send a servant to call Jason. After she tells of the flatteries she will make to Jason to persuade him to let the boys stay in the city, and that through them she will kill Glauca, she asks the women of the chorus not to consider it to make her sick. The chorus tries to convince Medea that such a plan does not bring any good, but she insists otherwise and she assures them that everything will be over even after they told her that by killing the boys she will not suffer alone Jason but also her.
After receiving the order, Jason came to hear what Medeanse had to say. She convinces him that she regrets how a man like Jason doesn't deserve any of the words she said to him, etc. She credits him with how now he will become friends with the king, how she had not thought of this benefit. Showing her remorse, she also calls the boys from inside to hug their father, by which sight Medea is also touched and starts to cry, maybe she cries more for the fate of the children she was going to kill.
Even the choir laments this bad luck of the boys. But Jason, not smelling anything bad and trusting Medea, praises her for the things she said and forgives her earlier anger. He more or less rationalizes her anger and promises the boys that he would take care of them. And when Jason sees her crying and asks what is wrong with her she replies that she was touched by the promise he made to the boys and Medea by flattery gained Jason's trust more and by tears revealed her fragile nature the woman in Jason's eyes. She asks Jason to ask the king to let the children stay, promising that she will leave and not interfere with his future plans. She will send him a dress and a golden crown as a gift through the children. These are the gifts that her grandfather the sun had given his children. Jason refuses the gifts but Medea insists. And now the choir lost hope, after receiving the gifts they doubted whether Glauka or the children would survive.
The pedagogue is surprised to see Medea sulking even after she told him that Glauka had decided that the boys should not be exiled. Medea continues to cry and the teacher, who was still not clear about the reason, continues to bombard her with questions to which she mostly answers by moaning and cursing herself. The chorus continues to mourn the fate of the boys.
Medea was already impatiently waiting for the news from the palace. The other news had to do with her children, but this time also with the poisoned gifts. The messenger brings the news and advises Medea to leave the city as soon as possible. Medea appears naive, asking for the reason for leaving the city until she is sure if her plan had worked. The herald tells him that both Glaucus and Creon had died from her poisons. And Medea is overjoyed. The reporter, surprised by her reaction, gives her even the smallest details about the event, as she herself wanted to know. The announcer, after finishing his story, leaves.
The Chorus justifies the punishment for Jason and Glaucus feels sorry for him, and already the next plan that Medea is plotting to kill the children terrifies the Chorus even more, who is powerless in her decision-making and still tries to make her stop, but Medea had established.
"My raven, dog
stone or iron,
you who kill
with your hand your children,
the tree that your marriage brought?”
From inside the palace, you can hear the voices of children asking for help. But that didn't last long, they die after a while.
Jason returns and asks the women where Medea was. He wants me to take the children to save them, and the chorus is almost forced to tell him that she already killed them. Jason is enraged, and orders his servants to open the gate to kill Medea, who informs him that it is no use talking that he cannot make it, since her father's sun had sent the magic chariot to save him. from enemies. He curses Medea in the most cruel way.
"Criminal woman, hated woman
the gods, I, a whole world!
You who have no heart to stick your sword in them
to the sons you gave birth to, you, my, who made me
I live without children! You did all this
and dare to see the sun and the earth,
you who did the damnedest job?!
Tell me the name! Now it occurred to me;
I wasn't quite in my right mind when I picked you up..."
He also laments his fate. He laments how he could not marry and how he could no longer touch his children. And now Medea reminds Jason that she did all the evil for him. And as much as Jason accuses Medea of the madness she had done to him, she accuses Jason of such an end. After a long fight Jason asks to bury the boys at least, and Medea reluctantly refuses, pleased to see Jason suffer. And this is also the moment when she tells Jason that she did this to hurt him:
"I only killed them to burn you."
After Jason realizes that Medea will not allow him to bury the children in any way, he at least asks to greet them, and she categorically refuses this, implying that she does not believe in this desire at all. He insists that I at least see the children for the last time but Medea assessi refuses. And already the rejected Jason had no choice but to plead with Zeus, and curse Medea who was disappearing with the dragon chariot:
"Hear, O Zeus,
how do you stop me
see what I suffer
from this cursed place,
who washed his hands with the blood of boys?..."
And just as the chariot drawn by the dragons, with Medea in it, disappears into space, the chorus informs us that in the world things happen as the gods will and not as men will.
“Up on Olympus
ruled by Zeus
many of the events
of the universe.
He often entered
they do the work
not as we hope
we, sons of death.
Things to expect
they are not similar;
while those
unexpected,
are done, finished
as any of the gods will.
That's what it looked like
this job too."
Thematic structure
Taken as a whole, this tragedy is about human destiny, revenge and the position of women in society. These themes elaborated in a chain way, but also touched by other tragedians. And I would call exactly revenge as a fundamental or basic theme by which the guilty are not punished but their circle, but by which the guilty will suffer, and this is exactly where we find the connection with human destiny.
Motive structure
In addition to the motive of revenge, which is present in the entire work, we also have other motives that are laid out as a whole of the composition of this tragic work. Other motives push the characters to act, such as the fight for more, peace, sacrifice, but one motive that we find at the very end is the unmasking of the maternal instinct, which we find in the part when the children are killed .
Ideo-philosophical structure
The whole tragedy, in a related way, the events are conveyed with more advanced ideas, and in fact the whole tragedy is built on what a woman is capable of when they take what is due to her, in this case happiness and right of living without leadership from the government.
Compositional structure
In terms of composition, this tragedy is built from the relevant structures that precede the construction of the tragedy as a whole. It is composed of stanzas, antistrophes, then of dialogic lines between the characters, then of the characters which are the most important part through which the tragic situations and conflicts themselves are presented. As for the arrangement that Euripides makes of the characters, we have a more complex arrangement than we find in his contemporaries Aeschylus and Sophocles, in the first place we have Medea, who is also the basis of the tragedy or the very consequence, which follows with Jason or the cause, and then with Creon and Glaucus, who in the whole problem appear as basic but as important as the main characters, and then the children, the witch, the pedagogue, the messenger and the chorus.
Fictional structure
The king, after receiving the order from the oracle that he would be killed by his nephew Jason, orders him to bring him the golden skin. He accomplishes this mission with the help of the sorceress Medea, who falls in love with him and marries him. She makes a sacrifice by killing her brother and dismembering him and throwing the pieces into the sea. After they marry she gives birth to two children with Jason, who after they go to Corinth breaks his promise to Medea and marries Glauca, daughter of King Creon. And after Medea realizes his plan, that he would abandon her she plans her revenge. She kills the bride and the king by poisoning them, and then kills her sons to make Jason suffer.
The structure of the dramatic situation
The entire tragedy includes a conflict of action between the characters, in a situation of shock and horror, since from the beginning Euripides gives us the environment, in which the event takes place, where the conflict is actually opened with the great cause of Jason's betrayal, then the conflict is transferred to Medea's revenge and her plans to make Jason suffer for this betrayal, and then the involvement of other characters in the structure and finally the catastrophe or epilogue which is the killing of the sons. And one feature that should be noted in this tragedy is the way the characters and situations are treated with perfect truthfulness and originality.
Character structure
Despite the inclusion of other constituent structures, it is clear that even this one of the character has a role of a special kind. Thus, relying on the realistic spirit but also on the psychological side, he builds characters that belong to reality and that deal with problems that belong to different times and generations.
Medea – Medea is the main character in the work. She is an ambitious and romantic woman, as Sophocles portrays his Antigone at the beginning of the development of the event. Also intriguing and cunning, in case of comparison we find these elements in Clytemnestra, who above all is as vengeful as Medea. Although she is not the only victim, she is also a sacrificial character that we find in the legend of Hajria, in Albanian folklore or even in the drama of the spirit of socialist realism, "Halili and Hajria" by Kolë Jakova, as well as in an extremely successful by Fadil Hysaj, with a significant name "Simedea", in which the mother kills her sons to avenge her husband. She is a character with deep psychology, and should be treated with a great distance.
Jason – Medea's husband. Jason is a secondary character, but with great weight, and precisely his ambition for more leads to disaster. As a character he is quite complex, and not very wise. There are moments when he tries to come out and try to play the role of the wise but maybe when we compare him with Medea he loses some of his features such as ambition, intrigue, cunning, etc.
Creon – King of Corinth, father of Jason's bride Glaucus. Powerful and arrogant. Because of his interests he is able to do anything, even break a marriage. He is wise, but he is afraid of Medea. As a secondary character, he is quite clear, although at the moment of meeting Medea, we find him quite volatile and a man who breaks his word.
Children – Children of Medea and Jason. Innocent and angelic. They are led by their mother, and they have bad luck, because in the end they are killed by their mother's hand.
While Mendesha, Pedagogue, Herald and Chorus would not have the importance they have if they were not builders of dramatic situations in tragedy. Each of these carry a value in themselves, for example Mendesha is loyal to her mistress Medea, the teacher is also loyal to Jason and Medea, and the Herald gives Medea the news to save her from the royal family.
Linguistic and stylistic structure
Euripides is known as the perfect master of originality, who has synthesized all the compositional elements of ancient drama, and the language used always responds in flexibility to dramatic situations and moments, and is a language which has intense emotional weight and flow, and above all it is accessible to the public. Stylistic devices such as the use of metaphor, epipecia, dramatic delays, etc. they help the dramatic tension, which leads to the edge of anticipation and anxiety.
Appellative structure
From the cause comes the effect. People should be conscientious and should not do what they do not want others to do to them. If Jason would be more conscientious then Medea would not have committed the last crimes, and the execution which must be emphasized, i.e. the killing of children.
Message structure
Life always presents surprises, whether desired or not, but the best of the best is that such problems are overcome with full responsibility without worrying that they are unexpected, or that they may have been prepared by someone else. Whatever he wants to be, a person must create confidence in himself and be the designer of his own life. Even for Medea, everything would be different if she didn't decide to marry someone she didn't know, or maybe her family didn't approve. No one else loves us as much as our family loves us. /Telegraph/
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