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What's the deal with Glauce/Creusa? I'm pretty sure she's called Creusa in my copy of it (of course, I don't have it with me now, but I certainly did when I originally expanded this article...did I miss something?). Adam Bishop 04:00, 16 May 2005 (UTC)
The original text of Euripides' "Medea" gives her no name. He simply mentions "Creon's child." In my translation, I've used Glauce (line 16) because that's how she'd be known by the Greeks at Euripides' time. It is not until Propertius, a Roman poet 1st C. BC and Seneca (Roman philosopher and tragedian, 1st C AD) that we see the name Creusa (which is the feminine form of the name Creon, ie, her father) User: Solowords/ 9.05 29 August 2010 G. Theodoridis [ [1]]
I wnat to get some inputs which will give some light on the different aspects of Motherhood and sexuality in the Play
This article uses quite a few quotes, and they are in a couple different formats. It makes it look pretty cluttered. I say we trim the quotes down and standardize their format. Who agrees? - Ravenous 02:30, 21 February 2006 (UTC)
Perhaps Medea should be compared with Aeschylus' Clytaemnestra as they are similar in many ways as strong and resolute female characters of Greek drama. The quote, 'Medea, uncharacteristically for a female character, is strong and powerful', appears to ignore Clytaemnestra.
Nicander 12:31, 4 June 2006 (UTC)
At time of writing, the article is devoid of reaction and this quasi-sentence. Untitled50reg ( talk) 17:48, 1 June 2020 (UTC)
I cannot make sense of this quasi-sentence in the section "Reaction": "To have included an indecisive chorus, his criticism of Athenian society and his eventual disrespect for the gods — inhibit in Artemis, the acclaimed goddess of light and justice, acting for the now apparently evil Medea in carrying her to King Aegeus, was to repeal the purpose of the Dionysian plays: to appreciate Grecian society and uphold the power of the gods."
If anyone thinks they can, they should correct it. pmr ( talk) 15:25, 6 January 2008 (UTC)
-- Dereksmootz ( talk) 17:31, 22 May 2008 (UTC)
I checked out the site as I wanted to trace a translation/adaptation that I heard on bbc radio several months ago - it was an adaptation as it involved a present day setting and a father with limited access rights taking his children to the sea if I recall correctly,and killing them. Does anyone know the play? The translation that i find compelling is that by Robin Robertson Vintage 2008 —Preceding unsigned comment added by 84.9.169.153 ( talk) 21:38, 27 December 2008 (UTC)
Took out lots of the needless excerpts. Added some refs, etc. Ifnkovhg ( talk) 07:42, 16 June 2009 (UTC)
What's with the bizarrely fustian translations? They seem to have been added by Adam Bishop in an edit of 25 January 2005 when he merged another article with this one, but I've compared them to a good modern translation (John Harrison, Cambridge U.P., 1999) and also to the original text (ed. J. Diggle, OCT 1984) and besides being stuffily Victorian (and giving a quite inaccurate impression of what the play is like) they're also largely inaccurate. In some cases they are garbled conflations of lines from two different speeches, in other cases they seem to be outright fabrications on the part of the translator. I will replace them with more accurate versions and if WP lets me, I'll include the original lines. Lexo ( talk) 23:26, 1 December 2010 (UTC)
Just wanted to say that I agree with this point - there's still quotes like 'perchance thou mayst' - a bit too much! Since the above point is from nine years ago I'll try to change some of the quotes to ones from a 2004 translation by Stephen Esposito. Treereader, 15/5/2019
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I find it sort of odd that this isn't included, since it deals with the nature of Medea's relationship with Jason, which the ancient Greek audience knew about. It's in Metamorphoses, book VII. The themes section ignores the problematic dynamic Medea was pursuing with Jason - one based on pride and possession.
"[...] though she long fought against it, her reason could not subdue her mad desire [...] 'some strange influence weighs heavily upon me, and desire sways me one way, reason another [...] Why do you, a princess, burn with love for a stranger? Why dream of marriage with a foreigner? [...] Shall I then betray my father's kingdom, and by my help [...] set sail without me, and become another woman's husband [...] if he could prefer some other woman to me, then let him perish, the ungrateful wretch! [...] The things I leave behind are of little worth, but precious are the objects I pursue - the glory of having saved the Greek heroes, a knowledge of a better land than this, and cities whose fame has spread even to these shores. I shall become acquainted with all the art and culture of such cities, and I shall have Jason [my italics], for whom I would barter all the wealth the world holds. With him as my husband, men will call me the fortunate favourite of heaven, and my head will touch the stars!'" (Metamorphoses, translated my Mary M. Innes). — Preceding unsigned comment added by 71.202.20.21 ( talk) 03:28, 15 June 2012 (UTC)
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Emendation apparently accepted. Untitled50reg ( talk) 17:56, 1 June 2020 (UTC)
Regarding this November 2017 edit, the only mention of the play in the source Sanctifying Misandry: Goddess Ideology and the Fall of Man seems to be in reference to a letter-writer to The New York Times (p. 143) – not exactly the "feminist critics" alluded to. Other references pertain to a novel by Christa Wolf, not the play. Therefore I've removed the text, which had NPOV problems as well. — Sangdeboeuf ( talk) 13:34, 1 June 2018 (UTC)
The plot offered in the article, at time of writing, is verbose and riddled with errors. For myself, i am very inclined to eviscerating it. But since i do not know when (or if) i certainly will do so, and am equally inclined to letting someone else do so, i wiggle my goad.
There is zeal for the importance of the article, and pointing out the sea of secondary literature, but little attempt to thrust such actually into the article. I almost certainly won't do this. If you read this, you are formally invited to engage thrusting.
Content- and stylewise, the article is messy. I attempted to tidy some of it (as mentioned, i remain inclined to eviscerating the plot), but have been stymied in places. Untitled50reg ( talk) 09:45, 31 May 2020 (UTC)
Alleging that "Need an argument for all Greek tragedies otherwise there is no motivation for the plot. Characters seem far more ruthless and shallow without the argument. meaningless", Darylprasad inserted what was allegedly an argument. I am cutting this from the article, both because i strongly disagree with the reason for its insertion, and strongly object to the inserted text itself. But, like Creon, i am not a tyrant. I paste it here, and request even one reason why i should not have removed this.
"When the Heroes, who sailed in the ship Argo to bring home the Golden Fleece, came to the land of Colchis, they found that to win that treasure was a deed passing the might of mortal man, so terribly was it guarded by monsters magical, even fire-breathing bulls and an unsleeping dragon. But Aphrodite caused Medea the sorceress, daughter of Aeetes the king of the land, to love Jason their captain, so that by her magic he overcame the bulls and the dragon. Then Jason took the Fleece, and Medea withal, for that he had pledged him to wed her in the land of Greece. But as they fled, Absyrlus her brother pursued them with a host of war, yet by Medea's devising was he slain. So they came to the laud of Iolcos, and to Pelias, who held the kingdom which was Jason's of right. But Medea by her magic wrought upon Pelias' daughters so that they slew their father. Yet by reason of men's horror of the deed might not Jason and Medea abide in the land, and they came to Corinth. But there all men rejoiced for the coming of a hero so mighty in war and a lady renowned for wisdom unearthly, for that Medea was grandchild of the Sungod. But a after ten years, Creon the king of the land spake to Jason, saying, " Lo, I will give thee my daughter to wife, and thou shall reign after me, if thou wilt put away thy wife Medea; but her and her two sons will I banish from the land." So Jason consented. And of this befell things strange and awful, which are told herein." [1] Untitled50reg ( talk) 01:59, 26 June 2020 (UTC)
References
This article was the subject of a Wiki Education Foundation-supported course assignment, between 17 January 2023 and 11 May 2023. Further details are available on the course page. Student editor(s): Gcalcave123 ( article contribs).
— Assignment last updated by Marisamasanchan ( talk) 17:52, 11 May 2023 (UTC)
No operas are listed.
Perhaps the most well-known is Cherubini's, with Callas in the title role
RegardsDJ DuncanJay ( talk) 14:59, 24 June 2023 (UTC)
Why did someone deem the list "excessive"? A list can be quickly scanned or ignored. Someone took the time to painstakingly compile the list, which may be useful to others doing research. It makes no sense to cull it frivolously. Ariadne000 ( talk) 22:45, 5 February 2024 (UTC)
This
level-4 vital article is rated C-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||||||||||||||||||||||||||
|
What's the deal with Glauce/Creusa? I'm pretty sure she's called Creusa in my copy of it (of course, I don't have it with me now, but I certainly did when I originally expanded this article...did I miss something?). Adam Bishop 04:00, 16 May 2005 (UTC)
The original text of Euripides' "Medea" gives her no name. He simply mentions "Creon's child." In my translation, I've used Glauce (line 16) because that's how she'd be known by the Greeks at Euripides' time. It is not until Propertius, a Roman poet 1st C. BC and Seneca (Roman philosopher and tragedian, 1st C AD) that we see the name Creusa (which is the feminine form of the name Creon, ie, her father) User: Solowords/ 9.05 29 August 2010 G. Theodoridis [ [1]]
I wnat to get some inputs which will give some light on the different aspects of Motherhood and sexuality in the Play
This article uses quite a few quotes, and they are in a couple different formats. It makes it look pretty cluttered. I say we trim the quotes down and standardize their format. Who agrees? - Ravenous 02:30, 21 February 2006 (UTC)
Perhaps Medea should be compared with Aeschylus' Clytaemnestra as they are similar in many ways as strong and resolute female characters of Greek drama. The quote, 'Medea, uncharacteristically for a female character, is strong and powerful', appears to ignore Clytaemnestra.
Nicander 12:31, 4 June 2006 (UTC)
At time of writing, the article is devoid of reaction and this quasi-sentence. Untitled50reg ( talk) 17:48, 1 June 2020 (UTC)
I cannot make sense of this quasi-sentence in the section "Reaction": "To have included an indecisive chorus, his criticism of Athenian society and his eventual disrespect for the gods — inhibit in Artemis, the acclaimed goddess of light and justice, acting for the now apparently evil Medea in carrying her to King Aegeus, was to repeal the purpose of the Dionysian plays: to appreciate Grecian society and uphold the power of the gods."
If anyone thinks they can, they should correct it. pmr ( talk) 15:25, 6 January 2008 (UTC)
-- Dereksmootz ( talk) 17:31, 22 May 2008 (UTC)
I checked out the site as I wanted to trace a translation/adaptation that I heard on bbc radio several months ago - it was an adaptation as it involved a present day setting and a father with limited access rights taking his children to the sea if I recall correctly,and killing them. Does anyone know the play? The translation that i find compelling is that by Robin Robertson Vintage 2008 —Preceding unsigned comment added by 84.9.169.153 ( talk) 21:38, 27 December 2008 (UTC)
Took out lots of the needless excerpts. Added some refs, etc. Ifnkovhg ( talk) 07:42, 16 June 2009 (UTC)
What's with the bizarrely fustian translations? They seem to have been added by Adam Bishop in an edit of 25 January 2005 when he merged another article with this one, but I've compared them to a good modern translation (John Harrison, Cambridge U.P., 1999) and also to the original text (ed. J. Diggle, OCT 1984) and besides being stuffily Victorian (and giving a quite inaccurate impression of what the play is like) they're also largely inaccurate. In some cases they are garbled conflations of lines from two different speeches, in other cases they seem to be outright fabrications on the part of the translator. I will replace them with more accurate versions and if WP lets me, I'll include the original lines. Lexo ( talk) 23:26, 1 December 2010 (UTC)
Just wanted to say that I agree with this point - there's still quotes like 'perchance thou mayst' - a bit too much! Since the above point is from nine years ago I'll try to change some of the quotes to ones from a 2004 translation by Stephen Esposito. Treereader, 15/5/2019
An image used in this article,
File:KaterinaArabic.jpg, has been nominated for speedy deletion for the following reason: All Wikipedia files with unknown copyright status
Don't panic; you should have time to contest the deletion (although please review deletion guidelines before doing so). The best way to contest this form of deletion is by posting on the image talk page.
This notification is provided by a Bot -- CommonsNotificationBot ( talk) 00:20, 23 August 2011 (UTC) |
I find it sort of odd that this isn't included, since it deals with the nature of Medea's relationship with Jason, which the ancient Greek audience knew about. It's in Metamorphoses, book VII. The themes section ignores the problematic dynamic Medea was pursuing with Jason - one based on pride and possession.
"[...] though she long fought against it, her reason could not subdue her mad desire [...] 'some strange influence weighs heavily upon me, and desire sways me one way, reason another [...] Why do you, a princess, burn with love for a stranger? Why dream of marriage with a foreigner? [...] Shall I then betray my father's kingdom, and by my help [...] set sail without me, and become another woman's husband [...] if he could prefer some other woman to me, then let him perish, the ungrateful wretch! [...] The things I leave behind are of little worth, but precious are the objects I pursue - the glory of having saved the Greek heroes, a knowledge of a better land than this, and cities whose fame has spread even to these shores. I shall become acquainted with all the art and culture of such cities, and I shall have Jason [my italics], for whom I would barter all the wealth the world holds. With him as my husband, men will call me the fortunate favourite of heaven, and my head will touch the stars!'" (Metamorphoses, translated my Mary M. Innes). — Preceding unsigned comment added by 71.202.20.21 ( talk) 03:28, 15 June 2012 (UTC)
Hello fellow Wikipedians,
I have just modified one external link on Medea (play). Please take a moment to review my edit. If you have any questions, or need the bot to ignore the links, or the page altogether, please visit this simple FaQ for additional information. I made the following changes:
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After February 2018, "External links modified" talk page sections are no longer generated or monitored by InternetArchiveBot. No special action is required regarding these talk page notices, other than
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have permission to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the
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(last update: 18 January 2022).
Cheers.— InternetArchiveBot ( Report bug) 18:29, 4 September 2017 (UTC)
Emendation apparently accepted. Untitled50reg ( talk) 17:56, 1 June 2020 (UTC)
Regarding this November 2017 edit, the only mention of the play in the source Sanctifying Misandry: Goddess Ideology and the Fall of Man seems to be in reference to a letter-writer to The New York Times (p. 143) – not exactly the "feminist critics" alluded to. Other references pertain to a novel by Christa Wolf, not the play. Therefore I've removed the text, which had NPOV problems as well. — Sangdeboeuf ( talk) 13:34, 1 June 2018 (UTC)
The plot offered in the article, at time of writing, is verbose and riddled with errors. For myself, i am very inclined to eviscerating it. But since i do not know when (or if) i certainly will do so, and am equally inclined to letting someone else do so, i wiggle my goad.
There is zeal for the importance of the article, and pointing out the sea of secondary literature, but little attempt to thrust such actually into the article. I almost certainly won't do this. If you read this, you are formally invited to engage thrusting.
Content- and stylewise, the article is messy. I attempted to tidy some of it (as mentioned, i remain inclined to eviscerating the plot), but have been stymied in places. Untitled50reg ( talk) 09:45, 31 May 2020 (UTC)
Alleging that "Need an argument for all Greek tragedies otherwise there is no motivation for the plot. Characters seem far more ruthless and shallow without the argument. meaningless", Darylprasad inserted what was allegedly an argument. I am cutting this from the article, both because i strongly disagree with the reason for its insertion, and strongly object to the inserted text itself. But, like Creon, i am not a tyrant. I paste it here, and request even one reason why i should not have removed this.
"When the Heroes, who sailed in the ship Argo to bring home the Golden Fleece, came to the land of Colchis, they found that to win that treasure was a deed passing the might of mortal man, so terribly was it guarded by monsters magical, even fire-breathing bulls and an unsleeping dragon. But Aphrodite caused Medea the sorceress, daughter of Aeetes the king of the land, to love Jason their captain, so that by her magic he overcame the bulls and the dragon. Then Jason took the Fleece, and Medea withal, for that he had pledged him to wed her in the land of Greece. But as they fled, Absyrlus her brother pursued them with a host of war, yet by Medea's devising was he slain. So they came to the laud of Iolcos, and to Pelias, who held the kingdom which was Jason's of right. But Medea by her magic wrought upon Pelias' daughters so that they slew their father. Yet by reason of men's horror of the deed might not Jason and Medea abide in the land, and they came to Corinth. But there all men rejoiced for the coming of a hero so mighty in war and a lady renowned for wisdom unearthly, for that Medea was grandchild of the Sungod. But a after ten years, Creon the king of the land spake to Jason, saying, " Lo, I will give thee my daughter to wife, and thou shall reign after me, if thou wilt put away thy wife Medea; but her and her two sons will I banish from the land." So Jason consented. And of this befell things strange and awful, which are told herein." [1] Untitled50reg ( talk) 01:59, 26 June 2020 (UTC)
References
This article was the subject of a Wiki Education Foundation-supported course assignment, between 17 January 2023 and 11 May 2023. Further details are available on the course page. Student editor(s): Gcalcave123 ( article contribs).
— Assignment last updated by Marisamasanchan ( talk) 17:52, 11 May 2023 (UTC)
No operas are listed.
Perhaps the most well-known is Cherubini's, with Callas in the title role
RegardsDJ DuncanJay ( talk) 14:59, 24 June 2023 (UTC)
Why did someone deem the list "excessive"? A list can be quickly scanned or ignored. Someone took the time to painstakingly compile the list, which may be useful to others doing research. It makes no sense to cull it frivolously. Ariadne000 ( talk) 22:45, 5 February 2024 (UTC)