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Medea Plot Analysis - 1392 Words

Medea is an ancient Greek tragedy play written by Euripides. The play bases itself on the ancient myth of Jason and Medea. The plays plot centers itself on the actions of Medea who was the Barbarians former prince who seeks revenge against Jason who betrayed her with another woman. Considered as one the best work produced by Euripides, the play has earned the writer several awards including the Dionysian festival awards in 431BCE (Williamson 1) Therefore, the purpose of this paper is to discuss in length the flow of events in the play. To accomplish its objective, the paper will have a close look at the synopsis of the play, the plays main characters of the story and an analysis of the play. Plot After the Golden Fleece adventure, Jason†¦show more content†¦I shall bury them with my own hand and takes the corpses with her as she flies away triumphant.` Analysis of the Plot As in the case with most of the Greek plays, this takes place in just a single scene, outside the faà §ade, which was Jasons and Medes palace. In this case, events that took place outside the palace like the murder of the two sons is described in an elaborate speech delivered by a messenger. The plays exhibit some universal themes such as passion and rage, which are expressed by Medeas extreme behavior and emotions, which makes her to, seek revenge, which she achieves through the shedding of blood. The nurse echoes her rage when she warns her boys not to go in the house her rage — Im sure of that — before she strikes out at someone. I pray it will be enemies and not loved ones she hurts (Euripides, 5). Out of the rage that she posses, she ends up even destroying that which was not supposed to get the consequences of what conspired between the father and mother. On the other hand, Jasons betrayal transformed her passion into rage expressed by her wife by killing their sons, Creons and her daughter. Revenge is another theme that loudly speaks for itself. Medea depicts revenge by being willing to sacrifice everything including her family to make her revenge perfect. During her speech, she speaks with bitterness, and her words depict a lot of vengeance due to what the husband has done to her. At the chorus, she says I ask youShow MoreRelated Aristotle’s Elements of Tragedy1473 Words   |  6 Pagessubjects Aristotle has influenced include: logic, physics, government and poetry. Aristotle’s study of poetry mainly focused on the elements to a good tragedy. Some of his elements have been used in Greek tragedies and modern movies. The Greek play, Medea, and the modern movie, No Country for Old Men, use elements from Aristotle philosophy, while using similar and different techniques but both achieving an effective tragedy. In Aristotle’s book, Poetics, he defines tragedy as, â€Å"an imitation of an actionRead MoreThe Tragedy Of Euripides Medea1593 Words   |  7 PagesEuripides’ Medea is considered, according to Aristotle’s Poetics, a tragedy. The play centers on Medea, an outsider and wife to Jason, who seeks to punish Jason for taking another wife. The play is considered a tragedy because it contains the three unities as well as the six elements of drama mentioned by Aristotle. Despite the fact that the does the play fits the criteria of what Aristotle considers tragedy, however, Medea is actually not a tragedy but tells the story about a successful revengeRead More Euripedes Medea versus Aristotlean Poetics Essay1570 Words   |  7 Pagesthe stage. His rules of tragedy in fact made a deep imprint on the writing of tragic works, while he influenced the structure of theatre, with his analysis of human nature. Euripides Medea, a Greek tragedy written with partial adherence to the Aristotelian rules, explores the continuation of the ancient Greek tales surrounding the mythology of Medea, Princess of Colchis, and granddaughter of Helios, the sun god, with heartlessness to rival the infamous Circe. While the structure of this play undoubtedlyRead MoreMedeo is a Play Based on the Myth of Jason and Medea Written by Euripides1248 Words   |  5 PagesMedea is a play based on the myth of Jason and Medea written by Euripides. The play involves the love between two mythical characters: Jason and Medea. The play reaches its climax when Medea is betrayed by Jason when he choses another woman for her youthful beauty. Euripides is able to involve the audience by using dramatic scenery on how Medea choses to respond to this theatrical situation according to the patriarchal culture she lives in. Furthermore, the analysis focuses upon the system of masculinityRead MoreThemes of Medea1751 Words   |  8 Pages2011 Medea Video Project Analysis The â€Å"Medean† Hillbillies Euripides’ Medea is classified an ancient Greek tragedy. However, this story is much more than a tragedy. The story of Medea is one that definitely grabs the reader’s attention through both its text and its themes. The themes that the story of Medea presents are very practical and still continue to exist in humanity today. The three largest and most obvious themes that a reader is most likely to find and relate to while reading Medea areRead More Comedic Violence in The Medea, The Oresteia, and Antigone Essay2353 Words   |  10 PagesComedic Violence in The Medea, The Oresteia, and Antigone      Ã‚  Ã‚   Almost no Greek tragedy escapes the use of violence. The Medea, The Oresteia, Antigone, and other classic works of Grecian tragoidia all involve huge components of violence in many prominent places, and for all of these stories, violent action is an integral part of the play. Medea, especially, is a character worthy of note in this regard; her tumultuous life can be plotted accurately along a path of aggression and passionate fitsRead More Euripides Support of Women’s Rights Essay4032 Words   |  17 Pagesthemselves to do.   Other women appear to be the root of grave evils, or simply perpetrators of heinous crimes.   In a day when analysis of characters and plot had yet to be invented, it is easy to see why he might have been thought to be very much against women.   However, when looking back with current understanding of what Euripides was doing at the time, armed with knowledge of plot devices and Socratic philosophy, this argument simply does not hold u p.   In fact, a very strong argument can be made toRead MoreConflict Between Male And Female Characters2154 Words   |  9 Pagesreversals are found aplenty, emphasised and made comic by cross-dressing whilst in tragedy, it appears rarer. Furthermore, in tragedy the role reversal focuses on the women’s function as usurping the roles designated for male characters. Euripides’ Medea and Aristophanes’ Women at Thesmophoria provide one with a paradigm from each genre of how sexual role reversal can explore alternative representations of gender and result in having a transgressive impact on dominating gender ideology. Both playwrightsRead MoreReflection Of Ovids Metamorphoss1330 Words   |  6 PagesArthur Golding issued the first complete English version. The poem was immensely popular and went through six printings during Shakespeares lifetime. The Neoclassical eighteenth century poets valued the Metamorphoses for its metric skill and for its analysis of passi on. An eighteenth-century English translation was by â€Å"several hands,† including John Drydens. During the nineteenth century in England, the Metamorphoses was, as Horace Gregory, a twentieth-century translator of the poem, notes, relegatedRead More Importance of the Tutor in Electra1623 Words   |  7 Pagesherself is a somewhat minor character, the Tutor. This attendant of Orestes emerges only three times and is on stage for less than twenty percent of the spoken lines, yet his role in driving the plot is as great as any. If Aristotle, one of the true masters of ancient thought, is correct in saying The Plot, then, is the first principle, and, as it were, the soul of a tragedy, then the Tutor can truly be considered one of the most significant characters in the entire drama.   Ã‚  Ã‚   The relationship

Anselm of Canterbury Essay Example For Students

Anselm of Canterbury Essay Anselm concludes that one requires two wills to be free by arguing that to be free is to have an ability. In this paper I will argue that Anselm believes that this ability is incompatible with an Aristotelian doctrine of the will and that to have this ability, we must have at least two wills. Only in such a model is one free. Then I will argue that the agent who abandons justice differs from the one-willed creature Anselm considers in chapter 13,because the latter is not acting freely, whereas the former is acting freely. In the 3rd meditation of Meditations on First Philosophy, Descartes thinks he has proved the existence of God. Given that God is good, and that he exists, Descartes must now explain why we make mistakes. He argues that we make mistakes because we make judgments about ideas that are not clear and distinct. If we refrained from making judgments in those cases, we would not make any errors. This raises a puzzle: Granted that we can constrain our will when we dont have clear and distinct ideas, can we constrain our will when we do have clear and distinct ideas? Or are we compelled to judge on things of which we have clear and distinct ideas? If the latter is the case, then it appears we dont have a free will which would raise serious issues about responsibility for sin and so forth. According to the Aristotelian doctrine of the will, our will is directed towards a single end, which is happiness. All deliberation that one makes will be in regards to the means to this single end. There can be no mistake in the direction of the will. If a mistake is made, it will be in the deliberation process or in the execution of the desired means to the end. In either case, the mistake will be such that one has no control over it. Otherwise if one did have control over it then one would simply deliberate the potential mistake. But, Anselm thinks, since mistakes are made, and they must be explained in terms of the will since everything is done according to the will, then it would appear that there must be some sort of malfunction in the way in which we were designed by God. But he assumes that God did not make an error in the creation of man because doing so would make God less that perfect. The general worry in the Aristotelian doctrine of the will is that since there is a single end, then we cant make opposite judgments because there is only a single will. We are compelled to act on our will, and that would rule out the possibility of free will, and responsibility that goes along with free will. In chapter 4, Anselm explains this problem in discussing how the Devil sinned. He writes,T.But no one keeps justice except by willing what he ought, and no one deserts justice except by willing what he ought not. T.Therefore, by willing something that he was not supposed to will at that time, he deserted justice and thereby sinned. S.This follows. But I ask: What did he will?T.Whatever he already had in his possession he was supposed to will. S.Yes, he was supposed to will what he had received from God, and he did not sin by willing that. T.Therefore, he willed something which he did not already have and was not supposed to will at that time. T.But the Devil was able to will nothing except what is just or beneficial. The thought is that if we have one end which is happiness, then everything we will is willed in accordance with this end. Therefore, if the Devil deserted justice, he did it by willing in accordance with this single end. That being the case, how could his deserting of justice have possibly been a sin, since it was done in accordance with the will he had been given by God? The only way the Devil could have sinned was by acting contrary to his will, which Anselm thinks is impossible if you only have one will. What is necessary but absent in the Aristotelian model is the liberty of indifference. The liberty of indifference is to be able to make a contradictory judgment or refrain from judgment, even in the face of a powerful inclination. That is to say that even when the idea is presented to the will by the intellect with clarity and distinctness, the will is not compelled to judge and can judge otherwise. In the Aristotelian model, however, mistakes that are made involve irrationality because there is only one will. Therefore, in order for a mistake not to involve irrationality, Anselm thinks we need two wills. Otherwise it would appear as though we make irrational mistakes because we are not rational enough, which would indicate that God erred in his creation of man. The Effects of HIV Mutations on the Immune System EssaySince this creature is operating under the only will it has, the justice or injustice of its actions are irrelevant. In essence, this creature is not acting freely. The Devil is given both the will for happiness and justice. Unlike the one-willed creature, the Devil is free to choose. Anselm writes in chapter 14, Thus possessing a just will-for-happiness he could and should be happy. And by not willing what he ought no to will, although able to will it, he would merit never to be able to will what he ought not to will. And by always keeping justice by means of a tempered will, he would in no way experience need. It happens to be, however, that the Devil realizes that what would make him happy is to be like God insofar as having an autonomous will. That is to say, doing things because he wants to do them. But this would require that he abandon justice, which is to do what God wants him to do because God wants him to do it. Never theless, he believes that although he must abandon justice he will increase his happiness, and so he chooses to do so. The Devils situation having deserted justice is different from the situation of the one-willed creature. In chapter 16, Anselm explains,T.Before that will received this justice, was it under obligation to will and not to will in accordance with justice?S.No, it was not under an obligation with respect to what it had not received and therefore did not have. T.However, you do not doubt that it was under an obligation after it received justice unless it were to lose justice as the result of some overpowering force?S.I think that the will is always bound to this obligation whether it keeps what it has received or whether it willingly deserts it. The thought is that though having deserted justice it would appear that the Devil is no longer subject to justice, he ought to have justice and since he no longer has justice then he is deemed unjust. The one-willed creature was not unjust because it was not the case the justice should be there, whereas the Devil has deserted justice and in so doing created a void. In this case, since one cant be happy without being just, the Devil has made a big mistake and now he is neither just nor happy. Nevertheless, despite the fact the Devil is operating solely under the will for happiness, he still has a free will. He realizes that he is mistaken and he wants to regain justice. But he can never regain justice because that requires that he do the right thing because it is the right thing to do. The Devil wants to do the right thing because he wants to be happy. That is to say that he knows he cant be happy without doing the right thing. Therefore he will never be able to do the right thing because it is the right thing to do. So he will never regain justice and will always be operating under the will-for happiness. But this is not to say that he is not operating with a free will, like the one-willed creature. Bibliography:Anselm of Canterbury, On the fall of the devil

The Connection Between Art free essay sample

A ; Reality Essay, Research Paper What is the connexion between art and world? Art is self-expression of the creative person # 8217 ; s world. Geographical environment, the beginning of societal fortunes, and peculiar period and manner, act upon the creative persons perceptual experience of world. Ever since work forces and adult females saw their contemplations in still pools, the desire to stand for nature and human nature suggested itself to early people. Early people dealt with hunting and being hunted, with life and decease, with being and extinction. Life for them was really crude ; undermine creative persons represented what they really saw in their day-to-day life with images on the cave wall. Their life ( world ) was simple and Hagiographas and drawings expressed it on the wall. Approximately by the terminal of the 1970s, philosophers of art had abandoned their armchairs for a much closer examination of the jobs and patterns of the humanistic disciplines themselves, taking up a wide scope of subjects in picture, picture taking, movie, music, literature and dance. We will write a custom essay sample on The Connection Between Art or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Like modern-day philosophers of scientific discipline, who are expected to cognize a just sum of scientific discipline, aestheticians nowadays need to cognize something about the humanistic disciplines. One consequence is that now, more than of all time in the yesteryear, aesthetics involves the pattern of art unfavorable judgment and enjoys close ties with Fieldss such as art history, literature and movie survey. The 20th century has had many alterations of the old traditional aesthetics. In the 20th century it has been argued that art has taken a way to distance itself from world. The universe is so overpopulated that every individual is fighting for their individualism ( seeking to do sense of where they belong in their sense of world ) that they insist on utmost extremist independency between aesthetics and the remainder of their lives. This has alterations aesthetics in a manner that the creative person is fighting to divert from the norm of society # 8217 ; s world. The ageless battle is to obtain a pureness of vision and belief while still prosecuting oneself with world. Creative plants ought to stand as an ageless symbol of this continuity. Artists try to capture what they perceive as world in their work, they try to portray a message that is meaningful and important to their ain world. The experience of world is something that defies most attempts to to the full grok and capture it. In its most simple signifier, perceptual experience involves the boundaries between consciousness and being. How existence enters consciousness depends wholly on one # 8217 ; s senses, attitudes, and environment. Our heads work without to the full hold oning the full nature of our milieus. Alternatively, we need merely associate to the extent that seems comfy to take part in whatever activity we are presently engaged. We unconsciously filter A ; simplify the complexness of world in order to get down associating T o it. An creative person can merely get down to near the bounds of conveying even a minute of world to a hereafter looker-on. Many creative persons seek to make this every bit accurately as possible, trying to reflect their senses upon the viewer’s through a given piece. All originative activity begins in the mind’s oculus and ear of the creative person, but a work of art that does non pass on significance is stillborn. Symbolic notation is a really cardinal agencies of capturing world into apparently grasped signifiers, but to travel beyond this in technique nowadayss a challenge. To talk with colour is an art unto itself whose challenges and assortment are adequate to overrun any creative person # 8217 ; s life-time of pattern. The acknowledgment of perceptual experience # 8217 ; s function in Art is one that will neer to the full be absorbed. The boundaries between idea and look will be crossed many times, and in many ways, but can neer to the full be removed. The thought that aesthetic issues have small or no bearing on the cardinal concerns of doctrine is comparatively recent, mostly an artefact of the rise of analytic doctrine itself. As is apparent from the plants of Plato, Aristotle, Hume, Kant, Nietzsche and Hegel, inquiries of art and beauty were one time regarded as indispensable concerns of doctrine. Despite alterations in philosophical method refering art, understanding human experience remains a cardinal aspiration of doctrine. It is as portion of this larger humanistic undertaking that aesthetics can be seen as an of import subdivision of doctrine Most philosophers today, including those whose philosophical involvements lie in scientific and proficient countries, acknowledge the importance of value theory. Aestheticss is portion of value theory, and if the theory of value is philosophically of import, aesthetics is philosophical of import, excessively. In aesthetics, philosophers have progressively rejected the formalist separation of aesthetic and moral value to prosecute substantial inquiries refering, for illustration, the moral map of art, auctorial duty, the moral bounds of aesthetic grasp. A cardinal concern of aesthetics today is the relation of aesthetic and moral value. Moral philosophers, in bend, are looking to art. Artists tend to be repelled by aesthetics, for a figure of grounds. Many are leery that excessively much analyzing of their art will harm their creativeness ; it will promote them to develop their rational self-importance at the disbursal of their originative unconscious. Or they suspect that aesthetic analysis will hold no consequence on them, that believing about art in this manner is merely useless. Through the survey of the humanistic disciplines in relation to the life and clip out of which they originate, a richer, broader, deeper humanistic apprehension can be achieved. The yesteryear as reflected in the humanistic disciplines exists as a uninterrupted procedure, and the yesteryear is therefore invariably alive and of all time present.