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Greek: Μήδεια, Mēdeia) is an ancient Greek tragedy written by Euripides, based upon the myth of Jason and Medea and first produced in 431 BC. The plot centers on the |
barbarian protagonist as she finds her position in the Greek world threatened, and the revenge she takes against her husband Jason who has betrayed her for another woman. Euripides produced |
Medea along with the lost plays Philoctetes, Dictys and the satyr play Theristai, earning him last place at the City Dionysia festival for that year. The play tells the story |
of the revenge of a woman betrayed by her husband. All of the action of the play is at Corinth, where Jason has brought Medea after the adventures of the |
Golden Fleece. He has now left her in order to marry Glauce, the daughter of King Creon. (Glauce is also known in Latin works as Creusa — see Seneca the |
Younger's Medea and Propertius 2.16.30. This King Creon is not to be confused with King Creon of Thebes.) The play opens with Medea grieving over her loss and with her |
elderly nurse fearing what she might do to herself or her children. Creon, also fearing what Medea might do, arrives determined to send Medea into exile. Medea pleads for one |
day's delay, and Creon begrudgingly acquiesces. In the next scene Jason arrives to confront her and explain himself. He believes he could not pass up the opportunity to marry a |
royal princess, as Medea is only a barbarian woman, but hopes to someday join the two families and keep Medea as his mistress. Medea, and the chorus of Corinthian women, |
do not believe him. She reminds him that she left her own people for him ("I am the mother of your children. Whither can I fly, since all Greece hates |
the barbarian?"), and that she saved him and slew the dragon. Jason promises to support her after his new marriage, but Medea spurns him: "Marry the maid if thou wilt; |
perchance full soon thou mayst rue thy nuptials." Next Medea is visited by Aegeus, King of Athens; he is aggrieved by his lack of children, and does not understand the |
oracle that was supposed to give him guidance. Medea begs him to protect her, in return for her helping his wife conceive a child. Aegeus does not know what Medea |
is going to do in Corinth, but promises to give her refuge in any case, provided she can escape to Athens. Medea then returns to her plotting how she will |
kill Glauce and Creon. She decides to poison some golden robes (a family heirloom and gift from the sun god), in hopes that the bride will not be able to |
resist wearing them, and consequently be poisoned. Medea resolves to kill her own children as well, not because the children have done anything wrong, but because she feels it is |
the best way to hurt Jason. She calls for Jason once more, falsely apologizes to him, and sends the poisoned robes with her children as the gift-bearers. - Forgive what |
I said in anger! I will yield to the decree, and only beg one favor, that my children may stay. They shall take to the princess a costly robe and |
a golden crown, and pray for her protection. The request is granted and the gifts are accepted. Offstage, while Medea ponders her actions, Glauce is killed by the poisoned dress, |
and Creon is also killed by the poison while attempting to save her. These events are related by a messenger. - Alas! The bride had died in horrible agony; for |
no sooner had she put on Medea's gifts than a devouring poison consumed her limbs as with fire, and in his endeavor to save his daughter the old father died |
too. Medea is pleased with her revenge thus far, but resolves to carry it further: to utterly destroy Jason's plans for a new family, she will kill her own sons. |
She rushes offstage with a knife to kill her children. As the chorus laments her decision, the children are heard screaming. Jason rushes to the scene to punish her for |
the murder of Glauce and learns that his children too have been killed. Medea then appears above the stage in the chariot of the sun god Helios; this was probably |
accomplished using the mechane device usually reserved for the appearance of a god or goddess. She confronts Jason, reveling in his pain at being unable to ever hold his children |
again: - "I do not leave my children's bodies with thee; I take them with me that I may bury them in Hera's precinct. And for thee, who didst me |
all that evil, I prophesy an evil doom." She escapes to Athens with the bodies. The chorus is left contemplating the will of Zeus in Medea's actions: - Manifold are |
thy shapings, Providence! - Many a hopeless matter gods arrange. - What we expected never came to pass, - What we did not expect the gods brought to bear; - |
So have things gone, this whole experience through! Euripides' characterization of Medea exhibits the inner emotions of passion, love, and vengeance. Medea is widely read as a proto-feminist text to |
the extent that it sympathetically explores the disadvantages of being a woman in a patriarchal society, although it has also been read as an expression of misogynist attitudes. In conflict |
with this sympathetic undertone (or reinforcing a more negative reading) is Medea's barbarian identity, which would antagonize a 5th-century Greek audience. Euripidean innovation and reaction Although the play is considered |
one of the great plays of the Western canon, the Athenian audience did not react so favorably, and awarded it only the third place prize at the Dionysia festival in |
431 BC. A possible explanation might be found in a scholium to line 264 of the play, which asserts that traditionally Medea's children were killed by the Corinthians after her |
escape; Euripides' apparent invention of Medea's filicide might have offended its audience just as his first treatment of the Hippolytus myth did. In the 4th century BC, South-Italian vase painting |
offers a number of Medea-representations that are connected to Euripides' play — the most famous is a krater in Munich. However, these representations always differ considerably from the plots of |
the play or are too general to support any direct link to the play of Euripides - this might reflect the judgement on the play. However, the violent and powerful |
character of princess Medea, and her double nature — both loving and destructive — became a standard for the later periods of antiquity and seems to have inspired numerous adaptations |
thus became standard for the literal classes. With the rediscovery of the text in 1st-century Rome (the play was adapted by the tragedians Ennius, Lucius Accius, Ovid, Seneca the Younger |
and Hosidius Geta, among others), again in 16th-century Europe, and in the light of 20th century modern literary criticism, Medea has provoked differing reactions from differing critics and writers who |
have sought to interpret the reactions of their societies in the light of past generic assumptions; bringing a fresh interpretation to its universal themes of revenge and justice in an |
unjust society. Modern productions and adaptations - Jean Anouilh adapted the Medea story in his French drama Médée in 1946 - Robinson Jeffers adapted Medea into a hit Broadway play |
in 1947, in a famous production starring Judith Anderson - Ben Bagley's Shoestring Revue performed a musical parody off-Broadway in the 1950s which was later issued on an LP and |
a CD, and was revived in 1995. The same plot points take place, but Medea in Disneyland is a parody, in that it takes place in a Walt Disney animated |
cartoon - The 1990 play Pecong, by Steve Carter, is a retelling of Medea set on a fictional Caribbean island around the turn of the 19th to 20th century - |
The play was staged at the Wyndham's Theatre in London's West End, in a translation by Alistair Elliot. The production was directed by Jonathan Kent and starred Diana Rigg. The |
Evening Standard described Rigg's performance as "the performance she was born to give" while the Mail on Sunday described it as "unquestionably the performance of her life." Peter J. Davison |
provided the scenic design and Jonathan Dove the music. The production opened on 19 October 1993. - A 1993 dance-theatre retelling of the Medea myth was produced by Edafos Dance |
Theatre, directed by avant-garde stage director and choreographer Dimitris Papaioannou - John Fisher wrote a camp musical version of Medea entitled Medea the Musical that re-interpreted the play in light |
of gay culture. The production was first staged in 1994 in Berkeley, California. - Neil Labute wrote Medea Redux, a modern retelling, first performed in 1999 starring Calista Flockhart as |
part of his one act trilogy entitled Bash: Latter-Day Plays. In this version, the main character is seduced by her middle school teacher. He abandons her, and she kills their |
child out of revenge - Michael John LaChiusa created a musical adaptation work for Audra McDonald entitled Marie Christine in 1999 . McDonald portrayed the title role, and the show |
was set in New Orleans and Chicago respectively in 1999 - Liz Lochhead's Medea previewed at the Old Fruitmarket, Glasgow as part of Theatre Babel's Greeks in 2000 before the |
Edinburgh Fringe and national tour. 'What Lochhead does is to recast MEDEA as an episode-ancient but new, cosmic yet agonisingly familiar- in a sex war which is recognisable to every |
woman, and most of the men, in the theatre.' The Scotsman - Tom Lanoye (2001) used the story of Medea to bring up modern problems (such as migration and man |
vs. woman), resulting in a modernized version of Medea. His version also aims to analyze ideas such as the love that develops from the initial passion, problems in the marriage, |
and the "final hour" of the love between Jason and Medea - Kristina Leach adapted the story for her play The Medea Project, which had its world premiere at the |
Hunger Artists Theatre Company in 2004 and placed the story in a modern day setting. - Peter Stein directed Medea in Epidaurus 2005 - Irish playwright Marina Carr's By the |
Bog of Cats is a modern re-telling of Euripides' Medea - In November 2008, Theatre Arcadia, under the direction of Katerina Paliou, staged Medea at the Bibliotheca Alexandrina (University of |
Alexandria, Egypt). The production was noted (by Nehad Selaiha of the weekly Al-Ahram) not only for its unexpected change of plot at the very end but also for its chorus |
of one hundred who alternated their speech between Arabic and English. The translation used was that of George Theodoridis - US Latina playwright Caridad Svich's 2009 play Wreckage, which premiered |
at Crowded Fire Theatre in San Francisco, tells the story of Medea from the sons' point of view, in the afterlife - Paperstrangers Performance Group toured a critically acclaimed production |
of Medea directed by Michael Burke to U.S. Fringe Festivals in 2009 and 2010. - Distinguished Italian director Pier Paolo Pasolini adapted the play into a movie of the same |
name in 1969 starring the renowned opera singer Maria Callas as Medea - Mexican filmmaker Arturo Ripstein adapted the plot for his 2000 film Such Is Life - Lars von |
Trier made a version for television in 1988. - Theo van Gogh directed a miniseries version that aired 2005, the year following his murder. - OedipusEnders, a documentary broadcast on |
BBC Radio 4 on 13 April 2010, discussed similarities between soap opera and Greek theatre. One interviewee revealed that the writers for the ITV police drama series The Bill had |
consciously and directly drawn on Medea in writing an episode for the series. |Greek Wikisource has original text related to this article:| - Edward P. Coleridge, 1891 - prose: full |
text - Theodore Alois Buckley, 1892 - prose: full text - Michael Woodhull, 1908 - verse - Gilbert Murray, 1912 - verse: full text - Arthur S. Way, 1912 - |
verse - Augustus T. Murray, 1931 - prose - R. C. Trevelyan, 1939 - verse - Rex Warner, 1944 - verse - Philip Vellacott, 1963 - John Davie, 1996 - |
James Morwood, 1997 - prose - Paul Roche, 1998 - verse - Ruby Blondell, 1999 - verse - George Theodoridis, 2004 - prose: full text - Joseph Goodrich, 2005 - |
verse: full text - Graham Kirby, 2006 - verse (The Bloomsbury Theatre) - Diane Arnson Svarlien, 2008 - verse - Robin Robertson, 2008 - verse* - J. Michael Walton, 2008 |
- prose - Gregory 2005, 3. - See (e.g.) Rabinowitz 1993, 125-54; McDonald 1997, 307; Mastronarde 2002, 26-8; Griffiths 2006, 74-5; Mitchell-Boyask 2008, xx. - KM-awards.umb.edu, Williamson, A. (1990). A |
woman's place in Euripides' Medea. In Anton Powell (Ed.) Euripides, Women, and Sexuality. pp.16-31. - DuBois 1991, 115-24; Hall 1991 passim; Saïd 2002, 62-100. - Ewans 2007, 55. - This |
theory of Euripides' invention has gained wide acceptance. See (e.g.) McDermott 1989, 12; Powell 1990, 35; Sommerstein 2002, 16; Griffiths, 2006 81; Ewans 2007, 55. - From the programme and |
publicity materials for this production. - David Littlejohn (26 December 1996). "John Fisher: The Drama of Gender". Wall Street Journal. - [dead link] - DuBois, Page (1991). Centaurs and Amazons: |
Women and the Pre-History of the Great Chain of Being. University of Michigan Press. ISBN 0-472-08153-5 - Ewans, Michael (2007). Opera from the Greek: Studies in the Poetics of Appropriation. |
Ashgate Publishing, Ltd. ISBN 0-7546-6099-0, ISBN 978-0-7546-6099-6 - Gregory, Justina (2005). A Companion to Greek Tragedy. Wiley-Blackwell. ISBN 1-4051-0770-7 - Griffiths, Emma (2006). Medea. Taylor & Francis. ISBN 0-415-30070-3, ISBN |
978-0-415-30070-4 - Hall, Edith (1991). Inventing the Barbarian: Greek Self-definition through Tragedy. Oxford University Press. ISBN 0-19-814780-5 - Mastronarde, Donald (2002). Euripides Medea. Cambridge University Press. ISBN 0-521-64386-4 - McDermott, |
Emily (1989). Euripides' Medea: the Incarnation of Disorder. Penn State Press. ISBN 0-271-00647-1, ISBN 978-0-271-00647-5 - McDonald, Marianne (1997). "Medea as Politician and Diva: Riding the Dragon into the Future." |
Medea: Essays on Medea in Myth, Literature, Philosophy, and Art. James Clauss & Sarah Iles Johnston, edds. Princeton University Press. ISBN 0-691-04376-0 - Mitchell-Boyask, Robin (2008). Euripides Medea. Diane Arnson |
Svarlien, trans. Hackett Publishing. ISBN 0-87220-923-7 - Powell, Anton (1990). Euripides, Women and Sexuality. Routledge Press. ISBN 0-415-01025-X - Rabinowitz, Nancy S. (1993). Anxiety Veiled: Euripides and the Traffic in |
Women. Cornell University Press. ISBN 0-8014-8091-4 - Saïd, Suzanne (2002). "Greeks and Barbarians in Euripides' Tragedies: The End of Differences?" Antonia Nevill, trans. Greeks and Barbarians. Thomas Harrison, ed. Taylor |
& Francis. ISBN 0-415-93959-3 - Sommerstein, Alan (2002). Greek Drama and Dramatists. Routledge Press. ISBN 0-203-42498-0, ISBN 978-0-203-42498-8 |Wikimedia Commons has media related to: Medea (play)| - Structure of the |
computer, and being able to choose which one to boot when starting the computer. The term dual-booting refers to the common configuration of specifically two operating systems. Multi-booting may require |
a custom boot loader. Multi-boot allows more than one operating system to reside on one computer, for example if you have a primary operating system and an alternate system that |
you use less frequently. Another reason for multi-booting can be to investigate or test a new operating system without switching completely. Multi-booting allowed a new operating system to configure all |
applications needed, and migrate data before removing the old operating system, if desired. A possible alternative to multi-booting is virtualization, where a hypervisor is used to host one or more |
virtual machines running guest operating systems. Multi-booting is also useful in situations where different software applications require different operating systems. A multi-boot configuration allows a user to use all of |
this software on one computer. This is often accomplished by using a boot loader such as NTLDR, LILO, or GRUB which can boot more than one operating system. Multi-booting was |
also used by software developers where multiple operating systems were required for development or testing purposes. Having these systems on one machine was a way to reduce hardware costs. Technical |
issues Number of operating systems per storage device In a multi-boot computer each of the multiple operating systems can reside on its own storage device, or some storage devices might |
contain more than one operating system in different partitions. An example of a computer with one operating system per storage device is a dual-booting computer that stores Windows on one |
disk drive and Linux on another disk drive. In this case a multi-booting boot loader is not strictly necessary because the user can choose to enter BIOS configuration immediately after |
power-up and make the desired drive first in the boot-order list. However, it is more convenient to have a multi-booting boot loader on one of the drives, set BIOS once |
to always start booting from (i.e., load the boot loader from) that drive, and then allow the user to choose an operating system from that boot loader's menu. No special |
disk partitioning is necessary when each operating system has its own dedicated disk drive. An example of a computer with multiple operating systems per storage device is a dual-booting computer |
that stores both Windows and Linux on the same disk drive. In this case a multi-booting boot loader is necessary. Also, the disk must be partitioned to give each operating |
system its own partition on the disk drive. The basic concept involves partitioning a disk to accommodate each planned installation, optionally including separate partitions for data storage or backups. Windows |
XP/2000 Note that Vista's partitioners may not be compatible with XP/2000 (see Logical disk manager#Compatibility problems). If you use Windows 2000/XP, probably the safest approach (for disks under 2 TiB) |
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