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Not all characters within Euripides' Medea draw an emotional response from the audience however, those that do include Medea, Jason, Kreon, Glauke and the children. Amongst these characters, there are those we feel sympathy for, and those we cannot view purely sympathetically, or unsympathetically, but a combination of both. The way in which the audience responds to certain characters is due soley to the devices Euripides has used in his construction of Medea.
Kreon, Glauke, and the children are seen as the innocents made victim in Medea's strive for vengeance.. These four characters are those within Medea, that the audience feels unbroken sympathy for. In order to evoke this response, Euripides has presented these characters as mere mortals, when likened to Medea. Medea uses her children as pawns in her plans for revenge. These children appear to be oblivious to their mothers plans, and are even naïve in their understanding of the actions they are engrossed in. the sheer fact that these children are unnaturally murdered by their own mother is enough to incite sympathy within the audience.. A major device Euripides has used to further these sentiments is that the only instance the children are heard to speak is in their cries of fear and agony as they are about to dye "Mummy! No!" and "Don't kill us!!"
Our view of both Kreon and Glauke is similar to that of the children. Kreon is only involved in the action of the play in two parts, and Glauke only one. Our first encounter of Kreon is when Medea pleads with him after she and the children are banished, as Kreon, rightfully so, fears Medea's potential response. During this interaction, Medea embodies the stereotypical female role, and uses it against Kreon. She manipulates him in order to get what she wants. Medea plays on Kreon's position as a father, claiming she needs one extra day to sort out affairs for her children. "I've plans to make…/How to save my children". Kreon accepts Medea's pleading,, and grants her one day in Corinth. In this, the audience sees Kreon as merciful, and in already knowing what will happen, begin to sympathise with him at this point. This sympathy is dramatically amplified for Kreon, and begins for Glauke, in their deaths.
As Glauke's "Flesh…/Slid from her bones", and Kreon reaching out for his daughter is caught up in her struggle, he dies also. The brutality of these deaths, causes the audience to commiserate even more.
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The characters of Medea and Jason draw a mixed response from the audience. We see both characters in two lights, sympathetically, and unsympathetically. The ordeal Jason goes through is so horrible, the audience must sympathise to a certain extent. Medea takes from Jason everything he values, "I have your heart!" in the conclusion of the play Jason has nothing. In this conclusion also, it is apparent that Jason is truly a fallen hero. From the nurses speech in the commencement of the play, we hear of Jason's courageous voyage for the Golden Fleece. Then, when Jason has already lost everything Medea predicts an inglorious death for Jason "Your precious Argo, will smash your skull."
Nevertheless, Jason is presented in such a way, that the audience views him without sympathy for a great part of the play. The audience gains insight, and understanding of Jason's character through three interactions he has with Medea, and what other characters including the nurse, and also the chorus say about him. In these three interactions, a lot can be learnt about Jason, he is a product of his context; a Greek male in Ancient Greek times. The traits that accompany this stereotypical role are not the dominantly acceptable characteristics of a male in the 1st Century. Because of this, the patronising tone Jason takes with Medea "Well done, my dear", and the reasoning behind his abandonment of his family is not understandable to a contemporary audience.. one could even go so far as to saying that Jason displays a level of misogyny in his words to Medea about women "If they're happy in bed, they're happy everywhere." And "No women then- /That way all human misery would end."
For this, and the knowledge that Jason had of Medea's previous violent actions against her family, we cannot view Jason sympathetically. In the couples second encounter, when Medea pretends to have finally 'come round' to Jason's perspective, how could Jason, knowing of Medea's history, simply believe her?
The protagonist of the Play, Medea can also be viewed both sympathetically and unsympathetically. Medea is presented as the other, she is foreign, exotic, unknown and because of this even feared. This idea of the other is enlarged in the context of the play, where all Greeks felt that non-Greeks were barbarians, and in every possible way different and subordinate to Greeks. Medea is not only an outsider in Greece, but has no home she can return to "I'm alone. No state" This is a situation no one can envy, and in this sense rouses sympathy from the audience.
The play opens with the nurses speech, in this speech the nurse sympathises with Medea and expresses regret. As the first words of the play, the audience, from the onset see Medea as a tragic figure to pity or to sympathise with. This sympathy is heightened when we hear Medea's desperate cries from behind the scenes "Yoh, mo-ee mo-ee.". This creates suspense, and excites an emotional response from the audience.. A contemporary audience sympathises to an even greater extent, as the position Medea is put in by Jason is not acceptable. Jason's motives are so selfish, and without a husband, Medea will be lost. This will be both socially, as a woman is nothing without her husband, but also emotionally. Medea desperately loves Jason.
Perhaps most importantly in contributing to our perception of characters is Euripides use of the chorus. The chorus is the link between the characters within the play, and the audience. The audience may act to question the audience, or the characters, although not directly, but to make the audience think about certain issues within the play. In this sense, when the chorus sides with a particular character, so too will the audience. In the case of Medea the chorus sides with the protagonist "That voice, that crying! Poor woman!". The chorus does not simply side with Medea, but is clearly 'against' Jason "Jason…/ what you do/ Is far from just deserting her."
However, one cannot ultimately excuse Medea's actions, and simply feel sorry for her. The outstanding issue is Medea kills not only two innocent people, Kreon and Glauke, but her own children. Medea can be described as an unnatural mother, she rejects all known maternal instincts, and places her need for revenge before them "Die, children./ Kill all his hopes". Also, Medea's actions are cool and calculated. This is not just a violent response to her husbands abandonment, that she subsequently regrets. Medea shows signs of reason and rationale, but still she commits these horrific acts. This does not draw sympathy from the audience.
Kreon, Glauke, the children, Medea, and Jason all characters within Euripides' Medea draw an emotional response from the audience. Jason and Medea, are two characters that in their actions, and devices used by the playwright, are viewed both sympathetically and unsympathetically by audiences of their time and that of contemporary times. Conversely, Glauke, Kreon and the children are viewed in an entirely sympathetic way by audiences from the past and the present.
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