{"id":5571,"date":"2026-05-01T10:45:00","date_gmt":"2026-05-01T10:45:00","guid":{"rendered":"https:\/\/iwell-guard.com\/medea\/"},"modified":"2026-06-05T14:35:23","modified_gmt":"2026-06-05T14:35:23","slug":"medea","status":"publish","type":"page","link":"https:\/\/iwell-guard.com\/en\/medea\/","title":{"rendered":"Medea"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-page\" data-elementor-id=\"5571\" class=\"elementor elementor-5571 elementor-2255 elementor-bc-flex-widget\" data-elementor-post-type=\"page\">\n\t\t\t\t<div class=\"elementor-element elementor-element-4e1cceb e-flex e-con-boxed e-con e-parent\" data-id=\"4e1cceb\" data-element_type=\"container\" data-e-type=\"container\" data-settings=\"{&quot;background_background&quot;:&quot;classic&quot;}\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-a09588f e-flex e-con-boxed e-con e-child\" data-id=\"a09588f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-e99e63b e-con-full e-flex e-con e-child\" data-id=\"e99e63b\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e50d850 elementor-widget elementor-widget-heading\" data-id=\"e50d850\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h1 class=\"elementor-heading-title elementor-size-default\">Medea, Colchian sorceress and tragic heroine<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-de5f0e9 elementor-widget elementor-widget-text-editor\" data-id=\"de5f0e9\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Medea is one of the most layered figures in Greek <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of transmitted divine narratives of a culture.\" tabindex=\"0\">mythology<\/span>. She is a sorceress, a princess from distant Colchis on the Black Sea, a priestess of <a href=\"https:\/\/iwell-guard.com\/en\/hecate\/\">Hecate<\/a>, the beloved and later the rejected of Jason, and a mother who kills her own children.<\/p><p>Her story combines <span class=\"iwg-fachbegriff\" data-tooltip=\"A transmitted narrative about gods, origins, and the order of the world.\" tabindex=\"0\">myth<\/span>, <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magic<\/span>, and tragedy. Unlike divine figures such as <a href=\"https:\/\/iwell-guard.com\/en\/aphrodite\/\">Aphrodite<\/a> or <a href=\"https:\/\/iwell-guard.com\/en\/eros\/\">Eros<\/a>, Medea is mortal, yet her <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magical<\/span> competence and her closeness to Hecate place her in a position between humanity and superhuman power.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-8d7c2cb e-con-full e-flex e-con e-parent\" data-id=\"8d7c2cb\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-23a68be elementor-widget elementor-widget-html\" data-id=\"23a68be\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"html.default\">\n\t\t\t\t\t<div class=\"iwg-pill-row\"><span class=\"iwg-klasse-badge\" tabindex=\"0\" data-tooltip=\"God \/ Goddess: Personified supreme power in the pantheon of a culture, with clearly defined responsibilities such as natural forces, fate, war, and fertility. Venerated through cults, sacrifices, and temple institutions.\">God<\/span><a href=\"https:\/\/iwell-guard.com\/en\/greece\/\" class=\"iwg-kultur-badge\" tabindex=\"0\" data-tooltip=\"Religion and mythology of ancient Greece from the Mycenaean period to Late Antiquity.\">Greece<\/a><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-7059463 e-con-full e-flex e-con e-child\" data-id=\"7059463\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-79831b6 elementor-toc--minimized-on-tablet elementor-widget elementor-widget-table-of-contents\" data-id=\"79831b6\" data-element_type=\"widget\" data-e-type=\"widget\" data-settings=\"{&quot;exclude_headings_by_selector&quot;:[],&quot;no_headings_message&quot;:&quot;Es wurden keine \\u00dcberschriften auf dieser Seite gefunden.&quot;,&quot;headings_by_tags&quot;:[&quot;h2&quot;,&quot;h3&quot;],&quot;marker_view&quot;:&quot;bullets&quot;,&quot;icon&quot;:{&quot;value&quot;:&quot;fas fa-circle&quot;,&quot;library&quot;:&quot;fa-solid&quot;,&quot;rendered_tag&quot;:&quot;&lt;svg class=\\&quot;e-font-icon-svg e-fas-circle\\&quot; viewBox=\\&quot;0 0 512 512\\&quot; xmlns=\\&quot;http:\\\/\\\/www.w3.org\\\/2000\\\/svg\\&quot;&gt;&lt;path d=\\&quot;M256 8C119 8 8 119 8 256s111 248 248 248 248-111 248-248S393 8 256 8z\\&quot;&gt;&lt;\\\/path&gt;&lt;\\\/svg&gt;&quot;},&quot;minimize_box&quot;:&quot;yes&quot;,&quot;minimized_on&quot;:&quot;tablet&quot;,&quot;hierarchical_view&quot;:&quot;yes&quot;,&quot;min_height&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;min_height_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"table-of-contents.default\">\n\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__header\">\n\t\t\t\t\t\t<h2 class=\"elementor-toc__header-title\">\n\t\t\t\tTable of Contents\t\t\t<\/h2>\n\t\t\t\t\t\t\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--expand\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__79831b6\" aria-expanded=\"true\" aria-label=\"Open table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-down\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M207.029 381.476L12.686 187.132c-9.373-9.373-9.373-24.569 0-33.941l22.667-22.667c9.357-9.357 24.522-9.375 33.901-.04L224 284.505l154.745-154.021c9.379-9.335 24.544-9.317 33.901.04l22.667 22.667c9.373 9.373 9.373 24.569 0 33.941L240.971 381.476c-9.373 9.372-24.569 9.372-33.942 0z\"><\/path><\/svg><\/div>\n\t\t\t\t<div class=\"elementor-toc__toggle-button elementor-toc__toggle-button--collapse\" role=\"button\" tabindex=\"0\" aria-controls=\"elementor-toc__79831b6\" aria-expanded=\"true\" aria-label=\"Close table of contents\"><svg aria-hidden=\"true\" class=\"e-font-icon-svg e-fas-chevron-up\" viewBox=\"0 0 448 512\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M240.971 130.524l194.343 194.343c9.373 9.373 9.373 24.569 0 33.941l-22.667 22.667c-9.357 9.357-24.522 9.375-33.901.04L224 227.495 69.255 381.516c-9.379 9.335-24.544 9.317-33.901-.04l-22.667-22.667c-9.373-9.373-9.373-24.569 0-33.941L207.03 130.525c9.372-9.373 24.568-9.373 33.941-.001z\"><\/path><\/svg><\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<div id=\"elementor-toc__79831b6\" class=\"elementor-toc__body\">\n\t\t\t<div class=\"elementor-toc__spinner-container\">\n\t\t\t\t<svg class=\"elementor-toc__spinner eicon-animation-spin e-font-icon-svg e-eicon-loading\" aria-hidden=\"true\" viewBox=\"0 0 1000 1000\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path d=\"M500 975V858C696 858 858 696 858 500S696 142 500 142 142 304 142 500H25C25 237 238 25 500 25S975 237 975 500 763 975 500 975Z\"><\/path><\/svg>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-9016a43 e-con-full e-flex e-con e-child\" data-id=\"9016a43\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-944e13c iwg-hero-image elementor-widget elementor-widget-image\" data-id=\"944e13c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<img fetchpriority=\"high\" decoding=\"async\" width=\"683\" height=\"1024\" src=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_griechenland_medea-683x1024.webp\" class=\"attachment-large size-large wp-image-5572\" alt=\"Medea, Colchian sorceress from Greek mythology, historical-illustrative depiction\" srcset=\"https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_griechenland_medea-683x1024.webp 683w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_griechenland_medea-200x300.webp 200w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_griechenland_medea-768x1152.webp 768w, https:\/\/iwell-guard.com\/wp-content\/uploads\/2026\/05\/goetter_griechenland_medea.webp 1024w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-f59cdc2 e-con-boxed e-flex e-con e-parent\" data-id=\"f59cdc2\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t<div class=\"elementor-element elementor-element-9a411b5 e-con-full e-flex e-con e-child\" data-id=\"9a411b5\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7718fb2 elementor-widget elementor-widget-text-editor\" data-id=\"7718fb2\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<h3>Origins and Mythological Framework<\/h3><p>According to the Argonautica of Apollonius of Rhodes (3rd century BCE), Medea is the daughter of Ae\u00ebtes, king of Colchis, and granddaughter of the sun god Helios. Her aunt is Circe, the sorceress of the Odyssey. This kinship positions Medea within a lineage of magically gifted women at the margins of the Greek world.<\/p><p>Colchis lies on the eastern shore of the Black Sea, in a region the Greeks perceived as exotic and charged with magic. The association between Colchian origin and sorcery appears early in literature: Hesiod (Theogony 956) already mentions Medea as daughter of Ae\u00ebtes.<\/p><h3>The Argonaut <span class=\"iwg-fachbegriff\" data-tooltip=\"A transmitted narrative about gods, origins, and the order of the world.\" tabindex=\"0\">Myth<\/span> and Aid to Jason<\/h3><p>The central mythological context is the voyage of the Argonauts. Jason comes to Colchis to obtain the Golden Fleece. King Ae\u00ebtes sets impossible tasks: taming fire-breathing bulls, ploughing a furrow of dragon&#8217;s teeth, overcoming the warriors that spring from them, and retrieving the fleece from the <span class=\"iwg-fachbegriff\" data-tooltip=\"A sacred grove that served as a cult site.\" tabindex=\"0\">grove<\/span> of Ares.<\/p><p>Medea, having fallen in love with Jason (in Apollonius through the intervention of <a href=\"https:\/\/iwell-guard.com\/en\/eros\/\">Eros<\/a>), aids him with ointments and spells.<\/p><p>After the theft of the fleece she flees with the Argonauts, and during the pursuit she kills her brother Absyrtus, scattering his dismembered limbs into the sea to delay their father, who must stop to collect the pieces.<\/p><p>The murder of her brother is the first sign of her ambivalent position: she is Jason&#8217;s helper and at the same time the agent of a grave act of violence.<\/p><h3>Euripides and the Corinthian Tragedy<\/h3><p>The most celebrated treatment of the material is Euripides&#8217; tragedy <em>Medea<\/em> (431 BCE). In Corinth, where the couple has settled after long wandering, Jason intends to repudiate Medea and marry the princess Glauce. Medea plans her revenge: she sends Glauce a poisoned robe that burns the bride and her father Creon to death.<\/p><p>She then kills her own two sons by Jason, to inflict on him the greatest possible pain. The tragedy ends with Medea&#8217;s escape on a dragon-drawn chariot sent by Helios.<\/p><p>Euripides&#8217; Medea has left a lasting mark on European literature and theatre: she is the paradigmatic tragic heroine whose passionate love and absolute revenge are inseparably bound together.<\/p><h3>Magical Competence and Connection to Hecate<\/h3><p>Medea&#8217;s magical practice is described in detail in the <span class=\"iwg-fachbegriff\" data-tooltip=\"Epoch of Greek and Roman culture, roughly 800 BC to 600 AD.\" tabindex=\"0\">ancient<\/span> sources. Apollonius and later Ovid (Metamorphoses 7) enumerate ointments made from rare herbs, spells spoken by moonlight, invocations of <span class=\"iwg-fachbegriff\" data-tooltip=\"Belonging to the earth or the underworld; in ancient religion the gods and spirits of the depths (Hades, the Erinyes, Demeter chthonia).\" tabindex=\"0\">chthonic<\/span> powers, and journeys by dragon-drawn chariot.<\/p><p>Hecate, goddess of crossroads and of <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magic<\/span>, is Medea&#8217;s patron goddess: in Euripides&#8217; play Medea confirms her oath by Hecate. This Hecate affinity places Medea within the <span class=\"iwg-fachbegriff\" data-tooltip=\"The passing on of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span> of the Greek Pharmakeutria, the herbalist and sorceress, who had a real social role in ancient popular <span class=\"iwg-fachbegriff\" data-tooltip=\"The academic discipline that studies religions comparatively and without confessional commitment.\" tabindex=\"0\">religion<\/span> and are attested archaeologically through <span class=\"iwg-fachbegriff\" data-tooltip=\"A verbal formula intended to inflict misfortune on a person or thing.\" tabindex=\"0\">curse<\/span> tablets (defixiones).<\/p><h3>Ovid&#8217;s Metamorphoses and Roman Reception<\/h3><p>Ovid devotes a long book of the Metamorphoses to Medea, describing her magical operations in detail: the rejuvenation of Pelias through herbs, and the rejuvenation of Aeson, Jason&#8217;s father, through dragon&#8217;s blood. Seneca&#8217;s tragedy <em>Medea<\/em> (1st century CE) sharpens the Euripidean model and turns Medea into an almost demonic figure of vengeful fury.<\/p><p>In the Roman pictorial tradition she appears on sarcophagus reliefs and wall paintings, often with inscriptions emphasising her Colchian origin. The reception continues through the Middle Ages (Boccaccio, Christine de Pizan) into the <span class=\"iwg-fachbegriff\" data-tooltip=\"Epoch roughly from the 15th to the 18th century.\" tabindex=\"0\">early modern period<\/span>, where Medea becomes a key figure in discourses on female power and <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magic<\/span>.<\/p><h3>Modern Readings and Classification in <span class=\"iwg-fachbegriff\" data-tooltip=\"The discipline that studies religions comparatively and without confessional commitment.\" tabindex=\"0\">Religious Studies<\/span><\/h3><p>In modern scholarship Medea is discussed from several angles. <span class=\"iwg-fachbegriff\" tabindex=\"0\" data-tooltip=\"German scholar of religion (1931-2015); major work Greek Religion (1977).\">Walter Burkert<\/span> emphasised the Hecate connection and the pharmacological profile in <em>Greek Religion<\/em> (1977). Feminist readings (Christa Wolf&#8217;s <em>Medea. A Modern Retelling<\/em>, 1996) interpret the tragedy as the story of a foreign woman who fails in Corinthian male society.<\/p><p>From a history-of-religions perspective, Medea is interesting as an example of the Greek processing of Colchian (Caucasian) magical traditions, in which real conceptions of sorcery are mythically transformed. The connection to <a href=\"https:\/\/iwell-guard.com\/en\/hecate\/\">Hecate<\/a> makes her a bridge between the mythological heroine and cultic practice.<\/p><p style=\"margin-top:1.5em\"><strong>Related Topics:<\/strong> <a href=\"https:\/\/iwell-guard.com\/en\/hecate\/\">Hecate<\/a> | <a href=\"https:\/\/iwell-guard.com\/en\/aphrodite\/\">Aphrodite<\/a> | <a href=\"https:\/\/iwell-guard.com\/en\/eros\/\">Eros<\/a><\/p><h3>Medea as a Model Figure of Female Power<\/h3><p>In the 20th century Medea becomes a key figure in feminist mythological readings. Christa Wolf&#8217;s novel <em>Medea. Voices<\/em> (1996) interprets the child-killing daughter as a healer defamed by Corinthian male society, whose true story has been obscured behind the tragic version.<\/p><p>In the dance-theatre tradition of Pina Bausch and in numerous modern stage productions, Medea appears as a woman whose magical competence, foreign origin, and emotional intensity are simultaneously the source of her fascination and her rejection. This reading is literarily productive, but cannot be straightforwardly argued against Euripides on historical-mythological grounds.<\/p><h3>Magical Practice and Connection to Hecate<\/h3><p>The connection between Medea and Hecate is dense in the ancient sources. Apollonius of Rhodes has Medea invoke Hecate as her patron goddess; Ovid follows this lead.<\/p><p>In the late antique Greek-Egyptian <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magical<\/span> tradition (PGM), Hecate invocations appear that display structures familiar from the literary Medea tradition: nocturnal rites, preparation of potions, invocations with herbs from the Caucasus or Thessaly.<\/p><p>This practice does not simply mirror the myths; rather the influence runs the other way: the literary Medea acts as a stimulus for <span class=\"iwg-fachbegriff\" data-tooltip=\"The transitional period between Antiquity and the Middle Ages, roughly the 3rd to 7th century.\" tabindex=\"0\">late antique<\/span> Hecate <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magic<\/span>.<\/p><h3>Medea as a Cultural Cipher<\/h3><p>The figure of Medea functions in Western culture as a cipher for several converging themes: female power in a patriarchal context, the foreign as a source of knowledge and threat, the entanglement of Eros and violence, and the tragedy of absolute love.<\/p><p><span data-nosnippet>In the visual arts, from Eugene Delacroix&#8217;s <em>Medea<\/em> (1838) to Anselm Kiefer&#8217;s material works, she returns repeatedly as a pictorial subject.<\/span><\/p><p><span data-nosnippet>In film, Pier Paolo Pasolini created an iconic adaptation in 1969 with Maria Callas, in which Medea travels back from Corinth to Colchis, a reversal that inverts the relationship between centre and periphery.<\/span><\/p><p>This cultural history of reception is significant for the history of religions: Medea stands for a form of the <span class=\"iwg-fachbegriff\" data-tooltip=\"Belonging to the divine and thereby withdrawn from everyday use.\" tabindex=\"0\">sacred<\/span> that the official Greek <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of gods in a religion or culture.\" tabindex=\"0\">pantheon<\/span> could not integrate, the sorceress as a boundary figure between mortality and divinity, between knowledge and fear.<\/p><h3>Sources<\/h3><ul><li><span data-nosnippet>Apollonius Rhodius: <em>Argonautica<\/em>, ed. Reinhold Glei, Tusculum 1996.<\/span><\/li><li><span data-nosnippet>Euripides: <em>Medea<\/em>, ed. Donald J. Mastronarde, Cambridge UP 2002.<\/span><\/li><li><span data-nosnippet>Sarah Iles Johnston: <em>Hekate Soteira<\/em>, Oxford UP 1990.<\/span><\/li><li><span data-nosnippet>Hans Dieter Betz (ed.): <em>The Greek Magical Papyri in Translation<\/em>, Chicago UP 1986.<\/span><\/li><li><span data-nosnippet>Christa Wolf: <em>Medea. Voices<\/em>, Luchterhand 1996.<\/span><\/li><\/ul>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-459aa96 e-con-full e-flex e-con e-child\" data-id=\"459aa96\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-e6cfed0 elementor-widget elementor-widget-heading\" data-id=\"e6cfed0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Medea in the Argonaut Myth<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-10547a0 elementor-widget elementor-widget-text-editor\" data-id=\"10547a0\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Medea first appears in the Greek <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmission of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span> in connection with the voyage of the Argonauts. She is the daughter of King Ae\u00ebtes of Colchis, a land at the eastern edge of the Greek world-view, and granddaughter of the sun god Helios.<\/p><p>When Jason arrives in Colchis with the Argonauts to obtain the Golden Fleece, Medea falls in love with him.<\/p><p>The most detailed <span class=\"iwg-fachbegriff\" data-tooltip=\"The epoch of Greek and Roman culture, roughly 800 BCE to 600 CE.\" tabindex=\"0\">ancient<\/span> account of this phase is provided by the epic <em>Argonautica<\/em> of Apollonius of Rhodes from the third century BCE.<\/p><p>Medea helps Jason to pass the impossible tasks set by her father: she gives him an ointment that makes him invulnerable to fire and iron, enabling him to tame fire-breathing bulls and defeat the warriors that grow from dragon&#8217;s teeth.<\/p><p>Finally she uses her magical arts to lull to sleep the dragon that guards the fleece.<\/p><p>The flight from Colchis is accompanied by a gruesome episode. According to the common <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmission of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span>, Medea kills her own brother Absyrtus and scatters his limbs across the sea to stop their pursuing father, who must pause to collect the pieces. Other versions soften or alter this act.<\/p><p>Already at this early stage the dual nature of Medea is apparent, a duality that marks her entire <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmission of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span>. She is Jason&#8217;s helper and rescuer, yet at the same time capable of extreme violence.<\/p><p>Scholarship emphasises that Medea is conceived as a woman from a distant land associated with sorcery, which made her simultaneously fascinating and threatening in the Greek imagination. Related figures of the magical arts include Circe, Medea&#8217;s aunt.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-33f65cf e-con-full e-flex e-con e-child\" data-id=\"33f65cf\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-fa4de09 elementor-widget elementor-widget-heading\" data-id=\"fa4de09\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Tragedy of Euripides and the Killing of the Children<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-d221222 elementor-widget elementor-widget-text-editor\" data-id=\"d221222\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>The most influential portrayal of the figure of Medea comes from the eponymous tragedy by Euripides, performed in Athens in 431 BCE.<\/p><p>The play opens when Jason and Medea have long since fled Colchis and are living in exile in Corinth. Jason repudiates Medea in order to marry the daughter of King Creon and thereby secure a more advantageous position for himself.<\/p><p>Euripides depicts Medea&#8217;s response as calculated revenge. She sends the princess a poisoned robe and a poisoned diadem, which kill the girl and the hastening Creon.<\/p><p>Medea then resolves to kill her own children, whom she has had with Jason, in order to strike him in the most painful way possible. The play ends with Medea escaping on the dragon-drawn chariot sent by Helios, while Jason is left behind broken.<\/p><p>Scholars have long debated whether the deliberate killing of the children by the mother was an invention of Euripides.<\/p><p>Before Euripides there were apparently versions in which the children were killed by the Corinthians or died accidentally. Euripides appears to have attributed the act to the mother herself, thereby creating the psychological force of the play.<\/p><p>Famous is the long monologue in which Medea wavers between maternal love and the will for revenge. This monologue is among the most analysed texts in ancient tragedy. Euripides makes Medea neither a pure monster nor a pure heroine.<\/p><p>He shows a woman who, in a situation of legal defencelessness as a foreigner and a rejected wife, is driven to an act she herself recognises as terrible. This ambivalence has kept the play effective across the centuries.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-14e0525 e-con-full e-flex e-con e-child\" data-id=\"14e0525\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-83db15e elementor-widget elementor-widget-heading\" data-id=\"83db15e\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">Medea between Sorceress, Healer, and Goddess<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-59c18bc elementor-widget elementor-widget-text-editor\" data-id=\"59c18bc\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>Medea is difficult to pin down to a single category in the ancient <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmission of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span>. She appears as a sorceress who works with herbs, ointments, and incantations, as a princess and granddaughter of Helios, and in some traditions even as an immortal, divine figure.<\/p><p>Her connection to the magical arts is close. <span class=\"iwg-fachbegriff\" data-tooltip=\"The epoch of Greek and Roman culture, roughly 800 BCE to 600 CE.\" tabindex=\"0\">Ancient<\/span> sources link her to the goddess Hecate, the patron of <span class=\"iwg-fachbegriff\" data-tooltip=\"Practices that seek to intervene in the course of events through special actions or formulas.\" tabindex=\"0\">magic<\/span>. Medea&#8217;s arts encompass both harm and rejuvenation.<\/p><p>In a well-known episode described at length by Ovid in the <em>Metamorphoses<\/em>, among others, Medea rejuvenates the aged Aeson, Jason&#8217;s father, by replacing his blood with a juice prepared from herbs.<\/p><p>She uses the same art for deception when she persuades the daughters of Pelias to dismember their father in the false hope of thereby rejuvenating him.<\/p><p>In some local traditions, particularly in Corinth, Medea had cultic significance. There were accounts there according to which her children were venerated as heroes, possibly in connection with a <span class=\"iwg-fachbegriff\" data-tooltip=\"A regulated sequence of symbolic actions with religious or cultural significance.\" tabindex=\"0\">ritual<\/span>.<\/p><p>Some scholars have suggested that behind the literary figure of Medea stands an older, divinely conceived figure, perhaps a protective <span class=\"iwg-fachbegriff\" data-tooltip=\"A being venerated as divine within a religion.\" tabindex=\"0\">deity<\/span> or a healing goddess. This hypothesis is speculative, however, and remains contested in scholarship.<\/p><p>The range from healer to killer, from princess to goddess, makes Medea one of the most complex figures in Greek <span class=\"iwg-fachbegriff\" data-tooltip=\"The totality of transmitted divine narratives of a culture.\" tabindex=\"0\">mythology<\/span>. Any classification from the perspective of religious studies must acknowledge this complexity rather than reducing her to a single type.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t<div class=\"elementor-element elementor-element-d8fed5f e-con-full e-flex e-con e-child\" data-id=\"d8fed5f\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t<div class=\"elementor-element elementor-element-7d90664 elementor-widget elementor-widget-heading\" data-id=\"7d90664\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default\">The Legacy of Medea from Rome to the Modern Age<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a2f546c elementor-widget elementor-widget-text-editor\" data-id=\"a2f546c\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p>The history of Medea&#8217;s reception extends without interruption from <span class=\"iwg-fachbegriff\" data-tooltip=\"The epoch of Greek and Roman culture, roughly 800 BCE to 600 CE.\" tabindex=\"0\">Antiquity<\/span> to the present. In Rome the philosopher and tragedian Seneca wrote his own <em>Medea<\/em>, which pushed the figure even further toward revenge and unbridled passion than Euripides had done. Seneca&#8217;s version exerted a considerable influence on the early modern European theatrical tradition.<\/p><p>In the visual arts of <span class=\"iwg-fachbegriff\" data-tooltip=\"The epoch of Greek and Roman culture, roughly 800 BCE to 600 CE.\" tabindex=\"0\">Antiquity<\/span>, Medea was a popular <span class=\"iwg-fachbegriff\" data-tooltip=\"A recurring thematic element in art or narrative.\" tabindex=\"0\">motif<\/span>, appearing on vase paintings and Roman wall paintings that frequently depict her at the moment before the killing of the children, caught between sword and hesitating hand. A famous Pompeian wall painting portrays precisely this inner conflict.<\/p><p>In the modern period Medea remained central to the theatre. Pierre Corneille wrote a <em>Medee<\/em> in the 17th century; Franz Grillparzer produced a widely regarded German-language treatment in the 19th century with the trilogy <em>The Golden Fleece<\/em>, emphasising Medea&#8217;s foreignness and her failure in Greek society.<\/p><p>In the 20th century Christa Wolf&#8217;s novel <em>Medea. Voices<\/em> offered a reinterpretation that absolves Medea of guilt for the killing of the children and portrays her as a <span class=\"iwg-fachbegriff\" data-tooltip=\"An offering to a deity to express gratitude, petition, or veneration.\" tabindex=\"0\">victim<\/span> of political intrigue.<\/p><p>Opera and film also took up the material, including the opera by Luigi Cherubini and the film by Pier Paolo Pasolini.<\/p><p>Scholarship explains this enduring presence by noting that Medea embodies fundamental conflicts: between woman and male society, between foreigner and native, between love and revenge. Each era has emphasised different aspects of these tensions and interpreted her accordingly.<\/p><p>As a <em>mythical<\/em> figure, Medea combines Colchian healing knowledge, Hecate veneration, and tragic fate; in the Greek <span class=\"iwg-fachbegriff\" data-tooltip=\"The transmission of knowledge and narratives across generations.\" tabindex=\"0\">tradition<\/span> she stands between priestess, sorceress, and princess.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Medea, Colchian sorceress and tragic heroine Medea is one of the most layered figures in Greek mythology. She is a sorceress, a princess from distant Colchis on the Black Sea, a priestess of Hecate, the beloved and later the rejected of Jason, and a mother who kills her own children. Her story combines myth, magic, [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":5572,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":{"_yoast_wpseo_focuskw":"Medea","_yoast_wpseo_title":"Medea: Mythical Sorceress of the Greeks | iWell Guard","_yoast_wpseo_metadesc":"Medea in Apollonius and Euripides: Colchian sorceress, priestess of Hecate, mother and killer.","_yoast_wpseo_meta-robots-noindex":"","_yoast_wpseo_canonical":"","_angie_page":false,"gefaehrdungsstufe":"","wesen_kultur":"","wesen_klasse":"","footnotes":""},"categories":[80,88],"class_list":["post-5571","page","type-page","status-publish","has-post-thumbnail","hentry","category-demons","category-greece"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v27.7 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Medea: Mythical Sorceress of the Greeks | iWell 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