Daphne - Pursued by Apollo who has been shot with an arrow by Eros, Daphne prays Pheneus to be turned into a tree, which later becomes sacred to Apollo.

Europa - was a Levantine woman in Greek mythology. There were two competing myths relating how Europa came into the Greek world: in the more familiar one she was seduced by the god Zeus in the form of a bull and carried away to Crete on his back, but according to Herodotus she was kidnapped by Minoans, who likewise were said to have taken her to Crete. The mythical Europa cannot be separated from the mythology of the sacred bull, which had been worshipped in the Levant.

Euripides

Euripides is known primarily for having reshaped the formal structure of traditional Attic tragedy by showing strong women characters and smart slaves, and by satirizing many heroes of Greek mythology. His plays seem modern by comparison with those of his contemporaries, focusing on the inner lives and motives of his characters in a way previously unknown to Greek audiences.

Iphigenia at Aulis

At the start of the play, Agamemnon is having second thoughts about whether he can go through with the sacrifice of his daughter, and he sends a second message to his wife, telling her to ignore the first missive. However, Clytemnestra never receives this message because it is intercepted by Menelaus, Agamemnon's brother, who is enraged that his brother has changed his mind.

To Menelaus, this is not only a personal blow (it is his wife, Helen, with whom the Trojan prince Paris ran off, and retrieving her is a main pretext for the war), but it also may lead to mutiny and the downfall of the Greek leaders if the rank and file discover Calchas' prophecy and realize that their general put his family above their pride as soldiers.

The brothers debate, and eventually, each changes the other's mind: Agamemnon is now ready to carry out the sacrifice, and Menelaus is convinced that it would be better to disband the Greek army than to have his niece killed. But by this time, Clytemnestra is already en route to Aulis with Iphigeneia and her baby brother, Orestes, making the decision of how to proceed all the more difficult.
Iphigeneia is thrilled at the prospect of marrying one of the great heroes of the Greek army, but she, her mother, and the groom-to-be in the supposed marriage soon discover the truth. Achilles is furious at having been used as a prop in Agamemnon's plan to lure his family to Aulis, and he vows to protect Iphigeneia - as much to save the innocent girl as to take revenge on her father for besmirching his own honor.

Clytemnestra and Iphigeneia try in vain to persuade Agamemnon to change his mind, but the general believes he has no choice. But as Achilles prepares to defend the young woman by force, Iphigeneia has a sudden change of heart and decides that the heroic thing to do is to let herself be sacrificed. She is led off to die, with her mother Clytemnestra distraught over the decision.

However, in an addition to the play, a messenger arrives in the end to inform Clytemnestra that at the last minute, just as Agamemnon was about to kill their daughter, Artemis, apparently appeased, switched the body of Iphigeneia with that of a deer, which was sacrificed in the girl's stead. Iphigeneia was swept off by the gods, thus paving the way for the plot of another of Euripides' plays, Iphigeneia in Tauris.

Medea

Medea is a tragedy written by Euripides, based on the myth of Jason and Medea and first produced in 431 BC. Along with the plays Philoctetes, Dictys and Theristai, which were all entered as a group, it won the third prize at the Dionysia festival. The plot largely centres on the protagonist in a struggle with the world, rendering it the most Sophoclean of Euripides' extant plays. Euripides breaks with tradition, having a female lead with what in Greek drama were very male characteristics and by having a female chorus, the chorus was usually city elders. The play is notable in that either Medea or Jason can be viewed as the tragic hero.

The play tells the story of the jealousy and revenge of a woman betrayed by her husband. The concentrated action of the play is at Corinth, where Jason has brought Medea after the adventures of the Golden Fleece but has now left her to marry the daughter of King Creon (elsewhere known as Glauce, and also known in Latin works as Creusa - see Seneca the Younger's Medea and Propertius 2.16.30). The play opens with Medea grieving over her loss, and 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. She then begins to plan the deaths of Jason, Glauce, and Creon. Meanwhile 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 buy his story. She reminds him that she left her own barbarian people for him ("I am the mother of your children. Whither can I fly, since all Greece hates the barbarian?"), and that she had caused Pelias, whom he feared, to be killed by his own daughters.
She refuses with scorn his base gifts, "Marry the maid if thou wilt; perchance full soon thou mayst rue thy nuptials."

Next Medea is visited by Aegeus, King of Athens, who shares the prophecy that will lead to the birth of Theseus; Medea begs him to protect her, in return for her help in his wife conceiving 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 scheming, plotting how she may kill Creus and Glauce. 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, and gives a soliloquy pondering her next action:

In vain, my children, have I brought you up,
Borne all the cares and pangs of motherhood,
And the sharp pains of childbirth undergone.
In you, alas, was treasured many a hope
Of loving sustentation in my age,
Of tender laying out when I was dead,
Such as all men might envy.
Those sweet thoughts are mine no more, for now bereft of you
I must wear out a drear and joyless life,
And you will nevermore your mother see,
Nor live as ye have done beneath her eye.
Alas, my sons, why do you gaze on me,
Why smile upon your mother that last smile?
Ah me! What shall I do? My purpose melts
Beneath the bright looks of my little ones.
I cannot do it. Farewell, my resolve,
I will bear off my children from this land.
Why should I seek to wring their father's heart,
When that same act will doubly wring my own?
I will not do it. Farewell, my resolve.
What has come o'er me? Shall I let my foes
Triumph, that I may let my friends go free?
I'll brace me to the deed. Base that I was
To let a thought of wickedness cross my soul.
Children, go home. Whoso accounts it wrong
To be attendant at my sacrifice,
Let him stand off; my purpose is unchanged.
Forego my resolutions, O my soul,
Force not the parent's hand to slay the child.
Their presence where we will go will gladden thee.
By the avengers that in Hades reign,
It never shall be said that I have left
My children for my foes to trample on.
It is decreed.

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, revelling 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.

Дата добавления: 2015-10-31