It is important to refer to the role of the chorus in all of your essays. As the representative of women in Corinth, they also give an insight into Euripides’ views and values.
The role of the Chorus , 29, 36, 42, 47, 50, 56
The chorus is sympathetic
Through the chorus, Euripides positions the audience to be receptive to Medea’s quest for justice and to recognise the heroic nature of her stance. As the “Women of Corinth”, Euripides depicts the chorus as a group of fair-minded representatives of the community who support Medea’s campaign for justice, and who, acting as one body, “suffer” with the “house” of Jason. “My own heart suffers too When Jason’s house is suffering”.
They agree to abide by Medea’s pleas to “say nothing”, which makes them complicit right from the start in her plans. They concur, “to punish Jason will be just” and accordingly the audience is immediately positioned to support Medea’s plans for justice and to recognise the quest for justice. (Medea is constantly enlisting the chorus’ support and encourages them to go beyond the call of duty when asking them to be quiet. Similarly, she enlists the support of the Nurse, “breathe no word about my purposes” (815/42)
Even after Medea’s discussion with Jason, the chorus still supports her grievances. They suggest that there is no fate worse than that of the refugee who has been betrayed by all citizens and rendered stateless.
“Of all plans and hardship none is worse than to be deprived of your native land” (37)
To be a “stateless refugee”, they suggest is the worst of all possible fates.
The Chorus supports Aegeus’ plans and is grateful that Medea has an option to retreat. “For your noble heart wins our goodwill” (40)
The chorus becomes more resolute and has misgivings
After Aegeus’s discussion with Medea, she finalises her plan. It is after his visit, that the chorus learns of Medea’s plans to murder her children. She presents them as glorious, but the chorus advises caution and does not share her view that the plans are divinely sprung.
“I want to be your friend… but I tell you, you must not do this” (810/42)
The chorus appears to be shocked, dismayed and increasingly outraged as Medea’s plans take hold. Their reference to her as the “child killer” begins to show their disapproval and dismay. They seek to dissuade her or deter her from the deed: “We beseech you, Do not slaughter your children” (p43 – 850)
They foreshadow the worst
They act as a foreshadowing device and anticipate Medea’s later speech when she confronts her children with the intention to kill them. (Compare 850/43 – 1058/49). They know that it will be almost impossible for her to “steel” her heart and show resolve, and “hardness of purpose”
We know that deceptively and cunningly, Medea outwits Jason and the children and begs for forgiveness. She urges reconciliation and kindness and admits to the children that “I’ve ended my quarrel with your father” (907-44). The chorus’s views of Medea: The murder of Glauce
At this stage does Medea hoodwink the chorus as well? The Chorus asks, “May the course of evil Be checked now, go no further”. (“I pray that this trouble may not proceed to greater lengths than now”.
The Chorus is perhaps sceptical of Medea’s motives, whilst also wishing for the best, but once they see Medea’s resolve translate into action as gifts for Glauce, they are convinced that her scheme will be played out to great horror.
Cleverly, Euripides uses the Chorus to mediate to the audience, using the future conditional tense, the first horror scene involving Glauce, who, offstage, is about to receive the gifts from the children. For example, the Chorus notes, (980-76)/ 980 47); “she will carefully fit; she will enfold herself”. (“The bride will receive, she will receive, poor girl”.) then they foreshadow that Medea “will for jealousy of your marriage bed, Will slaughter your children” (47 – 1001 )
Ironically, at this stage the Tutor misreads the sequence of events and wrongly believes they will survive. She at first believes that Glauce is pleased and the children will be spared banishment.
The reflections on child-rearing and the role of mother
The chorus reflects on the pain and joys of child-rearing. (“the sweet gift of children I see always” (51 – 1095)
The chorus mediates the terrible crime and pronounces the judgement of horror. They realise that there is no crime as hideous as the “bloody-handed fiend of vengeance” (1256-56)
The Chorus compares Medea with Ino, who, maddened by the gods, leapt into the sea with her own children. Ino murdered her children while insane, which also hints at a fundamental and strategic difference. Athamas’ provocation of Ino parallels Jason’s. The audience is encouraged to think about whether or not Medea would be rehabilitated as Ino was. Melikertes’ deification recalls the chorus’s assertion that Medeas’ children descend from gods.
Euripides also compares Medea’s revenge with Eriunys’ in order to highlight her monstrosity.
It is the chorus who informs Jason of the death. (57). “Your sons are dead. Your mother has killed both your sons” (57) the chorus tells him to look at them “lying in their blood”
We learn that the “chariot moves out of sight” (1410, 60) as the chorus talks about the “unexpected” that “God makes possible”.
Return to Medea: Study Page