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I n many respects Euripides' Medea is not a problematic play. It is a singularly bold, clear-cut, assured piece of writing, the concentration and dramatic intensity of which are readily felt by reader or audience and command the respect even of those who find the subject matter repellent or who cavil at the Aegeus scene and the dragon chariot. But its starkness makes it deeply disturbing; and this unease is reflected in the critical literature on the play. The language, though consistently powerful, lacks the rich expansiveness of Hippolytus or Bacchae , almost never allowing us to range in imagination away from the immediate painful situation; it is typical that one of the most prominent of the recurring images is of Medea as a wild beast. Then there is the striking absence of a cosmic frame of reference: we are given no sense of divine motivation or sanction or control. Medea is admittedly grand-daughter of the Sun, but the fact has no theological significance: its function is to symbolize her sense of her heroic identity and – at a different level – to motivate the final scene. The most uncompromising feature of all is Euripides' handling of the story, his design which makes the murder of the children the centrepiece of the play.
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