RECOGNITION AND THE CHARACTER OF SENECA'S MEDEA

Erica M. Bexley

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Classical Antiquity Studies Classical Studies and Philology Classical Philosophy and Thought

Abstract

This article examines the character and identity of Seneca's Medea. Focusing on the recognition scene at the end of the play, I investigate how Medea constructs herself both as a literary figure and as an implied human personality. The concluding scene of Seneca'sMedearaises crucial questions about self-coherence and recognisability: in contrast to other moments ofanagnōrisisin Greco-Roman drama, it confirms the pre-existing facets of Medea's identity, rather than revealing new ones. This concept of recognition as self-confirmation is also integral to Seneca's Stoic view of human selfhood, and Medea's use of Stoic principles in this play reinforces her dual status as textual entity and quasi-person.

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References

1983From Ritual to Theatre: The Human Seriousness of Play 1982From ritual to theatre : the human seriousness of play 1999S. Hinds, Allusion and Intertext: Dynamics of Appropriation in Roman Poetry (Roman Literature and its Contexts). Cambridge: Cambridge University Press. 1998. Pp. xvi + 155. ISBN 0-521-57186-3 (bound); 0-521-57677-6 (paper). £32.50 (bound); £11.95 (paper).1986Reading Greek Tragedy 2004The one vs. the many: minor characters and the space of the protagonist in the novel 1997The Cambridge Companion to Greek Tragedy 1988Homo Viator: Classical Essays for John Bramble 2006The Structured Self in Hellenistic and Roman Thought

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