TMA 07: Myths and Conventions
With careful reference to two of the works studied in Block 5 (Medea and Pygmalion), show how attributes traditionally associated with masculinity and femininity are contrasted.
Medea by Euripides (431 BCE) and Pygmalion by George Bernard Shaw (1913 ACE) are plays that share common themes of sexuality and alienation with both their roots firmly set in mythology.
Euripides and Shaw employ a range of techniques to present the compelling personas of their female protagonists, Medea and Eliza Doolittle respectively. The plays revolve around the powerful and physiological transformation of Medea and Eliza's striking aesthetic reform through the writers’ skilful use of stage direction, language, tone and theme development. The actions and dialogues of the supporting characters also manipulate the audiences’ and other characters opinions. The playwrights have carefully considered each effect when constructing and developing their lead character.
Euripides has already launched the transformation of his protagonist at the opening of the play. Medea the queen, wife and mother shows signs of a more masculine and at times, an extremely ‘barbaric' role, through her howling lamentations. The play begins with Medea's nurse setting the scene, she introduces the main topic running through the play - the oppression of women in Greek society. The Nurse explains the betrayal of Medea by her husband Jason and reveals the feelings that Medea is experiencing, ’scorned and shamed' (line 19). She is already anticipating a brutal act is to follow, ‘I am afraid/Some dreadful purpose is forming in her mind' (line 36-37). These monologues, as exemplified by the nurse, are important in setting the scene of plays. The character does not talk directly to the audience but speaks their mind out loud. In this opening stanza we also see the nurse persuade a fellow (male) slave, the Tutor. This feminine ‘persuasion’ of men is a theme that runs through both plays.