Primarily in the early stages of the play we are able to sympathize with Medea. Her offstage monologue immediately portrays an enraged, wronged woman, overtaken with the grief of her husband’s fundamental betrayal. “Oh how I hate living! I want to end my life, leave it all behind and die!” is a passionate cry from a woman who has been deeply offended. She has sacrificed so much for Jason, betraying her father, murdering her brother, deserting her homeland only to have her love rejected. In the name of love she has done so much for Jason and yet his cowardly act of unfaithfulness has made futile all these sacrifices. Used and rejected Jason has left her without a home or male a figure to fend for herself. We cannot help, as the chorus – who reflect the views of the audience throughout the play – does, to feel pity for this “poor (woman whose) grief touches our hearts.” While she is yet to become the perfidious semi-god we are able to sympathize with her plight.
However, it is difficult for the audience to maintain this sympathy, as Medea, who is intent on revenge and fuelled by Jason’s betrayal, unveils her cunning and calculating personality. Medea dismisses and outwits a procession of men including Jason and Creon. “Do you think I would have fawned on this man, except to gain my purpose, carryout my schemes.” highlighting her manipulative and evil persona. Medea has turned her previously exhibited rage inwards, using it to fuel her resolve. Having been empowered by the security of sanctuary in Athens, Medea reaches the height of her treachery. The audience becomes less and less able to feel sympathy for her, as her calculating planning and irrationality become more apparent. The proposal and eventual act of infanticide is the final straw. The chorus now describes her as a cursed miserable woman… (who is) stone and iron,” It is here we see the “bloody handed fiend of vengeance” persona fully developed in Medea, the audience seeing her as a perfidious, tempestuous woman who is ruled by irrational forces.
Yet even amidst this evil treachery, there are still glimpses of Medea’s compassion, conscience and maternal instincts. As she draws closer to the deed, she vacillates over whether or not to murder the children. We see occasional lapses in her hubris as it struggles with her sense of compassion for the children; “Oh my heart don’t, don’t do it. Oh miserable heart, let them be!” This highlights the depth of this character whom, despite her evil, still exhibits glimpses of morality, but has been overtaken with rage to the point of irrationality. Yet eventually her pride prevails as she stirs herself to act heroically “What is the matter with me? Are my enemies to laugh at me?” Both her hubris and glimpses of compassion show another dimension of this character, presenting her as more than just a tempestuous woman who has gone too far.
Despite the horrific nature of the crime she commits, in the end of the play Medea is exalted to semi-god status for her heroism. In the eyes of the gods Jason has broken a sacred oath and hence deserves to have vengeance enforced upon him. Medea, who is responsible for this revenge is therefore, in godly terms, defined as a hero. However, the audience may not necessarily see Medea in the same light, instead focusing on her fundamental perfidiousness. By granting her semi-divine status Euripides seeks to portray Medea’s actions as having been beyond human judgement which is merely mortal. Hence, while it is clear that her acts against the children were impious, we cannot help but feel that justice has been served and to some degree Medea can be instated as a hero.
Therefore, although there is no doubt that Medea must be considered as this, at times, “pitiable” but without doubt a “bloody handed fiend of vengeance.” However, her complex characterization in actual fact runs much deeper than this. We must also acknowledge Medea’s occasional glimpses of conscience and compassion, not to mention the hubris which eventually leads her to heroism. It would hence be inaccurate to describe this multi-dimensional character as merely treacherous and pitiable.