#Medea quotes

[jpriest85-blog]

Some more @gonzague-if art featuring my Prince Médée, Peyrolles, and quotes from her namesake Greek tragedy.

"Terrible things breed in broken hearts. And I see in my Mistress' eyes a fury that won't be calmed... It can’t be long until her sorrow turns, as sorrow always does, into rage." -Euripidies, Medea

Playing as a female Gonzague is interesting because while Médée is still cunning, charismatic, and envious like her literary counterpart, her motivation for literally stabbing Nevers in the back hits different. Losing everything and becoming destitute is terrifying even today, but it would have been even more dire situation for Médée. She's been able to ensure both her survival and freedom because of her title as Prince, while most women during this time period would have to have very limited opportunities to be financially independent. She's very aware of what can happen if she loses everything, and having the title of Prince won't count for much if she's out on the streets. Securing this marriage is literally life or death situation from Médée's perspective!

Lbr if she hadn't taken her brothers name and inherited his title, she would have easily wound up like Aurore, or ironically even becoming Aurore's stepmother, as the Marquis de Caylus seems like the type of man Médée's father would have married her off to. Which just fills her with so much guilt and rage about this whole situation with marriage, Aurore, and Nevers.

As much as Médée loved Nevers, she's not willing to risk giving up her life or freedom to become his wife. Likewise, while she knows her intentions of marrying Aurore where more for financial gain, but she does care and emphasize with her enough to try and make their Marriage of Convenience be mutually beneficial by giving Aurore freedom to live her own life for once. Sadly, things don't work out as planned.

Médée's relationship dynamic with Peyrolles is fascinating, though, because while it started out as securing a useful asset via blackmail I could easily see them eventually becoming partners both in schemes and in life. I learned from recent asks that Peyrolles is drawn to people considered outsiders by society, and when they become romantically involved with someone, they're emotionally devoted to them. Tbh Médée would need someone like that in her life. She's become so accustomed to her affections being unrequited or rejected, it'd be refreshing for her to finally realize that she can depend on Peyrolles not just to take care of her business, and secrets but also her emotional needs as well. You know, in addition to helping her cover up the murders and conspiracies....

Oh dear Médée's potential relationship with Peyrolles will probably involve a lot of enabling and unhealthy amount of codependency for both of them 🤔😰

[rue-with-the-tarot]

✨Incorrect Greek Mythology Quotes✨

[shirleyjacksonism]

"What does it mean to be a descendant of something monstrous? To still love the monster?"

On Earth We're Breafly Gorgeous, Ocean Vuong // How to Wear Your Mother's Lipstick, Warsan Shrine // Taint, Paul Tran // The Lion in Winter (1968) // Mirror Traps, Hera Lindsay Bird // No Human Hands to Touch, Elizabeth Wein // Family Tree (Intro), Ethel Cain // The Winter Prince, Elizabeth Wein // On Hysteria, Sam Sax

[mytholots]

Medea: look Jason, I'm not slut shaming you but...

Medea: Actually yeah, I'm TOTALLY slut shaming you.

[fatestaynighttextposts]

[stavroginas]

— Euripides, Medea

[pierppasolini]

Medea (1969) // dir. Pier Paolo Pasolini

[asoftepiloguemylove]

Hi! Could you do a web weave of unreciprocated love?

Michelle K. But I am Selfish / Jane Seville Zero at the Bone / pinterest / Salma Deera Letters from Medea / Miles Johnston Disturbing Dreams / Sea Wolf The Garden That You Planted / Christa Wolf (tr. Jan van Heurck) Cassandra: A Novel and Four Essays / Billie Eilish Billie Bossa Nova / Boygenius Bite the Hand / W.S. Merwin

[hauntedbythenarrative]

What else can my hands do with the blood? Pray?

Infinite Jest, David Foster Wallace//Medea, Euripides//Meet You in Hell, Jade LeMac//Medea, Euripides//Aimed to Kill, Jade Lemac//Cassandra, Florence + The Machine//Nightmare, Halsey//Control, Halsey//Jade LeMac//All the wrong colours, Yrsa Daley-Ward

[cissa-calls]

Countdown to Coven of Chaos: Day 501

Agatha: *shaking Wanda awake* “Hey, hey, hey”

Wanda: “Huh? What’s wrong?…it’s 3 in the morning Aggs”

Agatha: “It’s an emergency”

Wanda: “What happened? Who’s hurt?”

Agatha: “No. worse. Do you think Medea was an example of feminine rage overtly judged by a misogynistic society or an insane fractured being who deserves condemnation as an example of revenge?”

Wanda: “I’m sorry, THAT was the emergency?!”

Y/N, barely awake: “Both. She’s both.”

Agatha: “I suppose so, but perhaps-“

Wanda: “You’ve had several centuries to talk about that play, so zip it and keep all existential relations to antiquity in your brain till the morning!”

Agatha: “But I can’t sleep! I gotta know!”

Wanda: “Just stay up then plagued by your own existence like normal people then. GOODNIGHT”

[theodysseyofhomer]

As to the curious preternatural ending of a play so consistently natural—Medea's appearing in a chariot drawn by dragons—it seems to me that Euripides is saying: "Yes, you are right to be disconcerted by the fantasy of a dragon-chariot to whisk Medea away to safety. This woman needs no divine help, only human."

Paul Roche, introduction to Medea

[nerdasaurus1200]

If Medea had friends in Euripdes’ ‘Medea’

Medea: Alright enough of this. We’re killing Glauce

Atalanta: Dea, you can’t kill her.

Medea: You don’t think I can kill a helpless little princess? Okay, will I will burn her to a crisp! WITH THAT DRESS! LIKE LIGHTING A FUNERAL PYRE!

Atalanta: Oh, no, I believe you have the ability to kill her. What I’m saying is that if you do, you’ll just put an even bigger target on your back.

Eurydice: Also you’d be a murderer. Which some may argue is worse.

[bones-ivy-breath]

Granddaughter of the Sun: A Study of Euripides' Medea by C.A.E. Luschnig

[alicentwhore]

Okay I don’t wanna sound like a dick cause it’s really not a big deal. But I guess because Medea as a play and character is like really important to me, there is kind of an amusing irony to the way I’ve seen so many edits and webweaves and stuff of Alicent with that “wretchedest of women” line from Medea (A line specifically about Medea choosing to kill her sons to avenge herself on Jason). Then those people being completely aghast and disgusted and pissed by the concept of Alicent sacrificing her sons. It means nothing It’s just kinda funny to me

[fatestaynighttextposts]

[puppyocto]

Pearlescent Moon and Medea. Can women be villains?

Now this isn't my usual thing (talking about Jimmy solidarity), but I reminded myself of it on twitter I think it's interesting. (This comes from a school assignment I did) Now we all now Pearl, I don't have to explain her tragedy to you, being abandoned by Scott, either choosing to engage in villainy or being forced to depending on your perspective. But what about Medea. Medea is an ancient Greek tragedy where the titular female character, Medea, is cheated on by her husband. However she had left her on country for him, meaning he leaves her abandoned and alone. (Also she kills her kids but that doesn't come up) Both of these characters have villainous men around them, Medea's husband or Scar in Pearl's double life (he suggests the whole ice thing). But, weirdly, these female characters face far heavier social sanctioning than their male counterparts. Social sanctioning being the ways people in society shame people into behaving in socially acceptable ways. For example judgemental stares or on a legal scale, being arrested. Medea, seems to reenact this social sanctioning on herself, showing she really has internalised these ideas whereas we see this less from Pearl. When speaking Medea says “For women, divorce is not respectful; to repel the man, not possible.”, now this shows her internalisation but also really highlights how absolute this issue is for Medea. Divorce clearly was not socially acceptable at the time Medea was written and therefore must be "not possible" or essentially completely impossible for women to do. And this is only the "for women". Not men. I also think it's interesting divorce isn't really that big an issue, compared to things like murder divorce doesn't seem that bad but that's the thing she talks about here because it doesn't have to be a big thing for it to be a big deal for women. Any deviation from traditional societal behaviours is too much for women. Now back to Pearl, as I said rather than doing it to herself often other people are really harsh on Pearl with Martyn saying "You guys have got this whole weird vibe going on, I’m an innocent party in all this, I blame you for this. I’m breaking up with you too, goodbye, goodbye. Nether again. I’m out." after him and Pearl are abandoned by Scott and Cleo respectively. This is different from how Medea is treated because yes all the blame is put on the female charater instead of the male character (look at how many times Martyn says you, he's really enforcing it" but it calls itself out a little. Martyn here with his pun, referces the nether which he convinced Pearl to go to, and is a big reason that Scott and Cleo broke up with them. So clearly Martyn knows he has a little fault. And yes he still blames Pearl but that is mainly to move the blame off of him. So overall I still think the same increased social sanctioning is done to Pearl but the tides are shifting, allbeit slowly from that of Ancient Greece. So back to our question, can women be villains? Not really? Women are often immediately shamed and ostracised for acting villainously in any little way that it's almost impossible for them to ever be villains, although this is changing and getting less true. I think this is because of the form of humanity women get to experience. Women aren't quite as human as men in society, meaning they are not afforded the same kinds of moral greyness. Continued in reblog cause Tumblr didn't like how long it was