Medea (blog #4)

Euripides utilizes symbolism throughout Medea. In the play, Medea’s right hand embodies all of Medea’s major sufferings. Medea cries to her right hand twice, demonstrating to the audience how she only has two significant upsets in her life. When Medea first pities her “poor, poor right hand,” she reveals her first affliction: Jason’s unfaithfulness (28). Prior to the beginning of the play, Jason “did cling to [Medea’s right hand]” and induced Medea to fall blindly in love (28).  However, Medea’s extreme devotion to Jason leaves her “citiless… [with] no mother near, no brother, not one kinsman anywhere” (16). She relinquishes all of her possessions and all of her bonds to ultimately fail to attain her one true desire, to be with Jason. Medea fixates on the idea of how her and her right hand “are unclean” (28). They “have caught the stain of bad men’s flesh… and dreamed [their] dreams in vain” (28). Living in happiness with Jason is a far-fetched hope for Medea.

The second time Medea howls, “O poor right hand of mine,” is after the tragic play’s point of no return (69). Medea’s “mind is clear,” and she commits to “[slaying her] children with all speed” after the messenger delivers her exile (68). There is no more hesitation within Medea as she says, “For one brief day, forget thy children” (69). The audience discerns Medea’s second misfortune: the demise of her children. She is “sore unfortunate” when she commands her right hand to “take up [her] sword,” forcing herself to “weep” after their death (69).

There is a “thin-drawn line where life turns agony” (69). Within the play, Medea experiences trauma whenever she calls out her right hand.