The Tragedies of Seneca / Translated into English Verse, to Which Have Been Appended Comparative Analyses of the Corresponding Greek and Roman Plays, and a Mythological Index

by Lucius Annaeus Seneca

Parode, or chorus entry.—The chorus of Corinthian women comes to the front of the palace to inquire the cause of Medea's cries, which they have heard, and to profess their attachment to her. From time to time Medea's voice can be heard from within as she prays for death and imprecates curses upon Jason. The nurse at the suggestion of the chorus undertakes to induce her mistress to come forth, that converse with her friends may soothe her grief. The nurse goes within, leaving the chorus alone upon the stage.

Parode, or chorus entry.—A chorus of Corinthians chants an epithalamium for the nuptials of Jason and Creüsa. First, in Asclepiadean strains, they invoke the gods to be present and bless the nuptials. The strain then changes to quick, joyful Glyconics in praise of the surpassing beauty of the married pair. Changing back to Asclepiads, the chorus continues in extravagant praise of Jason and his bride, congratulates him on his exchange from Medea to Creüsa, and finally, in six lines of hexameter, exults in the license of the hour.

First episode.—Medea comes forth from the palace to explain to the chorus her position and unhappy condition. She deplores the lot of women in general, and especially in relation to marriage, and enlists the sympathy of the chorus in her attempt to secure some revenge for her wrongs. They confess the justice of her cause and promise to keep her secret.

Creon announces to Medea that she must leave his realm at once, for much he fears that she will take her revenge upon him and upon his house. She pleads for grace, and bewails her reputation for magic power; she assures the king that he has nothing to fear from her, and affects compliance with all that has taken place. Creon, while still protesting that she cannot be trusted, yields in so far that he grants her a single day's delay.

Medea tells the chorus that her recent compliance was only feigned, and openly announces her intention before the day is done of slaying Creon, his daughter, and Jason. She debates the various methods by which this may be accomplished, and decides, for her own greater safety, upon the help of magic.

First episode.—Hearing the epithalamium, Medea goes into a passion of rage. She recounts all that she has done for Jason, and exclaims against his ingratitude. Again, with shifting feelings she pleads Jason's cause to herself and strives to excuse him, blaming all upon Creon. Upon him she vows the direst vengeance. Meanwhile the nurse in vain urges prudence.

Creon now enters, manifesting in his words a fear of Medea, and bent upon her immediate banishment. Medea pleads her innocence, and begs to know the reason for her exile. She reviews at length her former regal estate and contrasts with this her present forlorn condition. She claims the credit for the preservation of all the Argonautic heroes. Upon this ground she claims that Jason is hers. She begs of Creon some small corner in his kingdom for her dwelling, but the king remains obdurate. She then prays for a single day's delay in which to say farewell to her children, who are to remain, the wards of the king. This prayer Creon reluctantly grants.

First choral interlude.—The course of nature is subverted. No longer let woman alone have the reputation for falsehood; man's insincerity equals hers. In poetry the fickleness of both should be sung, just as in history it is seen. Though Medea, for her love of Jason, left her native land and braved all the terrors of the deep, she is now left all forsaken and alone. Verily truth and honor have departed from the earth.

First choral interlude.—Apropos of Medea's reference to the Argonautic heroes the chorus sings of the dangers which those first voyagers upon the sea endured; how the natural bounds which the gods set to separate the lands have now been removed—and all this for gold and this barbarian woman. (The chorus is nowhere friendly to Medea, as in Euripides.) The ode ends with a prophecy of the time when all the earth shall be revealed, and there shall be no "Ultima Thule."

Second episode.—Jason reproaches Medea for her intemperate speech against the king, which has resulted in her banishment, and shows her that he is still concerned for her interests. She retorts with reproaches because of his ingratitude, and proceeds to recount all that she had done for him and given up in his behalf. Jason replies that it was not through her help but that of Venus that he had escaped all the perils of the past, and reminds her of the advantages which she herself had gained by leaving her barbarous land for Greece. He even holds that his marriage into the royal family of Corinth is in her interest and that of her children, since by this means their common fortunes will be mended. He offers her from his new resources assistance for her exile, which she indignantly refuses, and Jason retires from her bitter taunts.