Medea Through Aristotle’s Teaching According to Aristotle's ✓ Solved

According to Aristotle's studies, poetry has to be broken down into its integral parts before coming up with conclusions. Aristotle defines that poetry should have basis on imitation and the application of language, harmony, rhythm, as well as language together or separately. Poetry is imitative because it develops how the events and things of the world. Aristotle's definition of tragedy portrays it as the best version of poetry that towers over other issues while comedy is the best version that deals with simple matters. Considering the strong passion depicted by the tragic heroine, the work by Euripides Medea appears as a pathetic tragedy in Aristotle’s eyes.

According to Aristotle's criteria, compelling drama is not achieved in Medea; therefore, it is not a good tragedy. The tragedy starts with a massive conflict between Medea and her husband, who she accuses of dishonesty. All through the play, we witness the peak of hatred and anger that builds up to a level that all other things dissolve to an anticlimactic conclusion through the revenge carried out by Medea (Cropp and Mastronarde 362). This act can be considered a shortcoming in a tragedy since it does not escalate to the highest peak possible or, as Aristotle would put it, enough complexity. The most important part of a tragedy is the plot.

Through the ill-treatment of the subject Medea, the tragedy does not achieve the sophistication required in the plot. Aristotle looks into the fundamental and defining parts of a complex plot and points to several elements. He cites reversing intention, catastrophe, as well as recognition (Belfiore 7). Shifting the aim and identification have to be used together to achieve the desired result, and they react to bring about the catastrophe. There is no switching of intention because Medea is intent on carrying out her revenge from the beginning.

Despite there being a moment where she targets her anger at her children, it happens so unexpectedly that it is not easy to think of it as a reversal of intention because it is not correctly recognized later at any point. Medea has already learned about Jason and Creon's daughter; no smallest recognition can apply or work towards switching the prospects of the tragic heroine (Cropp and Mastronarde 362). The only occurrence that appears exceptional is the moment Medea kills her children. Without this single element, Euripides’ Medea cannot be considered a tragedy. This surprise element does not work in the tragedy's favor because it lacks the cause to effect connection to the plot and lacks relevance as well.

However, the intended is carried out by the heroine, who turns out better than intention without action. Aristotle talks about the skill and ability of a capable tragedian to come up with a united play, and he puts a lot of emphasis on complication and the way the plot unravels (Belfiore 1). To Aristotle, a great tragedian is one who can combine these two parts well. Except for a little catastrophe, Medea does not show, but there is no switch in intention or recognition, and the lack of depth as Medea strategizes and arranges for revenge to make it through the pain. The introduction of a God who interferes and helps Medea get away by chariot according to Aristotle can appear far-fetched because it does not come naturally out of the plot.

This interruption by force out of the plot seems faulty. Her survival, as well, does not appear acceptable on moral grounds.

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In "Medea," Euripides presents a complex narrative that confronts themes of betrayal, vengeance, and the struggle for autonomy, all interpreted through a lens influenced by Aristotle's conception of tragedy. To understand Aristotle's impact on the perception of "Medea," it is essential first to analyze his assertion that the essence of a tragedy lies in its plot structure, emotional depth, and the imitation of life. Particularly, Aristotle highlights the elements of reversal (peripeteia), recognition (anagnorisis), and the plot's complexity as crucial to the tragic experience.

At the outset, "Medea" introduces a significant conflict that serves as the catalyst for the unfolding tragedy. Medea feels deeply wronged by her husband, Jason, who has forsaken her in favor of a new marriage with Creon’s daughter. This betrayal ignites a consuming rage that propels her towards revenge. However, according to Aristotle’s framework, it becomes evident that the tragedy falters primarily due to the absence of narrative complexity within its plot. Medea's vengeful intentions are clear from the beginning, leaving little room for reversal or recognition as the story progresses (Belfiore 7).

Aristotle emphasizes that a strong plot requires a twist or reversal of intention. In "Medea," however, the titular character’s vengefulness remains steadfast throughout the narrative. This singular focus on revenge leads to a narrative that lacks the depth that Aristotle posits is essential for tragedies. The emotional turmoil that Medea experiences may resonate with audiences but does not evolve into a profound interaction with tragic elements that call forth catharsis.

Moreover, the concept of recognition, wherein characters gain insight into their circumstances or identities, is only vaguely executed in "Medea." The tragic heroine's choice to murder her children is an act of desperation that can be seen as an unexpected twist, yet Aristotle would argue that it fails as a true recognition moment; this is due to its shock value and the lack of prior narrative build-up that would ordinarily warrant a more significant acknowledgment of character flaws or situational context (Cropp and Mastronarde, 362). Instead of facilitating a moment of reflective recognition for either Medea or the audience, it instead descends into pure action—an aspect that further undermines the narrative’s tragic integrity.

As Medea commits heinous acts, the audience grapples with a complex tapestry of emotions, from sympathy to horror, but lacks the necessary clarity surrounding a traditional tragic arc. Aristotle outlines that a successful tragic plot should evoke feelings of both pity and fear to stir the facets of catharsis within the audience. However, it is questionable whether Medea’s calculated but extreme actions fulfill this requirement. The emotional response generated seems more disconnected from the Aristotelian ideal of eliciting a profound moral reflection.

Furthermore, the introduction of divine intervention at the play's conclusion serves as a point of contention against Aristotle's ideals. When Medea escapes in a chariot sent by the sun god Helios, it introduces an element that appears arbitrary and contrives a resolution that feels unearned. Such an ending, attempting to restore order through supernatural means, can dilute the tragic weight of Medea’s actions and undermine the moral gravity Aristotle sees essential for a tragedy. By relying on divine aid, Euripides diverts from creating an organic resolution, thus failing to encapsulate the realistic struggle inherent in human experience that should characterize a tragedy (Belfiore 1).

Moreover, the moral dilemmas embedded within Medea’s actions reflect an intricate interplay between societal expectations and individual desires. Aristotle posits that tragedy should ultimately reveal the nature of human experience and incite moral contemplation. However, "Medea," through its extreme portrayal of revenge, challenges conventional morals but stops short of presenting a nuanced commentary on the consequences of such actions. Instead, the audience is presented with a one-toned perspective suggesting that vengeance, while momentarily satisfying, results in irrevocable loss, without deeper exploration of ethical considerations (Fowler, 215).

In conclusion, while Euripides’ "Medea" may be captivating and emotionally charged, its structural deficiencies when examined through an Aristotelian lens reveal it as a flawed tragedy. The lack of plot complexity, the absence of significant moments of recognition, and the reliance on divine intervention undercut its tragic essence. Ultimately, the play presents the raw emotions of betrayal and vengeance but fails to adhere to Aristotle’s mandate of merging plot elements in a cohesive manner that incites true catharsis. As such, "Medea" occupies a challenging position — a compelling narrative that astutely illustrates human emotions but falls short of delivering the depth that constitutes a completed tragedy as envisioned by Aristotle.

References

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