On the Introduction of Aegeus in the Medea of EuripidesAuthor(s): Thomas ChaseSource: The American Journal of Philology, Vol. 5, No. 1 (1884), p. 87Published by: The Johns Hopkins University PressStable URL: http://www.jstor.org/stable/287424 .

Accessed: 22/05/2014 15:03

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to TheAmerican Journal of Philology.

http://www.jstor.org

This content downloaded from 193.105.154.67 on Thu, 22 May 2014 15:03:12 PMAll use subject to JSTOR Terms and Conditions

NO TES.

ON THE INTRODUCTION OF AEGEUS IN THE MEDEA OF EURIPIDES.

In the prefatory remarks to his very scholarly and serviceable edition of the Medea, Professor Allen says: " With more justice," than with the sending of the dragon-chariot, " one might find fault with the introduction of Aegeus, whose appearance just at the nick of time is purely accidental and not brought about by anything in the action itself. In fact, this scene has little dramatic interest or

import, and seems to be introduced mainly to bring on the stage an Athenian national hero " (p. io).

I am inclined to take a more favorable view of the art of Euripi- des in this scene. The simplicity of the plot is relieved by the introduction of another character; that character is, as Professor Allen remarks, an Athenian national hero; he satisfies our anxiety or curiosity in regard to the future fate of Medea; and, what is the important point, the key-note of the play is emphasized by the contrast between his fate and that of Jason. Medea's exquisite revenge, a revenge to which she sacrifices her own maternal love, is to render Jason childless and without hope of children, though now a father and with a blooming wife. Her gratitude to Aegeus, on the other hand, who offers her a shelter from persecution, shows itself by the promise of fulfilling for him his desire of

offspring, so long unsatisfied. Medea thus gives to her friend what she is going to take away from her foe; and Aegeus's solici- tude for the blessing emphasizes in the hearer's mind the direful- ness of the bereavement.

If the appearance of Aegeus is "purely accidental," it is still natural. It happens just as a thousand things happen in ordinary life. The scene has doubtless less dramatic interest than others in the play, yet it is not dull, nor below the proper level of the table- land whence rise such peaks of tragic grandeur.

THOMAS CHASE.

87

This content downloaded from 193.105.154.67 on Thu, 22 May 2014 15:03:12 PMAll use subject to JSTOR Terms and Conditions