For his son Medus by Medea, see both. CENTO In its secondary meaning the word was applied to a poem composed of verses or parts of verses by well-known poets put together at pleasure, so as to make a new meaning. Homer and Vergil were chiefly used for the purpose.
The Christians were fond of making religious poems in this way, hoping thus to give a nobler colouring to the pagan poetry. For instance, we have a Homeric cento of 2, verses on the Life of Christ, ascribed to Athenais, who, under the title of Eudocia, was consort of the emperor Theodosius II.
Another instance is a poem known as the Christus patiens, or "the suffering Christ," consisting of 2, verses from Euripides. Instances of Vergilian centos are the sacred history of Proba Faltonia towards the end of the 4th century A.
He was born in the island of Salamis, in B. His father Mnesarchus is said to have been a tradesman or tavern-keeper, his mother Clito a seller of herbs. His parents, however, must have had some means, judging by the fact that they gave him a careful gymnastic education to fit him for the athletic contests.
This was because they had misinterpreted an oracle given them before his birth which promised the child crowns of victory. Euripides is said in his boyhood really to have gained the prize in a public contest of this kind, but in fact lie was destined to win victories in a very different arena.
He associated much with the philosophers Anaxagoras and Socrates, with the latter of whom he enjoyed an intimate friendship during the whole of his life. He also had instruction from the sophists Protagoras and Prodicus. Thus he received the best of education in philosophy and rhetoric.
It was in his twenty-fifth year B. He did not win a prize till his forty-third year, and seems indeed to have been victorious only four times in all; but he was none the less indefatigable in writing tragedies. He took a lively interest in the important events and the public questions of the time; but personally be kept aloof from public life, avoided society, and lived mostly in the enjoyment of an excellent library, amid his studies and poetical creations.
He was twice unfortunate in his marriage, a fact which may have encouraged him in his surly, unsociable ways. His first wife, Chaerile, he had to divorce for infidelity. She bore him three daughters, the youngest of whom, who was named after her mother, put several of her father's tragedies on the stage after his death. His second wife, Melito, parted from him at her own desire.
In , at the age of 71, he left Athens; it was said to get away from the ceaseless attacks of the comedians, and from his domestic troubles. He went to Magnesia in Thessaly, where he was received as a guest of the city. Thence he went on to Pella to the court of Archelaus, king of Macedonia, who had gathered round him a number of poets and artists, and who treated him with great respect.
Here he spent the last two years of his life and died B. According to a story for which there is little authority, he was torn to pieces by a pack of hounds when returning from a nocturnal festivity. The number of his tragedies is variously given as seventy-five, seventy-eight, and ninety-two.
Eighteen have come down to us: the Alcestis, Andromache, Bacchae or the arrival of Dionysus at Thebes and the murder of Pentheus , Hecuba, Helena, Electra, the Heraclidae or Demophoon of Athens protecting the descendants of Heracles against the persecution of Eurystheus ; Heracles in Madness, the Suppliants or the mothers of the Seven Chiefs who had fallen before Thebes, at whose prayers Theseus compelled the Thebans to bury the dead heroes ; Hippolytus, Iphigenia at Aulis, Iphigenia among the Tauri, Ion, Medea, Orestes, Rhesus, the Troades or the royal house of Troy after the conquest of the city ; the Phoenissae so called after the chorus of Phoenician maidens, an incident in the story of Eteocles and POlynices ; and a satyric drama, the Cyclops, the only example of this style of composition which has survived.
The earliest of these pieces in point of time is the Alcestis, performed in B. It is also noticeable because, although not a satyric drama in the proper sense, it has comic features towards the end, and was actually performed at the end of a tetralogy in place of a satyric drama.
The Bacchae, on the other hand, was written in Macedonia in the poet's last years, and performed after his death at the same time as the Iphigenia at Aulis. The genuineness of the Rhesus was doubted even in antiquity. A great number of fragments have survived from about sixty pieces, and in particular from the Phaethon.
The tragedies of Euripides are of very unequal merit. Some of them, for instance lofty style of Sophocles, others approach it, as the Medea and Iphigenia in Tauris. But others, as for instance the Andromache and Electra, are very carelessly put together. His strong point is not artistic composition, well contrived disposition, or the coherent design which gives the inner motive of the action.
It is sufficient, in support of this statement, to call attention to his habit of prefixing to every piece a prologue, explaining the story to the spectators, and connected loosely if at all with the play; to the very slight connexion between the chorus and the action, and to his liking for bringing in a deus ex machina to cut a difficult knot.
All the events of play proceed out of this initial dilemma, and the involved parties become its central characters. Outside the royal palace, a nurse laments the events that have lead to the present crisis.
After a long series of trials and adventures, which ultimately forced Jason and Medea to seek exile in Corinth, the pair had settled down and established their family, achieving a degree of fame and respectability.
Jason's recent abandonment of that family has crushed Medea emotionally, to the degree that she curses her own existence, as well as that of her two children. Fearing a possible plot of revenge, Creon banishes Medea and her children from the city. After pleading for mercy, Medea is granted one day before she must leave, during which she plans to complete her quest for "justice"--at this stage in her thinking, the murder of Creon, Glauce, and Jason.
Jason accuses Medea of overreacting. Creon was also killed when he rushed to try to save Glauce. With her revenge accomplished, Medea flew to Athens in a golden chariot pulled by dragons, a gift sent by her grandfather Helios, the sun god.
The Athenian king Aegeus agreed to protect Medea if she would agree to marry him and successfully bore him children. They produced a son, Medus, who became the heir apparent to the Athenian throne. However, Aegeus was unaware that he already had sired a son, Theseus, from a previous marriage. However, just as Theseus was about to drink the wine, Aegeus recognized the sword that Theseus carried as his own from an earlier time, realized that Theseus was his son, and saved him at the last moment.
Aegeus then drove Medea and Medus out of Athens. She fought the daughter of Aphrodite but is taken out by a poison dart. After Apollo stabs himself she and Caligula rush to perform the ritual before he dies. Because her attention is on Apollo, her tornado prisons start to weaken.
She is then punched in the face by Piper and disappears in the wreckage of the ship. As Apollo recites a prophecy he seals the fires below them and Crest distracts her. Pushed to her limits, Medea stabs the Pandos and moves in to kill Apollo. It was unknown as to what her initial personality was. After the original Jason betrayed her, Medea became a vengeful psychotic, killing her own children and putting the blame on him.
She even grew to hate the name "Jason" itself, as demonstrated by her encounter with Jason Grace. She also displays the mentality that she is never at fault, and that others are always to blame.
In Percy Jackson's Greek Heroes , Medea is described as being beautiful in a mysterious yet dangerous way, with shadow-dark hair that tumbled over her shoulders, eyes that flickered with knowledge of dark things, and a remorseless detached face that flushed like a girl's when she looked at Jason. She wore a black silk dress, and a golden necklace on which gleamed the symbol of Hecate - two crossed torches.
In The Lost Hero , Medea is described to look like a retired fashion model, with long dark hair swept over one shoulder, talon-like fingers with long red-painted nails, and a face that was gorgeous in a surreal super-model way.
She wore an elegant black dress with diamond jewelry, and her voice was rich and exotic, with a pleasing accent. After rising from the Underworld , she seemed to have a faint glow around her. When she got angry, her face would literally glow to the extent where one could see her skull beneath her skin. In The Burning Maze , she still had that regal look about her and wore a black silk dress that rippled around her.
She wore her dark hair in a braided hairdo. She no longer wore the crown as the Princess of Colchis, but instead, she wore a gleaming gold pendant of the crossed torches of Hecate around her throat. As a powerful sorceress descended from Helios , the Titan of the Sun, Medea possessed the abilities of:.
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