Euripides's Medea, translated by Michael Townsend, is compiled of numerous themes, and social commentaries that build the "dramatic action" necessary for this Greek tragedy, making it a well-known and extendedly read piece of literature (Corrigan 553). Medea, along with her melodramatics, stirs up numerous events that victimize the "flat and two-dimensional characters" in the play that are "pawns" in her very own "chess game," just as Jason victimizes her (Corrigan 553). Medea's love for Jason and her plan of ultimate revenge move the play to its dramatic climax, thus giving it the substance necessary for it to be a real Greek Tragedy. The elements of love and revenge are what bring about Jason's downfall and the death of his children by Medea's hands.
The play starts off with Nurse stating that "everything's gone wrong," which leads us to believe that this is a play without resolution, and full of chaotic conflict (311). It is immediately made known that Jason "let [Medea] down and the children too," as an explanation for Medea's "shouting to high heaven" about Jason's infidelity, and ingratitude that leave her with a broken heart (311). Medea's love for Jason is based on their "solemn bond," which is breaking, thus affecting her to the point where she "lies there weeping," and "takes no food" (311). Out of love for Jason, Medea gives up her homeland, and her homeland, defying those she once cared for, and moves to Corinth. The unbearable adoration Medea has for Jason is taken for granted, and disregarded; Jason proves this by planning to wed the daughter of the King of Creon, and leaving Medea to fend for her self.
The solemn bond created out of Medea's love and adoration for Jason becomes non-existent, leaving her to feel "miserable" to the point that she "wants to die" (314). This disenchanted love, once a pure love in Medea's eyes, drives her to a state of "self-pity," which leads all of those around her into danger (315).