The idea of a life of prosperity for herself and her children stemming from the hand of another woman, who also shares her husband's bed, is beyond Medea's realm of possibility. When Jason offers such an existence for her by way of his recent marriage, Medea responds by saying, "I loathe your prosperous future; I"ll have none of it, nor none of your security - it galls my heart." (Medea 35). .
Medea's building rage at the traitorous nature of her husband fuels her obsession for revenge and causes her to take terrible measures against not only her enemies, but also her loved ones. The body of the play follows Medea through various measures taken to her ensure that her obsession, which has now transformed into pure revenge, will come to fruition. The audience's first introduction to Medea is of a weeping voice off stage, full of lament and self pity; however, this voice soon transforms into a cool and calculating figure. Against her nature, Medea next plays the part of the begging mother, throwing herself at the mercy of King Creon to allow her one more day before banishment to provide care for her sons. Medea is awarded her request and soon returns to a state of murderous premeditation. "Do you think I would ever have fawned so on this man, except to gain my purpose, carry out my schemes?" (Medea 28). Medea's wild preoccupation with making Jason suffer allows her the ability to continue this pattern of altering her personality to satisfy a milestone in her grand scheme; a method she further implores in acquiring the promise of asylum by Aegeus and of convincing Jason that she has come into agreement with his ideals. .
The extent of Medea's obsession is exemplified by her willingness to cause death to herself and her sons in order to inflict suffering upon her enemies. However, Medea's actions do not arise from uncalculated impulse. She thoughtfully and deliberately plans her course, and portrays often to the audience that she is well aware of the magnitude of her impending actions.
