Interesting, James. A modern analysis of Medea - its fashionable, Liz
Lochhead just wrote a new translation, though she kept pretty much to the
orginial; our friend the playwright John Cargill Thompson did lots of
one-person plays taking the mickey out of the establishment view of this
sort of story: taking a fresh, matter-of-fact look at what we have been
told. This monologue sounds remarkably Cargillesque, and it sounds like a
dramatic monologue (almost rather than a poem) although its length and focus
are poem-like.
bw Sally-ee.
> So I killed the kids -
> this is what you want to hear, isn't it?
>
> I killed them after Jason left me and our boys
> for that bitch Glauce, King Creon's daughter.
>
> I'm told for love, but, come on, pull the other one,
> we're all adults here, let's remember I'm not a Greek
> and Corinth aspires to an Athenian sense of order.
>
> You don't want that detail though. Do you?
> Explanation is not vbald enough tragedy
> for a sound bite -
> all you want is a picture of me
> bathed in the blood of my sons
> as I wail and hold their bodies in my arms.
>
> You are all quick to bray like a Greek chorus
> in neat, pat cliche.
> At least they were there to tell the truth,
> be yiour interior conscience to argue with
> and to help the story along.
>
> They weren't false friends either
> and didn't invade your personal space
> with their masks still on.
>
> Remember this though -
> and you can check what Euripides says,
> murdering my lovely sons
> was not the first thing to enter my head.
> Whatever you think it's not full of air -
> and you weren't there.
>
> What? You don't understand,
> either what I say or why I did it by my own hand?
>
> That's it. Interview's over.
> Thanks for coming to the home of Aegeus, son of Pandion.
>
>
> bw
> James
>
>
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