P. 15, l. 231, A herb most bruised is woman.]--This fine statement of the wrongs of women in Athens doubtless contains a great deal of the poet's own mind; but from the dramatic point of view it is justified in several ways. (1) Medea is seeking for a common ground on which to appeal to the Corinthian women. (2) She herself is now in the position of all others in which a woman is most hardly treated as compared with a man. (3) Besides this, one can see that, being a person of great powers and vehement will, she feels keenly her lack of outlet. If she had men's work to do, she could be a hero: debarred from proper action (from [Greek: to prassein], _Hip._ 1019) she is bound to make mischief. Cf. p. 24, ll. 408, 409. "Things most vain, &c." There is a slight anachronism in applying the Attic system of doweries to primitive times. Medea's contemporaries either lived in a "matriarchal" system without any marriage, or else were bought by their husbands for so many cows. P. 17, l. 271, CREON.]--Observe the somewhat archaic abruptness of this scene, a sign of the early date of the play. P. 18, l. 295, Wise beyond men's wont.]--Medea was a "wise woman" which in her time meant much the same as a witch or enchantress. She did really know more than other women; but most of this extra knowledge consisted--or was supposed to consist--either in lore of poisons and charms, or in useless learning and speculation. P. 18, l. 304, A seed of strife, an Eastern dreamer, &c.]--The meaning of these various "ill names" is not certain. Cf. l. 808, p. 46. Most scholars take [Greek: thaterou tropou] ("of the other sort") to mean "the opposite of a dreamer." P. 20, ll. 333-4, What would I with thy pains?]--A conceit almost in the Elizabethan style, as if by taking "pains" away from Creon, she would have them herself. P. 20, l. 335, Not that! Not that!]--Observe what a dislike Medea has of being touched: cf. l. 370 ("my flesh been never stained," &c.) and l. 496 ("poor, poor right hand of mine!"), pp. 22, and 28. P. 22, l. 364, Defeat on every side.]--Observe (1) that in this speech Medea's vengeance is to take the form of a clear fight to the death against the three guilty persons. It is both courageous and, judged by the appropriate standard, just. (2) She wants to save her own life, not from cowardice, but simply to make her revenge more complete. To kill her enemies and escape is victory. To kill them and die with them is only a drawn battle. Other enemies will live and "laugh." (3) Already in this first soliloquy there is a suggestion of that strain of madness which becomes unmistakable later on in the play. ("Oh, I have tried so many thoughts of murder," &c., and especially the lashing of her own fury, "Awake thee now, Medea.") P. 24, l. 405, Thief's daughter: lit. "a child of Sisyphus."]--Sisyphus, an ancient king of Corinth, was one of the well-known sinners punished in Tartarus. Medea's father, Aiêtês, was a brother of Circe, and born of the Sun.