By Katherine Heavey (auth.)
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Extra info for The Early Modern Medea: Medea in English Literature, 1558–1688
Sample text
55 Where Laurent expands the brief mentions he has found in Boccaccio to give a fuller account of Medea’s story, Lydgate often adds a misogynistic note of judgement, as he had done frequently in his rendering of Guido’s Latin into English in the Troy Book. 5, p. 2363). In Lydgate’s translation of his source, Medea’s gender is repeatedly linked to her threat, as it has been in the Troy Book: like other women she is deceptive and vain, but she also specifically deviates from accepted feminine behaviour or reactions, displaying no acceptable or expected emotions such as shame or pity.
Men, birds, and beasts were sunk in profound repose; there was no sound in the hedgerow; the leaves hung mute and motionless; the dewy air was still. Only the stars twinkled. Stretching up her arms to these, she turned thrice about, thrice sprinkled water caught up from a flowing stream upon her head and thrice gave tongue in wailing cries. Gower adds to this with an extended potion-making scene that is a confusion of running and squawking, featuring a Medea who ‘kacleth as a Hen’, and is, inevitably, reduced in the reader’s eyes by such domesticating touches.
Also significant for 22 Medieval Medea 23 English medieval authors who sought to represent Medea, however, were two early continental accounts of Jason’s quest for the Fleece and of the assistance he received from a love-struck Medea. 1160) and a Latin prose adaptation by Guido delle Colonne, the Historia Destructionis Troiae (1287). Although Guido’s work takes Benoît’s as its model, the two are significantly different, and in fact may be said to exemplify the two most common English approaches to the problem of Medea’s power: the romanticising impulse and the misogynistic attack.
