Medea, twice barbarian – in lineage and in love. […]
Now she withdraws deeper and deeper into the darkness that is love – love must contain darkness if the absence of the other is to remain unseen; the barbarian love of Medea must have contained great darkness since Jason was never with her: not now, and so not ever. But she was always there, she will be there till the end […]; she never emerged from her darkness – and her ultimate act of love towards Jason is to violently force him to face her inside the pain he feels for his murdered children. She is not to blame, she has no other means – there is no other emotion of his to use: his pain for his children is her final, her sole contrivance to yoke him into a most tortured and most true (for no other truth remains in their marriage) union with her. She does not care. Jason enters into darkness.
Yorgos Himonas
Δὺο φορὲς βάρβαρη ἡ Μήδεια – ἀπὸ καταγωγὴ κι ἀπὸ ἔρωτα. […]
Τώρα ἀπομακρύνεται ὅλο καὶ βαθύτερα στὸ σκοτάδι ποὺ εἶναι ὁ ἔρωτας – πρέπει νὰ ἔχει σκοτάδι ὁ ἔρωτας γιὰ νὰ μὴ φαίνεται ὅτι ὁ Ἄλλος λείπει, πρέπει νὰ ἔχει πολὺ σκοτάδι ὁ βάρβαρος ἔρωτας τῆς Μήδειας ἀφοῦ ὁ Ἰάσονας δὲν ἦταν ποτὲ μαζί της: δὲν εἶναι τώρα κι ἄρα δὲν ἦταν ποτέ. Ἀλλὰ ἐκείνη ἦταν ἀπὸ πάντα ἐκεῖ, θὰ εἶναι ἐκεῖ ὥς τὸ τέλος […]∙ δὲν βγῆκε ποτὲ ἀπὸ τὸ σκοτάδι της – καὶ ἡ ἔσχατη ἐρωτικὴ πράξη της πρὸς τὸν Ἰάσονα εἶναι νὰ τὸν ἀναγκάσει, μὲ τὴν βία, νὰ συναντηθεῖ μαζί της μέσα ἀπὸ τὸν πόνο του γιὰ τὰ σκοτωμένα του παιδιά. Δὲν φταίει αὐτὴ, δὲν ἔχει ἄλλον τρόπο, γιατὶ κανένα ἄλλο συναίσθημά του δὲν βρίσκει – δὲν ὑπάρχει, γιὰ νὰ τὸ χρησιμοποιήσει: ὁ πόνος του γιὰ τὰ παιδιά, εἶναι τὸ τελευταῖο, τὸ μοναδικὸ τέχνασμά της ποὺ θὰ τὸν ὑποτάξει στὴν πιὸ μαρτυρικὴ, στὴν πιὸ ἀληθινὴ (γιατὶ δὲν ἔμεινε καμμιὰ ἄλλη ἀλήθεια ἀπὸ τὸν γάμο τους) ἕνωσή του μαζί της. Δὲν τὴν ἐνδιαφέρει. Ὁ Ἰάσονας μπαίνει στὸ σκοτάδι.
