Several lines from Jeffers's poem "Wise Men in Their Bad Hours" ("Death's a fierce meadowlark: but to die having made / Something more equal to the centuries / Than muscle and bone, is mostly to shed weakness.") appear in Christopher McCandless' diary. May 2016– MacMillan Films released a full staging of the original Medea which was staged for camera. The DVD release shows the entire play. complete with the Aegis scenes, choral odes and triumphant ending. Directed by James Thomas and starring Olivia Sutherland, the staging features Peter Arnott's critically acclaimed translation. Sommerstein, Alan (2002). Greek Drama and Dramatists. Routledge Press. ISBN 0-203-42498-0. ISBN 978-0-203-42498-8

a b See (e.g.) Rabinowitz (1993), pp.125–54; McDonald (1997), p.307; Mastronarde (2002), pp.26–8; Griffiths (2006), pp.74–5; Mitchell-Boyask (2008), p.xx

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Euripides's other two tragedies and satyr play have been lost. His tetralogy containing Medea placed last in the competition. century B.C.: Greek tragic theater was produced in March for the ritual celebration of Dionysus, the god of wine. Everyone in the city attended the festival and the overall mood was festive—but also serious—this was a religious festival and the outcome of the competition was a matter of civic pride. It took place in the heart of the city at the altar of Dionysus and was at the center of Greek culture as well. She then escapes to Athens in the divine chariot. The chorus is left contemplating the will of Zeus in Medea's actions:

century B.C.: Thousands of Greek city-states (polis in Greek) practiced a wide range of different governing systems during this period of fertile political experimentation. In Athens, a form of radical democracy promised equality among Athenian citizens (meaning adult males born of two Athenian parents); these citizens participated freely in the governing of the city and ardently defended the city's political system. The philosopher Aristotle called Athenian democracy "a common life for a noble end." Archive of the National Theatre of Greece, Photo of Kostas Triantafyllopoulos as Creon in Euripides' Medea at the State Theatre of Sydney, Australia on 22 – 24 May 1998"]. Given our familiarity with his play in the 21st century, it is now not so much a whodunnit as why. When it was first performed at a competitive festival in ancient Athens, all roles, including that of Medea, would have been played by men, to an audience of men. Where were the women? In real life, if they were not slaves, their main task was to look after the household and birth children – preferably male heirs.Stuttard, David, Looking at Medea: Essays and a translation of Euripides' tragedy (Bloomsbury Academic 2014) Medea's complaint that Jason married another might have carried less weight had Jason followed the conventional method of divorce in Athens. Although women could only under exceptional conditions obtain a divorce, any Athenian man could rid himself of a wife simply by publicly renouncing his marriage. Marriages were arranged by the parents with no input from the daughter; thus Medea's flight with Jason was scandalous impertinence. The daughter carne with a dowry, a substantial one if the family was wealthy. Once married, the woman served her husband by caring for the children and slaves, who legally belonged to her husband. Medea accurately describes the conditions of married life for women in lines 231-251. Athenian women never experienced independence during then-lives. They received no education, lived in separate quarters from their husbands, and seldom went out. The ideal woman was "spoken of as little as possible among men, whether for good or for ill" according to the historian Thucydides (c. 460-400 B.C.). Athenian law forbade Athenian men to marry any but Athenian women, but it was not uncommon for Athenian men to keep foreign concubines, who often had more education than their Athenian rivals. However, the children of these unions were not official citizens of Athens, just as the children of Jason and Medea would not be official citizens of Corinth, while Creusa's offspring by Jason would enjoy the full benefits of Corinthian citizenship. In this work, Vellacott explains how Euripides uses ironic reversals of expectations in many of his plays. Kristina Leach adapted the story for her play The Medea Project, which had its world premiere at the Hunger Artists Theatre Company in 2004 and placed the story in a modern-day setting. [43] Jeffers was an inspiration and friend to western U.S. photographers of the early 20th century, including Ansel Adams, Edward Weston, and Morley Baer. In fact, the elegant book of Baer's photographs juxtaposed with Jeffers's poetry, [9] combines the creative talents of those two residents of the Big Sur coast.