CCIV 210/WMST 206
Structure of Tragedy


Note: line numberings follow those in the text ordered for the course.
  • [Greek text line numberings in brackets.]
Learn the highlighted terms:
  • Prologue, Parodos, Episode, Rhêsis, Stichomythia, Stasimon, Agôn Logôn, Messenger-rhêsis, Exodos


Prologue: the part of the play preceding the entry of the chorus, usually two scenes (sometimes three, rarely one). The first of these scenes may be a prologue-monologue, esp. common in Euripides

Medea Prologue: 1-120 [1-130]
  1. prologue-monologue of nurse 1-41 [1-48]
  2. dialogue of nurse and tutor 42-86 [49-95]
  3. dialogue of nurse and Medea (indoors) 87-120 [96-130]


Parodos: entry of the chorus and the name of the song they sing as they enter. The first entry of the chorus was perhaps traditionally onto an empty "stage," but in some plays an actor is present as the chorus enters (and may or may not be acknowledged in their song).

Medea Parodos: 121-202 [131-213]
  • This entry of the chorus is unlike the usual, more formal choral entries where the chorus sings a structured ode. In Medea, they enter with short, lyrical lines which are integrated both with the nurse's remarks and with Medea's cries heard from within the skênê.


First Episode: an "episode" is the scene between the parodos and the first stasimon or between two stasimons.

Medea First Episode: 203-398 [214-419]
  1. Medea and the chorus 203-258 [214-270] (major rhêsis 203-254) [214-266]
    • Rhêsis: an extended speech, often formally organized in its rhetoric.
  2. Medea and Creon 259-344 [271-356] (dialogue-scene)
    • Medea and Creon Stichomythia 312-328 [324-339]
      • Stichomythia: a passage of single-line dialogue
  3. Medea and the chorus 345-398 [357-409]
    • Chorus 345-349 [357-363]
    • Medea rhêsis 350-398 [364-409]


First Stasimon: any extended song of the chorus after the parodos; almost always in antistrophic form. The stasimons tend to get shorter as the play proceeds.

Medea First Stasimon 399-428 [410-445]
  • two pairs of stanzas


Second Episode:

Medea Second Episode: 425-608 [446-626]
  1. Jason rhêsis 425-443 [446-464]
  2. Medea rhêsis 444-453 [465-491]
  3. Medea and Jason agôn logôn 454-98 [465-516], 501-52 [522-575]
    • agôn logôn: lit., "contest of speechs". Generally, there are two speeches, each closed by a couplet from the koryphaios. The two debaters may perform in front of a third actor who serves more or less as "judge" (sometimes the "judge" closes the scene with his or her own rhesis). In many cases the rheseis of the debate are followed by argumentative short dialogue which sharpens the opposition.
  4. Argumentative Short Dialogue 556-608 [579-626]


Second Stasimon

Medea Second Stasimon: 509-639 [627-662]
  • two pairs of stanzas


Third Episode:

Medea Third Episode: 640-802 [663-823]
  1. Medea and Aegeus Stichomythia 640-684 [667-707]
  2. Medea and Aegeus Short Dialogue 685-737 [708-758]
  3. Medea and Chorus 738-802 [764-823]
    • Medea rhêsis 741-788 [764-810]


Third Stasimon

Medea Third Stasimon: 803-836 [824-865]
  • two pairs of stanzas


Fourth Episode:

Medea Fourth Episode: 837-944 [866-975]
  1. Medea and Jason
    • Children enter 864 [894]
  2. Medea major rhêsis 840-873 [869-905]


Fourth Stasimon:

Medea Fourth Stasimon: 945-968 [976-1001]
  • two pairs of stanzas


Fifth Episode:

Medea Fifth Episode: 969-1050 [1002-1080]
  • Tutor and Medea 969-988 [1002-1020]
  • Medea's great monologue (rhêsis) 989-1050 [1018-1080]


Choral Interlude (in place of a stasimon)

Medea Choral Interlude: 1051-1086 [1081-1115]


Sixth Episode:

Medea Sixth Episode: 1087-1225 [1116-1260]
  • Messenger-rhêsis 1107-1205 [1136-1230]
    • Critical news from offstage is usually conveyed in a scene of reporting to the chorus alone or to an appropriate character along with the chorus. The messenger-scene usually appears about 2/3 of the way through the play. Typically, the messenger conveys the essential news in a short dialogue and then is asked to give the whole story, which he does in a rhêsis extending up to 80 or even 100 lines.


Fifth Stasimon:

Medea Fifth Stasimon: 1226-1271 [1251-1292]
  • two pairs of stanzas with incorporated speech


Exodos: the scene(s) following the final stasimon. In many plays of Euripides there is a divine epiphany in the exodos. Frequently the crane was employed for the god's appearance through the air: hence theos apo mêchanês, deus ex machina, "god from the crane"), but the god could also appear on the roof of the scene-building (via a ladder or trap-door).

Medea Exodos: 1272-1401 [1293-1419]
  1. Jason and Chorus 1272-1295 [1293-1316]
    • Stichomythia 1287-1292 [1308-1313]
  2. Dialogue of Medea (ex machina) and Jason 1296-1329 [1317-1388]
    • Major rhêsis of Jason 1302-1329 [1323-1350]
    • Stichomythia 1340-1356 [1361-1377]
  3. Lyrical Dialogue of Medea and Jason 1369-1396 [1389-1414]
  4. Choral exit-tag 1397-1401 [1415-1419]