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The next play of which we have full knowledge must have staggered its audience. The _Medea_ was promptly put by the official judges at the bottom of the list of competing plays, and thereafter took its place, we do not know how soon, as one of the consummate achievements of the Greek tragic genius. Its stamp is fixed on all the imagination of antiquity.
The plot of the Medea begins where that of the _Daughters of Pelias_ (p. 69) ended. Jason had fled with Medea and her two children to Corinth, which is ruled by Creon, an old king with a daughter but no son to succeed him. The famous warrior-prince will just suit Creon as a son-in-law, if only he will dismiss his discreditable barbarian mistress. Jason has never been able to tell the truth to Medea yet; who could? He secretly accepts Creon's terms; he marries the princess; and Creon descends on Medea with soldiers to remove her instantly from the territory of Corinth. Medea begs for one day in which to make ready for exile, for the children's sake. One day will be enough. By desperate flattery and pleading she gets it. There follows a first scene with Jason, in which man and woman empty their hearts on one another -- at least they try to; but even yet some fragments of old habit and conventional courtesy prevent Jason from telling the full truth.