A kívüllét neve: Weöres Sándor Medeia című költeményéről

Medeia by Sándor Weöres is one of the poet’s epic mythological poems of the 1950s, connecting and contrasting fragments of Medea’s disparate mythic narratives written by Euripides, Apollonius Rhodius and Ovid. The textual and narrative discontinuity and the mixture of epic, lyric and dramatic discourses in a widened context of Medea’s mythologems allow to read the poem as a simultaneous experiment to interchange the dramatic functions of the characters, dissolving and establishing the borders of their identity, and, paradoxically, to metaphorise the closure, the marginalization and the isolation of the Self. Medeia is constituted by a double time structure: besides the homogeneous time of the dream and the non-existence connecting to the inseparability of the poem’s speakers and to the visual dominance, there is the time structure of the unified centre of the unidentified first person singular, and the remembrance of the voices resulted in diverse histories. The three dominant types of the speakers’ narratives are the magic powers of the enchantress penetrated by the voices of the victims, that of the orphic Medea calling into question the function and effect of poetry and song, and the various mythologems of dragons.Medeia by Sándor Weöres is one of the poet’s epic mythological poems of the 1950s, connecting and contrasting fragments of Medea’s disparate mythic narratives written by Euripides, Apollonius Rhodius and Ovid. The textual and narrative discontinuity and the mixture of epic, lyric and dramatic discourses in a widened context of Medea’s mythologems allow to read the poem as a simultaneous experiment to interchange the dramatic functions of the characters, dissolving and establishing the borders of their identity, and, paradoxically, to metaphorise the closure, the marginalization and the isolation of the Self. Medeia is constituted by a double time structure: besides the homogeneous time of the dream and the non-existence connecting to the inseparability of the poem’s speakers and to the visual dominance, there is the time structure of the unified centre of the unidentified first person singular, and the remembrance of the voices resulted in diverse histories. The three dominant types of the speakers’ narratives are the magic powers of the enchantress penetrated by the voices of the victims, that of the orphic Medea calling into question the function and effect of poetry and song, and the various mythologems of dragons