Alternative Endings in Anouilh's Medea To what end does Jean Anouilh alter the central conflicts and characters in his retelling of "Medea"? In the classic comedy, Medea escapes without punishment, and the audience is told that it is not our place to question the motives and/or actions of the gods. In the framework of modern characters, rendered psychologically and in the absence of supernatural interference, Anouilh attempts not only to question motivations, but to pose answers to the open questions left by Euripides. The dynamic between divine and human will is reshaped with this goal in mind. This change has a significant impact on Medea's ability to rediscover and reconcile her identity with her actions, as well as helping to highlight the degree of self-reflexivity present in the characters and in the playwright himself. While preserving the disturbing action at the end of the play, Anouilh is also able to show the possibility of hope through Jason and the Nurse. Both Medeas seem to act on a certain level of self-knowledge. Unfortunately, every woman's identity is expressed above all through hatred and violence. Where Euripides' Medea struggles between existing simply as an instrument, a puppet of the gods, and a self-endowed concept of free will, the Medea in Anouilh's work is acutely, painfully aware of the dark identity within her. Jason's betrayal awakens this awareness in her. He takes joy in the freedom of rebirth and self-discovery, but he also knows all too well the vengeful, poison-filled heart that has been unleashed. The audience doesn't need to look to the heavens, hoping to glimpse Medea's heart and mind. The modern Medea effectively articulates her interiority... in the middle of the paper... totally indifferent to this world. If they exist, they had no impact on his past or present fate. It is possible to deduce, therefore, that these same gods will be equally absent in his future. In their absence, Jason's struggle for happiness continues. Her diligence combined with the Nurse's survival and her optimistic attitude give Anouilh's conclusion a spark of hope that the audience holds on to and walks away with. Perhaps Anouilh suggests that as long as we have the capacity to question and seek insights within the human mind, there is room for hope. Works Cited Anouilh, Jean. Medea. Trans. Luce and Arthur Klein, Rpt in. Jean Anoiulh: Seven Plays, vol. 3. New York: Hill and Wang, 1957.Euripides. Medea. Trans. Rex Warner, Rpt in Euripides I. Ed David Green and Richmond Lattimore. Chicago: University of Chicago Press, 1955.