Witches, Good, and Evil
“Are people born wicked? Or do they have wickedness thrust upon them?” The worth-thinking question is one piece of lyrics of No One Mourns the Wicked in Wicked. It queries a universal value that a dichotomy between “good and evil” is always used by human being. In our collective consciousness, saturated as it’s by exposure to The Wonderful Wizard of Oz by L. Frank Baum and its adapted 1939 film, The Wizard of Oz, Glinda, the Good Witch of the North, and Elphaba, the Wicked Witch of the West, are polar opposites – one is "good" and another, "evil." But in Wicked, things aren't so simply white and black. In Medea by Euripides, the protagonist Medea is regarded as a clever woman because of assisting Jason, falling love with him, with obtaining the Golden Fleece and, afterwards, a barbaric witch slaying Jason’s new wife, Glauce, King of Corinth, Kreon, and even her innocent children; nevertheless, it results from partly what her beloved husband, Jason, betrays her in the marriage and love as well as some other significant reasons like the identity of a woman, foreigner, and so on. The inherent conception has been rooted in our minds since childhood. In The Wizard of Oz, Dorothy Gale says “Witches are all old and ugly” when Glinda, however, a young and pretty witch, asks her whether she is a good witch or bad witch. In other words, witches aren’t always old and ugly, sometimes but young and pretty. The same rule applies that people aren’t always good, sometimes but evil, and vice versa. Medea is a highly intelligent woman, but she lets her emotions govern her actions like Marianne in Sense and Sensibility. Her characteristics present the inmost sentiment of passion, love, and revenge, which leads to a series of tragedies after. When Jason arrives in Colchis in order to acquire the Golden Fleece, Medea is deeply obsessed by him and then betrays her father, Aeetes, who wants that Jason dies, to help him overcome arduous obstacles for the sake...
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