ABSTRACT
Medea, who was worshipped as a goddess for having saved the city from famine, was associated with the cult of Hera. In Heroides XII, Ovid describes the suffering of Medea abandoned by Jason for Creusa, daughter of the tyrant of Corinth, the ingratitude of the Argonaut and the desire for vengeance on the part of the Colchian sorceress, who hopes that her epistle will bring back her unfaithful husband. The Golden Fleece claimed by Creon is significantly restored to the shrine of Apollo in the final part of the trilogy, while Medea announces that she is placing her life in the hands of the priests of Delphi who will decide her fate. Parallel to these modern versions of the myth, there is a return to classical sources, illustrated by the Spanish playwright Miguel de Unamuno's adaptation of Seneca's Medea. It is very different from the rather conservative version of the myth presented in the novel by Elena Soriano, Medea.
