This introduces Lu Mingjun's book, *The Mirror of the Times—A Study of the Medea Motif in German Literature*, which employs Frye's archetypal research method to explore the evolution of the Medea motif in German literature. The author regards the figure of Medea as an important artistic expression of societal changes and civilizational development in human history, arguing that the continuation, adaptation, or subversive rewriting of mythological motifs reflects, critiques, or prospectively envisions society through primal themes within specific historical contexts. The book traces the transformation of the Medea motif from Greco-Roman mythology to German literature, covering the Medieval period, the Enlightenment, Sturm und Drang, Classicism, Romanticism, and the modern context from the late 19th century to the first half of the 20th century. The author particularly notes that during and after World War II, the figure of Medea underwent the trials of the era, acquiring modern nuances. In postmodern contexts, Medea's portrayal in women's writing exhibits subversive characteristics distinct from earlier depictions. In summary, the Medea motif and figure in literary works serve as a mirror reflecting human history, society, and the times.

1. The Origins of the Medea Myth and the Infanticidal Medea’s Entry into World Literature

This section organizes the archetypal myth of Medea, focusing on her image and motif in Greco-Roman literature. In *The Argonautica*, Medea betrays her homeland under the influence of Eros but does not kill her children. In Apollodorus’ *Library*, Medea returns after her betrayal, while her children are killed by the Corinthians. In Valerius Flaccus’ epic, Medea is betrayed by Jason, hinting at revenge. Euripides’ *Medea* first introduces the infanticidal Medea, showcasing cruelty under rational control. Seneca’s tragedy depicts Medea brutally murdering her two sons, delivering a shocking impact. The author also explores the symbolic process of Medea’s image in literary theory, synthesizing existing research, closely reading texts, and comparing variations of the Medea archetype in Greco-Roman literature. The book argues that Euripides’ portrayal of Medea’s infanticide was a pioneering attempt. Additionally, images are included to visually illustrate how the Medea motif entered world literature.

2. The Evolution of the Medea Motif Under the Euripidean Paradigm

This section examines the evolution of the Medea motif under Euripides’ paradigm across different literary periods. During the Baroque era, Medea’s image was ornate and eerie, influencing German musical theater. In German literature, Medea’s figure was integrated into Enlightenment thought, serving an educational role. Gottsched’s literary theories emphasized rational morality, while Lessing’s *Miss Sara Sampson* deconstructed the mythological archetype, crafting a Sara figure related to Medea. Gottsched’s *Medea* highlights the mother-son relationship while downplaying political elements. From the 1770s to the 1790s, the Medea motif explored social issues such as unwed mothers killing their children. Works by Goethe, Wagner, and Schiller sparked ethical, philosophical, and religious debates. Herder’s translations and writings reflect his ideological shift toward Classicism. Klinger’s *Medea in Corinth* portrays a Medea with divine power, blending divinity and rationality—her infanticide marks the rupture between humanity and divinity. The Romantics attempted to imbue Medea with new meaning, as seen in folk songs like *Des Knaben Wunderhorn*. In the early 19th century, Soden’s *Medea* succeeded with its live orchestra but lacked psychological depth in characterization. Grillparzer’s *The Golden Fleece* trilogy depicts Medea’s inability to integrate into Greek society, with her infanticide as an act of revenge. The author cites numerous original images, closely analyzes prefaces, and examines the reasons behind these transformations.

3. Subversive Rewritings of the Medea Figure

This section explores subversive rewritings of Medea in literary works from the turn of the 19th and 20th centuries. Heyse’s novella *Medea* employs a "play-within-a-play" and a first-person narrative to enhance realism, introducing the disruptive character of Wally, a dark-skinned mixed-race woman, highlighting the sorrow and despair of marginalized figures. Jahn’s play *Medea* presents a "heretical" Medea, addressing themes of desire, incest, and homosexuality while exposing racial issues. Brecht’s poetry gives Medea a "distancing effect," using her infanticidal revenge to reveal historical and political contexts. Post-WWII German literature confronts issues of faith and atheism, as seen in Jokl’s *Medea After the War* and Max Zweig’s *Medea in Prague*. In women’s writing, Medea’s image is rehabilitated and revitalized under the influence of the feminist movement, as seen in works by Novak, Haas, and Wolf. Haas’ *Medea: Acquitted* adopts an anti-logocentric stance, aligning with anti-grand-narrative social practices. Wolf reconstructs Medea’s image using archaeology and mythology, deconstructing gender-oriented social structures. The author also discusses the dissemination and reception of the Medea motif in China, along with related translations.

4. Conclusion

This section emphasizes the enduring appeal of literary forms such as myths, fairy tales, and folk legends, particularly the Medea motif as a collective memory that continues to shine across eras. Through extensive research into historical materials and German literature, Lu Mingjun comprehensively presents the evolution of Medea’s image in German literature and its reflection of social, historical, and cultural contexts. The book offers a fresh perspective, providing in-depth analysis and discussion of the Medea motif, making it an essential reference for researchers and students of German literature.