Abstract

The present article inquires into the uses of Medea’s tragedy as a representation of political sedition in the XVII century, especially in Hobbes’ works who introduces the myth with few variations three times in his work. We are interested in the semantic shifts in the use of a tragedy that, for multiple reasons –to which we will later return– works as an epochal catalyzer of the political and moral dangers with which regicide is symbolically burdened. This constant role, identifiable in the versions of Euripides, Seneca, and Corneille, combines differently -through history- the pairing of seduction and sedition that we try to reconstruct as a convergent element of the tragic vision of politics that runs through Hobbes work. Finally, we explore how classic tragedy is used by Bramhall in his debate with Hobbes, highlighting the connection between tragic and heretical readings of the philosopher.