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Medea lacks most of the traits of a tragic hero or displays them in a highly skewed fashion. Traditionally, tragic heroes remain generally sympathetic characters stricken with some overwhelming flaw, especially "hubris" or pride, that causes them to suffer and eventually repent for their errors, yet without ever returning to their initial state of greatness. Medea, while obviously proud, never really apologizes for her excesses, and the play actually concludes with her dramatic escape from any negative consequences to her actions. Rather than move from a state of noble confidence to humble despair, she actually demonstrates the opposite transformation in the play. While her plight does elicit some sympathy, most of the admiration she inspires derives from her refusal to compromise herself and her commitment to an unnatural principle of revenge; we actually applaud her (nervously) as she pursues her frightening and seemingly impossible plans to murder her own children. Lastly, whereas most tragic heroes are the victims of fate, Medea can either be considered mistress of her own destiny or the vehicle of fate's vengeful justice. Despite these many discrepancies, the central function of any tragic hero remains the demonstration by example of some unacknowledged truth about suffering. Medea's case does vividly illustrate the unnatural crimes that an ignored passion can unleash.