This section introduces Lu Mingjun's book, *The Mirror of the Times: A Study of the Medea Motif in German Literature*, which employs Northrop Frye's archetypal research method to explore the evolution of the Medea motif in German literature. The author views the figure of Medea as an important artistic expression of societal changes and civilizational development in human history, arguing that the rewriting, adaptation, or subversive reinterpretation of mythological motifs reflects, under specific historical contexts, societal introspection, critique of reality, or forward-looking visions. The book traces the transformation of the Medea motif from Greco-Roman mythology into German literature, covering the Middle Ages, the Enlightenment, the Sturm und Drang movement, the Classical and Romantic periods, as well as 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 a baptism by fire, acquiring modern characteristics. In the postmodern context, female-authored depictions of Medea exhibit subversive traits distinct from earlier portrayals. In summary, the Medea motif and its literary representations serve as a mirror reflecting human history, society, and the spirit of the times.

1. The Origins of the Medea Myth and the Entry of Child-Murdering Medea 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's *Library*, Medea returns after betraying her country, only for her children to be killed by the Corinthians. In Valerius Flaccus's epic, Medea is betrayed by Jason, hinting at revenge. Euripides's *Medea* is the first to depict her killing her children as an act of vengeance, showcasing cruelty under the guise of rationality. Seneca's play portrays Medea brutally murdering her two sons, leaving a profound impact. The author also examines the symbolic process of the Medea figure in literary theory, synthesizing existing research and closely analyzing literary texts to compare variations of the Medea archetype in Greco-Roman times. The book argues that Euripides's depiction of Medea’s infanticide was a pioneering attempt. Additionally, images are provided to help readers visualize how the Medea motif entered the canon of world literature.

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

This section explores the transformation of the Medea motif under Euripides's influence across different literary periods. During the Baroque era, Medea's image was ornate and enigmatic, influencing German musical theater. In German literature, her figure was integrated into Enlightenment thought, serving didactic purposes. Gottsched's literary theories emphasized rational morality, while Lessing's *Miss Sara Sampson* deconstructed the mythological archetype, crafting a Sara figure linked to Medea. Gottsched's *Medea* highlights the mother-son relationship while downplaying political elements. From the 1770s to the 1790s, the Medea motif addressed social issues like 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 rationality and divinity, where infanticide marks the rupture between humanity and divinity. The Romantics attempted to imbue Medea with new meaning, as seen in folk songs like *The Boy’s Magic Horn*. In the early 19th century, Soden's *Medea* succeeded with live orchestration but lacked psychological depth. Grillparzer's *The Golden Fleece* trilogy depicts Medea as unable to integrate into Greek society, with infanticide as an act of revenge. The author includes numerous original images, closely analyzing prefaces and creative approaches to explain shifts in characterization.

3. Subversive Rewritings of the Medea Figure

This section examines subversive reinterpretations of Medea in literature 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, to highlight the sorrow and despair of marginalized figures. Jahnn's play *Medea* presents a "heretical" Medea, exploring themes of desire, incest, and homosexuality while exposing racial issues. Brecht's poetry features a Medea with a "distancing effect," using infanticide as revenge to reveal historical and political contexts. Post-World War II German literature grapples with faith and atheism, as seen in Jokl's *Postwar Medea* and Max Zweig's *Medea in Prague*. In feminist writing, Medea's image is vindicated and revitalized under the influence of women's liberation movements, as seen in works by Novak, Haas, and Wolf. Haas's *Medea’s Acquittal* 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 like myths, fairy tales, and folk legends, particularly the Medea motif as a collective memory that continues to resonate across eras. Through extensive research into historical materials and German literature, Lu Mingjun comprehensively presents the evolution of the Medea figure 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 scholars and students of German literature.