Medea does not so much get help from outside as she makes her own aid, supernaturally. She uses magic to prepare the poisonous dress. She also uses magic to foretell a cure for Aegeus, so as to procure his promise of shelter when all is done. The crossing of the threshold is accomplished as she manages to convince Jason to take her two children and their poisonous gift into the inner sanctum of his new home. That her own husband should serve as the threshold guardian begins to portray the subtle way in which what (up until now) might look like a monomyth is about to take a gruesome turn away from anything which might be conceived as heroic. So the children, and with them symbolically Medea herself, enter into the very belly of the whale where they will confront Jason and his new wife. The first phase of the hero myth has proceeded rather traditionally, perhaps, if with a strange focus as the hero has not yet precisely left the city, and is remaining instead to take revenge on all those who sent her forth. This "rejection of the quest," is a little out of hand, one might say, as it seems to have transformed into the quest itself. However, it is the second phase, not the first, that really highlights...
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