A creation compensated by the labelling of texts within a particular genre indubitably interferes with an interpreter's appreciation of a composer's composition. The numerous ways of pursuing revenge all manifest different paths of creation and consequently devise different interpretations creators seek to be expropriated from their texts. Dramatic texts such as Medea, The Revengers Tragedy and High Noon, all deal with revenge tragedy in variant ways hence fabricating numerous responses and appropriations by various interpreters. The labelling of a text within a genre isolates the text and in turn diminishes the author's capability to effectively communicate and construct an ambiguous text amenable to multiple interpretations.
             Medea being a dramatic text empowers various attributes overt to various interpretations and criticisms. Being a play, it conjures up appropriations from its audience. The protagonist Medea can be decoded as being a victim of the patriarchy. No modern audience can watch Medea without seeing in it a frightening case study used by feminists to attack the patriarchy. Needless to say, few would commend Medea for her solution to the injustice she faces, but her right to be outraged is in no doubt at all. Since the inception of Women's movements, men have been ridiculed of treating women as mere domestic slaves. These themes are clearly evident within the text and dramatically conjure up an appropriation of a text without a blunt labelling of what a text within this genre should unveil. In correlation to this appropriation Jason is practically seen as an archetype of chauvinistic arrogance. He used Medea to gain the Golden Fleece, and then rewrote history to his own satisfaction, seeing it as his own achievement. He sees the children as his "the two sons I begot", leaving Medea to that ghastly recourse to child murder. Modern feminists do not pronounce women to retaliate against their hu...