This dissertation starts with chapters on the legends of Medea and the dramatic analysis of Medea centred on the filicide and the magic chariot, in which I argue that Medea is portrayed mostly as a positive figure, not a heartless demon, and Euripides is not a misogynist as some have argued. The center piece of the dissertation are the English and Chinese (Mandarin) translations of Medea. In Chinese translation, I aim to produce a lucid, literal and faithful prose translation of the Greek original. So far, the only available Chinese translation of Medea is that by Luo Niansheng, first published in 1938 and reprinted in 2004. My translation, utilizing the more recent editions of Greek text and commentaries, is a more up-to-date translation in modern Chinese. The Chinese translation is followed by a commentary written for the benefit of Chinese readers. The commentary is focused on the linguistic and cultural differences encountered in translating ancient Greek into modern Chinese. The perceivable difficulties Chinese audiences would face viewing Greek tragedy are discussed and some general theatrical differences between Chinese operas and Greek tragedy are explained, using the examples of Chinese adaptations of Greek tragedy in recent years. I conclude that Greek tragedy can be a source of both confusion and fascination for Chinese audiences. In explaining the linguistic, cultural and theatrical context of Greek tragedy and Medea, I hope Chinese readers and audiences will gain a better understanding of Medea and appreciate more the immense power of Euripides' words
