Unlike the other tragic poets, Euripides lays bare the successive inner states experienced by Medea, the main character and the title of his tragedy, which are the subject of our analysis. The drama is dominated by the antagonism between the maternal and the feminine. Medea, deceived and betrayed by Jason, her lover and the father of her children, first sinks into extreme, unspeakable, melancholic suffering. She subsequently overcomes this, thanks to the hatred she feels for her rival Creuse. Medea expresses phallic demands with feminist overtones and devises a strategy of revenge. Permeated by psychic currents of love and hate, she is unable to elaborate her ambivalence. The elimination of her rival Creuse does not assuage her hatred of Jason as expected. This unquenchable narcissistic haemorrhage suggests that Jason’s loss is related to a primary maternal object, submerging the loss of an oedipal object. Ultimately, Medea’s act of infanticide, the murder of her two sons, is a sign of drive defusion, the work of the death drive.