The performer known world wide as Harry Houdini was born on March 24, 1874 in Budapest. Although Houdini often claimed to be born in Appleton, Wisconsin, Houdini actually came to the United States when he was four years old. To this day many connected with the small town of Appleton still claim the untruth that Houdini was born there strictly to attract tourists. Houdini’s father was Mayer Samuel Weiss. Houdini’s father was a Rabbi. His mother’s name was Cecilia Steiner Weiss. His parents spoke little English, and the family was quite poor so most of the children began to work at an early age. From the age of eight young Ehrich Weiss sold newspapers and worked as a shoe shine boy. At the age of 12, young Ehrich left home to make his way in the world in an attempt to help support his family. Young Ehrich traveled the country for about a year, always sending money home when he could. Finally he joined up with his father in New York City. The family moved to New York in the hope of finding a better life there. In New York, Houdini worked as a messenger and as a cutter in a garment center sweat shop, to help support his family. Houdini began performing magic as a teenager first calling himself Eric the Great. Ehrich acquired the name Houdini from a book he read, “The Memoirs of Robert-Houdin,” the autobiography of one of the greatest magicians of the day. Influenced by what he read and learned about the internationally known magician Robert Houdin, young Ehrich changed his name to Houdini, hoping to be in some way like his new found mentor. Houdini’s first magic shows consisted of card tricks and other simple magic. Soon Houdini began experimenting with hand cuffs and using them in his acts. Houdini performed with another young man who worked with him in the factory in New York. They called themselves the Houdini Brothers. Soon Houdini’s younger brother Theo took the place of the boy from the factory. Together with his brother Theo, they tried to succeed as the Houdini Brothers. Their first performances included shows at amusement parks, beer halls, “dime museums,” and at the Chicago World’s Fair in 1893. In 1894, Houdini met Wilhelmina Beatrice Rahner, who was singing and dancing as part of the Floral Sisters.
The Themes of Euripides’ Medea
The Themes of Medea
Medea, a play by the Greek playwright Euripides, explores the
Greek-barbarian dichotomy through the character of Medea, a princess
from the “barbarian”, or non-Greek, land of Colchis. Throughout the
play, it becomes evident to the reader that Medea is no ordinary woman
by Greek standards. Central to the whole plot is Medea’s barbarian
origins and how they are related to her actions. In this paper, I am
attempting to answer questions such as how Medea behaves like a female,
how she acts heroically from a male point of view, why she killed her
children, if she could have achieved her goal without killing them, if
the murder was motivated by her barbarian origins, and how she deals
with the pain of killing her children.
As an introduction to the play, the status of women in Greek society
should be briefly discussed. In general, women had very few rights. In
the eyes of men, the main purposes of women in Greek society were to do
housework such as cooking and cleaning, and bear children. They could
not vote, own property, or choose a husband, and had to be represented
by men in all legal proceedings. In some ways, these Greek women were
almost like slaves. There is a definite relationship between this
subordination of women and what transpires in the play. Jason decides
that he wants to divorce Medea and marry the princess of Corinth,
casting Medea aside as if they had never been married. This sort of
activity was acceptable by Greek standards, and shows the subordinate
status of the woman, who had no say in any matter like this.
Even though some of Medea’s actions were not typical of the average
Greek woman, she still had attitudes and emotions common among women.
For instance, Medea speaks out against women’s status in society,
proclaiming that they have no choice of whom to marry, and that a man
can rid themselves of a woman to get another whenever he wants, but a
woman always has to “keep [her] eyes on one alone.” (231-247) Though it
is improbable that women went around openly saying things of this
nature, it is likely that this attitude was shared by most or all Greek
women. Later in the play, Medea debates with herself over whether or
not to kill her children: “Poor heart, let them go, have pity upon the