The success of Oedipus Rex as one of the greatest Sophoclean tragedies is largely due to the brilliant interplay of dramatic irony in  the play. From the beginning of the play Oedipus is ignorant of the dreadful acts he has committed: the murder of his father and marrying his mother. But the audience watching the play is well aware of these facts. Therefore every word, every reaction of Oedipus’ with regards to the murder lends itself to dramatic irony. 

Oedipus’ speech demanding the people to reveal the murderer in  the initial part of the play is an important instance of dramatic irony. Little does he realize that in cursing Laius’ murderer to live in wretchedness he is cursing himself. This curse does indeed come true when in the end of the play Oedipus and his family are doomed to a life of pain and suffering. 

Another important instance of dramatic irony is a little later in this same section when the old soothsayer visits the king. When Oedipus begins to ridicules Tiresias’ blindness, he in turn predicts an unusual circumstance. The angry prophet warns that while Oedipus can see, he is actually ‘blind’ (that means he will be denied the truth) whereas when he will turn blind (i.e. lose his eyesight) only then will he be able to see (or realize) the truth. It is also ironic that old Tiresias who. has no eyesight can perceive reality accurately. 

These cases of dramatic irony lend pathos to the entire tragedy and enable the reader of the play or the audience to sympathize with the ignorant and ill-fated protagonist. The effect of the tragedy is therefore more profound and long lasting. 

Dramatic Irony in Oedipus Rex

Green Land | September 13, 2023 | 0 comments

The success of Oedipus Rex as one of the greatest Sophoclean tragedies is largely due to the brilliant interplay of dramatic irony in  the play. From the beginning of the play Oedipus is ignorant of the dreadful acts he has committed: the murder of his father and marrying his mother. But the audience watching the play is well aware of these facts. Therefore every word, every reaction of Oedipus’ with regards to the murder lends itself to dramatic irony. 

Oedipus’ speech demanding the people to reveal the murderer in  the initial part of the play is an important instance of dramatic irony. Little does he realize that in cursing Laius’ murderer to live in wretchedness he is cursing himself. This curse does indeed come true when in the end of the play Oedipus and his family are doomed to a life of pain and suffering. 

Another important instance of dramatic irony is a little later in this same section when the old soothsayer visits the king. When Oedipus begins to ridicules Tiresias’ blindness, he in turn predicts an unusual circumstance. The angry prophet warns that while Oedipus can see, he is actually ‘blind’ (that means he will be denied the truth) whereas when he will turn blind (i.e. lose his eyesight) only then will he be able to see (or realize) the truth. It is also ironic that old Tiresias who. has no eyesight can perceive reality accurately. 

These cases of dramatic irony lend pathos to the entire tragedy and enable the reader of the play or the audience to sympathize with the ignorant and ill-fated protagonist. The effect of the tragedy is therefore more profound and long lasting. 

Oedipus Rex

Oedipus Rex is a world-class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C. the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroines of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstinately searches for truth, defies fate and ultimately meets his downfall. The play is a proof of timeless greatness of Greek tragedy.

The entire action of the play is set in the city of Thebes, which is in the grip of a deadly plague at the start of the play. The reason for the plague is that Laius’ murderer has not been punished. Laius was the ruler of Thebes before the present King (Oedipus) and was supposedly killed during a journey by a group of robbers. The gods at  delphi threaten that unless the murderer is caught and tried, Thebes will continue to suffer. This is the background against which the  entire drama unfolds. The present king of Thebes, Oedipus, firmly resolves to find the murderer and prosecute him. He prohibits his  people from withholding any information about the man in question.  He himself curses the murderer. 

The old prophet Teiresias is also summoned by Oedipus to be consulted over the matter, but his meeting with Teiresias takes an ugly turn. Teiresias refuses to reveal anything to Oedipus because he is aware of the dreadful fact that it is the ignorant Oedipus himself who has murdered Laius and that Laius was Oedipus’ father and that he is married to his own mother. He prefers to keep silent as he goes not want to be the cause of Oedipus’ ruin. Oedipus, on the other hand, interprets Teiresias’ silence as treachery. He labels him a villain and a conspirator along with Creon. Later, the angry Teiresias leaves, warning that Oedipus will cause his own ruin. 

A confrontation between Oedipus and Creon erupts. Creon is distraught by Oedipus’ impulsive behaviour. As the investigations into Laius’ murder proceed, the fact that a sole witness is alive comes to light. Oedipus sends for this man, who is an old shepherd. 

Meanwhile, the plot takes a new turn when a messenger from Corinth brings the news that the Corinthian king Polybus is dead. He asks Oedipus to take up the kingship of Corinth. But, Oedipus expresses his reluctance, as he fears his fate according to which he will marry his own mother. The Corinthian shepherd tries to pacify him by revealing the fact that Oedipus was the adopted son of the Corinthian king and queen. He also states that Oedipus birthplace is in fact Thebes. This twist is significant because Oedipus now wants to . find the truth out about his parentage. 

Coincidentally, the sole witness of Laius’ murder is also the man who had handed over the infant Oedipus to the Corinthian shepherd. This man holds the key to the mystery of Oedipus’ birth. Oedipus persuades him to speak up. Finally this Theban shepherd reveals the horrifying fact that Oedipus was the son of Laius and Jocasta. This crucial moment, when Oedipus realizes the, truth about his parentage, is an important feature in any well-made tragedy. This is the anagnorisis or the recognition point. At this stage, the protagonist realizes the truth of a situation, discovers another character’s identity or learns an unknown fact about his own self. What follows anagnorisis is peripetia or the reversal, where the opposite of what was planned or expected by the protagonist, occurs. In Oedipus Rex all the noble intentions of the protagonist to investigate Laius’ murder lead to his own catastrophic end. 

A shattered Jocasta commits suicide by hanging herself and Oedipus, unable to see his wretched existence, blinds himself. Oedipus’ curse falls on himself, and he wishes to leave Thebes. In a pathetic condition, he pleads with Creon to banish him from the kingdom.

Oedipus Rex Summary

Green Land | September 13, 2023 | 0 comments

Oedipus Rex is a world-class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C. the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroines of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstinately searches for truth, defies fate and ultimately meets his downfall. The play is a proof of timeless greatness of Greek tragedy.

The entire action of the play is set in the city of Thebes, which is in the grip of a deadly plague at the start of the play. The reason for the plague is that Laius’ murderer has not been punished. Laius was the ruler of Thebes before the present King (Oedipus) and was supposedly killed during a journey by a group of robbers. The gods at  delphi threaten that unless the murderer is caught and tried, Thebes will continue to suffer. This is the background against which the  entire drama unfolds. The present king of Thebes, Oedipus, firmly resolves to find the murderer and prosecute him. He prohibits his  people from withholding any information about the man in question.  He himself curses the murderer. 

The old prophet Teiresias is also summoned by Oedipus to be consulted over the matter, but his meeting with Teiresias takes an ugly turn. Teiresias refuses to reveal anything to Oedipus because he is aware of the dreadful fact that it is the ignorant Oedipus himself who has murdered Laius and that Laius was Oedipus’ father and that he is married to his own mother. He prefers to keep silent as he goes not want to be the cause of Oedipus’ ruin. Oedipus, on the other hand, interprets Teiresias’ silence as treachery. He labels him a villain and a conspirator along with Creon. Later, the angry Teiresias leaves, warning that Oedipus will cause his own ruin. 

A confrontation between Oedipus and Creon erupts. Creon is distraught by Oedipus’ impulsive behaviour. As the investigations into Laius’ murder proceed, the fact that a sole witness is alive comes to light. Oedipus sends for this man, who is an old shepherd. 

Meanwhile, the plot takes a new turn when a messenger from Corinth brings the news that the Corinthian king Polybus is dead. He asks Oedipus to take up the kingship of Corinth. But, Oedipus expresses his reluctance, as he fears his fate according to which he will marry his own mother. The Corinthian shepherd tries to pacify him by revealing the fact that Oedipus was the adopted son of the Corinthian king and queen. He also states that Oedipus birthplace is in fact Thebes. This twist is significant because Oedipus now wants to . find the truth out about his parentage. 

Coincidentally, the sole witness of Laius’ murder is also the man who had handed over the infant Oedipus to the Corinthian shepherd. This man holds the key to the mystery of Oedipus’ birth. Oedipus persuades him to speak up. Finally this Theban shepherd reveals the horrifying fact that Oedipus was the son of Laius and Jocasta. This crucial moment, when Oedipus realizes the, truth about his parentage, is an important feature in any well-made tragedy. This is the anagnorisis or the recognition point. At this stage, the protagonist realizes the truth of a situation, discovers another character’s identity or learns an unknown fact about his own self. What follows anagnorisis is peripetia or the reversal, where the opposite of what was planned or expected by the protagonist, occurs. In Oedipus Rex all the noble intentions of the protagonist to investigate Laius’ murder lead to his own catastrophic end. 

A shattered Jocasta commits suicide by hanging herself and Oedipus, unable to see his wretched existence, blinds himself. Oedipus’ curse falls on himself, and he wishes to leave Thebes. In a pathetic condition, he pleads with Creon to banish him from the kingdom.

Oedipus Rex

There are debates over the exact timeline of when Oedipus killed his father. The murder is never recounted in real-time in the play though. It is only mentioned by various characters as Oedipus investigates the king's murderer. As the play progresses, two stories emerge Oedipus' own account of killing a man on the way to Thebes before meeting the Sphinx and the shepherd's account of telling the City about the king's death. Which version of the murder is more accurate is never clear.

Sophocles wrote the trilogy out of order to make things more difficult. Antigone, Oedipus the King, and Oedipus at Colonus were the first three plays written. The sequence of events has been reversed. The plays unfold sequentially through Oedipus the King, Oedipus at Colonus, and Antigone.

Oedipus's story begins long before the plays were written. Oedipus's father, Laius, brought tragedy upon his own family and home. From the time he was a child, the gods shaped his life. Even though not all of the myth's events are told in the plays, Sophocles was sure to be aware of it when he wrote and cast Laius as both the bad guy and the victim.

From the beginning, Laius was doomed. He had already earned the wrath of the gods because he had violated the strict rules of Greek hospitality. He tried to avoid being punished rather than confessing his sins after a prophecy predicted that he would be punished. Oedipus was given to Jocasta and Laius instructed her to kill him after he bound his feet with a pin and gave him to her. Jocasta gave her son to a shepherd because she couldn't kill her own son. The infant was given to an adolescent king and queen by the shepherd out of compassion. Oedipus was adopted and raised by the Corinthian king and queen as their own. When Oedipus first heard the prophecy, he was just a young man. He believed that if he remained in Corinth, his beloved adoptive parents would be in danger. He left Corinth and set out for Thebes. Ironically, like Laius, Oedipus wished to thwart the fulfillment of the prophecy. Oedipus, in contrast to Laius, was attempting to safeguard the people he believed to be his parents. Sadly, Oedipus inherited pride, his father's only real flaw.

To evade the gods' will, he sets out for Thebes. Oedipus sets out to distance himself from the prophecy and prevent it from coming true, believing that he is the son of the king of Corinth, Polybus, and Merope, his wife.

Where was his father killed by Oedipus? 

Oedipus is told to stand aside when he meets a small group on the way to Thebes. He is confronted by the guards after refusing out of nothing more than obstinate pride. The man he challenges is, unbeknownst to him, his own biological father, Laius. Oedipus continues his journey toward Thebes after killing the man and the guards who were traveling with him. Oedipus accidentally fulfills the first part by killing his father to thwart the prophecy. 

Even the fact that the man he killed was his own biological father is unknown to him. He doesn't start thinking about what happened until it's too late. Without giving the slain men another thought, he continues on toward Thebes. The prophecy does not become apparent to Thebes until he is besieged by plagues that kill both children and livestock. Oedipus's crimes of killing his father and marrying his mother have brought sorrow to Thebes in a cruel twist of fate. The plague cannot be eradicated until those responsible for Laius's death are found. Oedipus has carried his father's curse with him.

How was his father killed by Oedipus? 

In the text, how the murder is carried out in its entirety is never mentioned. The murder is mentioned at various points in the play, but there are at least two versions of the scene that are told, and it's never completely clear which one is true. Rather than Oedipus killing his father, as was commonly believed, were "robbers" responsible for Laius's death. The point is that Sophocles appears to have intentionally left his writing hazy. The fulfillment of Oedipus' prophecy that he would kill his father is never entirely certain. Circumstantial evidence—the parallels between Oedipus's story and that of the shepherd—is what establishes his guilt.

The tragedy of Oedipus' father's murder is a constant theme in Thebes' royal family. Oedipus didn't realize he had killed his father until it was too late. He had already fulfilled the second and more horrifying part of the prophecy by the time the murder was revealed, the first part of the prophecy he had tried to avoid. He had children with his own mother, whom he had married. From the beginning, Oedipus was doomed. He bedded his mother, a crime against nature in and of itself, even if he hadn't killed his own father. 

Oedipus the killer of his father

Green Land | February 03, 2023 | 0 comments

There are debates over the exact timeline of when Oedipus killed his father. The murder is never recounted in real-time in the play though. It is only mentioned by various characters as Oedipus investigates the king's murderer. As the play progresses, two stories emerge Oedipus' own account of killing a man on the way to Thebes before meeting the Sphinx and the shepherd's account of telling the City about the king's death. Which version of the murder is more accurate is never clear.

Sophocles wrote the trilogy out of order to make things more difficult. Antigone, Oedipus the King, and Oedipus at Colonus were the first three plays written. The sequence of events has been reversed. The plays unfold sequentially through Oedipus the King, Oedipus at Colonus, and Antigone.

Oedipus's story begins long before the plays were written. Oedipus's father, Laius, brought tragedy upon his own family and home. From the time he was a child, the gods shaped his life. Even though not all of the myth's events are told in the plays, Sophocles was sure to be aware of it when he wrote and cast Laius as both the bad guy and the victim.

From the beginning, Laius was doomed. He had already earned the wrath of the gods because he had violated the strict rules of Greek hospitality. He tried to avoid being punished rather than confessing his sins after a prophecy predicted that he would be punished. Oedipus was given to Jocasta and Laius instructed her to kill him after he bound his feet with a pin and gave him to her. Jocasta gave her son to a shepherd because she couldn't kill her own son. The infant was given to an adolescent king and queen by the shepherd out of compassion. Oedipus was adopted and raised by the Corinthian king and queen as their own. When Oedipus first heard the prophecy, he was just a young man. He believed that if he remained in Corinth, his beloved adoptive parents would be in danger. He left Corinth and set out for Thebes. Ironically, like Laius, Oedipus wished to thwart the fulfillment of the prophecy. Oedipus, in contrast to Laius, was attempting to safeguard the people he believed to be his parents. Sadly, Oedipus inherited pride, his father's only real flaw.

To evade the gods' will, he sets out for Thebes. Oedipus sets out to distance himself from the prophecy and prevent it from coming true, believing that he is the son of the king of Corinth, Polybus, and Merope, his wife.

Where was his father killed by Oedipus? 

Oedipus is told to stand aside when he meets a small group on the way to Thebes. He is confronted by the guards after refusing out of nothing more than obstinate pride. The man he challenges is, unbeknownst to him, his own biological father, Laius. Oedipus continues his journey toward Thebes after killing the man and the guards who were traveling with him. Oedipus accidentally fulfills the first part by killing his father to thwart the prophecy. 

Even the fact that the man he killed was his own biological father is unknown to him. He doesn't start thinking about what happened until it's too late. Without giving the slain men another thought, he continues on toward Thebes. The prophecy does not become apparent to Thebes until he is besieged by plagues that kill both children and livestock. Oedipus's crimes of killing his father and marrying his mother have brought sorrow to Thebes in a cruel twist of fate. The plague cannot be eradicated until those responsible for Laius's death are found. Oedipus has carried his father's curse with him.

How was his father killed by Oedipus? 

In the text, how the murder is carried out in its entirety is never mentioned. The murder is mentioned at various points in the play, but there are at least two versions of the scene that are told, and it's never completely clear which one is true. Rather than Oedipus killing his father, as was commonly believed, were "robbers" responsible for Laius's death. The point is that Sophocles appears to have intentionally left his writing hazy. The fulfillment of Oedipus' prophecy that he would kill his father is never entirely certain. Circumstantial evidence—the parallels between Oedipus's story and that of the shepherd—is what establishes his guilt.

The tragedy of Oedipus' father's murder is a constant theme in Thebes' royal family. Oedipus didn't realize he had killed his father until it was too late. He had already fulfilled the second and more horrifying part of the prophecy by the time the murder was revealed, the first part of the prophecy he had tried to avoid. He had children with his own mother, whom he had married. From the beginning, Oedipus was doomed. He bedded his mother, a crime against nature in and of itself, even if he hadn't killed his own father. 

Oedipus Rex , Sophocles

Write on Sophocles's art of characterization in King Oedipus

Sophocles's art of characterization in King Oedipus

Sophocles as a dramatist was, in many ways, different from Euripides, another great Greek tragedian. In terms of characterization the two dramatists are quite different. Whereas Euripides portrayed characters 'as they were, Sophocles portrayed 'as they ought to be': Although both of their characters were flawed and committed crimes, the motives of Sophocles's characters tenderd to be more honourable, and appeared to be more concerned with the will of the gods rather than personal gain or vengeance. Sophocles tends to give his characters more heroic features, whereas Euripides is more concerned with portraying the human wealknesses of his characters. As a dramatist Sophocles always emphasizes the heroic qualities of a character and his ability to learn and change accordingly. His characters are not static of flat rather dymamic and possess the ability to change. In his Oedipus Rex Sophocles has drawn his characters with utmost care. Not only the protagonist but also all the other characters are meticulously drawn. The dramatist has made all his characters integral part of the play. Oedipus is the protagonist of the play king  Oedipus. The character of Oedipus is considered by many to be the epitome of the tragic hero. Aristotle also admired Sophocles's characterization in king Oedipus as a classic tragic hero. The character of Oedipus is characteristic of Sophocles's intentions to portray his characters as They ought to be.'The character shows the typical elements of a Greek tragic hero; he is a good man that comes to a bad end due to a 'hamartia'. Sophcles always portrays his characters as honourable.He  through his artistic touches, manages to instill honour into even the  basest aspects of his characters. In the play King Oedipus Sophocles the dramatist delineates the character of Oedipus as honourable.

Oedipus is neither wholly good nor wholly bad, rather a mixture of both. His good qualities are so prominent that when at the end of the play he suffers ignominiously, the audience is able to pity him for his misfortune and recognize his heroism in placing the city first in his priorities. The downcast man that we witness at the end of the play is almost unrecognizable in comparison to the strong and confident leader that opened the play by addressing the city "I, Oedipus,/ Whose name is known afar." The Oedipus in the last scene is very different from the Oedipus in the first few scenes of the play. In the last scene, after the dreadful revelation of the terrifying facts of his life, Oedipus appears a transformed man. From a prideful, heroic king at the beginning of the play, Oedipus becomes a condemned but humble man. Through the complete humbling of such a proud man, Sophocles shows us a man who, despite the adversity he is facing, is able to understand his duties as the once ruler of the city. Although he is worthy of the pity of the audience, he is still able to command their admiration as one who has recognized the fact that he must leave in order to protect his citizens, and despite his personal anguish, is still able to adhere to his earlier promises to both the citizens of Thebes and the Gods. It is in Oedipus's downfall that he becomes a true hero, casting aside his personnel trauma in order to bring in to affect his decrees for Thebes. Sophocles, in his portrayal of Oedipus, show us a character who, although flawed, is heroic enough to admit his faults. He truly regrets his mistake and ill-fortune at the end of the play, showing a heroic man portrayed as he should be. In Sophocles's plays all the secondary characters are also thoroughly drawn. They are sharply defined individuals. Each has a function partly determined in advance by the legend. But these characters are so broadly and carefully drawn that they contribute a feeling of authentic humanity to the play and heighten its intense emotional effect. Sophocles draws Jocasta as a conventional loving wife. She gains in dramatic interest because of her relationship with Oedipus. Her fate seems to be intractably tied with the fate of the protagonist. Jocasta is queenly, but at the same time without being less heroic she is womanly and warm too. She possesses courage and talent to handle a repulsive situation. She confidently intervenes when Oedipus and Creon run into a haughty argument. Though religious she is often skeptical about oracles and Teiresias's words. However, her skepticism may have sprung from her own immediate situation, from her desire to protect Oedipus. Towards the end of the play Jocasta frantically  bemoans her fate and finally commits suicide. Creon is Oedipus's brother-in-law and he is drawn as an honourable character. Oedipus feels threatened by Creon and believes that he covets the throne. However, Creon appears a sensible and reasonable man. At the end of the play, after Oedipus has blinded himself, Creon becomes king and acts with commits suicide.

Creon is Oedipus's brother-in-law and he is drawn as an honourable character. Oedipus feels threatened by Creon and believes that he covets the throne. However, Creon appears a sensible and reasonable man. At the end of the play, after Oedipus has blinded himself, Creon becomes king and acts with compassion towards the repentant Oedipus, leading him into the palace and then, as Oedipus requests-and Apollo has ordained-into exile. The character of Teiresias is important in the context of the play Sophocles has given this blind prophet a significant role. He, early in the play, foreshadows the catastrophic outcome of the play. He is also a valiant character. When Oedipus accuses Teiresias of being an enemy for not responding, he remains calm and collected. Significantly, Teiresias is also the first character in the play to question Oedipus's assumption that he knows his parentage and to tell him that he has committed atrocities that he does not yet know are his own. He tells Oedipus that he will become blind and poor, that Oedipus is himself Laius's murderer, and that he will learn that he has fathered children with his mother. While Teiresias's presence on stage is brief, as a prophet representing the god Apollo he remains one of the most powerful characters in the play.

 The minor characters, though play significant roles, are not fully developed in the play. The Chorus, a group of elders, acts like an actor taking part in the action of the play. Its role is significant. It prays, sings and frequently talks to the protagonist. Messengers were common devices used in Greek drama. They were often used to relate action that occurred offstage or to summarize events that have taken place between acts or scenes.  But, in King Oedipus messengers play more important roles. Oedipus learns from the Corinthian messenger that Polybus was not his father; the messenger himself had been given Oedipus as an infant by one of Laius's men. He causes the shepherd who left Oedipus to die to come in and testify that Oedipus is Laius's son. After Oedipus's opening lines, the Priest of Zeus is the next character in the play to speak, and he does so as a religious leader and elder representative of the people of Thebes. He praises Oedipus, who has solved the riddle of the Sphinx, for his wisdom and ability to improve their lives, and asks of him, on behalf of the people, swiftly and decisively to act and end the suffering. The old shepherd testifies that Oedipus is Laius's son. From his statement Oedipus realizes his identity and his crimes of patricide and incest. Throughout his plays, Sophocles portrayed his characters as they should be; heroic, honourable and pious, and even the flaws of these characters do not detract from the fact that they are true tragic heroes, as their motives remain honourable. All Sophoclean characters seem to belong to a higher caste, with astounding heroic natures. All the characters are essential and play vital roles in bringing about the final outcome of the play. Omitting any character would destroy the structure of the play.

Write on Sophocles's art of characterization in King Oedipus

Green Land | July 24, 2018 | 0 comments

Sophocles's art of characterization in King Oedipus

Sophocles as a dramatist was, in many ways, different from Euripides, another great Greek tragedian. In terms of characterization the two dramatists are quite different. Whereas Euripides portrayed characters 'as they were, Sophocles portrayed 'as they ought to be': Although both of their characters were flawed and committed crimes, the motives of Sophocles's characters tenderd to be more honourable, and appeared to be more concerned with the will of the gods rather than personal gain or vengeance. Sophocles tends to give his characters more heroic features, whereas Euripides is more concerned with portraying the human wealknesses of his characters. As a dramatist Sophocles always emphasizes the heroic qualities of a character and his ability to learn and change accordingly. His characters are not static of flat rather dymamic and possess the ability to change. In his Oedipus Rex Sophocles has drawn his characters with utmost care. Not only the protagonist but also all the other characters are meticulously drawn. The dramatist has made all his characters integral part of the play. Oedipus is the protagonist of the play king  Oedipus. The character of Oedipus is considered by many to be the epitome of the tragic hero. Aristotle also admired Sophocles's characterization in king Oedipus as a classic tragic hero. The character of Oedipus is characteristic of Sophocles's intentions to portray his characters as They ought to be.'The character shows the typical elements of a Greek tragic hero; he is a good man that comes to a bad end due to a 'hamartia'. Sophcles always portrays his characters as honourable.He  through his artistic touches, manages to instill honour into even the  basest aspects of his characters. In the play King Oedipus Sophocles the dramatist delineates the character of Oedipus as honourable.

Oedipus is neither wholly good nor wholly bad, rather a mixture of both. His good qualities are so prominent that when at the end of the play he suffers ignominiously, the audience is able to pity him for his misfortune and recognize his heroism in placing the city first in his priorities. The downcast man that we witness at the end of the play is almost unrecognizable in comparison to the strong and confident leader that opened the play by addressing the city "I, Oedipus,/ Whose name is known afar." The Oedipus in the last scene is very different from the Oedipus in the first few scenes of the play. In the last scene, after the dreadful revelation of the terrifying facts of his life, Oedipus appears a transformed man. From a prideful, heroic king at the beginning of the play, Oedipus becomes a condemned but humble man. Through the complete humbling of such a proud man, Sophocles shows us a man who, despite the adversity he is facing, is able to understand his duties as the once ruler of the city. Although he is worthy of the pity of the audience, he is still able to command their admiration as one who has recognized the fact that he must leave in order to protect his citizens, and despite his personal anguish, is still able to adhere to his earlier promises to both the citizens of Thebes and the Gods. It is in Oedipus's downfall that he becomes a true hero, casting aside his personnel trauma in order to bring in to affect his decrees for Thebes. Sophocles, in his portrayal of Oedipus, show us a character who, although flawed, is heroic enough to admit his faults. He truly regrets his mistake and ill-fortune at the end of the play, showing a heroic man portrayed as he should be. In Sophocles's plays all the secondary characters are also thoroughly drawn. They are sharply defined individuals. Each has a function partly determined in advance by the legend. But these characters are so broadly and carefully drawn that they contribute a feeling of authentic humanity to the play and heighten its intense emotional effect. Sophocles draws Jocasta as a conventional loving wife. She gains in dramatic interest because of her relationship with Oedipus. Her fate seems to be intractably tied with the fate of the protagonist. Jocasta is queenly, but at the same time without being less heroic she is womanly and warm too. She possesses courage and talent to handle a repulsive situation. She confidently intervenes when Oedipus and Creon run into a haughty argument. Though religious she is often skeptical about oracles and Teiresias's words. However, her skepticism may have sprung from her own immediate situation, from her desire to protect Oedipus. Towards the end of the play Jocasta frantically  bemoans her fate and finally commits suicide. Creon is Oedipus's brother-in-law and he is drawn as an honourable character. Oedipus feels threatened by Creon and believes that he covets the throne. However, Creon appears a sensible and reasonable man. At the end of the play, after Oedipus has blinded himself, Creon becomes king and acts with commits suicide.

Creon is Oedipus's brother-in-law and he is drawn as an honourable character. Oedipus feels threatened by Creon and believes that he covets the throne. However, Creon appears a sensible and reasonable man. At the end of the play, after Oedipus has blinded himself, Creon becomes king and acts with compassion towards the repentant Oedipus, leading him into the palace and then, as Oedipus requests-and Apollo has ordained-into exile. The character of Teiresias is important in the context of the play Sophocles has given this blind prophet a significant role. He, early in the play, foreshadows the catastrophic outcome of the play. He is also a valiant character. When Oedipus accuses Teiresias of being an enemy for not responding, he remains calm and collected. Significantly, Teiresias is also the first character in the play to question Oedipus's assumption that he knows his parentage and to tell him that he has committed atrocities that he does not yet know are his own. He tells Oedipus that he will become blind and poor, that Oedipus is himself Laius's murderer, and that he will learn that he has fathered children with his mother. While Teiresias's presence on stage is brief, as a prophet representing the god Apollo he remains one of the most powerful characters in the play.

 The minor characters, though play significant roles, are not fully developed in the play. The Chorus, a group of elders, acts like an actor taking part in the action of the play. Its role is significant. It prays, sings and frequently talks to the protagonist. Messengers were common devices used in Greek drama. They were often used to relate action that occurred offstage or to summarize events that have taken place between acts or scenes.  But, in King Oedipus messengers play more important roles. Oedipus learns from the Corinthian messenger that Polybus was not his father; the messenger himself had been given Oedipus as an infant by one of Laius's men. He causes the shepherd who left Oedipus to die to come in and testify that Oedipus is Laius's son. After Oedipus's opening lines, the Priest of Zeus is the next character in the play to speak, and he does so as a religious leader and elder representative of the people of Thebes. He praises Oedipus, who has solved the riddle of the Sphinx, for his wisdom and ability to improve their lives, and asks of him, on behalf of the people, swiftly and decisively to act and end the suffering. The old shepherd testifies that Oedipus is Laius's son. From his statement Oedipus realizes his identity and his crimes of patricide and incest. Throughout his plays, Sophocles portrayed his characters as they should be; heroic, honourable and pious, and even the flaws of these characters do not detract from the fact that they are true tragic heroes, as their motives remain honourable. All Sophoclean characters seem to belong to a higher caste, with astounding heroic natures. All the characters are essential and play vital roles in bringing about the final outcome of the play. Omitting any character would destroy the structure of the play.

Oedipus Rex , Sophocles

Comment on the importance of Chorus in King Oedipus

The importance of Chorus in King Oedipus

In Greek plays, the Chorus invariably adds complexity and depth to the play and the message it is trying to portray. The Chorus is a group of personality consisting of a number of citizens. They perform a religious festival especially fertility rites. Chorus is an important feature of Greek plays. In Greek plays the Choruses were a group of men, who played roles of either male or female characters, such as the Elders, Old Women. The role of Chorus as shown in Sophocles's King Oedipus extends our understanding of the play in that the Chorus commentates on the action, analyzes the meaning behind the actions. Aristotle's brief sentence that the Chorus should be 'a sharer in the action' (The Poetics) has been interpreted by Horace to mean that the Chorus should help on the action by uttering words of encouragement and friendly counsel to the good, by rebuking the passionate, by loving the virtuous, by praising justice, peace and obedience to the law...and by praying to the Gods to comfort the miserable, and humble the proud' (De Art Poet). 

This has been summed up by Schlegel when he says that the Chorus is the spectator idealized': it is the universal voice of moral sympathy instruction and warning (Lecture V); and aptly figured by Schiller in. his comparison of the lyric element in a drama with the rich and flowing drapery which softens the rigid outline of action and character (introduction of the bride of messina).We should proceed to analyze the role of the Chorus in Sophocles's play Oedipus Rex according to the above mentioned statements. Sophocles attaches a notable importance to the Chorus and his use of the Chorus is very distinct from that of Aeschylus and Euripides. The main function of the Chorus is to dance and sing, to narrate the past events, to comment on the past and forthcoming events of the play and thus to take an effective part in the play. It is to be mentioned that in Sophoclean conception the background of King Oedipus is the tragic human relationships and the complicated web of circumstances- these are the matters for the Chorus to represent. Therefore, the Chorus, in this play, behaves much like a person and not merely as a machine to be exploited, but as a mouthpiece of the dramatist. Rather the Chorus is so far a personality as its character helps in making the cross-rhythms of the play. The Chorus is pious devoted to Oedipus and concerned as well of his well being. It always maintains a close sympathy for the protagonist. According to that, in the second choral ode, it is its loyalty and confidence in Oedipus which are expressed. The Chorus feels a strong civic duty to Oedipus as it says:

He faced the winged Enchantress, And stood to the test, winning golden opinions Never, therefore, will I consent, To think him other than good. 

To support Oedipus in a crucial moment it speaks in a language somewhat bold for the Chorus to utter: 

God is certain, but that his prophets Know more than another man, That is not proved. 

When next the Chorus speaks amidst the exchange of bitter words between Jocasta and Oedipus, it has more shocks and its tone is different. The instinctive piety in the Chorus asserts itself:Chorus also prays for Oedipus. It also warns Oedipus of the danger of being too much proud: 

"Be merciful and learn to yield"

There is real tension and movement on the part o chorus here. It is not merely singing or simply being a spectaior idealized. After the denuinciation of Oedipus by Teiresias in the second choral ode, the Chorus proceeds to picture the guilty mas as a homeless outeast, The shedder of blood' who is to be expelled forever from the city and to be cut off from any human contact. There is perhaps room for the difference of interpretations but what is clear is that the Chorus here is beaving as a person and not as a mere machine. Aristotle says that 'the Chorus must be regarded as one of the actors' but he is not forgetful of the fact that the acts of individuals should be much more striking than that of a group. The Chorus, in accordance to that, takes part in the action, but normally before the more vivid and well-portrayed characters have set to work. The more generalized action of the Chorus is that it itself could hardly follow the forthcoming events. The Chorus never attempts to compete with the actors, if it is used as an actor, it is used before others begin. When the function of the Chorus as an actor is terminated, it is still there and relevant to the action. It is freely used to receive messenger, to announce newcomers or, in general, to make transition from one scene to another smooth. It is notable that these services of the Chorus are not always mechanical. For instance, when Creon enters in rage, the Chorus is there to receive him and by maintaining neutrality, it helps to make the scene effective. As an actor, the Chorus has its continuous share in the drama and, in one way or another, it contributes to the main action of the play. Its most prominent function is however the lyrical one. In fact, it is the Chorus as persons, and in its more impersonal lyric interludes we mainly observe that religious approach to the dramatic theme which is an essential characteristic of Greek tragedy. For instance, the Prologue of the play is based on three main issues: the plague, the cryptic message of hope from the oracles of Delphi and the beginning of the discovery with the help of the clues advanced by Creon. When the Chorus first enters the stage it has no knowledge of the suspicions which Oedipus forms of a plot between Teiresias and Creon. Its first ode or the parodos is based on the first two themes: the plague and the obscure message. The Chorus enters on the role of hope in which the prologue ended and closes in the note of apprehension and prayer which correspond to the situation on the stage. This method of continuation and preparation is a chief function of the Chorus. The first stasimon or the second ode of the Chorus is significant and highly dramatic. In this ode the Chorus postpones as long as it can the expression of disturbance caused by Teiresias. The Chorus again is used effectively when the quarrel between Jocasta and Oedipus starts. Oedipus out of his indignation, does not hesitate to decide that he will his kinsman, Creon, But, Sophocles is reluctant to let Oedipus commit such a grave error. The dramatist uses the Chorus to quell the rage of Oedipus. The third ode or the second stasimon is quite difficult to understand.  In it the Chorus speaks of hubris. Sophocles' protagonist is a man of hubris as he is ambitious proud and wantonly sacrilegious. The Chorus directs its criticism against him

In the next ode, we detect an outburst of confidence in the tone of the Chorus. It takes up and enlarges the idea of Chance. Out of pride Oedipus declares himself as the child of Fortune. But then comes the shepherd to prove him the son of Jocasta and Laius. In the last ode, the Chorus, being exhausted by observing the terrible happenings which engulf Oedipus, utters something universally applicable: And none can be called happy until that day when he carries 

His happiness down to the grave in peace."

What however is clear and more important is that Sophocles in King Oedipus found in the Chorus a most useful and dramatic instrument. The way Sophocles made the Chonus contribute to the development of the play is remarkable.

Comment on the importance of Chorus in King Oedipus

Green Land | July 24, 2018 | 0 comments

The importance of Chorus in King Oedipus

In Greek plays, the Chorus invariably adds complexity and depth to the play and the message it is trying to portray. The Chorus is a group of personality consisting of a number of citizens. They perform a religious festival especially fertility rites. Chorus is an important feature of Greek plays. In Greek plays the Choruses were a group of men, who played roles of either male or female characters, such as the Elders, Old Women. The role of Chorus as shown in Sophocles's King Oedipus extends our understanding of the play in that the Chorus commentates on the action, analyzes the meaning behind the actions. Aristotle's brief sentence that the Chorus should be 'a sharer in the action' (The Poetics) has been interpreted by Horace to mean that the Chorus should help on the action by uttering words of encouragement and friendly counsel to the good, by rebuking the passionate, by loving the virtuous, by praising justice, peace and obedience to the law...and by praying to the Gods to comfort the miserable, and humble the proud' (De Art Poet). 

This has been summed up by Schlegel when he says that the Chorus is the spectator idealized': it is the universal voice of moral sympathy instruction and warning (Lecture V); and aptly figured by Schiller in. his comparison of the lyric element in a drama with the rich and flowing drapery which softens the rigid outline of action and character (introduction of the bride of messina).We should proceed to analyze the role of the Chorus in Sophocles's play Oedipus Rex according to the above mentioned statements. Sophocles attaches a notable importance to the Chorus and his use of the Chorus is very distinct from that of Aeschylus and Euripides. The main function of the Chorus is to dance and sing, to narrate the past events, to comment on the past and forthcoming events of the play and thus to take an effective part in the play. It is to be mentioned that in Sophoclean conception the background of King Oedipus is the tragic human relationships and the complicated web of circumstances- these are the matters for the Chorus to represent. Therefore, the Chorus, in this play, behaves much like a person and not merely as a machine to be exploited, but as a mouthpiece of the dramatist. Rather the Chorus is so far a personality as its character helps in making the cross-rhythms of the play. The Chorus is pious devoted to Oedipus and concerned as well of his well being. It always maintains a close sympathy for the protagonist. According to that, in the second choral ode, it is its loyalty and confidence in Oedipus which are expressed. The Chorus feels a strong civic duty to Oedipus as it says:

He faced the winged Enchantress, And stood to the test, winning golden opinions Never, therefore, will I consent, To think him other than good. 

To support Oedipus in a crucial moment it speaks in a language somewhat bold for the Chorus to utter: 

God is certain, but that his prophets Know more than another man, That is not proved. 

When next the Chorus speaks amidst the exchange of bitter words between Jocasta and Oedipus, it has more shocks and its tone is different. The instinctive piety in the Chorus asserts itself:Chorus also prays for Oedipus. It also warns Oedipus of the danger of being too much proud: 

"Be merciful and learn to yield"

There is real tension and movement on the part o chorus here. It is not merely singing or simply being a spectaior idealized. After the denuinciation of Oedipus by Teiresias in the second choral ode, the Chorus proceeds to picture the guilty mas as a homeless outeast, The shedder of blood' who is to be expelled forever from the city and to be cut off from any human contact. There is perhaps room for the difference of interpretations but what is clear is that the Chorus here is beaving as a person and not as a mere machine. Aristotle says that 'the Chorus must be regarded as one of the actors' but he is not forgetful of the fact that the acts of individuals should be much more striking than that of a group. The Chorus, in accordance to that, takes part in the action, but normally before the more vivid and well-portrayed characters have set to work. The more generalized action of the Chorus is that it itself could hardly follow the forthcoming events. The Chorus never attempts to compete with the actors, if it is used as an actor, it is used before others begin. When the function of the Chorus as an actor is terminated, it is still there and relevant to the action. It is freely used to receive messenger, to announce newcomers or, in general, to make transition from one scene to another smooth. It is notable that these services of the Chorus are not always mechanical. For instance, when Creon enters in rage, the Chorus is there to receive him and by maintaining neutrality, it helps to make the scene effective. As an actor, the Chorus has its continuous share in the drama and, in one way or another, it contributes to the main action of the play. Its most prominent function is however the lyrical one. In fact, it is the Chorus as persons, and in its more impersonal lyric interludes we mainly observe that religious approach to the dramatic theme which is an essential characteristic of Greek tragedy. For instance, the Prologue of the play is based on three main issues: the plague, the cryptic message of hope from the oracles of Delphi and the beginning of the discovery with the help of the clues advanced by Creon. When the Chorus first enters the stage it has no knowledge of the suspicions which Oedipus forms of a plot between Teiresias and Creon. Its first ode or the parodos is based on the first two themes: the plague and the obscure message. The Chorus enters on the role of hope in which the prologue ended and closes in the note of apprehension and prayer which correspond to the situation on the stage. This method of continuation and preparation is a chief function of the Chorus. The first stasimon or the second ode of the Chorus is significant and highly dramatic. In this ode the Chorus postpones as long as it can the expression of disturbance caused by Teiresias. The Chorus again is used effectively when the quarrel between Jocasta and Oedipus starts. Oedipus out of his indignation, does not hesitate to decide that he will his kinsman, Creon, But, Sophocles is reluctant to let Oedipus commit such a grave error. The dramatist uses the Chorus to quell the rage of Oedipus. The third ode or the second stasimon is quite difficult to understand.  In it the Chorus speaks of hubris. Sophocles' protagonist is a man of hubris as he is ambitious proud and wantonly sacrilegious. The Chorus directs its criticism against him

In the next ode, we detect an outburst of confidence in the tone of the Chorus. It takes up and enlarges the idea of Chance. Out of pride Oedipus declares himself as the child of Fortune. But then comes the shepherd to prove him the son of Jocasta and Laius. In the last ode, the Chorus, being exhausted by observing the terrible happenings which engulf Oedipus, utters something universally applicable: And none can be called happy until that day when he carries 

His happiness down to the grave in peace."

What however is clear and more important is that Sophocles in King Oedipus found in the Chorus a most useful and dramatic instrument. The way Sophocles made the Chonus contribute to the development of the play is remarkable.

Oedipus Rex , Sophocles

Discuss the role of Fate in Sophocles's Oedipus Rex.

The role of Fate in Sophocles's Oedipus Rex

Oedipus Rex is a world-class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C. the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroines of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstinately searches for truth, defies fate and ultimately meets his downfall. The play is a proof of timeless greatness of Greek tragedy.

The Greek tragedies by and large can be characterized as Fate dramas' in which fate is the chief determining force often leading an entire family to an irresistible doom. Fate is a Greek concept esteemed highly by the ancient Greek people very highly for it is nothing but the will of God: God's will attributed to a man must be performed. Oedipus, either in his awareness or in his ignorance, is thought to be such a man, an agent to perform the will of God. .The drama Oedipus Rex consists of two tragic events in the life of the protagonist happening at the interval of fifteen years. The first tragic incident was patricide and the incestuous relationship with his mother and the second one was the hideous revelation of the very fact.

In this great drama we notice the overbearing presence of Fate at many points. There is no denying the fact that since the birth, or, in fact, even before the birth of Oedipus, he was a victim of Fate by an conditional oracle that simply said that he would kill his father and sleep with his mother. And what an oracle predicts is bound to happen. Oedipus was left in the wilderness where he could die. But destiny decreed otherwise. He was saved and brought up by Polybus, the King of Corinth. In course of time the dream of the mother that he would kill his father and marry his mother came true. Oedipus did what he could to evade his destiny: he resolved never to see his supposed parents again. But, it was the triumph of Fate and man with all his resources could not overcome it. Thus, Fate led Oedipus to perform the first tragic act of his life. 

Even in the second tragic event of his life, the revelation of the hideous and horrifying truth, Fate has its powerful influence. If the plague had not broken out in the city of Thebes, Oedipus would not have tried to find out the dark truth. He might have been blissfully ignorant.

The city of Thebes suffered from blight, from pestilence, from the sterility both of women and of cattle under the reign of Oedipus, who had unwittingly slain his father and wedded his mother. This worse condition of the country forced Oedipus to start an inquiry to solve a problem of finding out the murderer of Laius, which then diverted to another problem that of finding his own identity. At this stage of investigation, a messenger came from Corinth bearing the news of his supposed father's death and then assured him of not being the son of Polybus and Merope, but a foundling left on the Mt. Cithaeron. Thus, Fate approached stealthily, slowly but inexorably.

Dramatic irony is of great importance in Oedipus Rex.It heightens the utter helplessness of man. Oedipus found the city of Thebes in the grip of plague. In this bid, he advanced to assist the people in distress and sent Creon to Delphi to ascertain the truth. He thus unknowingly started his journey to his doom by his own actions and therein lies the irony. Oedipus made public announcement that he would detect the murderer and punish him. The wrath of heaven was directed against him, yet he remained calm and serene because for him ignorance was bliss. It was the irony of fate that he was determined to find out his own identity. Oedipus was ready to reward the formant and if the sinner or his accomplice would not come forward, he would deal with him ruthlessly. The result of his investigation was the revelation of the grim truth. The course of events was contrived in such a way that everything he did had a sinister tendency, and whichever way he turned he only trapped himself more in the meshes of Fate. Nothing could help him any longer. His sincere well-wishers tried their best to assist him, but unwittingly sank him deeper.

After the truth had been disclosed, Oedipus punished himself by self-blinding. Though his self-blinding was voluntary and self-chosen, it was actually from the involuntary parricide and incest.Oedipus himself said: 

Apollo, friends, Apollo Has laid this agony upon me. 

After the self-blinding Oedipus wished to be espelled immediately, but Creon insisted that he would not do so unless he was absolutely sure that it was that what the God desired. This evidently shows that he was nothing but a man who is victimized by Fate. Fate did prevail in Oedipus Rex. Fate surrounded Oedipus like the tentacles of a

Fate did prevail in Oedipus Rex.

Fate surrounded Oedipus like the tentacles of an octopus. Though whatever Oedipus does on the stage he does it as a free agent, yet certain of his actions were fate bound that led him towards his final ruin.

Discuss the role of Fate in Sophocles's Oedipus Rex.

Green Land | July 21, 2018 | 0 comments

The role of Fate in Sophocles's Oedipus Rex

Oedipus Rex is a world-class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C. the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroines of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstinately searches for truth, defies fate and ultimately meets his downfall. The play is a proof of timeless greatness of Greek tragedy.

The Greek tragedies by and large can be characterized as Fate dramas' in which fate is the chief determining force often leading an entire family to an irresistible doom. Fate is a Greek concept esteemed highly by the ancient Greek people very highly for it is nothing but the will of God: God's will attributed to a man must be performed. Oedipus, either in his awareness or in his ignorance, is thought to be such a man, an agent to perform the will of God. .The drama Oedipus Rex consists of two tragic events in the life of the protagonist happening at the interval of fifteen years. The first tragic incident was patricide and the incestuous relationship with his mother and the second one was the hideous revelation of the very fact.

In this great drama we notice the overbearing presence of Fate at many points. There is no denying the fact that since the birth, or, in fact, even before the birth of Oedipus, he was a victim of Fate by an conditional oracle that simply said that he would kill his father and sleep with his mother. And what an oracle predicts is bound to happen. Oedipus was left in the wilderness where he could die. But destiny decreed otherwise. He was saved and brought up by Polybus, the King of Corinth. In course of time the dream of the mother that he would kill his father and marry his mother came true. Oedipus did what he could to evade his destiny: he resolved never to see his supposed parents again. But, it was the triumph of Fate and man with all his resources could not overcome it. Thus, Fate led Oedipus to perform the first tragic act of his life. 

Even in the second tragic event of his life, the revelation of the hideous and horrifying truth, Fate has its powerful influence. If the plague had not broken out in the city of Thebes, Oedipus would not have tried to find out the dark truth. He might have been blissfully ignorant.

The city of Thebes suffered from blight, from pestilence, from the sterility both of women and of cattle under the reign of Oedipus, who had unwittingly slain his father and wedded his mother. This worse condition of the country forced Oedipus to start an inquiry to solve a problem of finding out the murderer of Laius, which then diverted to another problem that of finding his own identity. At this stage of investigation, a messenger came from Corinth bearing the news of his supposed father's death and then assured him of not being the son of Polybus and Merope, but a foundling left on the Mt. Cithaeron. Thus, Fate approached stealthily, slowly but inexorably.

Dramatic irony is of great importance in Oedipus Rex.It heightens the utter helplessness of man. Oedipus found the city of Thebes in the grip of plague. In this bid, he advanced to assist the people in distress and sent Creon to Delphi to ascertain the truth. He thus unknowingly started his journey to his doom by his own actions and therein lies the irony. Oedipus made public announcement that he would detect the murderer and punish him. The wrath of heaven was directed against him, yet he remained calm and serene because for him ignorance was bliss. It was the irony of fate that he was determined to find out his own identity. Oedipus was ready to reward the formant and if the sinner or his accomplice would not come forward, he would deal with him ruthlessly. The result of his investigation was the revelation of the grim truth. The course of events was contrived in such a way that everything he did had a sinister tendency, and whichever way he turned he only trapped himself more in the meshes of Fate. Nothing could help him any longer. His sincere well-wishers tried their best to assist him, but unwittingly sank him deeper.

After the truth had been disclosed, Oedipus punished himself by self-blinding. Though his self-blinding was voluntary and self-chosen, it was actually from the involuntary parricide and incest.Oedipus himself said: 

Apollo, friends, Apollo Has laid this agony upon me. 

After the self-blinding Oedipus wished to be espelled immediately, but Creon insisted that he would not do so unless he was absolutely sure that it was that what the God desired. This evidently shows that he was nothing but a man who is victimized by Fate. Fate did prevail in Oedipus Rex. Fate surrounded Oedipus like the tentacles of a

Fate did prevail in Oedipus Rex.

Fate surrounded Oedipus like the tentacles of an octopus. Though whatever Oedipus does on the stage he does it as a free agent, yet certain of his actions were fate bound that led him towards his final ruin.

Oedipus Rex , Sophocles

Fate and Character conspire to bring about tragedy in King Oedipus.Discuss.

Fate and Character conspire to bring about tragedy in King Oedipus

Oedipus Rex is a world -class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroine of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstacles searches for truth, defies fate and ultimately meets his downfall.The play is a proof of timeless greatness of Greek tragedy.

The drama Oedipus Rex consists of two tragic events in the life of the protagonist happening at the interval of fifteen years. The first tragic incident was patricide and the incestuous relationship with his mother and the second one was the hideous revelation of the very fact.If the fact of Oedipus's parricide and incest had not been revealed, it would not have been so much tragic for him. In that case, he could have passed whole of his life in blissful ignorance. But, when the fact was revealed after fifteen years, it was so tragic for him as to persuade him to penitently blind himself.

Oedipus killed his father and married his mother. Though it was foretold by an oracle, we cannot blame only fate for this incident. Nor can we hold Oedipus solely responsible. An in-depth analysis of the play clearly shows that both fate and his character have conspired to bring about the tragic end of him. As to apportioning their responsibility and influence it must rest with the reaction of the individual reader and the individual viewer of the play.

In this great tragedy we see the over-presence of outrageous fortune at many points ; we see Oedipus, at last in part, is victim of Fate.With a view to escaping hi fate he fled from Corinth and thus from his supposed parents King polybus and Queen Merope after he had consulted Apollo's oracle at Delphi for positive confirmation about his parentage. Appalled and anxious at all costs to avoid his terrible fortune Oedipus had tried his best but could not be successful. This incident seems to teach us the lesson that man is only the plaything of Fate.Even in the second tragic event of his life, the revelation of the hideous and horrifying truth, Fate has its powerful influence. If the plague had not broken out in the city of Thebes, Oedipus would not have tried to find out the dark truth. He might have been blissfully ignorant.

Another matter we observe is that all Oedipus's good activities and qualities had been treated otherwise. His love for his subjects, his sense of responsibility, his relentless search for the killer of Laius and his own parentage, his total fearlessness - all contributed to filling his cup of misery to the brim. Every step he took, by his keen intelligence, took him one step nearer to his catastrophe.But, character was more remarkable than Fate. We see that all his actions were propelled by his physical and social environment, conscious, subconscious and unconscious urges, his genes and hormones, his overpowering pride, hid vaulting ambition excessive compassion, insane jealousy, tremendous self-confidence, and above all, by his inability to maintain balance and the sense of perspective.

If we go back fifteen years before, two questions may be raised. Warned by the oracle that he was destined to kill hi father and marry his mother Oedipus wanted to prove the oracle false and fled from his Corinth and his supposed parents. It was no doubt a very good move from his part.But, why then did not he take care never to kill an old man who could possibly be his father in respect of his years? And why did he not lead life -long bachelorship or at least desist marrying an older woman, old enough to have a son of his own age?Again, it was Oedipus who provoked Teiresias with his uncontrollable pride and helped make his revelations and the eventual revelations by jocasta. Moreover, his infinite curiosity involved him in the gravest misfortune.

From the context of the idea of free-will Oedipus is, to a considerable extent, responsible for his actions. Everyman acts upon his will. What we call fate is nothing but the sum total of all men's actions. In most cases, Oedipus acted freely ; but, he was blinded by his pride and haughtiness. He was inwardly blind even before he was physically blind. Ironically. he gains inward sight when his physically blinds himself. It was hid inward blindness that along with fate also led him towards his doom.

From another angle we can also assess Oedipus responsibility in bringing about his own downfall. It can rightly be said that Fate does not compel Oedipus to act in certain ways, but by its foresight it simply knows in advance the inevitable path that he will be following in his life as a result of his own character. In a sense, his character was his fate.

From the foregoing discussion it can be said that Oedipus is, to a great extent, responsible for his sufferings. However, Fate also played its inexorable part.Fate surrounded Oedipus like the tentacles of an octopus. Though whatever Oedipus does on the stage he does it as a free agent, yet certain of his actions were fate-bound that led him towards his final ruin. Both the character of Oedipus and Fate are responsible for the eventual sufferings in his life.Both character and fate contrived to bring about the tragedy in Oedipus's life. But, what is also remarkable is that both the good and bad qualities of Oedipus's character contributed almost equally bringing about his downfall.

Fate and Character conspire to bring about tragedy in King Oedipus.Discuss.

Green Land | July 12, 2018 | 0 comments

Fate and Character conspire to bring about tragedy in King Oedipus

Oedipus Rex is a world -class masterpiece of Sophocles, who is thought of as the most classic of the three great Greek tragedians of which the other two were Aeschylus and Euripides. Written in 425 B.C the drama is a story of a ruler brought down by his own oath, unknowingly in conflict with himself. All heroes and heroine of Sophocles are longer than life, so that they portray human condition in panoramic and vivid fashion. Oedipus is no exception. In the play Oedipus obstacles searches for truth, defies fate and ultimately meets his downfall.The play is a proof of timeless greatness of Greek tragedy.

The drama Oedipus Rex consists of two tragic events in the life of the protagonist happening at the interval of fifteen years. The first tragic incident was patricide and the incestuous relationship with his mother and the second one was the hideous revelation of the very fact.If the fact of Oedipus's parricide and incest had not been revealed, it would not have been so much tragic for him. In that case, he could have passed whole of his life in blissful ignorance. But, when the fact was revealed after fifteen years, it was so tragic for him as to persuade him to penitently blind himself.

Oedipus killed his father and married his mother. Though it was foretold by an oracle, we cannot blame only fate for this incident. Nor can we hold Oedipus solely responsible. An in-depth analysis of the play clearly shows that both fate and his character have conspired to bring about the tragic end of him. As to apportioning their responsibility and influence it must rest with the reaction of the individual reader and the individual viewer of the play.

In this great tragedy we see the over-presence of outrageous fortune at many points ; we see Oedipus, at last in part, is victim of Fate.With a view to escaping hi fate he fled from Corinth and thus from his supposed parents King polybus and Queen Merope after he had consulted Apollo's oracle at Delphi for positive confirmation about his parentage. Appalled and anxious at all costs to avoid his terrible fortune Oedipus had tried his best but could not be successful. This incident seems to teach us the lesson that man is only the plaything of Fate.Even in the second tragic event of his life, the revelation of the hideous and horrifying truth, Fate has its powerful influence. If the plague had not broken out in the city of Thebes, Oedipus would not have tried to find out the dark truth. He might have been blissfully ignorant.

Another matter we observe is that all Oedipus's good activities and qualities had been treated otherwise. His love for his subjects, his sense of responsibility, his relentless search for the killer of Laius and his own parentage, his total fearlessness - all contributed to filling his cup of misery to the brim. Every step he took, by his keen intelligence, took him one step nearer to his catastrophe.But, character was more remarkable than Fate. We see that all his actions were propelled by his physical and social environment, conscious, subconscious and unconscious urges, his genes and hormones, his overpowering pride, hid vaulting ambition excessive compassion, insane jealousy, tremendous self-confidence, and above all, by his inability to maintain balance and the sense of perspective.

If we go back fifteen years before, two questions may be raised. Warned by the oracle that he was destined to kill hi father and marry his mother Oedipus wanted to prove the oracle false and fled from his Corinth and his supposed parents. It was no doubt a very good move from his part.But, why then did not he take care never to kill an old man who could possibly be his father in respect of his years? And why did he not lead life -long bachelorship or at least desist marrying an older woman, old enough to have a son of his own age?Again, it was Oedipus who provoked Teiresias with his uncontrollable pride and helped make his revelations and the eventual revelations by jocasta. Moreover, his infinite curiosity involved him in the gravest misfortune.

From the context of the idea of free-will Oedipus is, to a considerable extent, responsible for his actions. Everyman acts upon his will. What we call fate is nothing but the sum total of all men's actions. In most cases, Oedipus acted freely ; but, he was blinded by his pride and haughtiness. He was inwardly blind even before he was physically blind. Ironically. he gains inward sight when his physically blinds himself. It was hid inward blindness that along with fate also led him towards his doom.

From another angle we can also assess Oedipus responsibility in bringing about his own downfall. It can rightly be said that Fate does not compel Oedipus to act in certain ways, but by its foresight it simply knows in advance the inevitable path that he will be following in his life as a result of his own character. In a sense, his character was his fate.

From the foregoing discussion it can be said that Oedipus is, to a great extent, responsible for his sufferings. However, Fate also played its inexorable part.Fate surrounded Oedipus like the tentacles of an octopus. Though whatever Oedipus does on the stage he does it as a free agent, yet certain of his actions were fate-bound that led him towards his final ruin. Both the character of Oedipus and Fate are responsible for the eventual sufferings in his life.Both character and fate contrived to bring about the tragedy in Oedipus's life. But, what is also remarkable is that both the good and bad qualities of Oedipus's character contributed almost equally bringing about his downfall.

Oedipus Rex , Sophocles