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ClassicNote on Oedipus Rex / Oedipus the King

Full Analysis n his !oetics" Aristotle outlined the ingredients necessary #or a good tragedy" and he $ased his #ormula on what he considered to $e the per#ect tragedy" %ophocles&s Oedipus the King. According to Aristotle" a tragedy must $e an imitation o# li#e in the #orm o# a serious story that is complete in itsel#' in other words" the story must $e realistic and narrow in #ocus. A good tragedy will e(o)e pity and #ear in its (iewers" causing the (iewers to experience a #eeling o# catharsis. Catharsis" in *ree)" means +purgation+ or +puri#ication+' running through the gamut o# these strong emotions will lea(e (iewers #eeling elated" in the same way we o#ten claim that +a good cry+ will ma)e one #eel $etter. Aristotle also outlined the characteristics o# a good tragic hero. ,e must $e +$etter than we are"+ a man who is superior to the a(erage man in some way. n Oedipus&s case" he is superior not only $ecause o# social standing" $ut also $ecause he is smart - he is the only person who could sol(e the %phinx&s riddle. At the same time" a tragic hero must e(o)e $oth pity and #ear" and Aristotle claims that the $est way to do this is i# he is imper#ect. A character with a mixture o# good and e(il is more compelling that a character who is merely good. And Oedipus is de#initely not per#ect' although a cle(er man" he is $lind to the truth and re#uses to $elie(e .eiresias&s warnings. Although he is a good #ather" he unwittingly #athered children in incest. A tragic hero su##ers $ecause o# his hamartia" a *ree) word that is o#ten translated as +tragic #law+ $ut really means +error in /udgement.+ O#ten this #law or error has to do with #ate - a character tempts #ate" thin)s he can change #ate or doesn&t reali0e what #ate has in store #or him. n Oedipus the King" #ate is an idea that sur#aces again and again. 1hether or not Oedipus has a +tragic #law+ is a matter that will $e discussed later. .he #ocus on #ate re(eals another aspect o# a tragedy as outlined $y Aristotle: dramatic irony. *ood tragedies are #illed with irony. .he audience )nows the outcome o# the story already" $ut the hero does not" ma)ing his actions seem ignorant or inappropriate in the #ace o# what is to come. 1hene(er a character attempts to change #ate" this is ironic to an audience who )nows that the tragic outcome o# the story cannot $e a(oided.

2ramatic irony plays an important part in Oedipus the King. ts story re(ol(es around two di##erent attempts to change the course o# #ate: 3ocasta and 4aius&s )illing o# Oedipus at $irth and Oedipus&s #light #rom Corinth later on. n $oth cases" an oracle&s prophecy comes true regardless o# the characters& actions. 3ocasta )ills her son only to #ind him restored to li#e and married to her. Oedipus lea(es Corinth only to #ind that in so doing he has #ound his real parents and carried out the oracle&s words. Both Oedipus and 3ocasta prematurely exult o(er the #ailure o# oracles" only to #ind that the oracles were right a#ter all. 5ach time a character tries to a(ert the #uture predicted $y the oracles" the audience )nows their attempt is #utile" creating the sense o# irony that permeates the play. 5(en the manner in which Oedipus and 3ocasta express their dis$elie# in oracles is ironic. n an attempt to com#ort Oedipus" 3ocasta tells him that oracles are powerless' yet at the $eginning o# the (ery next scene we see her praying to the same gods whose powers she has /ust moc)ed 67898:;. Oedipus re/oices o(er !oly$us&s death as a sign that oracles are #alli$le" yet he will not return to Corinth #or #ear that the oracle&s statements concerning <erop= could still come true 68>;. Regardless o# what they say" $oth 3ocasta and Oedipus continue to suspect that the oracles could $e right" that gods can predict and a##ect the #uture - and o# course the audience )nows they can. # Oedipus discounts the power o# oracles" he (alues the power o# truth. nstead o# relying on the gods" Oedipus counts on his own a$ility to root out the truth' a#ter all" he is a riddle9 sol(er. .he contrast $etween trust in the gods& oracles and trust in intelligence plays out in this story li)e the contrast $etween religion and science in nineteenth9century no(els. But the irony is" o# course" that the oracles and Oedipus&s scienti#ic method $oth lead to the same outcome. Oedipus&s search #or truth re(eals /ust that" and the truth re(ealed #ul#ills the oracles& prophesies. ronically" it is Oedipus&s re/ection o# the oracles that unco(ers their power' he relentlessly pursues truth instead o# trusting in the gods" and his detecti(e wor) #inally re(eals the #ruition o# the oracles& words. As 3ocasta says" i# he could /ust ha(e le#t well enough alone" he would ne(er ha(e disco(ered the horri$le wor)ings o# #ate 688;. n his search #or the truth" Oedipus shows himsel# to $e a thin)er" a man good at unra(eling mysteries. .his is the same characteristic that $rought him to .he$es' he was the only man capa$le o# sol(ing the %phinx&s riddle. ,is intelligence is what ma)es him great" yet it is also what ma)es him tragic' his pro$lem9sol(er&s mind leads him on as he wor)s through the mystery o# his $irth. n the Oedipus myth" marriage to 3ocasta was the pri0e #or ridding .he$es o# the %phinx. .hus Oedipus&s intelligence" a trait that $rings Oedipus closer to the gods" is what causes him to commit the most heinous o# all possi$le sins. n )illing the %phinx" Oedipus is the city&s sa(ior" $ut in )illing 4aius 6and marrying 3ocasta;" he is its scourge" the cause o# the $light that has struc) the city at the play&s opening. .he %phinx&s riddle echoes throughout the play" e(en though %ophocles ne(er mentions the actual ?uestion she as)ed. Audiences would ha(e )nown the %phinx&s words: +what is it that goes on #our #eet in the morning" two #eet at midday" and three #eet in the e(ening-+

Oedipus&s answer" o# course" was +a man.+ And in the course o# the play" Oedipus himsel# pro(es to $e that same man" an em$odiment o# the %phinx&s riddle. .here is much tal) o# Oedipus&s $irth and his exposure as an in#ant - here is the $a$y o# which the %phinx spea)s" crawling on #our #eet 6e(en though two o# Oedipus&s are pinioned;. Oedipus throughout most o# the play is the adult man" standing on his own two #eet instead o# relying on others" e(en gods. And at the end o# the play" Oedipus will lea(e .he$es an old $lind man" using a cane. n #act" Oedipus&s name means +swollen #oot+ $ecause o# the pins through his an)les as a $a$y' thus e(en as a $a$y and a young man he has a limp and uses a cane: a pre#iguring o# the +three9legged+ old man he will $ecome. Oedipus is more that merely the sol(er o# the %phinx&s riddle" he himsel# is the answer. !erhaps the $est example o# dramatic irony in this play" howe(er" is the #re?uent use o# re#erences to eyes" sight" light" and perception throughout. 1hen Oedipus re#uses to $elie(e him" .eiresias cries" +ha(e you eyes" / And do not see your own damnation5yes" / And cannot see what company you )eep-+ 6@A;. <entioned twice in the same $reath" the word +eyes+ stands out in this sentence. .eiresias )nows that Oedipus will $lind himsel#' later in this same speech he says as much: +those now clear9seeing eyes / %hall then $e dar)ened+ 6@A;. .he irony is that sight here means two di##erent things. Oedipus is $lessed with the gi#t o# perception' he was the only man who could +see+ the answer to the %phinx&s riddle. Bet he cannot see what is right $e#ore his eyes. ,e is $lind to the truth" #or all he see)s it. .eiresias&s presence in the play" then" is dou$ly important. As a $lind old man" he #oreshadows Oedipus&s own #uture" and the more Oedipus moc)s his $lindness" the more ironic he sounds to the audience. .eiresias is a man who understands the truth without the use o# his sight' Oedipus is the opposite" a sighted man who is $lind to the truth right $e#ore him. %oon Oedipus will switch roles with .eiresias" $ecoming a man who sees the truth and loses his sense o# sight. .eiresias is not the only character who uses eyes and sight as a metaphor. 1hen Creon appears a#ter learning o# Oedipus&s accusation o# him" he says +said with un#linching eye was it-+ 67:;. .his is a strange thing to say' one would expect a $old statement to $e made with +unhalting (oice"+ not +un#linching eye.+ Bet it continues the theme o# eyes and sight' Oedipus ma)es accusations while $oldly staring Creon down" yet later when he )nows the truth" he will not $e a$le to loo) at Creon again. ,e will $e ashamed to loo) any who lo(e him in the eyes" one reason" according to Oedipus" that he $linds himsel#: +how could ha(e met my #ather $eyond the gra(e / 1ith seeing eyes' or my unhappy mother-+ 6C@;. Oedipus himsel# ma)es extensi(e use o# eyes and sight as a metaphor. 1hen he approaches Creon a #ew lines later" he says +did you suppose wanted eyes to see / .he plot preparing" wits to counter it-+ 67:;. ronically" Oedipus does in #act lac) the capacity to see what is happening" and the more he uses his wit to untangle the mystery" the more $lind he $ecomes. .he Chorus&s re#lections a#ter Oedipus disco(ers the truth carry the sight theme to another le(el. +%how me the man"+ the Chorus says" +whose happiness was anything more than illusion / Followed $y disillusion . . . . .ime sees all' and now he has #ound you" when you least expected it' / ,as #ound you and /udged that marriage moc)ery" $ridegroom9sonD /

.his is your elegy: / wish had ne(er seen you" o##spring o# 4aius" / Besterday my morning o# light" now my night o# endless dar)nessD+ 68E;. ,ere are a num$er o# $inaries associated with the idea o# sight and $lindness: illusion and disillusion" light and dar)" morning and night. .ime casts its searchlight at random" and when it does" it unco(ers horri$le things. .he happiness o# the +morning o# light+ is an illusion' the reality is the +night o# endless dar)ness.+ And the Chorus wishes it had ne(er seen Oedipus. Not only has he polluted his own sight and his own $ody $y marrying his mother and )illing his #ather" he is a pollutant o# others& sights $y his (ery existence. 1hen Oedipus enters" $linded" the Chorus shouts + dare not see" am hiding / <y eyes" cannot $ear / 1hat most long to see . . . . Fnspea)a$le to mortal ear" / .oo terri$le #or eyes to see+ 6C>;. Oedipus has $ecome the (ery $light he wishes to remo(e #rom .he$es" a monster more terri$le than the %phinx" a sight more horri$le than the wasted #armlands and childless .he$an women. 1hat are we to ma)e o# the ironies and the structure o# this play- .here are two ways to read the story o# Oedipus. One is to say that he is a puppet o# #ate" incapa$le o# doing anything to change the destiny that #ate has in store #or him. Another is to say that the e(ents o# the play are his #ault" that he possesses the +#law+ that sets these e(ents into action. As a puppet o# #ate" Oedipus cannot a##ect the #uture that the oracle has predicted #or him. .his does in #act seem to $e an important message o# the story' no matter what 3ocasta says a$out the unrelia$ility o# oracles" their predictions all come true. n an attempt to change #ate" $oth 3ocasta and Oedipus changed the structure o# their #amilies" mo(ing as #ar away as possi$le #rom the relati(es that threaten to ruin them. Bet in so doing" they set the course o# the story into action. Bou cannot escape #ate" no matter what you do. Bour dead son will come $ac) to )ill his #ather. .he sa#e har$or you ha(e #ound #rom your #ated parents turns out to $e the (ery arena in which you will )ill and marry them. As the Chorus says" +.ime sees all'+ #ate and the course o# time are more power#ul than anything a human $eing can do. Oedipus&s tragic end is not his #ault' he is merely a pawn in the celestial wor)ings o# #ate. At the same time" Oedipus seems li)e more than merely a passi(e player lost in the sweep o# time. ,e seems to ma)e important mista)es or errors in /udgement 6hamartia; that set the e(ents o# the story into action. ,is pride" $lindness" and #oolishness all play a part in the tragedy that $e#alls him. Oedipus&s pride sets it all o##' when a drun)en man tells him that he is a $astard" his pride is so wounded that he will not let the su$/ect rest" e(entually going to the oracle o# Apollo to as) it the truth. .he oracle&s words are the reason why he lea(es Corinth" and in lea(ing Corinth and tra(eling to .he$es" he #ul#ills the oracle&s prophecy. A less proud man may not ha(e needed to (isit the oracle" gi(ing him no reason to lea(e Corinth in the #irst place. n the immediate e(ents o# the play" Oedipus&s pride continues to $e a #law that leads to the story&s tragic ending. ,e is too proud to consider the words o# the prophet .eiresias" choosing" instead to rely on his own sleuthing powers. .eiresias warns him not to pry into these matters" $ut pride in his intelligence leads Oedipus to continue his search. ,e (alues truth attained through scienti#ic en?uiry o(er

words and warnings #rom the gods' this is the result o# his o(erweening pride. Another word #or pride that causes one to disregard the gods is the *ree) word hu$ris. Oedipus is also #oolish and $lind. Foolishly he lea(es his home in Corinth without #urther in(estigating the oracle&s words' a#ter all" he goes to the oracle to as) i# he is his #ather&s son" then lea(es without an answer to this ?uestion. Finding out who his true #ather is seems important #or someone who has /ust $een told he will )ill his #ather. Nor is Oedipus particularly intelligent a$out the way he conducts himsel#. 5(en though he did not )now that 4aius and 3ocasta were his parents" he still does )ill a man old enough to $e his #ather and marry a woman old enough to $e his mother. One would thin) that a man with as distur$ing a prophesy o(er his head as Oedipus would $e (ery care#ul a$out who he married or )illed. Blindly he pursues the truth when others warn him not to' although he has already #ul#illed the prophesy" he does not )now it" and i# he le#t well enough alone" he could continue to li(e in $liss#ul ignorance. But instead he stu$$ornly and #oolishly rummages through his past until he disco(ers the aw#ul truth. n this way" 3ocasta&s death and his $lindness are his own #ault. Regardless o# the way you read the play" Oedipus the King is a power#ul wor) o# drama. Collapsing the e(ents o# the play into the moments $e#ore and a#ter Oedipus&s reali0ation" %ophocles catches and heightens the drama. Fsing dramatic irony to in(ol(e the audience" the characters come ali(e in all their #lawed glory. .he play achie(es that catharsis o# which Aristotle spea)s $y showing the audience a man not unli)e themsel(es" a man who is great $ut not per#ect" who is a good #ather" hus$and" and son" and yet who unwillingly destroys parents" wi#e and children. Oedipus is human" regardless o# his pride" his intelligence" or his stu$$ornness" and we recogni0e this in his agoni0ing reaction to his sin. 1atching this" the audience is certainly mo(ed to $oth pity and #ear: pity #or this $ro)en man" and #ear that his tragedy could $e our own.

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