Emotional Purgation In Sophocles Oedipus The King

The immediate reversal from “deep joy” to “wailing, madness and doom, death, disgrace / all the griefs in the world that you can name” highlights the unyielding power the truth holds over Oedipus, a truth we consequently experience a repulsion from (1420–22). However, the only world where the truth could possibly hold such power and result in such suffering is one where the truth did not exist in the first place. The disastrous influence of the truth on Oedipus’s and Jocasta’s lives forces a radical “[readjustment] of our position” beyond just the world of the stage as we realize not that our understanding of the world may not encompass the entire truth, but rather, as indicated by the extent of the consequences of the truth, that we have perhaps built our entire lives and beliefs on a lie about who we actually are (Brook 75). In this manner, Sophocles emphasizes our vulnerability that at the very least demands a reevaluation of ourselves as we must humbly recognize that we have been wrong. Moreover, when we must choose to follow the path of either Oedipus or Jocasta, choose to pursue the truth like Oedipus or comfortably rest in a denial of it, Sophocles further pushes us into a position of humility through a demonstration of our limitations.

The Aristotelian Tragedy, Oedipus the King by Sophocles, shows how fast a person can take a great fall. It really shows how someone can be at their highest point one day, but the next day be at their lowest. Oedipus is a wonderful king and ruler of Thebes, but he had a terrible fate that he couldn’t even save himself from. When the city is in need of finding the murderer of the previous king, Laius, every clue he finds brings him to the conclusion that he is the murderer. Through the use motif of blindness, Sophocles creates the cathartic effect on the audience that you cannot see the truth until it hurts you.

The famed Greek tragedy assumes much of its appeal from Sophocles's use of dramatic, cosmic, and situational irony. In a prelude to the play, the audience is assumed aware of Oedipus’ fate. Before the play even begins, common spectators enter with the common knowledge that Oedipus killed his father Laius and married his mother Jocasta. The aire of dramatic irony meets its peak when Oedipus desperately tries to find Laius’ murderer while the audience is aware that

Tragedies are created and written with this intention in mind, to create this sense of emotion in the audience (Reeves, 1952, p. 186). In fact, elements that are not related to fear and pity can actually hinder the effects of the tragedy (Reeves, 1952, p. 186). Oedipus makes the audience pity him as he ends up in the direst of circumstances that no sane person would ever want to deal with. The horror that Oedipus feels is conveyed in a way that the audience feels that same horror, and they feel the horror that his friends and Jocasta also feel (Will, 1958, p. 511). They relate it to their own life and how they would feel if that happened to them or someone close to them. This leads to recognition of the disgust and disappointment that Oedipus feels. The horror of Oedipus stabbing his own eyes repeatedly is also something that instills fear in the audience. Since his situation is based on tragic circumstances that he is ignorant to at the time, the tragedy is increased by the imagery of fate (Barstow, 1912, p. 4). He plays on this when he proclaims to his wife, “O God! Did I, then, in my ignorance,/Proclaim that awful curse against myself?” (Oedipus, antisrophe, line 744-745). Fate is a lingering force as this story unfolds, building up the fear in the reader that all of these circumstances are adding up in front of their eyes. Fate can also bring about a sense of innocence. For example, the shepherd that confirms Oedipus is Laius’ son states that he was “born for ruin” (Oedipus, antistrophe, line 1181). Since he is relatively innocent when making the mistakes, more sympathy is awarded for him (Mullens, 1938, p. 152). Sympathy is given when Oedipus exclaims, “O God! How hast thou crushed me!” (Oedipus, antistrophe 2, 1311). This makes the audience sympathize with the pain that he is going through. In addition, the sense of justice is something that sparks pity

Enlightenment’s existence proved to be beneficial to Europe in the seventeenth and eighteenth centuries. It allowed for a new era of technology, ideas, and life to form and replace an “older” Europe. With the rise of a different and newer version of Europe, the Enlightenment brought forth changes throughout the continent and, specifically, the British Empire. Through the Enlightenment and increased commercial development, the British Empire grew tremendously in size as these two factors led to more exploration and trade, colonization, and new economic theories.

When Oedipus engages in a conversation with the chorus, he claims that he is "a stranger to the act" (line 221) of how the late King Laius died, yet he unknowingly is the one who is guilty of the very act. Dramatic irony is also seen as Oedipus essentially places a curse on himself as he "call[s] down the most vile damnation- for this vicious act" and thus condemns himself to wear the "brand of shame. . . forever" (lines 237-238). Oedipus' fear that the man who has killed Laius "might turn his hand against [him] too" (line 141) proves to be ironic because Oedipus is unaware that it was his "own hand that struck the blow" (line 1328). Dramatic irony is again produced as Oedipus announces that he "will avenge [Lauis] as [he] would avenge [his] own father" (line 248) because Laius is Oedipus' own father. The statements that are made by Oedipus, though logical and innocent, demonstrate the dramatic irony that Sophocles employs throughout the play. Sophocles wields dramatic irony "so frequently and so skillfully that it became a recognized characteristic of his drama [. . .] in Oedipus Tyrannus, it dominates the play" (Bates 19).

The characters in the play Oedipus The King, by Sophocles, respond to suffering in a variety of ways. Characters like Tiresias respond altruistically to protect others from the truth, other characters similar to Oedipus tend to approach these situations with gall and are hasty with allegations, and the remaining characters respond like Jocasta with disbelief and extremity. Ironically, although suffering is painful and destructive, the way the characters dealt with suffering brought each of them to find the true value of clarity and healing that can be found when suffering.

Captivating the audience is one of the key goals a playwright wants to achieve when writing his play. In the case of Oedipus Rex, Sophocles shows a dramatic shift of emotions through the main character, Oedipus. He starts off confident and happy only to later on become desolate and unhappy. Not only do these feelings go from one extreme to the other, the change happens over a rather short period of time given the proper transitions. Sophocles structured the play with a rapid shift of emotions to leave an emotional impact throughout the audience.

Sophocles’s reliance on dramatic irony is apparent throughout the entire story. From the start of the play—where Oedipus searches for the murderer of the fallen king—the audience is already aware of Oedipus’s story. Ironically, readers grasp that Oedipus was the murderer of Laius and therefore the cause of the plague. Oedipus himself, however, lacks any knowledge of his participation in the event and believes that he has managed to avoid the prophecy’s fruition. As such, Sophocles’s use of the device affects the way the plot progresses. Mainly, the author bases the conflict on Oedipus’s “blindness”. It draws out the story until it reaches its climax. Throughout the play, Oedipus is in denial of his involvement in the death of Laius despite being told several times of his guilt. One such time occurred when Teiresias, an old blind prophet, reluctantly told Oedipus of his actions. As to be expected, Oedipus reject his words with scorn, threatening the old man. “Do you imagine you can always talk like this, and live to laugh at it hereafter?” (lines 425-426) Oedipus further insults Teiresias physical blindness, not realizing his own metaphorical blindness. As per dramatic irony, however, readers know the one who is truly blind was Oedipus. Teiresias further makes this apparent. “You have your eyes but see not where you are in sin, nor where you live, nor whom you live with. Do you know who your parents are?” (lines 482-484) Events such as these seem to be a recurring theme in the play. Oedipus is made aware of the truth by another character, and then he fervently accuses them. Because of this, the audience becomes familiar with the pattern. The dramatic

The tragic fall of Oedipus in Sophocles play “Oedipus Rex” is both self-inflicted and result of events drawn from his own destiny. First off early on in Oedipus’ life his first deadly mistake towards succeeding his self-inflicted downfall was the murder of his father the former king. In a blind rage without any motive, he kills Liaus and his men at a rode crossing. Fate may have had led him to that point but it was his own rage that resulted in his biggest mistake. Further evidence of his self-inflicted downfall Oedipus’ was at the hands of his own ignorance. This ignorance combined with his stubborn, determined attitude does not allow him foresight. This foresight would have led

The production of great tragedy in ancient Greece was a pursuit attempted by many but accomplished only by some. Sophocles’ Oedipus Rex is considered today as one of the greatest tragedies produced by an author during this time. Carefully crafted motifs, character-developing monologues, and poignant irony all combine to create a tragedy that leaves readers stunned and grieving for poor Oedipus. Throughout Oedipus Rex, the motif of blindness and sight emphasizes the struggle between the power of free will and the power of the gods made evident in Oedipus’ interactions with Tiresias, Jokasta’s attempts to assuage Oedipus’ fear of his crime, and the development of Oedipus’ own character from a man who held little faith in prophecy to one who

As the king of Thebes, Oedipus is very intent on discovering the truth of who murdered Laius, as he should be. The world these characters live in, however, is very reliant on prophecies. Knowing this, the physical danger of what may happen to the person Oedipus is wishing this fate upon and what that person may do doesn’t stop Oedipus from fiercely pursuing the truth. The audience knows that ironically, the person whom Oedipus has wished this fate upon is himself. As Oedipus digs deeper and deeper into the truth as the play progresses, the truth becomes more and more evident.

It is said that the truth will set you free, but in the case of Sophocles’ Oedipus, the truth drives a man to imprison himself in a world of darkness by gouging out his eyes. As he scours the city for truth, Oedipus’ ruin is ironically mentioned and foreshadowed in the narrative. With these and other devices Sophocles illuminates the king’s tragic realization and creates a firm emotional bond with the audience.

In order to truly understand what Sophocles means, the question “Is ignorance the ultimate cause of suffering?” must be broken down. Ignorance is a significant theme throughout Oedipus the King as it magnifies from Oedipus and the actions that he takes.. Oedipus’ blindness spawns from his fear of the truth. He chooses lock away his past. This is shown when Tiresias reveals to Oedipus that he is the killer of Laius, but Oedipus chooses to ignore Tiresias and accuse him of blasphemy which forces Tiresias to expose Oedipus’s blindness stating, “Your great fortune, true, it was your ruin. (503)” This shows that through all his recent success, Oedipus has suppressed his past memories which has kept him from seeing the truth in this whole situation.

exercising his free choice by making bad decisions . Oedipus certainly meets these portrayals of a tragic hero. The dialect of tragedy consists of two circles: one is a relative point and the other is impacted and the effect on its audience. Sophocles and Aristotle’s achieve that task with absolute clearness. The modern reader, coming to the classic drama not entirely to the enjoyment, will not always surrender himself to the emotional effect. He is apt to worry about Greek ‘fatalism’ and the justice of the downfall of Oedipus, and, finding no satisfactory solution for these intellectual difficulties, loses half the pleasure that the drama was intended to produce . In dramatizing stories, there will dependably blends of passionate sentiments, suspense, and fervor to discover what’s