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Metaphorical Sickness In Oedipus The King

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People are often a product of their environment and fictional characters prove to be no exception. After all, it wouldn’t make much such for a happy character with a delightful life to be surrounded by torture and turmoil. Similarly, a wretched king certainly wouldn’t rule a peaceful, patriotic country. No, these places would need to work in tandem with their inhabitants. A happy character deserves a sunny countryside. The wretched king deserves a country full of dissent. A cursed Oedipus deserves a cursed land. Oedipus is seen in direct correlation with his city, Thebes; so much so that the city reflects Oedipus’ own metaphorical sickness in a very literal way. The play opens as Thebes is dealing with a plague. One priest describes it as, …show more content…

A sick city must have a cure as well, and Apollo gives this prescription for Thebes: “We now harbor / something incurable. He says: purge it” (109-110). The word that I find most interesting is this passage is “harbor” which brings Thebes, the land, directly into the prophecy. The word by definition meas to give a home or shelter to someone or something, and give implies a choice. Thebes willingly took Oedipus in, just as Jocasta did; they did a cancerous act. Oedipus’ presence spread throughout Thebes when he became king, when he had children. The city can’t cure themselves of his damage, but they can remove him before anything else is done. In the same way that the city is both the flowers and the cattle, Oedipus is both the sickness and the …show more content…

That is, they’re not only standing on the sidelines narrating the developments that go on off stage, but they’re also interacting with characters on a physical level. Clytemnestra actually orders them on page 127, “Get on your feet quickly, will you? / What have you yet got done, except to do evil?” (Lattimore, 124-125). This is important on several fronts. First, it shows that they’re a force used by Clytemnestra to get justice for her death. When the reader has the knowledge of previous plays and Furies, they can understand that the Furies cannot be a positive force for Orestes. Furthermore, it suggests that they have more to do then to simply torment Orestes, because their mild interactions with him so far are described as “evil.” If this is how much power the Furies have when they’re silent, one can only imagine what they can do when their voices are

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