Discussion Guide #2: The Differences in Translation of Oedipus The best way to view the translations of Oedipus the King by Sophocles and Seneca is to compare a sketch and a painting. Sophocles is an outline of the story that shows us the highlights in words that are easily digested and transcend through every time period. The word reverent, as spoken in class, applies due to its graceful nature of giving us moral values, while not over-sensationalizing the issues. During Seneca, we are given a violent, bloody, and visually stunning portrayal of Oedipus’ downfall. Each tell the story, but only Seneca features a long soliloquy, massive choral odes, and live-action suicide. He strokes thick, dirty detailed lines that show off the internal struggle of men, damning oracles, and dying cow fetuses.
In order to compare the light strokes of Sophocles to Seneca, we first observe the display of Oedipus confronting the troubles that devastate his fatherland. The words given to his people who have gathered at the altar of Zeus, “My children, scions of the ancient Cadmean line/what is the meaning of this thronging round my feet/this holding out of olive boughs all wreathed in woe?”(5). It is not Oedipus who cries out for his of land, but the priest who takes on the task of reciting their miseries. Seneca introduces us to a king who speaks woes by internal reflection, “Can any man enjoy being a King? /A blessing? What a cheat! Behind the smile, the smooth front, agony!”
The authors of this article place a focus on Sophocles' Oedipus Rex and its containing of a lethal plague that profoundly affects this work of drama. In attempting to unravel the factors and descriptions of this plague as depicted in the work, the authors attempt to trace the plague throughout the text as well as search for a possible underlying cause. In comparing the plague within Oedipus Rex to the historical plague of Athens, the authors of this article allow the reader a more in-depth look at the time that Sophocles' writing sought to portray.
Many people believe that fate has planned out their lives and despite efforts on their part what was meant to happen, will eventually happen. This belief has been handed down over the centuries from some of the first civilizations, such as the Greeks. However, not all Greek citizens wanted destiny to take control of their lives. Some decided to choose freewill over the will of the gods. In Oedipus the King, Sophocles writes a cautionary tale meant to warn the doubters in Greek society that regardless of their beliefs in gods and prophecies, it is necessary to heed their warnings. Oedipus, Jocasta, and Laius are Sophocles’ characters that prove that escaping one’s fate is not possible, as each of their predicted fates is realized despite extensive efforts to thwart them.
Over the extensive history of the theatre arts, most of the many plays and productions fall into unique categories in regards to structure. The two most simplest of the structural categories are climactic and episodic. A climactic structure, or alternatively known as an intensive structure, contains a play in which all components are restricted as the main conflict in the story commences late into the play and only a little time passes until the story occurs. Everything is restricted to a few components. There are not as many characters, scenery change and very limited amounts of action. climactic structures focuses heavily on the climax in contrast to other structures. One notable example of a climactic performance is Oedipus Rex by Sophocles. The story of Oedipus is that of tragedy and despair as Oedipus and his family are unable to escape the fate that Oedipus has had since birth. The exposition and starting action (in this case, the events that led up to him to being king of Thebes) occur before the play and is only ever talked about. The play only takes place in the castle and has only four primary characters. Ultimately, Oedipus Rex only takes place within a day and primarily focuses on the realization and aftermath of the story of Oedipus and his sins, or the climax. All these components that define a climactic structure of production are found in the aforementioned play by Sophocles, strengthening what a climactic structure is and the vast potential a climactic play
“‘Tragedy is an imitation, not of men, but of action and life, of happiness and misery’” (Milch 12). This statement by Aristotle reflects the ideas portrayed in the play Oedipus Rex. Written by Sophocles, Oedipus Rex is a play which combines tragedy with irony to tell a story of a noble king who falls short of his greatness. The play was written around 430 BC and originally intended for an Athenian audience. They considered Sophocles their most successful playwright and consequently, his works continued to be valued highly throughout the Greek world long after his death. A closer examination of this play is needed to see just why it has been regarded as Sophocles’ masterpiece and the greatest of all Greek tragedies (Milch 16, 36).
It is wise to be careful of what you look for, because you might not like what you find. This would have been excellent advice for the main character in Sophocles drama, Oedipus the King. However, the drama was written as a result of Sophocles life and the influence of the humanistic culture in which he lived. Throughout Sophocles life, he gained military knowledge as the son of a wealthy armor manufacturer and received an excellent Greek education with emphasis on Homeric poetry (textbook). Furthermore, Sophocles was very involved in politics and served as a treasurer, a general, and inevitably as a member in a group for policy formation (textbook). Although Sophocles was deeply enmeshed with the political world of his time, his true calling in life was his writing of Greek tragedy, during the Golden Age movement of 477 B.C. to 431 B.C. (Berkhofer). Unsurprisingly, it is his portrayal of the Greek culture that has led to Sophocles unofficial title of the embodiment of Greek Spirit (Whitman, 4). Now, Sophocles’ Greek culture was humanistic and focused on the achievements of individuals, primarily their moral and psychological difficulties within the human experience. Although, philosophy and religion are a part of humanism, Sophocles demonstrated the political and social characteristics of ancient Greek humanism in his drama, Oedipus the Kings (Menning). Therefore, one can understand the life and humanistic culture of Sophocles through the illustration of the
When I was reading Oedipus the King and Antigone by Sophocles, it was challenging and unmanageable for me to not immediately relate and contrast Oedipus and Creon, the two primary characters. These two major characters experienced downfalls from their place of esteem. These two plays, both by Sophocles, provided a great opportunity to make comparisons of these two characters downfalls. These two kinds of catastrophic plays introduce a gloomier side of Oedipus and Creon’s human behavior, and take the reader through a complete variety of emotions as these two characters progress through their respective plays. At a first look while reading these plays, Oedipus and Creon are two very different people. But as I kept reading these plays, their personalities and even their
Sophocles’ masterful work, Oedipus the King, exemplifies the significance of imagery within literature. The perpetual presence of light and dark imagery effectively strengthens the dramatic aspects of catharsis, anagnorisis and mimesis. These factors continually impose the audience to establish a personal connection with the literary work. As an individual, Oedipus possesses the unfortunate attribute of hubris; his ego ultimately causes his tragic demise and convincingly elicits catharsis, an emotional outcry from the spectators. His sight frequently sways due to his sentiments and it compels him to live ignorantly despite the calamitous truth of his origins. He profoundly disregards any indication of a secluded prophecy, one that
Listen to me. I think that you helped plan the murder of Laius.” (Sophocles 21) Any character with composure, especially a king, would keep their opinions to themselves even in times of distress; however, Oedipus’ anger was surging inside of him and was too powerful to be contained. This example illuminates the meaning of the work as a Greek
Like all classical Greek tragedies, Sophocles’s Oedipus the King features a chorus that sings several odes over the course of the play. In Sophocles’s play, the chorus is composed of old Theban men and represents the population of Thebes as a whole. The chorus recites a parodos, four stasima, and a brief exodus. Through the choral odes, Sophocles reflects on the events and motifs of the play, including piety and faith in the Gods, the inevitability and the uncertainty of fate, and the dichotomy of right and wrong.
The author of Oedipus, Sophocles, introduces a worthy rival to the main character Oedipus.Tiresias, who considers himself to be an equal to the Great King. Tiresias admits, “You are a king. But where the argument’s concerned // I am your man, as much as a king as you.// I am not your servant, but Apollo’s.”(Sophocles) While simultaneously trying to defend his honour and bring justice to Thebes, Oedipus argues about the integrity of Creon’s source. Tiresias retorts Oedipus’ impulsive accusations, in a studious, and King like manner.Tiresias’ diligent retaliation is dramatically significant because it develops Oedipus’ character; Oedipus is humanized and revered less as a God because of his flaws. The power dynamic shift causes the audience to become more judgemental of Oedipus since someone is holding him accountable for his behaviour. Additionally, the passage adds to the mystery of the plot and creates suspense, through Sophocles’ use of paradox, and imagery which cause the mood to change and creates a compelling story. Both of these elements cause the audience to pay attention to the drastic changes in character, and mood, to highlight the major theme of pride, power, and fate. Ultimately, the passage is intended to show the ignorance of Oedipus, and the awareness of Tiresias, who are symbols for the pervasiveness of fate.
In the midst of the downfall of the City of Thebes, is the entrance of a great leader who
Sophocles’ Oedipus Rex is one of the most well- known tragic plays in existence. Oedipus, the King of Thebes, is the victim of a curse in which he must suffer the tragedy of his own unchangeable fate. The tragic heroism of Oedipus befalls him because of his heroic qualities and his loyalty to his Thebans and to himself. His unchangeable destiny affects so many others throughout the play. These others’ subsequent suffering that Oedipus brings upon them helps contribute to the tragic vision of the work as a whole.
Sophocles was a philosopher, a dramatist, and a political and military leader. He lived during the Athenian Golden Age. Sophocles wrote over 120 plays during his lifetime. He was also the only playwright during that time that did not perform in any of his plays due to his timorous voice. He was one of the masters of tragedy. He was born at Colonus in Attica in 496 B.C., into a wealthy family. Sophocles often emphasized the individual’s search for truth, focusing on human concerns rather than religious ones, as his forebear, Aeschylus, focused on these religious concerns. He later died in 406 B.C.
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.
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