42) Their hopes are dashed, however, when the revelations of Teiresias and the first awful hints of the truth are brought to light: not only does Oedipus hear no word from the gods, but he even refuses to hear the words brought to him by men and messengers.
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Indeed, were we to try to do this, we would be no better off than Oedipus himself, whose concluding blindness and desire for deafness lends to him our credence and our sympathy.
1219) states the Chorus, once again blending the images of tears (from the eyes) and song or poetry (from the mouth) into one deeply moving picture of utter misery and sadness.
This portrayal through words, sight, and sound of a grief entirely immeasurable reaches outside the choral odes, which naturally rely on heavy emotional contrasts and almost musical phrasing for their poetic beauty, and even into the ordinary speech of Oedipus, who, when bemoaning his own actions, cries desperately: "What can I see to love?
So, too, is the impression made by Oedipus' speech shortly thereafter; this time, however, he expresses not more grief, to which by this time the audience may have become slightly dulled, but proclaims his overwhelming joy at being allowed to enjoy the companionship and comfort of his two daughters, whom Creon has graciously permitted in the presence of their father-brother: "O my lord!
It is interesting to note that in the tragedy, we seem to have come full circle in regards to the senses: the prophetic sign given to Oedipus in the hour of his death is once again one of synesthesia, as he is to depart when Zeus sends his "rolling thunder" -- the characters both see and hear this sign, and are touched by the awe-inspiring prophecy.
The whole of the tragedy has then the underlying imagery of blindness, deafness, and general sensory deficiency; much of this seems to be caused by Oedipus' own refusal to acknowledge the ever-encroaching truth, but it can also be credited to the overwhelming importance of sight and sound to the reception of the tragedy by the characters themselves and by the audience.
429), he orders derisively, playing once again on the motif of deafness and blindness to convince the audience of his passion.
Eventually, however, Oedipus resolves to open his mind, ears, and eyes, and try to find out where the truth in these puzzling mysteries lies.
We learn about these events, then, through the of the messengers, who relate to us in gripping detail of Jocasta's death and Oedipus' subsequent blinding.
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Picasso scholar Brigitte Baer argues that Picasso’s Blind Minotaur is in fact a conflation of two myths: Oedipus and the Minotaur (Picasso the Printmaker: Graphics from the Marina Picasso Collection, Dallas Museum of Art, 1983, 89-91). Oedipus, of course, blinded himself after learning the truth about his incestuous relationship with his mother. Here, the Minotaur is equally maimed by the guilt of his extramarital affair. His mistress Marie-Thérèse, who is now a little girl, takes the place of Antigone, Oedipus’ daughter who led the sightless king to Athens, where he would die in Theseus’s arms (interestingly, the deaths of both figures were attended by Theseus, the founder-king of Athens, who slayed the Minotaur and provided solace to Oedipus in his last days). The combined symbolism suggests that Picasso intuited that his relationship with her would result in a death of sorts, and indeed, within a year his life changed completely.
1470-1473) The mixture of touching, seeing, speaking, hearing, and crying is here a powerful tool for the exhibition of pathos on the part of Oedipus, who no longer can express his inner feelings through mere words, and must now rely on the devices of synesthesia; these, as we see, can represent both ends of the spectrum of human emotion.
The allusions and indications of sight and sound are played upon continually in the denouement of the tragedy, and often to great effect, as in the final example, where we see that this metaphor of blindness and deafness, which has sustained its presence throughout the drama, is still effective and powerful: the blinded Oedipus begs of Creon to "drive me from here with all the speed you can to where I may not hear a human voice." (l.