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In the plays Oedipus Rex and Antigone both written by Sophocles, Oedipus and Creon both have episodes of arrogance that take control of their judgment and become their downfall.
The only ones who can truly see are blind. This is a popular theme through out Greek literature, especially in “Oedipus Rex” where Sophocles nurtures the idea that real sight does not require eyes but the ability to see beyond the surface of things. According to Sophocles, one must not only be able to see something, but one must also be able to understand it. Teiresias, the only physically blind character, is the only person that throughout the play can actually see what has, is and will happen. Oedipus himself only truly achieves this state of knowledge after he blinds himself with his mother’s/wife’s broach. Light and darkness (sight and blindness) takes on three different forms throughout the play, the first form refers to knowledge, the second to physical light and the third to truth; the three forms are used interchangeably and they occasionally refer to multiple interpretations at the same time.
It is the purpose of this essay to demonstrate the types of characters present in Sophocles’ tragic drama, Oedipus Rex, whether static or dynamic, whether flat or round, and whether protrayed through showing or telling.
Oedipus Rex (Oedipus the King) essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Oedipus Rex (Oedipus the King) by Sophocles.
It is recognized by many titles, such as its Latin title "Oedipus Rex" and "Oedipus Tyrannus." Sophocles' performed this play at the annual festival of Dionysus--a religious festival, which celebrated Dionysus, the god of intoxication, death, and fertility....
Sophocles in his tragedy, Oedipus Rex, teaches about “morally desirable attitudes and behavior,” (4) and uses three women to help convey these principles of living.
This essay will explore the role of women in the drama, the attitude toward women therein, the involvement of women in plot development, and other aspects of women in Oedipus Rex....
As a kind of collective character onto itself, the Chorus in Sophocles’ Oedipus Rex assumes multiple functions and qualities that, together, effectively blur the lines between the private and public spheres of the drama. Evidenced in the text by...
Oedipus Rex is the greatest of the Greek tragedies, a profound meditation on the human condition. The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus.
David Mulroy’s brilliant verse translation of Oedipus Rex recaptures the aesthetic power of Sophocles’ masterpiece while also achieving a highly accurate translation in clear, contemporary English. Speeches are rendered with the same kind of regular iambic rhythm that gave the Sophoclean originals their drive. The choral parts are translated as fluid rhymed songs. Mulroy also supplies an introduction, notes, and appendixes to provide helpful context for general readers and students.
Pier Paolo Pasolini’s 1967 adaptation of the Sophocles tragedy Oedipus Rex is a rather loose interpretation of its source material, but true to Pasolini’s previous work, it is hardly a disappointing effort. In the very exercise of telling the story of Oedipus (Franco Citti; The Godfather; ) the duality of love and hate, the Freudian overtones of incest and patricide, Pasolini explores the very meaning of myths and their impact on the modern psyche. Beginning in 1920s Italy, a married couple has a baby boy whose father is jealous of him. The boy is sent out into the desert to be killed, but his life is spared. The film shifts to an ancient time, and the boy is saved, adopted by two loving parents, who name him Edipo (Oedipus). But it is foretold that one day he will kill his father and marry his mother. Oedipus sets out on a journey to Corinth where adventure awaits, and he kills the Sphinx and marries a Queen. The ending shifts to modern day Italy, the third part of the film. Pasolini, as per usual, uses the camera wisely capturing the beautiful landscapes of the Emilia-Romagna and Morocco to create a vast and haunting atmosphere within Oedipus Rex. Still, some issues do plague Oedipus Rex and that is the inconsistent flow brought on by Pasolini’s insistence on switching time periods and somewhat confusing. The acting from Citti and overall screenplay is also somewhat devoid of true human emotion; it feels more like a stifled, avant-garde series of vignettes set against beautiful backdrops always holding the viewer at arm’s length. Still, that this is a vision from Pasolini goes a long way to making Oedipus Rex a film that should be viewed. In lesser hands, an attempt like this would have fallen far flatter than Pasolini ever allowed his interpretation to.