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Name Oedipus Rex: Outlines 2017 Privilege:

1. chorus 2. Jocasta 3. family/children 4. Oedipus positive/ negative

qualities: leader, anger, self-reliance, need to know all, detective

5. technique: plot (Aristotle’s unities), messengers, gradual revelation and irony

6. Tiresias 7. gods/fate/faith/prophecy 8. humanity/broken but heroic 9. Creon

Past Questions:

1985. “Sophocles makes Oedipus into a great tragic hero by subjecting him to almost unbearable tensions”. Discuss this statement with reference to the play, King Oedipus. 1986. “Sophocles’ use of dramatic irony in the play King Oedipus creates almost unbearable tension.” Discuss. 1987. “In spite of the tragic fate of Oedipus and his family, Sophocles’ deep faith in the greatness and the

wisdom of the gods remains unshaken.” Discuss this view of the dramatist Sophocles in the light of your reading of his play King Oedipus. 1988. “The greatness of the play King Oedipus lies in the manner in which its construction demonstrates how the dignity of a great human being remains intact in confrontation with overwhelming power.” Discuss this statement, supporting your answer by reference to the play. 1989. “Destiny is an unaccountable power which man must accept.” Do you accept this statement as being the theme of Sophocles in Oedipus the King? Give reasons for your answer.

1990. “A central idea in the play King Oedipus is the sacredness of the primary natural ties in the family, as is shown by the horror aroused by even unconscious sins against this sacredness.” (Jebb) Discuss. 1991. “The play King Oedipus is about the pitfalls lying about the path of man into which he may fall, and out he must raise himself by greatness of soul, which alone makes him a match for the gods.” Discuss. 1992. “The play King Oedipus is a noble attempt by Sophocles to find a satisfactory answer to the relationship between gods and human beings: but by the end of the play no solution is offered and the mystery of the relationship remains.” Briefly discuss this statement.

1993. What elements of Oedipus’ character are vital to the plot of King Oedipus? Discuss the way in which Sophocles employs them to further the action of the play.

1994. Discuss the dramatic techniques employed by Sophocles to highlight the fall of Oedipus in King Oedipus.

1995. Discuss the view that the presence of the Chorus and their participation in the acted events heightens the vividness and urgency of the action in the play King Oedipus.

1996. Compare and contrast the characters of Oedipus and Creon in Sophocles’ play Oedipus theKing. 1997. “Certain of Oedipus’ past actions were fate-bound; but everything he does on the stage from first to last he does as a free agent.” (Dodds). Discuss.

1998. “The Oedipus who emerges from the palace is bloodstained and sightless, but unbroken.” Discuss this statement with reference to Sophocles’ King Oedipus.

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1999. Oracles and prophecies are central to Sophocles’ King Oedipus. Analyse the attitude to oracles and prophecies of each of the following: Oedipus; Jocasta; the Chorus. 2000. “Oedipus is clearly a very great man.” What makes Oedipus “a very great man” in Sophocles King Oedipus? 2001. Discuss the character of Jocasta and assess the importance of her role in Sophocles’ King Oedipus. 2002. “Sophocles’ tragedy presents us with a terrible affirmation of man’s subordinate position in the

universe, and at the same time with a heroic vision of man’s victory in defeat.” (Knox) Discuss this statement about Sophocles’ play, Oedipus the King.

2003. In the gradual uncovering of the truth in Sophocles’ play, Oedipus the King, Jocasta’s mention of Laius’ death “where three roads meet” marks the turning point in the play. Discuss this view.

2004. Discuss Oedipus’ qualities as ruler of Thebes in Sophocles’ play Oedipus the King.

2005. Discuss the Chorus in Sophocles’ play Oedipus the King under the following headings:

(a) the attitude of the chorus to Oedipus (25) (b) the attitude of the chorus to prophecies and oracles. (25)

2006. In Sophocles’ play, King Oedipus, the prophet Tiresias and Oedipus have a dramatic encounter. (a) Give an outline of that encounter. (25) (b) What is your opinion of the behaviour of both Oedipus and Tiresias in this encounter? (25) 2007. Discuss the view that in Sophocles’ play, Oedipus the King, Oedipus displays all the qualities of a great detective. 2008 Analyse the relationship between Oedipus and Creon in Sophocles’ play Oedipus the King. (50) 2009 In Sophocles’ play, Oedipus the King, Oedipus has no control over what has happened to him before coming to Thebes but he shows his greatness in the way he reacts to his fate. Discuss, supporting your answer by reference to the play. (50) 2010 Discuss the role and character of Jocasta in Oedipus the King. 2011 “You cannot equal the gods…but we do rate you first of men.” (Sophocles, Oedipus the King)

(a) Why do the Thebans have such a high opinion of Oedipus? (20) (b) Do you agree that Oedipus’ great qualities contributed to his downfall? Support your answer with

reference to the play. (30) 2012 Discuss Sophocles’ use of irony in Oedipus the King. (50) 2013 (a) What are the circumstances which lead Oedipus to send for Tiresias in Sophocles’ play Oedipus The King? (10)

(b) Describe the encounter between Tiresias and Oedipus in Sophocles’ play Oedipus The King. (25) (c) What does the encounter reveal about Oedipus’s character? (15)

2014 Analyse the role of oracles and prophecies in Oedipus The King by Sophocles. (35) In your opinion, to what extent did Oedipus contribute to his own downfall? Explain your answer. (15) 2015 From your reading of Oedipus The King by Sophocles, discuss the view that although Oedipus has

committed “crimes too huge for hanging”, he is still a heroic character. (50) 2016 Analyse the relationship between Oedipus and Creon in Sophocles’ tragedy, Oedipus the King. (50)

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1) Chorus

Chorus general: group of men who originally performed dances, chants and song in response to priests originally during religious ceremony. Dionysius. Thespis is credited with transforming it into proper theatre by adding an actor, later joined by one or two more. The chorus remains an integral part and serves as a trustworthy contemporary commentator on the action (moral barometer). Their input takes two forms: Choral odes which are longer and more formal and addressed to the audience and general public (stasimon). Dialogue between the choral leader and other characters is incorporated more into the normal action of the play (komnos). In Sophocles the chorus is a reliable barometer of contemporary moral pressure ( later on in Euripides it’s a little bit different). Web: The chorus acts as a link between the audience and the actors. They are a reflection of what the contemporary audience is thinking. In ‘Oedipus the King the Chorus is made up of citizens of Thebes. They can comment, advise, disagree with what is being said. (page 168) 1. O The opening address called the parados begins after Creon has delivered the news from Delphi. The Chorus are unaware what Creon has said and wonder what the oracle of Apollo has said. They wonder what the oracle of Apollo says ‘What wonder from the gold vaults of Delphi’. They pray to Zeus’s daughter Athene and Artemis and Apollo for deliverance from the deadly plague. They describe the effects of the plague on themselves and the Thebans, children are dying in the womb, crops are failing ‘Thebes is dying’ there are numberless deaths. (page 169) They finish by begging the gods Zeus, Apollo, Artemis and Dionysus to drive away disease. Page (170)

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Page 174 2. They give advice to Oedipus and tell him to consult the Oracle of Apollo. He has already done so. Oedipus “I’ve not been slow with that. On Creon’s cue I sent the escorts, twice, within the hour” It allows Sophocles to introduce us to the character of Creon and the nature of the relationship between Oedipus and his brother-in-law. They then tell him about the rumours concerning Laius’s death, “killed they say by certain travellers” Page 175 3. They intervene in the Teiresias scene. They try to calm Oedipus when he is shouting at Teiresias ‘I would suggest his words are spoken in anger, Oedipus…yours too, and is isn’t what we need’ 4. (Page 182) 5. O The Choral Ode page 186-7. Comes after the Tiresias scene. Towards the end of the Tiresias scene Tiresias concludes by saying that the murderer is a native Theban – Oedipus goes into the palace. Then Tiresias goes on to say that the murderer is revealed at last, ‘brother and father both to his children he embraces, to his mother son and husband both - .. he spilled his fathers blood’ Who ever it is cannot escape detection. ‘but he cannot outrace the dread voices of Delphi’ they are shocked at Teiresias words and don’t know what to think ‘I can’t accept him, can’t deny him, don’t know what to say’ They finish by saying that until they have proof in Oedipus’ guilt they will continue to believe in their king. ‘No, not till I see these charges proved will I side with his accusers’ 6. The leader of the chorus tries to pacify Creon when he appears in the scene after he has been accused of conspiracy (page 188) ‘but a slur might have been forced out of him, by anger perhaps, not by any firm conviction. ’ When Jocasta appears they greet her” with her help you must put this fighting of yours to rest – giving the reader some insight into the character of Jocasta. 7. Later the whole chorus intervenes to defend Creon’s reputation and support his plea that he has not committed treason (page 197) ‘The man’s your friend, your kin, he’s under oath- don’t cast him out, disgraced branded with guilt on the strength of hearsay only’ 8. The chorus reluctantly tell Jocasta briefly how the quarrel between Creon and Oedipus began (page 199) they reiterate their belief in their king and leave. Then Jocasta questions Oedipus who in turn questions her about Laius’ death…which leads to him beginning to have doubts. 9. After Jocasta has told Oedipus of the circumstances of Laius’ death Oedipus begins to despair that he is the killer, the leader of the chorus tells him to hope until he questions the witness to Laius’ death ‘My lord, you fill our hearts with fear. But at least until you question the witness, do take hope’ (page 207) 10. Jocasta dismisses prophets and prophecies ‘So much for prophecy. It’s neither here nor there.’ And the chorus voice their disapproval at this lack of respect for the gods. (page 209) ‘Destiny guide me always….’ Zeus and his laws are all powerful. They respect the gods and oracles They go on to say that if any man gets above himself with no fear of justice or reverence he is heading for a fall. ‘If any man comes striding, high and mighty in all he says and does…let a rough doom tear him down… (Page 210) 11. Page 223 After Jocasta has rushed off into the palace they express fear of what she may do, “I’m afraid that from this silence something monstrous may come bursting forth” heighten suspense, and prepare the audience for what will happen with Jocasta. 12. When Oedipus says on page 224 that he will never fail to search and learn his birth, the Chorus agree and wonder who his mother is, bride of Apollo, Hermes, Dionysus . 13. They identify the shepherd as one of Laius’ men. Page 225. 14. O When Oedipus realises who his parents are they comment. Page 233. They talk about the greatness of Oedipus, how they looked up to him “You outranged all men” they mention the Sphinx, Oedipus being king, then his downfall and they are deeply sympathetic. “is there a man more agonized” ”Now I weep like a man who wails the dead”

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15. They speak to the messenger to the palace about Jocasta and from him we learn about her awful death. Page 235 16. O In the final action of the play the chorus highlight the downfall of Oedipus – they sympathise with their king ‘I pity you but I can’t bear to look’ they see his wounds and shudder in horror. (page 239) 17. alive and blind’ They wonder if Oedipus’ blinding of himself is for the best ‘better to die than be blind (page 242) He tells them the reason why he blinded himself. 18. They end the play by asking the audience to look on Oedipus as a man who has solved the riddle with his brilliance and risen to power. Now he is a broken man – it could happen to any one. ‘count no man happy till he dies, free of pain at last’. a) Discuss the role of the chorus in Oedipus Rex. (40) b) Do you think the chorus is fair to Oedipus? (10) A) I) Background of chorus in general. II) Role in Oedipus and parados III) Support/Praise for Oedipus IV) Continued support despite trouble V) aghast at J and O’s doubt of prophecy: ‘Gods go down.” VI) Pity and Sympathy and general fatalism B) Modern: more sympathetic to Oedipus and think Chorus harsh Classical Values: Incest is so bad; Prophecy/gods linked and must be preserved

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2. Oedipus: Creon Question can be on the 'role of Creon' or 'contrast with Oedipus' but the former should contain much of the latter whether specified or not. Chronological is quickest and easiest structure. 2008: Analyse the relationship between Oedipus and Creon in Sophocles’ play Oedipus the King. Impression ex 50 For very high or full marks, answers will range over the whole play as the relationship between Oedipus and his brother-in-law is a continuing feature.

• At the beginning, the two men obviously work well together. It is Creon whom Oedipus sends to Delphi.

• The reply Creon brings sets the whole plot in motion. • Other relevant areas are Oedipus’ accusation of treachery, Creon’s strong

defence. • Candidates should show awareness of the difference in the characters of the

two men. • Creon is straightforward, loyal and generous to Oedipus and his children in the

end. • Oedipus is stronger, more of a leader but much quicker to judge and act, and of

a much quicker intelligence.

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First meeting: Oedipus has already made his dramatic debut, full of sympathy but also hubris: "I'll do anything…the world knows my fame." Creon, setting the plot in motion, returns from an important job- a trip to Apollo's oracle at Delphi; he is obviously trusted and respected by Oedipus: "Creon, prince, my kinsman…" Creon, the careful civil servant hints that his news is better told in private: "…or we could go inside…" Oedipus, the trusting, rash, naïve populist insists "Speak to us all…I grieve for these people more than I fear for my own life." Creon gives the news, quoting the oracle precisely and relates the story of Laius's death, no emotion no embellishment. Oedipus's response is emphatic: "No, I'll start again… I'll bring it all to light myself!" He calls for immediate action… Soon he says, "Let me grant your prayers…" Good intentions, but a bit over-confident in a culture and literary tradition that loves to see the mighty brought low. Second Meeting: The audience has just met the dark side of Oedipus, as he rashly castigates and threatens Tiresias for not doing his job and relaying his prophecy: "You scum of the earth…" Tiresias mentions Apollo…Oedipus connects it with Creon…and within 5 lines, he is surmising, "Creon…my loyal friend…so hungry to overthrow me he sets this wizard on me…" A few lines later he calls Creon the "mastermind"… Creon enters the scene, while Oedipus is momentarily away, and true to his character, tries to logically reason out this ridiculous charge, even wondering about Oedipus's 'glance' to determine the king's psychological state…like a good lawyer or judge. Oedipus appears and lashes into him: thief, treachery, creeping against me… Creon respond like an adult to a child: "Are you quite finished?" and again appeals to reason and logic: "Hear me out, then judge me on the facts…" Then there is a duel of opposing counsels. Oedipus calms down and asks a series of leading questions that try to implicate Creon for having suggested that they consult Tiresias. (Creon also acts as messenger/narrator here- filling in the story). Creon logically proves that he had nothing to do with Tiresias withholding his information. A telling quote is "I don't know. And when I don't, I keep quiet," implying that Oedipus should bite his tongue a bit. Creon's turn at playing cross-examiner proves he is the better at rational argument: I, as almost equal part in this monarchy with you and Jocasta, have all the honour and little responsibility…"Why give that up…and borrow trouble?" Now, it may be overstated to calm Oedipus down, as he does eventually step up and take the reigns of power when he has to, but at this point it makes great sense: Creon does not have the personality of a risk-taker, a hero… or an arrogant fool… he leaves that to Oedipus. The audience, especially a modern one, may sway a little back to Oedipus here. His early heroic stature was harmed by his rants against Tiresias and Creon, but here we see that perhaps it is part and parcel to heroism. Creon would never loose his cool…but he also did not kill himself finding Laius's murderer or the answer to the Sphinx. The leader of the chorus backs up Creon: "Good advice, my lord…those who jump to conclusions may go wrong." Oedipus is not to be convinced: "I want you dead!" Jocasta arrives, blaming 'poor misguided men' but she backs Creon, especially after he takes an oath. The Chorus again backs him: "Respect him- he's been no fool in the past and now he's strong with the oath he swears to god." After Creon leaves, still claiming his innocence, Jocasta tries to reason with Oedipus. Oedipus slyly says "Creon keeps his own lips clean" and uses Tiresias for his dirty work, but Jocasta tries to discredit prophecy in general in order to ease Oedipus's suspicions- leading to later trouble! Third Meeting- All has been revealed, and now Creon is referred to as "the sole defense of the country." The Chorus had stood by Oedipus, criticized his (and Jocasta's) doubt of prophecy, but now pities him. Creon has changed: ironically, he has the power he did not want- but seems to be handling it well. (Wait till Antigone…) He is mostly sympathetic to Oedipus, but does put the boot in once or twice, understandably. Overall, it is piety that stands out: No decision is made without reference to the gods. Creon: "I have not come to mock you…Get him into the halls…Piety demands no less…Kindred alone should see a kinsman's shame. This is obscene." It is a mixture of pity and shame, but piety is the most powerful factor. "I have already done that, I promise you (arranging to banish Creon) (a bit of 'ouch')

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…first, I wanted the god to clarify my duties." "This time, I assume, even you will obey the god's decrees." Justifiable revenge, but Creon does arrange the family reunion: "I know the joy they gave you all these years…" But he (stage direction) 'draws back' when Oedipus reaches for him. "Time is the great healer.." A bit of cliché to make Oedipus feel good. "Only the gods can do that." (exile Oedipus) -Piety, again. "I try to say what I mean; it's my habit"- Ouch.. "Still the king?…here your power ends." Another insult, but also backing up the moral of the play: fate is fickle; power is fleeting; mortal-ity sucks. Summary: Creon and Oedipus are contrasting characters. Oedipus considers himself a self-made man- a hero in a world of pious yes-men. He is a hero, but a good bit of arrogance and rage go along with his courage and vitality. Creon, a pious yes-man, will never have a play named for him, but he does his job properly, soberly, logically- and does not deserve the treatment he gets. He also is an important instigator of plot and narrator. A modern audience probably sympathises more with Oedipus- the rebellious bad-boy with good intentions. But a classical, Greek audience knows that Oedipus is doomed- a mixture of the personality problems of the mighty and the simple, inexorable hand of spiteful fate- and it is the Creons- the civil servants- of this world who survive each election. a) Describe Creon’s role in the play. (30)

b) Compare him as a leader with Oedipus. (20)

a) 3 meetings: messenger, opponent, king

b) - sphinx, careful, undemocratic, lazy? (king) O: daring, risky, caring…

+ does his job, careful, pious, rises to the occasion O: rash, risk, impious?

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3) Jocasta

2001 Discuss the character of Jocasta and assess the importance of her role in Sophocles’ play.

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4) family/children

“The importance of the family in classical Greek culture makes Oedipus Rex a particularly powerful tragedy.” Discuss. Family to Cl. Greeks is different than to us. Family is sacred and bound by both blood and social sanctity. Moderns think that the family as a social unit is most important: actual bloodlines are de-privileged and emphasis is on ties of love and responsibility. We do not think any less of adopted or fostered or step-children, though… The Greeks, and most ancients, could not conceive of disregarding the bloodline. The blood link between parents and children is essential and sacred and inviolable. The bond between the parents of course is blood-free (or should be!) Most upper class marriages would be arranged. O and J’s seems refreshingly based on chance and love. A modern audience would be shocked and horrified by the revelation of the incest/killing but probably would not react as drastically as J, O, C and the rest. We would probably be as upset by the road rage and the attempt at infant exposure as the incest. To Greeks, it is the patricide and incest elements alone and they are unforgivable. The lack of intent clears Oedipus in our eyes and certainly the children are innocent… But incest is so sacrilegious, the one pre- Levi-Strauss cultural constant: incest prohibition. Quotes: (3) “Creon, when reasonably settling matters, ushers Oedipus inside for “decency” (society, gods and their own shame) Oedipus pulls out his eyes…. So horrible the sight… Daughters are doomed to a horrible life… Jocasta cant’ face life…. Family: Positive aspects J/O’s love seems real and affectionate. Jocasta even seems willing to keep the truth to herself. Oedipus’s touching farewell to his children is pitiful. Even Creon is being loyal to his family and city, in a (necessarily) harsh way So, Jocasta is quite motherly to Oedipus!

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5) Oedipus positive/ negative qualities: , detective, leader, anger, self-reliance, need to know all

2015 From your reading of Oedipus The King by Sophocles, discuss the view that although Oedipus has committed “crimes too huge for hanging”, he is still a heroic character. (50)

(iv) Candidates should deal with two issues here, firstly that he has indeed committed crimes too huge for hanging and secondly, his character both before he knows the truth and afterwards, as it is how he deals with the revelation that partly marks him out as a hero. The first issue can be dealt with quickly and lengthy plot summaries are not required here but candidates do need to make clear what he has done and why it is so terrible. Elements that may be included in a discussion of his character are: his devotion to his people and his willingness to go to any length to help them; the speed, intelligence and determination with which he works on behalf of his people and their allegiance to him; the single- mindedness with which he focuses on his task, always focusing on the public good, refusing even his wife to persuade him not to go further; his complete acceptance of his own guilt with no excuses; the horrific nature of his self-punishment showing much physical courage – much worse than anyone would have done to him; his continuing love for his children and his lament for them; his nobility even though he is completely crushed. However there is some scope for saying that Oedipus committed these crimes unintentionally and to say that they are “crimes too huge for hanging” is harsh. Engagement, 20; Development, 20; Overall evaluation, 10. (50 marks)

2011 “You cannot equal the gods…but we do rate you first of men.” (Sophocles, Oedipus the King) (a) Why do the Thebans have such a high opinion of Oedipus? (20) (b) Do you agree that Oedipus’ great qualities contributed to his downfall? Support your answer with

reference to the play. (30)

(i) (a) 20 marks 10, 10 Two developed points Candidates should explain how the Thebans put their trust in Oedipus because of past events involving the Sphinx. They might mention his leadership qualities, his promptness in tackling the problem of the plague and his devotion to and sympathy for his people. The citizens are confident that the man of experience can rid the city of the plague. Candidates should show knowledge of this story and be able to back it up with references or quotations.

(b) 30 marks 10, 10, 10 This question calls for the agreement or disagreement of the candidate – or a mixture of both. Candidates may find it easier to agree with this suggestion. Qualities which should be mentioned (and backed up with references/quotations) are his intelligence; his persistence; his self-confidence; his desire to help his people. If a candidate argued very well that, in fact, the sole cause of Oedipus’ downfall was a malevolent fate, regardless of his character, that would be accepted as a valid view.

2009 In Sophocles’ play, Oedipus the King, Oedipus has no control over what has happened to him before coming to Thebes but he shows his greatness in the way he reacts to his fate. Discuss, supporting your answer by reference to the play. (50)

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2007. Discuss the view that in Sophocles’ play, Oedipus the King, Oedipus displays all the qualities of a great detective.

(ii) 50 marks. Impression In a general sense, Oedipus is a man of great intelligence and he has the ability to think quickly and arrive at sound conclusions. The scenes where these qualities are particularly evident include the following: � His interrogation of Creon on the latter’s return from Delphi is quick and clinical. � He seizes on the importance of the survivor and immediately realises the possibility of conspirators in Thebes being behind Laius’ murder � He not only knows how to interrogate but also how to put pressure on a guilty party (his curse on the killer) � Although Oedipus is wrong to accuse Tiresias and Creon, he is basing his accusation on evidence (it was Creon who brought the message from Delphi; it was Creon who suggested that Tiresias be consulted; it was Creon who was in charge after Laius’ death when no proper investigation took place). Here again, Oedipus’ powers of interrogation actually reveal more than he had intended. And the king wants to know why the prophet said nothing over the years. � In the confrontation with Creon (line 626) he shows the same quickfire technique in getting to the core of the matter. � When Jocasta says “where three roads meet”, Oedipus again moves into a series of short questions getting straight to the key point but he also immediately seizes on the one possible loophole i.e. the number of people who attacked Laius, and he wants to interview the survivor – at once. � Finally, his interrogation of the messenger from Corinth (and even more tellingly of the old shepherd) are master classes in the use of detective skills. The shepherd is a reluctant witness but the king puts unrelenting pressure on him to reveal the truth. � He does solve the case! Examiners will also credit answer which argue that he is not a great detective; he is quick tempered, makes rash judgements and comes to irrational conclusions.

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2000

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The Character of Oedipus • Caring (or self-interested) • Proactive (or impulsive) • Single minded (or stubborn)

Oedipus is a paradoxical character in that every one of his strengths is also a weakness. The test in a question about Oedipus is whether you can make a firm decision weighted on one side of the argument or the other and prove your opinion with reference to the play. Oedipus is a man who cares deeply about what he is doing (solving the murder of Laius). As a king he consciously rules his people as a father watching over his family and even calls the people, “My children.” In his bid to set the people’s hearts at ease he keeps nothing back from them and includes them in every step of his investigation. He allows Creon to publish Apollo’s oracle, he confronts Teiresius and Creon in front of an audience made up of city elders (the Chorus) and even concedes to go against his better judgment by sparing the life of the supposed traitor: Creon, for the sake of the Chorus and his wife. Even at the very end of the play after he has come to terms with the tragedy of his life and blinded himself he begs Creon to either banish or kill him so as to spare the city from his pollution. On the other hand it may equally be argued that Oedipus is motivated purely by self-interest to solve the murder of Laius and that his caring nature is merely an act. For example, on taking the case Oedipus says, “in serving Laius, I also serve myself” meaning that whosever was brave enough to murder the old king may turn his hand against King Oedipus as well. Later on during his agon (confrontation) with Creon, Oedipus reveals himself not as a benevolent king who rules like a father over his children but rather as a tyrant who is prepared to rule badly as long as he rules and he is so obsessed with staying on the throne that he calls Thebes, “my city!” It may also be argued that his final plea for Creon to have him killed or drowned immediately is not motivated by any patriotic duty but by a self-absorbed form of guilt. He yearns for an end to his suffering and since his death would appease Phoebus, according to the original oracle, he suggests it as a mean to his own end: escape from the guilt of his crimes by death. Oedipus’ proactive nature is a fine quality in a leader. He is clearly a self-reliant man who comes into the orchestra from the palace at the start of the play because he would not have the news from anyone else but the people themselves. He is a king who gets personally involved with that which troubles his people and confesses that as King he carries the people’s, the city’s and his own grief and troubles on his shoulders. He is also not a man to wait around for catastrophe but actively tries to pre-empt disaster whenever he can. He does this twice at the start of the play. When the priest asks him to send a messenger to Delphi we find out that Oedipus has already done so and is now waiting for his return. Later on we hear that on the private advice of Creon he has already sent for the prophet Teiresius before being asked to do so. During the course of his investigation on the mention of the survivor who brought back the news of Laius’ murder he send for him immediately. In his examination of chief suspects like Teiresius and Creon (who he believes are treasonous) he is swift in his line of questioning. His technique is artful, like that of a lawyer in court he asks simple open questions the answers to which reveal a complex web of evidence and when called upon to intimidate anyone he perceives to be guilty he has tact and timing enough to lay extreme pressure upon them. This is particularly evident in the case of the Chorus who are so shocked by the severity of his curse on the murderer that they swear that they did nothing and know nothing and especially in his interrogation of the Theban shepherd he is very quick to resort to force to extract a confession from a hostile witness. On the other hand, Oedipus’ impulsiveness is what causes his downfall. His curse on the murderer of Laius shocks the Chorus because it is so extreme and even undeserved given that he has yet to uncover the merest clue that points at a culprit. There is something imprudent about the way Oedipus goes about things. For example, he often refuses to listen to sound advice even at the best of times like when Creon asks if they should go inside the palace to discuss the oracle. Oedipus is not prudent enough to do this and asks Creon instead to publish the oracle straight away. It may be argued that he places self-image (his own as a caring king) over wise rule; perhaps he sees them as one in the same? Whatever the reason, the decision to publish the oracle is one made on the spur of the moment. Oedipus takes no time to consider this course of action. It is a rash move. His rashness however is most evident in his agon with Teiresius. Once the prophet refuses to tell him what he knows Oedipus loses his temper and takes to insulting the prophet and ridiculing his gift of

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prophecy, which provokes the prophet into revealing the truth about Oedipus’ birth. This is not however to Oedipus’ credit. It cannot justifiably be argued that Oedipus manipulated the reluctant witness. He gleaned the truth from him by accident and also took no notice of it at the time for he is so full of fury that he refuses to listen to Teiresius. The most extreme case of Oedipus’ folly comes when he learns that he was born in Thebes. At that point Jocasta begs him to stop investigating because undoubtedly she has figured out what we (the audience) already know but Oedipus rather jumps to a rash conclusion that she trying to spare herself the shame attached to having married a bastard child of low birth; perhaps a slave, when in fact she has figured out that Oedipus is her own son. Were he less impulsive, less led by his emotion and more ruled by reason, Oedipus would be more foresighted, more calculating and less likely to fall into Fate’s trap but he is as Sophocles has made him: a fool who thinks himself wise.

Random:

Creon and Oedipus are contrasting characters. Oedipus considers himself a self-made man- a hero in a world of pious yes-men. He is a hero, but a good bit of arrogance and rage go along with his courage and vitality. Creon, a pious yes-man, will never have a play named for him, but he does his job properly, soberly, logically- and does not deserve the treatment he gets. He also is an important instigator of plot and narrator. A modern audience probably sympathises more with Oedipus- the rebellious bad-boy with good intentions. But a classical, Greek audience knows that Oedipus is doomed- a mixture of the personality problems of the mighty and the simple, inexorable hand of spiteful fate- and it is the Creons- the civil servants- of this world who survive each election.

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6) technique: plot, messengers and gradual revelation, : irony

2012 Discuss Sophocles’ use of irony in Oedipus the King. (50)

(ii) 50 marks. Four developed points 13, 13, 12, 12. This question calls for a ‘discussion’ of the use of irony and not simply a description. This may be covered by reference to the different types of irony and to the manner in which irony adds significantly to the complexity and success of the play. Candidates should make some reference to the verbal irony in the play (examples include Oedipus’ claim that he will solve the problem of the plague; he sets himself up as the doctor (searching for a cure); he is the source of the disease. The detective becomes the detected one. His resolve to run away from his parents; his accusation of blindness to Tiresias; Jocasta’s assertion that the oracle she and Laius received was wrong; her attempt to calm the upset Oedipus by asserting that there is no truth in prophecies. In doing so she mentions the location of Laius’ death; “at a place where three roads meet”. This startles Oedipus. Oedipus fighting for Laius as if he were his own father – and so on). Candidates should also discuss the dramatic irony in the play where the saviour, helmsman and hero is, in a sudden reversal of fortune, turned into the polluter and cause of plague. Probably the most obvious example of irony is the twin themes of sight and blindness. It is only when Oedipus becomes blind that he begins to see his former failings; humble now, formerly arrogant; accepts his destiny, earlier tried to reject it; accepts the word of Apollo, once, rejected it.

Where candidates narrate the plot of the play, a direct connection with irony must support each point.

“Sophocles manages to maintain interest and suspense, despite the fact that the audience knows well what is going to happen to the characters.” Discuss. Plot Aristotle’ famous Poetics compliments the plot of OR as being perfect: complicated but consistent with the unities: of place, time and character. His famous ‘unities’: 1. Place: Everything happens in or outside the palace of Thebes. Compact setting, simple set, but complex plot through messengers. 2. Time: Two frames. 1) Real stage time: as we read it, or hear it, everything is in real time. The play unfolds in the same time it takes to perform. 2) ‘Story’ Time: From Jocasta’s recalling of the first prophecy about incest/murder to Oedipus preparing to exit. 3. Character: Characters show believable, natural development. Including the fall of the hero.

ARISTOTLE ON TRAGEDY

• Tragedy is a representation of an action that is worth serious attention, and of some some amplitude (size)…by means of pity and fear (pathos) bringing about the purgation (release) of such emotions. • The representation of the action is the plot of the tragedy; the ordered arrangement of incidents is what is meant by plot. • Every tragedy has six constituents: plot, character, diction, thought, spectacle and song.

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• The two most important means by which tragedy plays on our feelings ‘reversal’ or change in circumstances (peripeteia) and ‘recognition’ or discovery (anagnorisis) are both constituents of the plot. • The plot must present a unified whole…incidents must be so arranged that if any one of them is differently placed or taken away the effect of the wholeness will be seriously disrupted. • It is not necessary to keep entirely to traditional stories. • Tragedy is the representation not only of a complete action, but also of incidents that awaken fear and pity. Therefore the effect is heightened when things happen unexpectedly. • Plots may be either simple or complex. A complex action is one in which change is accompanied by a discovery or a reversal or both. A reversal is a change from one state of affairs to its opposite eg. the Messenger in Oedipus. A discovery is a change from ignorance to knowledge. The most effective form is that which is accompanied by a reversal eg. Oedipus. A discovery of this kind induces either fear or pity and it is such actions as these that tragedy represents. • A third element of tragedy is calamity ie. an action of a destructive or painful nature eg. death, excessive suffering. • The well conceived plot will have a change in fortune from prosperity to misery due to some great error ie. a fatal flaw (hamartia) in a man who is not conspicuous for virtue or justice (ie. an ordinary man), a man who enjoys a high reputation like Oedipus. • Characters should be good, appropriately portrayed, lifelike, consistent. • The best form of discovery is that which is brought about by the incidents themselves when the startling disclosure results from events that are probable eg. Oedipus.

Dramatic Irony DI is the sense of irony that is created when the audience is aware of something which the character is not. Often it is expressed verbally, that is the character says something with an unintended significance. Oedipus: “I would be blind not to see…” Oedipus is just making a common proverbial expression; the audience delights/suffers/titillates in dramatic irony because we know he will soon be actually blind. (partial catharsis) • DI was much more prevalent and important in Classical Greek Theatre than in modern drama, film, novels etc… • We moderns rely upon suspense to provide tension and interest for the audience. Greek theatre relied almost wholly upon commonly known myths and legends for their plots and characters. Each playwright might vary some details but the essential story was known. Homer, for example, puts Jocasta in Hades in his Odyssey of the 7th Century BC. The Greek audience finds interest not in surprise endings but in variations of revelation and, most of all, dramatic irony. The interest that this provides seems to be lost upon a modern audience: we tire of the blindness references quickly. What is this interest or pleasure which the ancients revelled in? Is it mean-spirited, as usually the character will suffer because of his lack of knowledge? No- O.R. is a tragedy. Greeks also had comedies in the form of farce satires where the DI would be played in a modern sitcom, innocuous way. But in tragedies, the DI is more similar to that which occurs in our love stories or horror films- we gain an emotional release by pitying the character- it is empathy and sympathy as well as a bit of ‘better he than I’. We can connect the use of DI also to the larger cultural context of OR. “We are but the playthings of the gods…” The Greeks were fatalistic in the original sense of the word: free agency was limited. Oedipus learns this the hard way but DI in general implies that we all are in a sense, ‘in the dark.’ Leads to catharsis… ( outpouring of emotional sympathy gained through tragedy) Structure: Intro: DI changes, lessens, but tension increases “noose gets tighter” (GR) audience different- titillation also sympathy pity, fatalistic: Pick Key Points: First: several refs to ‘intimate of this house’ Creon: ‘root him out’ Tiresias: 1) can’t tell you- too bad 2) will tell you: you are the murderer 3) (Oedipus gone) full prophecy 4) Creon Redux: JOCASTA: MC: MT: Jocasta :End:

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The Use of Messengers/ Gradual Revelation 4 messengers: 1 Creon; 2 M/S-Corinth/Polybus; 3 S/M-Thebes; Survivor of Road Rage; 4- M-Palace

1. Creon:

2. Messenger/Corinth: Arrives from Corinth with the ‘good’ news that Polybus has died and Oedipus can now be king. Jocasta/Oedipus are thrilled because this means certainly Oedipus can’t kill his father and it reinforces their doubt of all prophecy, even Tiresias’s accusation that Oedipus killed Laius. The Messenger goes further and tries to assuage their fears of the second half of the prophecy by revealing that Oedipus was adopted. He tells the story of the adoption and claims a fellow Shepherd from Thebes could clear it up (coincidentally the same man who escaped the road rage incident and has already been called for by J and O. 3. Shepherd/Thebes/Road Rage Survivor: Originally called for to clear up the problem of whether there was one or more than one ‘thieves’ who killed Laius, to determine Oedipus’s potential guilt. He had returned to Thebes after the incident, taken one look at Oedipus, and asked for a far-off posting. Now, under pressure he reveals all: He had taken the infant Oedipus from Jocasta, promising to leave it to its death but had pitied it and turned him over to the M/C. 4. Messenger from the Palace: This character is more of a traditional stock theatre character: he reports eloquently on action that has taken place off-stage (too graphic, disturbing to enact or too difficult to stage and emphasizing the lyric/verbal quality of Greek theatre). He describes Jocasta’s sad fate.

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1) Creon- returns from Delphi with message from Apollo’s oracle. He reports it rather word-for-word: “Pay the killers back- whoever is responsible…here in Thebes.” 2) Tiresias- Not really a messenger, seems to already know the truth. 361: “How terrible the truth…I knew it well but I put it from my mind, else I never would have come.” 3) Tiresias- 401: (After goading from Oedipus): “You are the corruption of the land!” 4) T.: 498: “This day will bring your birth and destruction!” 5) T: 515: “A stranger..will soon be revealed a native Theban…” (Oedipus has turned his back…) 6) T: 520: “Brother and father both to the children he embraces…” (Oedipus has entered the palace previously.) 7) 801: Oedipus: “Strange hearing you just now…my mind wandered…” (After J mentions ‘3 roads’) DI 8) 815: Jocasta: “The heralds no sooner reported Laius dead, then you appeared…” 9) 820: Oedipus: (After J’s description of L): “Oh no no, I think I’ve just called down a dreadful curse….” DI 10) 872: O: (his ‘origins’ and his earlier Delphian prophecy) “You are fated to couple with your mother…” 11)930: O: “If his story matches yours, (many attackers not one!) I’ve escaped the worst….You said thieves…” DI 12) This messenger, the survivor of the road rage incident, never arrives. Another messenger (2) arrives from Corinth reporting the king Polybus’s death. 13) 1022: Messenger from Corinth (MC): “Wonderful news…Polybus is dead.” 14) 1037: J: “You prophecies of the gods, Where are you now?” 15) 1064: O: “All these prophecies…they’re nothing, worthless.” 16) 1070: J: “Chance rules our lives.” 17) 1114: MC: “Polybus was nothing to you…not in blood.” 18) 1141: MC: “Another shepherd (2) ( passed you to me…” 19) 1143: MC: “He called himself a servant of…if I remember rightly-Laius.” 20) 1144: Jocasta turns sharply. 21) 1152: O: “Out with it!” 22) 1157 J: “…” 23) 1162 J: “Stop-in the name of god!” 24) 1164 O: “Courage! Even if my mother…” DI 25) 1168 O: “I must know all!” 26) 1176 J: “Aieeeeeee-“ 27) 1185: O: “…with a woman’s pride…mortified by my birth.” 28) 1188: O: “I count myself the 29) son of Fate (Fortuna)chance.” 28 B) 1215: 2 Messenger/Shepherds face-to-face: 2 MC + 3 ST 1256: ST: “What? Why rake that up again?” 30) 1265: O. threatens torture…(Char Dev(G)/Guantanamo (CC) 31) 1285: O: “And I’m at the edge of hearing horrors, yes, but I must hear! 32) 1301: ST: “I pitied the baby…you were born for pain.” 33) 1360: MP: “The queen is dead.” (CC: women- takes easy way out? More honourable? Incest affects the woman more? 34) 1399: MP: “And when he saw her...giving a low wrenching sob…nerves and clots…” G: Hitchcock…. 35) 1471: O: “I did it all myself!” DI 517: T: “Blind who now has eyes…” ←

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2003: In the gradual uncovering of the truth in Sophocles’ play, Oedipus the King, Jocasta’s mention of Laius’ death “where three roads meet” marks the turning point in the play. Discuss this view. Impression ex 50 Some candidates may handle this question by narrating the story of the play without discussing whether or not Jocasta’s words mark the turning point. Such answers will attract much reduced marks.

• In support of the statement, it can be said that up to that point, Oedipus is looking for the killer of Laius whereas afterwards he is searching for his own identity.

• There is a change of direction. • His dialogues with the Priest and the Chorus, his arguments with Tiresias and Creon

show him as the confident leader determined to track down the killer and save the city. • The words “where three roads meet” change everything. He knows he did kill a man (and

his attendants) at that exact place. That man was Laius. • Within a very short time, Jocasta tells the Chorus that Oedipus is more or less having a

nervous breakdown in the palace. He is the killer, he must be banished. • Oedipus is now obsessed with the oracle which he thought he had avoided and his

interrogations of the messenger and of the shepherd are sharply focused on finding out who he is.

• In this sense, if Jocasta had never used those words, the drama would have developed quite differently.

Candidates may make a case for a different interpretation.

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7) Tiresias

2013 (a) What are the circumstances which lead Oedipus to send for Tiresias in Sophocles’ play Oedipus The King? (10)

(b) Describe the encounter between Tiresias and Oedipus in Sophocles’ play Oedipus The King. (25) (c) What does the encounter reveal about Oedipus’s character? (15) (a) (5+5) The circumstances are such that Creon has returned from the Oracle of Apollo at Delphi where he has been sent by Oedipus. The city has been hit by a terrible plague and they need to find out from the god what has to be done to get it lifted. Creon has the news that the murder of Laius, the previous king, must be avenged in order for this to happen. In order to clarify the oracle and to find out what to do next, Oedipus, on Creon’s advice, has sent for the blind prophet, Tiresias. (10) (b) A coherent account of the encounter with some mention of the prophet’s prediction for the king. Max 17 without the prediction. (9+8+8) Firstly, Tiresias arrives very reluctantly and does not want to deal with Oedipus at all. He says “How terrible to see the truth when the truth is only pain to him who sees”. Because of this Oedipus quickly loses his temper with the old man and threatens him. He cannot see why he would not want to help his city. When driven to it by threats, Tiresias points the finger at Oedipus and tells him that he is the murderer he seeks. He asks him if he knows who his parents are. Oedipus is furious and accuses him of being a fake, “eyes peeled for his own profit” and blind to the truth. He jumps to the conclusion that both Creon and Tiresias are trying to frame him for the murder of Laius. He wonders where Tiresias was when the riddling Sphinx was terrorising the city and points out that it was he, himself who solved the problem. Tiresias predicts the future to a by now inattentive Oedipus. (25) (c) Two points (8+7) The encounter shows Oedipus as a man with a very violent temper, which he loses very quickly. He hastily assumes that Tiresias is lying and in a plot with Creon to oust him. This demonstrates how irrational he can be. He is physically violent towards the old prophet and although one can see why he thinks there is a plot, he is much too quick to jump to conclusions and to have confidence in his own analysis of the situation. His cruelty is apparent in his mocking of the prophet and he shows his arrogance in boasting of his victory over the Sphinx. (15)

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Oedipus as king has duties and responsibilities to protect his people: opening scene, full of concern and sympathy and eager to help his city….and open.. Tiresias, as (state) prophet, also has a duty… to interpret oracles and omens… Oedipus’s summoning of Tiresias is normal and expected… (323) Leader of Chorus recommends consulting Tiresias… (326) as well as Creon…. At first, very respectful.. (340) “ O Tiresias, master of all the mysteries of our lives…my lord…the one saviour…” Oed. Respects him but expects a lot… Tiresias’ response is unexpectedly unhelpful and unnecessarily terse and abrupt, rude… “Just send me home…” Oedipus is immediately offended and states that Tiresias is not doing his duty, even breaking the law: “…unlawful, unfriendly…” Tiresias: “I will never reveal…” (At this stage, protective of Oedipus… but Also derelict of duty? Apollo: plague lifted when murderer leaves… can’t happen without Oedipus learning part of the truth… (340) praise…. Forty lines later …(381)…”scum of the earth”

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Oedipus: wrong to be so arrogant and insulting but right in his pursuit of a solution…. Tiresias: right in concern about revealing horrible secrets, but wrong in manner and derelict of duty… Oedipus accuse Tiresias, jumps to conclusions…394 Tiresias also gets angry… and now tells him half of the secret: now to punish Oedipus with the truth: 401 A plague on bothy their houses: angry men like Creon and Oedipus later, arguing instead of co-operating (Jocasta’s complaint ) Oedipus continues to goad him… Tiresias claims pity (422) … but tortures him with hints of an even darker secret (418) (429) “Apollo… will take some pains…” Oedipus: 441: pious fraud: Starts to doubt all prophecy… Trumpets his individual efforts vs Sphinx….no help from the birds (used in augury by priests like Tiresias) Self-made man apparently (audience now knows he is doomed) Accuses him of working with Creon… irrational… Leader sensibly tries to calm him down (460): Like Jocasta, this fight does not help the city… Tiresias outlines limits of a king’s power: “equal… not a slave”: (democracy) 498: Tiresias teasing him: “This day will bring…” Stage direction 507: Turning his back, moving toward the palace. Oedipus does not hear, but the audience ‘enjoys’ the dramatic irony of Tiresias’s final prophecy: after Oedipus enters the palace. Full horror revealed “brother and father both..” (520) Oedipus should have listened… Tiresias should not have told the full story…. Sad epilogue: 1470: after eye-gouging: “I did it all myself…” thinking he finally has done something unfated… but Tiresias had predicted even this 515: “Blind who now has eyes..” Chart through Chorus reaction….

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8) gods /fate/faith/prophecy/omens

2014 Analyse the role of oracles and prophecies in Oedipus The King by Sophocles. (35) In your opinion, to what extent did Oedipus contribute to his own downfall? Explain your answer. (15)

(a) Three developed points. (12,12,11.) The role of oracles and prophecies in Oedipus the King is central. The two main focuses here will be on the Oracle of Apollo at Delphi and the prophecies of Tiresias, both of which are central to the play. The beginning of the whole sorry mess is with the oracle given to Laius and Jocasta which, as she proudly asserts to Oedipus, came to nothing. She recounts the story of how Laius was told that he would die at the hands of his baby son who was put out on Mt Cithaeron to die. Thus her view on prophecy is: “it’s neither here nor there”. The oracle received by Oedipus himself, where he is led to doubt his parentage, is that he will kill his father and sleep with his mother. It is by running away from Corinth, in order not to fulfil this terrible fate that he ends up in Thebes, solving the riddle of the Sphinx and marrying Jocasta, incidentally killing Laius at a place where three roads meet. The first mention of the Oracle in the play is at the start where, ahead of anyone suggesting it, Oedipus has sent his brother-in-law, Creon to find out from Apollo how the plague may be removed from the stricken city. The events of the play are set in motion as a result of what the Oracle has told Creon. When he realises that the murderer of the previous king has to be found and expelled, Oedipus vows to do everything in his power to achieve this. The Oracle has, not only stated his fate at the beginning of his life, it has also woven a web around him to ensure that he will fulfil the prophecy and be the very detective who will find out his own crimes. Working in tandem with the Oracle are the pronouncements of Tiresias, the blind prophet who accuses Oedipus of being the murderer he seeks. At the time, it seems like a preposterous statement and is treated as such by Oedipus, who dismisses it as a vile plot to overthrow him as King of Thebes. The reaction of the chorus is significant here as they realise that either their trusted Oracle (therefore the gods themselves) or their beloved king have to be wrong. They wonder if the gods are there at all or is their regime coming to an end. Who can they have faith in if the very Oracle of Apollo is not to be trusted? Jocasta is clear that oracles are of no value and that prophecies are meaningless, it is in persuading Oedipus of this that she mentions Laius’s death at the place where three roads meet. The consequences of ignoring oracles and prophecies are, of course, terrible to both of them. This sets Oedipus’s thoughts in motion and he pursues the truth to the terrible end. The awful inevitability of his doom becomes clear. The moving force of the whole play is provided by the oracles and prophecies which affirm the total power of the gods and fate in contrast to the pathetic powerlessness of men, even the best of men, to control their own lives, exemplified by Oedipus himself. (35)

(b) Two points. (8,7.) Candidates may make the case that he is not at all responsible for his fate as from the outset, it is determined what is going to happen to him. There will be no avoiding this. However, it would be acceptable to argue that Oedipus’s character does contribute to the outcome (his rage at the crossroads, his hubris where he says he will answer the people’s prayers, his belief that he can avoid his fate and run away from it and finally his determination to solve the mystery which reveals his guilt). (15)

1999: Oracles and prophecies are central to Sophocles’ King Oedipus.Analyse the attitude to oracles and prophecies of each of the following: Oedipus; Jocasta; the Chorus. 50 (17, 17, 16)

• Oedipus is almost always a believer in the truth of oracles. • Only the messenger from Corinth with his news of the death of Polybus shakes

him – and then not for long. • It can also be said that he mocks Teiresias’ failure and prophecy. • Jocasta has, she thinks, reason to doubt oracles. her son did not kill her

husband. • Her attitude is consistently hostile to prophets (and oracles) and may explain

her resort to suicide. • The Chorus are traditional in their attitudes and are shocked by Jocasta’s

scepticism. • The Chorus equate disbelief in Delphi with the demise of the gods themselves.

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9) humanity over fate / broken but heroic

2002:”Sophocles’ tragedy presents us with a terrible affirmation of man’s subordinate position in the universe, and at the same time with a heroic vision of man’s victory in defeat.” (Knox). Discuss this statement about Sophocles’ play Oedipus the King. Impression ex 50 There are two parts to the question which are separated but related:

• Firstly, Oedipus embodies in a frightening way man’s powerlessness over his own destiny. Totally innocent he still committed the two worst crimes of patricide and incest, crimes which encompassed the ruin of a number of lives, not to mention the devastation of the city of Thebes.

• He begins the play quite confident that he is in control, that he can by his brains and courage, solve the city’s problems.

• As the action of the play unfolds, we see this confidence totally eroded. • Paradoxically, as Oedipus moves inexorably towards the realisation that he has been a

helpless pawn, it is then he reveals the triumph of the human spirit. • Firstly, by his refusal to abandon his search for the truth, his unyielding quest even

when he knew there would be a heavy cost to himself and • Secondly, in the way he accepts what has happened to him and faces into an appalling

future in his own way.

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Background: • Oedipus = son of Laius, ruler of Thebes & Jocasta. • Laius consults the oracle (where humans went to ask the God questions about the future) at

Delphi - warned that he will be murdered by his own son. • Laius and Jocasta to avoid this – pierce his ankles with a spike and had a servant leave him

on Mt Citheron to die by exposure. • A shepherd of Laius sees the baby takes pity on him and rescues him and gives him to

another Shepherd from Corinth. • The shepherds give the baby to a childless King of Corinth, Polybus and his wife Merope,

who raise him as their own (they don’t tell him that he is not their son). • He is named Oedipus (Swollen Foot). • Years later when Oedipus has grown up a drunken man at a banquet says that he is not the

son of Polybus. • He leaves Corinth and goes to the oracle at Delphi, determined to find out the truth about

his parents. • The oracle instead gives him the horrible predictions that he will murder his father and

marry his mother. • Oedipus is horrified at this and leaves Corinth, as he does not want this to come true. • He heads toward Thebes. • On his journey to Thebes, at a crossroads outside Thebes (the place where the three

roads meet) - he meets a stranger, an old man driving a wagon, accompanied by a few others.

• The old man is rude and aggressive and they argue over who has the right of way (road rage).

• Oedipus murders the old man (Laius - who is on his way to consult the oracle at Delphi to ask how to solve the riddle of the Sphinx).

• Oedipus then continues on to Thebes. • The riddle of the Sphinx: Thebes is being terrorised by a Sphinx. • A sphinx = a riddle loving monster- with the body of a lioness, the head of a woman, and

wings. • The Sphinx will destroy all that cannot solve her riddle – by eating them. • The riddle is Q. “ What walks on four feet in the morning, two at noon, and three in the

afternoon?” • Oedipus answers the riddle “man” – i.e. child/adult/ageing with staff cane). • The Sphinx then angry that the riddle has been solved kills herself. • Thebes welcomes Oedipus as their saviour and as a reward they make him ruler of Thebes

(as Laius now dead) and he marries Jocasta. • Years later there is a deadly plague in Thebes and this is where the play begins.

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Sophocles: Early life: • Born in 496 B.C in the village of Colonus in Athens. • His father Sophilos was a wealthy arms manufacturer. • His family was well off. • As a boy he won prizes for wrestling and music and as a 16-year-old, was chosen to lead

the boy’s chorus (singing and dancing) which celebrated the Athenian victory over the Persians at the battle of Salamis.

• He received an education in music, athletics and dancing. Sophocles involvement in political and military affairs: • He was frequently involved in Athenian political and military affairs of Athenian

democracy. • Owing to his practical gifts with language he was involved in negotiations with the allies

of Chios and Samos. • He was on eof the general in the Pelponesion war. • He served as a general with Pericles, who was a leading statesman (and a close friend)

when the islanders of Samos revolted against Athens. • He had many influential friends. Among them was Herodtus the historian. • Was a naval officer? • Was a priest at one point of his life. Career as a dramatist: His commencement of his dramatic career was marked by a victory in a competition over Aeschylus. He wrote over 100 plays for the Dionysic Festival and he won 1st prize with 24 of these plays. Qualities as a dramatist: • Aristotle in his Poetics used Sophocles Oedipus the King and its ply as the example of an

ideal tragedy. • Sophocles was seen to be the most perfect of tragedians. • One ancient writer refers to him as the “pupil of Homer”. • If Aeschylus was the creator of Greek Tragedy, it was Sophocles who brought it to its

perfection. Sophocles contribution to Greek Tragedy: • Like many other dramatists Sophocles both wrote plays and acted in them. • He greatly developed Greek Tragedy and made a number of lasting contributions to it: 1. The introduction of the third actor: • So that three people could be on stage at the same time in addition to the chorus. • In his last pieces he even added a fourth actor. • This enabled him to increase the number of his characters and widened the variety of their

interactions. • Dramatist had more scope, plots could be more fluids and situations could be more

complex. 2. Role of the Chorus: • He curtailed (lessened) the role of the chorus. • Although he increased the number of the chorus from 12 to 15 the role of the chorus

diminished. • They were no longer as important as they had previously been. Remember Greek Tragedy

originally was just the chorus. • He lessened their role to give his characters more scope. • He had a particular interest in characters and showed great skill in drawing it.

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• By doing this he made dialogues more important. 3. He also perfected the costumes and decoration i.e. stages settings. • He invented some type of “scene paintings” or other pictorial props to establish the locale

or atmosphere. 4. Characters: • Sophocles mastery laid in his portrayal of his characters. • Aristotle said: “I Sophocles portray people as they should be, Euripides shows people as

they are.” • Euripides characters = realism- reflecting real life. • Sophocles figures = ideal heroes (not copies from common life like Euripides or mere

outlines or sketches of characters like Aeschylus) • His characters are div. with attention to details. • The typical Sophoclean Drama: • Presents a few characters, impressive in their determination and power and possessing a

few strongly drawn qualities or faults that lead them inevitably to a tragic fate. How Sophocles was viewed by his contemporaries: • A likeable character. Had many friends due to his involvement in public life. • Sophocles was one of the most popular and well-respected men of his day. • Far from being a tortured artist working at the fringes of society, Sophocles was among the

most popular and well-respected men of his day. • Story of Oedipus the King, well known to audience. • Kings invited him to live in their kingdoms but he refused to live anywhere other than

Athens. • Aristophanes said of Sophocles: “He always took life as it came.” • Sophocles lived in a time of high culture when art, religion, intellect and the imagination

were all fused. • Sophocles who practised the art of Greek tragedy was appreciated as an artist in this

setting. • Oedipus the King was the most popular of all of Sophocles plays. Death: • Many tales of his death. • According to one account he choked on a grape. • According to others he died when publicly reciting the Antigone or from excessive joy at

one of his victories. • His death was dignified, as was his life. • After his death the Athenians worshipped him as a hero and offered an annual sacrifice to

his memories. • He lived to be over 90 years of age.

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Quotes:

Oedipus: “Oh my children......why are you here?” (good leader/paternal) “Here I am myself – you all know me, the world knows my fame: I am Oedipus.” (dramatic irony) “I’ll do anything. I would be blind to misery not to pity my people kneeling at my feet.” (good leader/caring) “I acted at once. I sent Creon, my wife’s own brother, to Delphi.” (man of action) “Now you have me to fight for you, you’ll see: I am the lands’ avenger by all rights, and Apollo’s champion too.” (good leader/determined) “I will speak out now as a stranger to the story, a stranger to the crime.” (dramatic irony) “So I will fight for him as if he were my father.” (dramatic irony) “Stone-blind, stone-deaf - senses, eyes blind as stone!” (cruelty towards Tiresias) “You can’t hurt me or anyone else who sees the light – you can never touch me.” (arrogance) “Fortune-teller, peddling lies, eyes peeled for his own profit.” (insults Tiresias) “Oedipus the ignorant, I stopped the Sphinx!” (arrogance) “No, I want you dead.” (Oedipus says this to Creon – tyrannical) “No matter – I must rule.” (Oedipus’s response when Creon asks him what if he is wholly wrong – tyrannical) “I will tell you. I respect you, Jocasta, much more than these men here....” (love for Jocasta) “I killed them all – every mother’s son!” (violent past) “So, you won’t talk willingly – then you’ll talk with pain.” (Oedipus forces the shepherd to talk – tyrannical) “And I’m at the edge of hearing horrors, yes, but I must hear!” (bravery) “Dear friend, still here?” (Oedipus says this to the chorus – loyalty of the chorus) “The blackest things a man can do, I have done them all!” (horror at what he has done) “Your noble heart.” (Oedipus says this to Creon at the end of the play because Creon took pity on him) Priest: “Thebes is dying.” (plague) “You cannot equal the gods.....but we do rate you first of men.” (opinion of Oedipus as a leader)

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Creon: “If you want my report in the presence of these people....I’m ready now, or we might go inside.” (Creon’s cautiousness v Oedipus’s openness). “Was his glance steady, his mind right when the charge was brought against me?” (character of Oedipus) “Look, if you think crude, mindless stubbornness such a gift, you’ve lost your sense of balance.” (character of Oedipus) “I don’t know. And when I don’t I keep quiet.” (cautious/sensible) “Don’t convict me on sheer unverified surmise.” (sensible) “Look at you, sullen in yielding, brutal in your rage – you will go too far. It’s perfect justice: natures like yours are hardest on themselves.” (character of Oedipus) “I haven’t come to mock you, Oedipus, or to criticize your former failings.” (kind/noble character) Tiresias: “How terrible - to see the truth when the truth is only pain to him who sees!” (theme of blindness and sight) “You are the curse, the corruption of the land!” (accuses Oedipus of murdering Laius) “Blind who now has eyes, beggar who now is rich, he will grope his way toward a foreign soil, a stick tapping before him step by step.” (theme of blindness and sight/ prophesises Oedipus’s reversal of fortunes – peripeteia) Leader: “I would suggest his words were spoken in anger, Oedipus....yours too.” (peacemaker) Chorus: “Never will I convict my king, never in my heart.” (loyalty to Oedipus) “Respect him – he’s been no fool in the past and now he’s strong with the oath he swears to god.” (chorus say this to Oedipus about Creon) “Loose, ignorant talk started dark suspicions and a sense of injustice cut deeply too.” (peacemakers) “Destiny guide me always.” (pious) “I pity you but I can’t bear to look.” (chorus are repulsed by Oedipus) “Pitiful, you suffer so, you understand so much.” (theme of blindness and sight) “Count no man happy till he dies, free of pain at last.” (final speech)

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Jocasta: “Aren’t you ashamed with the land so sick, to stir up private quarrels?” (authorative) “Laius, so the report goes at least, was killed by strangers, thieves, at a place where three roads meet.” (turning point of the play). “So much for prophecy.It’s neither here nor there. From this day on, I wouldn’t look right or left.” (hubris) “Look at us, passengers in the grip of fear, watching the pilot of the vessel go to pieces.” (love and concern for Oedipus) “Its all chance, chance rules our lives.” (dismissive of oracles and prophets – hubris)