We have read 2 dramas: a tragedy, “Oedipus the King,” and a comedy “Suppressed Desires.” What similarities do you see between them, in spite of their different tones, time periods, and endings? Quote from both works to show. After reading "Oedipus the King," and "Suppressed Desires," I realized there were a lot more similarities than what I thought. In both of these stories the moral of the story was that, "Too much knowledge can be a dangerous thing." In "Oedipus the King," King Oedipus is searching for the truth of his identity. He vows to get to the bottom of Laius homicide, in spite of his mother/wife's insistence on not to and other people's voice telling him not to. In the play Jocasta, his wife advises him as he inches closer …show more content…
Do not keep on investigating this. Then the truth came and it ended up costing his his throne. His thirst for the truth basically ruined him when he found out his wife was actually his mom and he killed Laius. It changed his whole life as he knew it. This is a common example of how too much knowledge can be a dangerous thing. I find that very similar to the ending of "Suppressed Desires." Henrietta is the protagonist in the play. She loves to interpret dreams and wants to interpret her husband, Steven and sister, Mabel's dreams really bad. Steven decides to go to doctor and get his dreams interpreted. When Henrietta finds out Steven visited the doctor her reaction was that she wanted to know. Steve then tried to downplay it but Henrietta insisted the doctor spoke the truth: STEVE. He said—of course he may be wrong in what he said. HENRIETTA. He isn't wrong. Tell me! Steven then tells her he found out his dreams mean he wants to be single. Mabel does the same and finds out hers meant she wanted to be with Steven. Henrietta was livid at first but eventually calmed down. She then questioned the significance of psychoanalysis which was ironic because she was the only one that believed how important knowing your subconscious mind was. This fits the moral, "too much knowledge can be a dangerous thing" because Henrietta's desire to interpret her husband and sisters dreams almost ruined her life as she knew it. Most likely now she will always have that in the back of her
Oedipus can be argued to be a sympathetic ruler of his people, "my heart must bear the strain of sorrow for all." (4). He shows a strong desire to rid the land of its despair. Yet as the reader captures a more in-depth glimpse into Oedipus' soul, we find him to be a jealous, stubborn, "blind", guilty, and sinful man. Oedipus' character outwardly seems to want nothing more than to find the guilty persons involved in the murder of Laius, yet when given obvious clues he turns a blind eye, not wanting to know the truth behind the prophecy.
"Selfishness is the greatest curse of the human race,” as quoted by William E. Gladstone, supports my thought that selfishness is what causes most of our problems in the modern world. Currently, we are living in an era that is filled with much gluttony and selfishness. However, selfishness is a trait that all of us possess, but the amount of selfishness that we have can determine the type of person we are. For instance, parents should always put their children’s needs before their own. Selfish parents would rather buy materialistic items for themselves than anything useful for their children. In Sophocles’s “Oedipus Rex,” the protagonist is literally blinded by his own arrogance. This attitude begins before he even travels to Thebes, and that is apparent due to the circumstances of his father’s death. Oedipus seals his own fate with his egotistical attitude and he cannot change his destiny after everything is set into motion. During his journey on the road to enlightenment, Oedipus’s selfishness causes him to transcend from being completely ignorant of his fate to holding on to the last shreds of denial to having an overwhelming sense of realization.
Oedipus goes through denial and then separates himself through self-examination. Although warned to refrain from the search by his wife/mother, Jocasta, Oedipus continues to seek out the truth. This truth seeking leads to the transformation where Oedipus realizes that he is responsible. He had killed his father (although at the time he did not know Laius was his father) and married his mother (he did not know this either), thereby causing the plague. This realization was too much for Jocasta to bear, and so she committed suicide.
When Jocasta enters the play, the subject of Laius’s murder is heavily discussed. Oedipus’s denial suddenly tries to catch up to him (726-727). However, throughout explaining everything to Jocasta, his denial still prevails by claiming he couldn 't be the murderer (843-848). Throughout both displays of denial (the beginning and Laius’s murder), the text is deeply furthered. His denial furthers the plot and is focused on heavily throughout the text.
Oedipus the King: Reason and Passion In the play, Oedipus the King, there are dual parts of reason and passion. Oedipus primarily acts with both reason and passion at different stages in the play. There are several points in the play where Oedipus acts with reason. The first such point occurs when he is asked by his followers to help save Thebes. He acts with reason when he immediately decides to heed to their demands and find help for them.
Ironically, he initially became a King by solving a riddle and now he is trying to solve another to try and maintain his image and control his destiny. “Human happiness is built on an illusion” (Dodds 27). This quote is a good connection to the role of Oedipus, because while attempting to keep the Kingdom under control and keep his image unharmed, he is left in the dark by ignoring the signs. The irony of ignoring the past continues when “Creon brings the information that there will be no relief until the murderer of Laius is expelled from the city… [And] the murder mystery slowly becomes a quest for Oedipus ' identity” (Derrida). Building upon the investigation, Oedipus grows a keen interest for who he truly is. Is there any truth to the prophecies that which he and Jocasta have seemingly forgot about? At this point, it seems as though Oedipus must finally face his fear and discover the truth that he has been avoiding for so long. The only way for Oedipus to find out the lies he has been living is to seek for the only witness of his father’s murder, a shepherd. Only until Oedipus threatens to kill the shepherd does he tell the truth and reveal the tragic events which have been avoided for so long. In this moment before certainty of the past is brought to light, the relationship between self-control and self-image is linked and soon to be changed
Some scholars have interpreted Hamlet's actions throughout Hamlet to be the Oedipus complex. According to the story of Oedipus, Laius, his father, learned from an oracle that Oedipus would kill him. Laius then left his son to die on a mountain, where he was found and raised by the King of Corinth. Oedipus was also told that he would someday kill his own father, and fled Corinth because he believed that the King of Corinth was his real father. On Oedipus's journey, he passes Laius on the road, they argue and Oedipus kills Laius, without even knowing Laius was his true father. Oedipus eventually marries his mother, Queen Jocasta, unaware of her true identity.
In her final letter to her mother, Eliza admits her wrong doings. She tells her mother she ignored all the things she was told. All their advice fell on her deaf ears. She explains that she had fallen victim to her own indiscretion. She had become the latest conquest of “a designing libertine,” (Foster 894). She knew about Sanford’s reputation, she knew his intentions, and she knew that he was married, yet she still started a relationship with him. And her blatant disregard for facts and common sense caused her unwed pregnancy and premature demise. Eliza Wharton had nobody to blame for her situation but herself. She ignored warnings, advice, common sense, and other options available to her. She chose her ill fated path and had to suffer the consequences.
Prior to the birth of Oedipus, a prophecy was spoken over Laius and his wife Jocasta. They were told that their son would one day be his father’s killer and would then marry his mother. In fear, King Laius and Queen Jocasta sent the baby Oedipus off with a slave to be killed. He was never killed, but rather was given to a childless king and queen which lovingly raised him. Oedipus was never factually told about his lineage. Later in his life, Oedipus was confronted by several unknown men while traveling. Upon confrontation, Oedipus killed all but one of the men in self defense. Unknowingly, Oedipus had begun to fulfill the prophecy for one of the men had been his birth father, Laius.
The dialogue, action and motivation revolve about the characters in the story (Abrams 32-33). 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.
Here is a story where Oedipus the King, who has accomplished great things in his life, discovers that the gods were only playing with him. He has everything a man of that time could want; he is king of Thebes, he has a wonderful wife and children, and great fame through out the lands. He has lived a good life, but in the end everything is taken from him.
Oedipus’ quest is revealed to him early on in the play, though it undergoes a number of transformations before he is actually examining his own life and heritage. He begins with the reasonable search for the motive behind the wave of death and destruction that has overcome Thebes. This leads into his search for the man who murdered Laius, and finally to Oedipus questioning his own innocence and origin. The final stage of his search is where he becomes most fervent, regretfully not considering the magnitude of the effect his discovery will have on him. In order to assess Oedipus’ search for truth, one must first look at each transformation separately before tying them together.
For Oedipus, prophecy is not the main source of his fall towards society; rather, his hubris blinds himself from recognizing his personal sin in the world, thus leading to his demise. Sophocles even skillfully uses a metaphor through the words “ as led by a guide” to further explain the “supernatural being” that ultimately decides the tragic fate of the family of Oedipus. In addition, through the death of Jocasta, the reader is immediately attuned of Oedipus’ raging moment of violence and will be petrified by the overwhelming power of the gods, thus realizing the importance of being cautious before making a final choice. Indeed, after an individual settles on a decision, the gods take control of the person’s fate, hurling numerous consequences to him if he makes the wrong decision. Moreover, as Oedipus suddenly becomes the unintended victim of the gods through his sinful decision to execute Laius, he is forced to relinquish his predominate impetus for pridefulness in exchange for a heart of deep realization and forgiveness. At the end of the play, Oedipus sacrifices everything in order to remove his guilt through the consequences of his atrocious actions witnessed by the gods. After Oedipus realizes the astringent fate he was destined to encounter through his sinful murder of Laius, he immediately attempts to take responsibility for his
Oedipus’ mother and wife, Jocasta, went through her share of trials. When she was wife to Oedipus’ father, King Laius, Jocasta conceived a baby boy whom she was forced to give up to death. After receiving a prophecy that his son would kill him and take his throne, King Laius convinces Jocasta that their son is a great threat. He then orders that the baby boy be...
Oedipus, when Jocasta re-tells the details of how Laios was murdered, begins his approach to denial. At first, he searches for more and more information that might prove he didn’t really kill his father. This shows the reader that Oedipus seems to know subconsciously that he is the slayer of his father. Everyman, in the first scene, quarrels with Death about going on the long journey. He pleads for even a few more days before making him take this voyage. Both characters argue “Not me…it can’t be!…'; Both also look for a person or reason to displace their burden in order to avoid facing their strife.