Sophocles’ Oedipus Rex (the King) and Seneca’s Oedipus
Contrary to Sophocles’ Oedipus that was written to the Greeks, a peaceful and wise audience, Seneca’s Oedipus was written to the Romans, a militaristic and violent community. Seneca successfully appeals to the elements of Roman literature; therefore, Edith Hamilton in The Roman Way calls him the “Father of sentimental drama.” Seneca wrote the play in around 50 AD about 480 years after Sophocles’ production. The Roman audience responded to a melodramatic plot rather than the tragic theme of the former Oedipus. Seneca, in rewriting the play Oedipus makes significant adjustments to suit the Roman audience, particularly plot and style changes.
Melodrama in this sense (compared to tragedy) draws forth more of an emotional, pitiful reaction and any evidence of fear is removed; on the contrary, the emotion of pity is exaggerated and stressed. The Greek wisdom and their capability to see beauty in all life created a desire for tragedy which draws forth reactions of both pity and fear; according to the Greeks, tragedy portrays mankind at his finest, standing tall among suffering and capable of heroism by overcoming evil. Edith Hamilton in The Roman Way says, “ . . . the unfamiliar and the extraordinary were on the whole repellent to them (the Greeks) and they detested every form of exaggeration.” She goes on to say, “Greek tragedy had no appeal as the Romans understood the words.” The Romans viewed life as cheap, almost worthless; therefore, to appeal to this audience, Seneca made fate seem merciless, while Sophocles suggested a tragic flaw, indicating the partial fault of the character.
The plot of Sophocles’ and Seneca’s Oedipus are much the same. Oedipus...
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...d concentration on fate, Seneca appeals to the vicious Roman audience he writes to, as opposed to Sophocles’ pensive Greek audience. The Roman audience desired more violent literature, and responded to the concept that fate and predestination were inescapable, while the Greek audience defined tragedy, including a tragic flaw of the character, as mankind at his best because the character becomes wise. Seneca in rewriting the original Oedipus tragedy, removes any indication of fear, completely concentrating on the emotion of pity. While Sophocles’ Oedipus can be called Greek tragedy, Seneca’s Oedipus exaggerates pity and disgust and must be classified as melodrama. Instead of arousing pity and fear from the audience, Seneca uses plot and style changes and simply appeals to the emotion of pity to adhere to his Roman audience.
In Sophocles’ Oedipus The King, King Oedipus of Thebes is confronted. and strangely obsessed with the mystery of who killed Laios. former king of Thebes, for a great plague has overtaken the city of. Thebes because of this murder. During his quest for the truth, he begins to discover that the answer to his query is also the answer to another disturbing mystery about himself, who am I?
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Oedipus Rex”, by Socrates, is a play that shows the fault of men and the ultimate power of the gods. Throughout the play, the main character, Oedipus, continually failed to recognize the fault in human condition, and these failures let to his ultimate demise. Oedipus failed to realize that he, himself was the true answer to the riddle of the Sphinx. Oedipus ignored the truth told to him by the oracles and the drunk at the party, also. These attempts to get around his fate which was determined by the gods was his biggest mistake. Oedipus was filled with hubris and this angered the gods. He believed he was more that a man. These beliefs cause him to ignore the limits he had in being a man. Oedipus needed to look at Teiresias as his window to his future.
With this in mind, many believe that King Oedipus in Sophocles’ play, Oedipus the King, is the perfect example of Aristotle’s tragic hero. Does he, however, truly fulfill all the “requirements” described in Poetics or is there something we miss in the depths of his fascinating and multi-faceted character that does not fit into Aristotle’s template? Without a doubt, Oe...
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The Greeks considered tragedy the greatest form for literature. However, the tragic ends for the characters were not ordained or set by fate, but rather caused by certain characteristics belonging to that person. Such is the case with the characters of Sophocles' plays Oedipus the King and Antigone. Oedipus from King Oedipus, and Antigone and Creon from Antigone posses characteristics, especially pride, that caused their tragic ends. As the play progress, other characteristics appear and further add to the problem to such a point that it is inevitable that it will end in tragedy. Therefore the tragedies were not a result of a plot by the fates, but rather a result of the characteristics that the characters possessed.
.... They fear the real identity of Oedipus and they do not want him to discover it. Moreover, the pity is associated with his downfall at the end. These emotional of pity and fear lead to the emotional purgation of the audience, which is the main aim of tragedy according to Aristotle. He is very appropriate to arouse such feelings because he has all the qualities of the tragic hero.
In Hamlet written by Shakespeare and Oedipus Rex written by Sophocles there are similarities that both the writers incorporated in their plays that distinguish their success in the time period in which they were written. In having their similarities there were also differences that arose in the two as the following will determine in the comparing of Hamlet and Oedipus Rex. Hamlet and Oedipus Rex had similar minds, but differed in how to go about their dilemmas that presented themselves to the fledgling rulers eventually lead them to their self-destruction.
According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself among many other things. Oedipus is often portrayed as the perfect example of what a tragedy should be in terms of Aristotle’s Poetics. Reason being that Oedipus seems to include correctly all of the concepts that Aristotle describes as inherent to dramatic tragedy. These elements include: the importance of plot, reversal and recognition, unity of time, the cathartic purging and evocation of pity and fear, the presence of a fatal flaw in the “hero”, and the use of law of probability.
In ancient Greece citizens hoped to go unnoticed by the Gods. The Gods played a huge role on what occurred in a citizen’s life. If a prophecy was decided by a God, then there was no altering it. Aristotle believes that this is what makes up a true tragedy. He suggests that tragedy is plot driven, and if the plot is set then there is no way around it. In Oedipus Rex by Sophocles, Oedipus is paying for the sins of his father King Laios. Laios was given horrible future by the Gods for angering them when he rapes another man. He was given a prediction that his son would murder him, and would marry his mother, Queen Jocaste. To prevent the prediction from happening Laios sent his shepherd to kill Oedipus, but gave him to a messenger from a different kingdom for another royal family to call their own. After many years the prophecy came true with Oedipus killing Laios and marrying Jocaste, without anyone knowing who Oedipus really was. Aristotle states, “Thus the structure of events, the plot, is the goal of tragedy, and the goal is the greatest thing of all” (2196). He puts tragedy into two categories: simple and complex.
Oedipus and Tiresias, characters of Sophocles' play "Oedipus Tyrannus," are propelled to their individual destinies by their peculiar relationships with truth. Paranoid and quick to anger Oedipus, is markedly different from the confident and self-assured Tiresias. In the dialogue between the two men, Oedipus rapidly progresses from praise of Tiresias as a champion and protector of Thebes in line 304, to blatantly accusing the blind prophet of betraying the city in line 331, to angrily insulting him in line 334. Rather than be intimidated by the protagonist's title and temperament, Tiresias draws strength from what he knows is true and is able to stand his ground.
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