With a little help from the gods, who did not hold Oedipus in favor, his blind choices and quick temper lead to his great fall. Even though Oedipus is not physically blind like Tiresias, he is blind to the actuality of the actions of his life. Because of this, it is ironic that Oedipus is morally blind when physically he can see. When Oedipus finally sees the truth, he realizes he is morally blind and then physically blinds his eyes. He realizes that his destiny is in the hands of the gods, and there was nothing he could do to change that.
Under Zeus’s rule, Prometheus stole fire and then gave this element to humans, thereby upsetting the existing paradigm Zeus ruled. Zeus is a “tyrant” who trusts not his “family or friends”. Prometheus insightfully recognizes that Zeus’s leadership is tyrannical. While Ocean agrees with Prometheus’s assessment of Zeus as he says “our king’s a harsh one, and his rule unchecked” but at the same time there are other characters who do not hold this same opinion. Hephaestus for one, is unable to support Prometheus’s lamentation about Zeus’s excessive power and so does Hermes, son of Zeus, owing to his family loyalty.
Aristophanes also defiantly misrepresents an icon like Socrates as comical, atheistic, and consumed by ideas of self interest, which is contradictory to the Socrates seen in Plato's Apology or Phaedo. Aristophanes denounces the importance of the gods' influence on the actions of mortals. In the usual tragedy, the gods play an extremely important role towards the actions of the mortal characters. Through fear of the alternative and examples of the past, Athenians carried out their everyday lives under the guidance of the gods' wishes. Aristophanes challenges the audience, and Greek culture as a whole, by offering a different view on the answers and directions of life, than that of the gods.
If Creon is not so narcissistic, he could escape his downfall by listening to Teiresias’s advice. Instead, Creon decides to ignore the warning signs because he feels that the “prophecy is for sale” (v 60) In disregarding Teiresias, Creon forces the Gods to act by punishing him for his wrongdoings. Creon’s punishment is one of much peril that forces him to rethink his views and the views of the Gods. “Fortunate is the man who has never tasted God’s vengeance! Where once the anger of the heavens has struck, the house is shaken forever” (Ode 2 1-3).
The gods involve themselves far more than their Hebrew counterpart, each causing more chaos and trouble for the mortal men instead of giving them any real help. While the gods favored some men, they despised others. In The Odyssey, the sequel to the Iliad, Poseidon, who despises Odysseus, makes sure to make the man’s journey home difficult, as well as the other gods who do not favor him. Athena, who favors him, aids him throughout his journey home (Homer, The
The humans blame the gods for the casualties of the war even though they were present and active during the war. Its convenient and dishonorable to blame the gods because it is easier to blame a higher power for unfortunate events than to take responsibility for themselves. Humans in The Iliad are battling internal struggles concurrently throughout the war which justifies why the the gods would take opposite
On the other hand, Antigone believed in the divine laws of the gods that those who... ... middle of paper ... ...versial question of who is the tragic hero is answered with King Creon. Sophocles’ tragedy Antigone puts King Creon in the spotlight of the tragic hero because of his unyielding pride which blinds him from recognizing his mistake earlier. When he does realize his mistake, it is too late—he has lost his loved ones and now lives in despair. Furthermore, Antigone’s character was not as developed as King Creon because she never reached perpeteia or anagnorisis; she was headstrong in her determination to abide to the divine laws. Antigone teaches us that “There is no happiness where there is no wisdom… [that] Big words are always punished,/ And proud men in old age learn to be wise” (Sophocles et al.
These envious, deceitful, and other humanistic qualities of the gods inevitably produce disagreement amongst them, which is in turn manifested in the lives of mortals. In polytheistic Greek cultures such as that of the world of The Iliad, the gods affect the lives of mortals based primarily on the gods’ whims. Each people have their own contingent of gods who support them, but also other gods who dislike them and whom they do not worship. This conflict between the influences of one god’s favor and another’s menace on the Achaeans is portrayed in the death of Patroclus, Achilles’ brother-in-arms. Hera and Poseidon help enormously to keep the Trojans from burning the Achaeans’ ship.
Poseidon complains to Zeus and speaks of his embarrassment at the fact that mortals are no longer under his wrath or consequences since Odysseus was able to make it home safe. (Odyssey 13.142-50) Poseidon then turns the boat to stone, which is an example that humans are not rewarded if it interferes with other gods. e Although the Phacaeacians acted as they should by providing hospitality for Odysseus, they are still are still brutally punished because one god was offended. Lastly, ... ... middle of paper ... ... throughout mythology like The Odyssey, Homeric Hymns, and Theogony, is that gods are seen as spiteful and unstable towards the people that revere them. Homer depicted the gods as powerful beings with negative attributes that will harm people if they do not appease to the immortals.
However, the Gods had this plan set forth for Oedipus since his birth. The series of events and coincidences that occur to lead Oedipus to his demise are not all of his own doing, but the Gods deceive him into thinking so. “It is not fate that I should be your ruin, Apollo is enough; it is his care to work this out” (Sophocles 436-438). Teiresias clearly states that the god Apollo is at fault for Oedipus’ fate, but at the end of the tragedy, Oedipus blames no one but himself. This is the illusion of free will that is often given in cases where fate is dominant.