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Oedipus the king by Sophocles analysis
Interpretation of oedipus the king
Examine the character king oedipus in sophocles
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Oedipus, The King and Othello, The Moor
Nowadays, most people know Sophocles’ play written in 420 B.C., “Oedipus, The King” and William Shakespeare’s play written in 1604, “Othello, The Moor of Venice”. However, readers do not notice through the flagrant differences, the meticulous similitudes which let presume that Sophocles influenced Shakespeare.
“Oedipus, The King” has been translated many times since Sophocles wrote it. This translation was necessary to allow people to understand the play over time. Nevertheless, it deprives them of the original version with significant Greek words which allow a deep analyze. Lately, most people do not understand Greek. In contrast to the Elizabethan English and Shakespeare vocabulary (“Dost thou prate, rogue?”), they are not fluently spoken but still studied at school. Consequently, “Othello, The Moor of Venice” conserved its authenticity and still accessible to a vast audience. Both plays are a tragedy; nevertheless, they have particular distinctions. In the typical Greece tragedy, the characters from Greece mythology as Oedipus tragically end, despite divine interventions as Apollo’s prophecies. Whereas in the classic Shakespearean tragedy, the play ends with
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Shakespeare wrote Othello to expose the danger of Jealousy while Sophocles wrote Oedipus to confirm that people cannot escape the fate with Knowledge. Oedipus is blinded by his Knowledge as affirmed the sightless wise, Teiresias, “Since you have taunted me with being blind, here is my word for you. You have your eyes but see not where you are in sin, nor where you live, nor whom you live with ». By cause, he cannot “see” the truth behind the prophecy. Othello was overwhelmed by Jealousy as demonstrated Iago’s saying, “O, beware, my lord, of jealousy! _ It is the green-eyed monster which doth mock _ The meat it feeds on”. His jealousy impeded him to see Desdemona’s loyalty through Iago’s
Tragedy; it’s inevitable. In life, everyone is bound to experience a rough time. These rough times and flaws are what test a hero and build character. Someone experiencing hard times transforms an average person and his mistakes into something remarkable and heroic. What characteristics make a him a tragic hero rather than just an ordinary person? A hero is a person who is admired for courageous acts, noble qualities and outstanding achievements. Despite possessing the same qualities as an ordinary hero, a tragic hero, who is born a noble birth and usually male, has a fatal flaw that ultimately leads to his ruin. The hero 's flaws can range vastly. Tragically, however, the flaws possessed with eventually ruin the person 's reputation and also
Kernan, Alvin. “Othello: and Introduction.” Shakespeare: The Tragedies. Ed. Alfred Harbage. Englewood Cliffs, NJ: Prentice-Hall Inc., 1964.
Famous Greek playwright, Sophocles, in his unmistakable play, Oedipus the King, tells the tragic story of Oedipus, its eponymous protagonist, and his eventual downfall. Sophocles presents a story in startling fashion -- one which directly addresses a quintessential component of Greek literature: fate. His purpose in doing so is to show the ramifications of excessive pride (also known as hubris) and the dramatic way in which fate is carried out as a result of hubris thereof. He formulates a fatalistic and uneasy tone throughout the story in order to convince the reader of Oedipus' futility in trying to avoid his fate. Fate is irrevocably vital to the overall infrastructure of Greek literature, especially within Oedipus the King, as the gods
Oedipus, by Sophocles, was written around 441 B.C. Sophocles’ story is considered a Greek tragedy. Aeschylus is the person who coined the term, but “it was Sophocles who brought it to perfection” (Struck). Oedipus is one of the most famous classical dramas, and it is because of Aristotle the story reached that status. Aristotle stated his opinions in his book Poetics, which made it popular (Thorburne 384). In the story, Oedipus displays hubris when he defies the gods and runs away from his true fate which leads to his downfall.
Othello is noble, tender, and confiding; but he has blood of the most inflammable kind. Unfortunately, Othello was naïve enough to be swayed by Iagos misplaced trustworthiness and the accusations cause the entire play to unfold. Once someone brings up a sense of all his wrong doings, he cannot be stopped by considerations of remorse of pity until Othello has extinguished all that fuels his rage and despair. Othello is described as a “Moor” by his critics (Brabantio, Iago). A “Moor” is a slang word used for the dark skinned appearance of the Muslim people from the northwest part of Africa.
rapidly, it may not be indicated by the script that it has changed, and was most
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
The European Renaissance forever changed the life of the contemporary individual. Explosive advancements in education, technology, and trade broadened geographic and mental horizons; however, in England these developments were paired with population crises of poverty and unemployment. In addition, the increased interaction with foreign cultures fomented by various commercial and diplomatic engagements gave rise to apprehension in English sensibility. Eventually, Christian England would attempt to reshape these ‘strangers’ in their image and modern racial tensions sprung forth. Recursion of the trope of race, under the guise of blackness, heathenry, or even femininity occurs extensively in literary tradition, and especially within Shakespeare’s oeuvre. “There exists in all literature an archetypal figure who escapes both poles of the classic definition – appearing sometimes as hero, sometimes as villain, sometimes as clown…[he] has been named variously the ‘shadow,’ the ‘other,’ the ‘alien,’ the ‘outsider,’ the ‘stranger.’” It is with this borderline figure, mired in ambiguity, that this investigation is concerned: primarily with the stranger as the Moor in Othello, the Welsh in Henry IV, Part 1, and the woman in both.
There is overwhelming evidence corroborating the notion that the perplexity as well as bewilderment underlying man’s destiny along with his deeds is what may qualify Sophocles “Oedipus” as a real human tragedy in the sense that the whole story is about mysterious and enigmatic inquiries about truth as well as human tragedy.
Sophocles, the author of “Oedipus the King” led individuals such as Freud to critically analyze this play specifically for its psychological content. Freud utilized this play to expand his dream analysis research as well as the inspiration of the infamous “Oedipus Complex.” Oedipus operates under freewill, yet his fate has been determined by the Gods although the end result may require a winding path of less than obvious events that occur to achieve the prophecy. The supporting roles in “Oedipus the King” truly exploit the protagonist, Oedipus, and his character flaws. All in all, Sophocles demonstrates the power of an individual’s psyche by illustrating the fears and dreams that are transformed into actions; such actions also lead to the rise and fall of the great Oedipus by the end of “Oedipus the King.”
Through studying Shakespeare’s and Cinthio’s Othello, I explored the concept of ‘The Moor’. ‘The Moor’ is a disrespectful and racist term , often used by white Europeans referring to arabs and blacks, and people of other races with relatively dark skin, such as Othello. During Shakespeare’s time, blacks are considered to be outsiders and are inferior to white people. In Cinthio’s work, it stated that moors are hot-headed as evident in this quote ‘you moors are of so hot a nature that every little trifle moves you to anger and revenge’ which is evident that moors are hot-headed. In scene 1 of the play, Iago told Desdemona father that his daughter was robbed by a thief, Iago uses metaphor to describes Othello as a “black ram”. Desdemona’s father was shocked that his daughter will fall in love with a black man. He believed that Othello must have use some magic to make his daughter fall in love with him; as there is social class difference at that time and it is unimaginable that a white woman will love a black men.
In the play Oedipus Rex by Sophocles, Oedipus is depicted as a morally ambiguous character; neither purely evil or purely good. Oedipus runs from his fate initially to prevent himself from pursuing what he believed was his fate; however, he is lead straight towards his real fate. He kills his biological father as he is headed to Thebes, where he takes the throne. Once he has taken the throne, he begins to try and save his city from the plague by looking for the murder of king Laius. However, what he does not know is that the prophet has told him who has slew the king; therefore, he presents his ignorance as a leader. Not only does his ignorance create the flawed character inside himself, but it also causes him to run from his fate. The significance of Oedipus being a morally ambiguous character is that he cannot run from his fate
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
The ineffaceable impression which Sophocles makes on us today and his imperishable position in the literature of the world are both due to his character-drawing. If we ask which of the men and women ofGreek tragedy have an independent life in the imagination apart from the stage and from the actual plot in which they appear, we must answer, ‘those created by Sophocles, above all others’ (36).
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.