The Use of Dramatic Irony in Sophocle's Oedipus the King
Tragedy as an element of the human experience has been the subject of many of the great works of literature written in the Western tradition. For some, tragedy embodies the highest form of humanity. It is through suffering that we are able to reveal ourselves most completely. Others see tragedy as an element of morality where we are to learn well the lessons of those who tempt the gods. The Ancient Greek philosopher, Aristotle, outlined a theory of tragedy as archetypal drama in his classic work, the Poetics. He uses the play by Sophocles, Oedipus the King (hereafter "Oedipus"), as the standard model by which all other tragedies are measured. In Aristotle's view, a perfect tragedy should not be simple, but rather complex in its action. It is the degree of complexity of the tragedy, the true increase in the amount of suffering that the heroic character has to go through, that intensifies the use of this device. The truly tragic figure will go through the play experiencing gradually increasing amounts of knowledge which reveal more horrible details. At each revelation, the audience has already been made aware of the tragic event so it is prepared and waiting for the hero's downfall.
To achieve true tragic circumstances, a clear reversal of fortune is required to occur to the main character. This reversal of fortune, above and beyond negative events, will then garner feelings of pity and fear in the hearts of the audience. As Aristotle states:
The change of fortunes should be not from bad to good, but, reversely, from good to bad. It should come as a result not of vice, but of some great error or frailty, in a character either such as we have describe...
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...is destined to marry his mother after defeating the Sphinx. The audience, however, long familiar with the ancient myth, is mindful that in solving the riddle Oedipus further condemns himself.
These choices lead to the ultimate climax where Oedipus blinds himself and wanders the earth as punishment for his actions. The lack of knowledge of his fate combined with the audience's total familiarity with the myth provides for the greatest differential between knowing and not knowing. Dramatic irony, used throughout the play to emphasize the power of fate, is ultimately used as the closing statement of man's frailty in the face of infinite justice.
Works Cited
Aristotle. Poetics. 12 July 2005. http:classics.mit.edu/Aristotle/poetics.mb.txt
Gwynn, R. S. Drama: A Pocket Anthology, Second Edition. New York: Addison-Wesley Educational Publishers Inc, 2002.
Throughout the play, Oedipus thinks of himself as being on the same level as the gods. Oedipus is described as being arrogant, intelligent, and full of great wisdom. One of Oedipus’ greatest accomplishments includes figuring out the riddle of the sphinx, a monster that guards the city. Figuring out the riddle of the sphinx gave Oedipus the fate of the city. Oedipus is rewarded by marrying the queen and becoming king. Oedipus, being all great, believes he can solve who killed the king. Oedipus knows that it has been prophesied that the son of the king and queen would grow up to murder the king and marry his mother. Oedipus believes the kingdom is rightfully his and when his first son is born they chain him up outside the city. Oedipus thinks he has beaten the gods once again, and has escaped his fate. When Oedipus finds out the truth, that he had married his mother, his is so drowned out by his suffering. Oedipus’ former hubris leads to his
In Poetics, Aristotle explains tragedy as a kind of imitation of a certain magnitude, using direct action instead of narration to achieve its desired affect. It is of an extremely serious nature. Tragedy is also complete, with a structure that unifies all of its parts. It is meant to produce a catharsis of the audience, meant to produce the emotions of pity and fear and to purge them of these emotions and helping them better understand the ways of the gods and men. Tragedy is also in a language in both verse and song. Aristotle's definition is clearly applicable to both Herman Melville's Billy Budd and the famous Greek tragedy Antigone by Sophocles.
In Oedipus the King, Oedipus is told that he will marry his mother and murder his father. He is told by the Delphic oracle this information but he wants to change his fate so he banishes himself from what he believes is place of birth. As he is wondering, he stumbles across a caravan. After some arguing, due to his hubris, he kills all the men in the caravan. One of the men in the caravan turned out to be his father, King Laios. Oedipus at the time did not know this. He then entered the city of Thebes and broke the plague of the sphinx by solving its riddle. Because of this he was awarded the recently widowed Queen Iocaste, who is actually his mother. He married Iocaste and had children with her.
Galens, David, and Lynn M. Spampinato, eds. Drama for Students. Vol. 2. Detroit: Gale, 1998. Print.
He is blind from the truth even though he has physical insight. A fellow Theban, Tiresias knows the truth, but even when he told Oedipus that he was the murderer of his King Laius, he refused to believe it. Oedipus refuses to believe anything he was told because he believes that he ran away from his true fate. Without knowing anything about his real father or mother, he ends up fulfilling the prophecy. He kills his father, Laius and married his mother, Jocasta. Oedipus displays his arrogance many times throughout the story. In the beginning of the story, he says “Yes, I whom men call Oedipus the great” (Sophocles 23), showing a sign of his arrogance. Oedipus shows off his arrogance again by saying that everyone should know him because of the deed he has done (Sophocles 33). He saved them the Sphinx and gained an enormous amount of confidence because of it and also because he was rewarded the Queens hand in marriage. Oedipus once again shows his arrogance when he tells the people of the Thebes that he can find the murderer of Laius on his own without any help (Sophocles 28). The irony of Oedipus’s hubris is that he even determines what his downfall will look like: “That man, whoever that man be, I, this country’s reigning king, cut off from every fellowship of speech and contact, sacrifice and sacrament, even ritual touch of water, in this realm” (Sophocles 32). Oedipus’s downfall can only be blamed on him because of his
the play, Oedipus is faced with the truth and fails to acknowledge it. He is first told by the drunk at the party, but he dismisses it as just something said by an ignorant drunk. He then visits the oracle and is told his fate determined by the gods and believes he can escape it by fleeing to Thebes. On his way, he carries out the first part of the fate by killing his father. He then makes it to Thebes and marries Jocasta, unknowingly fulfilling the fate.
In the play "Oedipus the King" by Sophocles, the author presents us with several instances of dramatic irony. Dramatic irony occurs when the meaning of the situation is understood by the audience but not by the characters in the play. Dramatic irony plays an important part in "Oedipus the King", because it is used to describe Oedipus' character as arrogant and blind toward the truth. The audience is expected to understand Oedipus' history well before he does. In the first three episodes, Oedipus uses a lot of dramatic irony in his speeches.
Oedipus the King struggled internally and externally once he discovered that he was the murderer of his own father, and that his mother was also his wife. He demanded exile and knew his death was going to be brutal, but he would not be able to live with himself and his conscious until he was dead. This play has so many intriguing symbols, themes and motifs that it keeps the reader focused at all times. His life as king was his good fortune but his painful undiscovered past led to his death, “Consider his last day; and let none Presume on his good fortune until he find Life, at his death, a memory without pain” (Kennedy 752, lines 297-300).
Gainor, J. Ellen., Stanton B. Garner, and Martin Puchner. The Norton Anthology of Drama, Shorter Edition. New York: W. W. Norton &, 2010. Print.
The tragic hero is defined by Aristotle as "a great man who is neither a paragon of virtue and justice nor undergoes the change to misfortune through any real badness or wickedness but because of some mistake” (Aristotle n. pag.). There are a few principles that Aristotle believes to form a tragic hero: the protagonist should be a person of power and nobility, who makes a major error in judgment and eventually comes to realization of his or her actions (Aristotle n. pag.). In Arthur Millers’ play, Death of a Salesman, he has twisted Aristotle’s belief of a tragic hero, and has created his own. Although Miller has twisted Aristotle’s belief, Sophocles’ play, Oedipus Rex, has a tragic hero (Oedipus) that follows the flaws, dignity, and acknowledgment of the truth that Aristotle believes in to make a tragic hero. It is essential for them to recognize their position and role in the play. Due to the fact that Willy Loman and Oedipus experience tragic flaws throughout their respected plays, they both have nobility, and they both realize the fact (anagnorisis) that they made an error in their life (hamartia). Through their fatal mis-steps, their pride and ego, predominately affect their familial lives, which in turn causes them to realize the truth that they are tragic heroes.
Throughout the tragic tale, the troubled young Oedipus is faced with many opportunities to give in to fate and throw his life away- all of which he accepted and executed proudly. After having been informed of his undesirable fate, the young man finds himself at a crossroads, pestered by another traveler. In a blinding flash of rage, Oedipus murdered the very man he was trying to avoid, as he later recounts to his wife and mother, “My stick had struck him backwards from the car and he rolled out of it. And then I killed them all”. While fully aware of the possibility that he may know not the true identity of his parents, he was not at all concerned that he may fulfill his prophecy in any violent act he commits. Oedipus took the prophecy seriously enough to uproot his life and leave his home in Corinth, but not seriously enough to even attempt to take up a life of pacifism. His misplaced efforts placed before him a choice between a bruised sense of self worth and uncalled for brutality, his inability to discern the difference between a necessary evil and an absurd liability lead him to begin fulfilling his prophecy. Since first discovering the foul outcome the divine had planned for him, Oedipus was disgusted with the thought of marrying and taking to bed his mother, but in a moment of excitement and thoughtlessness he mar...
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.
Irony used from beginning to end and with each statement made by Oedipus about finding the killer of Laius. Although the audience is familiar with the story they are fully invested in Oedipus. Because Sophocles uses irony in his play it makes the audience empathize with the protagonist. Oedipus becomes human, a tangible character that experiences the same emotions as everyday people. The thing that makes Oedipus even more human is that he is a victim of a fate assigned to him before he was born. He unknowingly carries out the prophecy destined for him which leads to the discovery that he was abandoned at birth by his biological parents; with this discovery a sense of his identity is taken from him. A character so arrogant normally does not receive empathy from the audience, however, he is still very much an innocent fragile human being punished for his father’s defiance. Sophocles used irony to bring a new twist to a familiar story. The use of irony keeps the audience ahead of the protagonist yet still eagerly awaiting his reaction to the obstacles before him; even though they know his fate the audience wants to see how he deals with his unfortunate
Oedipus is self-confident, intelligent and strong willed. Ironically these are the very traits which bring about his demise. Sophocles makes liberal use of irony throughout “Oedipus the King”. He creates various situations in which dramatic and verbal irony play key roles in the downfall of Oedipus. Dramatic irony depends on the audience’s knowing something that the character does not and verbal irony is presented when there is a contradiction between what a character says and what they mean. Both of these elements are used effectively to develop the tale of Oedipus.
Oedipus the King by Sophocles has the ingredients necessary for a good Aristotelian tragedy. The play has the essential parts that form the plot, consisting of the peripeteia, anagnorisis and a catastrophe; which are all necessary for a good tragedy according to the Aristotelian notion. Oedipus is the perfect tragic protagonist, for his happiness changes to misery due to hamartia (an error). Oedipus also evokes both pity and fear in its audience, causing the audience to experience catharsis or a purging of emotion, which is the true test for any tragedy according to Aristotle.