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Character analysis of Oedipus
Literary analysis of oedipus the king character
Literary theory and criticism of oedipus the king
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Marxist Theory and Oedipus the King
"The history of all hitherto existing society is the history of class struggles" (Marx and Engels 2). This excerpt, taken from Karl Marx's and Friedrich Engels' The Communist Manifesto, explains the two primary classes found throughout most of Europe during the era of the Industrial Revolution. These classes were the bourgeoisie and the proletariat. The former were known as the "exploiters" and the latter as the "exploited".
The wealth, power, and prestige of the bourgeoisie, acquired mostly from their control of institutions, industries, and means of production, enabled them to force upon the proletariat their economic, political, and religious ideologies. These are the same ideologies "used to maintain certain social relations" (Eagleton 466). These very ideologies are what "make the masses loyal to the very institutions that are the source of their exploitation" (Tischler 16). Once the proletariat ceases to believe in or abide by those ideologies, revolt is inevitable, and the moment it occurs, so does the destruction or alteration of a single controlling and tyrannical power altogether. Thus, it can be said that "the bourgeoisie reign is doomed when economic conditions are ripe and when a working class united by solidarity, aware of its common interests and energized by an appropriate system of ideas, confronts its disunited antagonists" (Rideneir).
If the text of the play Oedipus the King by Sophocles is analyzed using this historical form of Marxist criticism, which is context-oriented, the perpetual class struggles within this society at Thebes is revealed.
Upon reading the play, there is an apparent class structure found throughout. In Oedipus Tyrannus, two mai...
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...s own fate. Among class struggles, the lower class will in some way, rise to defeat their rulers. It is inevitable.
Sources Cited
Fish, Thomas E. Critical Summary of "Literature and History." Marxism and Literary Criticism. U of California P, 1976. 1-19. Rpt. in Contexts for Criticism. Ed. Donald Keesey. 3rd ed. 25 Oct. 2000 http://www.cumber.edu/litcritweb/theory/eagleton.htm.
Marx, Karl, and Friedrich Engels. The Communist Manifesto. Trans. Paul M. Sweeny. New York: Monthly Review Press, 1998.
Rideneir. "The Sociology of Knowledge." Marxist Theory of Class Struggles.1 Nov. 2000 http://raven.jmu.edu/~rideneir/dss/index.html.
Sophocles. Oedipus Tyrannus. Norton Critical ed. Trans. Luci Berkowitz and Theodore F. Brunner. New York: Norton, 1970.
Tischler, Henry L. Introduction to Sociology. 6th ed. Orlando, Florida: Harcourt, 1999.
While Boyle describes Mrs. Ames as elegant, gentle, and quiet, Steinbeck gives to Elisa more strength. Her face was “lean and strong”, and her figure looked “blocked and heavy in her gardening costume”. Both women find their own ways to cover lack of happiness in their everyday lives. The astronomer’s wife is managing the house finding the silliest things to keep her busy: “…from the removal of the spot left there from dinner on the astronomer’s vest to the severe trashing of the mayonnaise for lunch”. Elisa spends her days in garden raising chrysanthemums “bigger than anybody around here.” The fact that these two women did not have any children can mislead us to the conclusion that they were both trying to satisfy the instincts they were probably having at the age of thirty-five. While this is the case with Elisa, the astronomer’s wife had different problem: the lack of communication with her husband and incapability to understand the world he was in.
The main character in John Steinback’s short story: The Chrysanthemums, is a married woman named Elisa Allen. She is a hardworking diligent young woman. In the opening chapters of The Chrysanthemums, Elisa is seen heartily in a great degree tendering to her gentle flowers. Powerful she is – gentle and conservative with her strength. She knows her weakness. Like the gentle calm flow of water embedding itself into layers of strata – which forms the highest peaks and grandest canyons.
"Oppression can only survive through silence" said Carmen de Monteflores and history proved this concept most thoroughly. However, the oppressed groups are generally not silent at all. They revolt, get violent, and are repressed again. This is not a rule, just a simple generalization and, of course, there are numerous exceptions. There is always a possibility that these downtrodden factions will get together to form a strong opposing force that will be an equal or almost equal rival to those that oppress. The coercion of the working class continued throughout the eighteenth century. Horrible working conditions, poverty, and hunger were blooming in the world of the industrial proletariat. The fruitless revolts did not change the situation and just when it seemed like the treatment of the waged people could not get any worse, the resolution appeared in all its glory. This historical period (1860-1914) could be best described using the Hegelian philosophy. The constant oppression of the working class will serve as thesis. The antithesis would come with the unification of the proletariats, forming the trading unions. The role of synthesis is given to the emergence of political democracy and mass political parties.
In Marx’s opinion, the cause of poverty has always been due to the struggle between social classes, with one class keeping its power by suppressing the other classes. He claims the opposing forces of the Industrial Age are the bourgeois and the proletarians. Marx describes the bourgeois as a middle class drunk on power. The bourgeois are the controllers of industrialization, the owners of the factories that abuse their workers and strip all human dignity away from them for pennies. Industry, Marx says, has made the proletariat working class only a tool for increasing the wealth of the bourgeoisie. Because the aim of the bourgeoisie is to increase their trade and wealth, it is necessary to exploit the worker to maximize profit. This, according to Marx, is why the labor of the proletariat continued to steadily increase while the wages of the proletariat continued to steadily decrease.
The Communist Manifesto, written by Karl Marx and Friedrich Engels, is a short publication that contains Marx’s and Engel’s theories on the nature of society and politics, as well as class struggle, problems with capitalism, and how to slowly change the government from capitalist to socialist and finally communist. The start of the first chapter in the essay, "Bourgeois and Proletarians", states ‘The history of all hitherto existing society is the history of class struggles’ (...
The first description gives the reader insight into Elisa’s life. Steinbeck describes the valley as being “closed off,” and a “pot.” scene This similar to the restrictions Elisa faces in her life. Elisa is closed off and sealed in by societal restrictions that stipulates what women can do and what they could not.
In the short story “The Chrysanthemums” John Steinbeck uses symbolism to reflect the characteristics of his main character Elisa Allen. Elisa, a married woman uncovers her deeply smothered femininity in an inconspicuous sense. Her life in the valley had become limited to housewife duties and the only sustenance that seemed to exist could merely be found in her chrysanthemum garden. Not until she becomes encountered with a remote tinker-man out and about seeking for work, does she begin to reach many of the internal emotions that had long inhibited her femininity. The tinker subtlety engages an interest in Elisa’s chrysanthemum garden that encourages Elisa to react radically. When Elisa realizes that there are other ways to live she attempts to lift the lid off of the Salinas Valley, but unfortunately the tinker’s insincere actions resort Elisa back to her old self and leaves Elisa without any optimism for her hollow breakthrough. Steinbeck’s somber details of the setting, strong description of the chrysanthemums and meaningful illustration of the red flower-pot reveal the distant, natural, ambitions Elisa Allen desired to attain.
The traditional role of women in the American society has transformed as society has trended towards sexual equality. In the past women were expected to be submissive to the man and were looked upon as homemakers rather then providers. Modern day women enjoy the freedom of individuality and are considered as capable as men in many regards. John Steinbeck’s short story, “The Chrysanthemums,” portrays a woman’s struggle with accepting her life and role as a female (459). Through the protagonist-female character, Elisa Allen, and the symbolism of chrysanthemums, Steinbeck displays the gender roles that define past generations of women’s lives in the United States.
The narrator in “The Yellow Wallpaper” used her hatred but yet love towards the wallpaper in the room she was staying in to symbolize the domestic life that many women including herself are trapped in. “ Then I peeled off all the paper I could reach standing on the floor.” (Gilman, 778) shows the narrator’s escape from her mental confinement. Mrs. Mallard in “The Story of an Hour” felt that her husband's death was her source of freedom. “She could see in the open square before her house the tops of trees that were all aquiver with the new spring of life.” (Chopin, 784) shows how the world opened up before her eyes signifying she has gained her own definition of freedom which was being free of her husband. Elisa Allen in “The Chrysanthemums” never reached her own mental freedom due to the losing of her hope of something more and continued to live her simple farmer’s wife life. “She turned up her coat collar so he could not see that she was crying weakly--like an old woman.” (Steinbeck, 11) shows her giving up by weeping like a woman showing she is weak and still lives in the set standards of a
This short story was published during the aftermath of the women’s rights movement and during WW2. John Steinbeck cared about the political and societal malpractices and portrayed his views in his writings. This short story belongs in a collection called The Long Valley.
This infamous final stage of political evolution is the abolition of classes and antagonism between the classes. With abolishing antagonism, it also would abolish oppression between the classes. Along with overpowering the bourgeoisie, measures of rules that are generally applicable for most advanced countries would be established. Rules such as, “Expropriation of property in land and application of all rents of land to public purposes and a heavy progressive tax,” (Karl Marx), which these rules are not solely just these two. Once countries have established these rules, through the process of it, if classes lose its distinctions, and all production has been assigned solely to an associated individual, the public would lose its political power, the political power that lets a class oppress the
Elisa is a country housewife. She is semi-distant from her husband and greatly distant from the world around her. She is a homebody, meaning that she rarely leaves the boundaries of her home and she has a lot of time and energy being built up. She uses some of this energy to clean up her house, but most of it is spent on her flower garden. Her garden is a place of solitude. It’s her own little world where she can let herself go and be the person that she wants to be. Her feminine side is brought out in her garden, the nurturer for the chrysanthemums, a mother almost to them. When the tinkerer comes to her home and into her garden he shows interest in her chrysanthemums. She takes this also as an interest in her as well. The garden in other words is a symbol for her femininity and womanhood.
This essay will illustrate the types of characters depicted in Sophocles’ tragic drama, Oedipus Rex, whether static or dynamic, flat or round, and whether protrayed through the showing or telling technique.
Sophocles. "Oedipus Rex." An Introduction to Literature, 11th ed. Eds. Sylvan Barnet, et al. New York: Longman, 1997. 800-836.
In the short story by John Steinbeck, The Chrysanthemums, symbolism, allegory and foreshadowing flood the story from start to finish. Steinbeck’s chosen words to describe the setting, plot and conclusion allows readers to evaluate and analyze the story in many ways. The story begins by describing the setting as enclosed, gray and repressive. Elisa Allen is introduced as the central character of the story, onto which the symbolism and allegory mainly affect. As the story develops further, Elisa’s encounter with a Tinker, leads her to “explode those repressed desires,” (Shockett) which have been suppressed by the symbolically “closed pot” (Steinbeck) in which the story takes place. The use of literary techniques