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Summary of sophocle oedipus Rex
Additional thoughts about oedipus rex
Oedipus' hamartia
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Set ages apart, Arthur Miller’s Death of a Salesman and Sophocles’ Oedipus Rex provide different perspectives on the topic of tragedy and what is defined as a tragic hero. Although Oedipus would be thought of as better representing the tragic hero archetype due to tradition and time period, the modern tragic hero of Oedipus Rex is more of a dismal one. Through analysis of their respective hamartias, it is exemplified that the New York businessman with his humble story proves to be more thought provoking than the King of Thebes and his melancholic tale. **By incorporating a more relatable character and plot, Arthur Miller lends help to making Willy Lowman spiral toward his own downfall while building more emotion and response from the audience than with Oedipus. When Oedipus learns of his awful actions, this invokes shock and desperation. With Willy Lowman, the audience goes for a bumpy ride until the eventual, but expected, crash. ** (NEEDS WORK) Both main characters are tragic heroes, with radically different perspectives placed on the definition of tragedy with two very different stories and backgrounds. Oedipus is of noble status, he has a demanding hubris, and is in conflict with an unknown opponent, revealed to be himself. These qualities classify Oedipus as an apotheosis of a tragic hero. Oedipus feels invincible and unparalleled, something in which that his cantankerous enthusiasm aids. This hamartia leads to his exile and pain. Meanwhile, Willy Lowman expresses unquestionable pride. His passion allows him to exert so much energy into becoming a successful businessman even though his pride and drive are very impractical. His failures of the past in his career as a businessman and father show no real foundation for motivat... ... middle of paper ... ...ller’s character causes emotion on a personal level through realistic situations, responses, and reactions. Linda Lowman explains quite clearly that although Willy is not as august as someone like Oedipus, in the end, they are still both people that deserve the same amount of decency. She reveals to Biff, “I don't say he's a great man. Willy Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall in his grave like an old dog. Attention, attention must finally be paid to such a person.” (Miller 44) Whereas the audience knew that Oedipus would crash right from the start, the bumpy ride that Willy takes them upon shows hope and ambition, but even that isn’t enough to stop him from crashing.
Oedipus thinks his human powers can match anything put in front of him. He forces other characters to tell him things, which again creates his tragic ending. (O790) Oedipus by not knowing his identity seems to create his own tragedy. Throughout the entire play, he is blind to everything people are telling him. (O320) He continues to badger Teiresias to answer things that Oedipus does not believe is true. If he only stopped, asking questions his fate might have been different. (O385) Because of these answers, he begins to suspect that people are plotting against him. He feels that he is above such lowly deeds. His own conceit and blind confidence in himself helps him continue towards a tragic ending. (O452-460) While Teiresias was predicting the future of Oedipus, he should have been smart enough to listen. He should have started to change his ways before he ended up destroying himself. Oedipus' guilt was beginning to play tricks on his mind. At the beginning of the play, Oedipus was on the top of the mortal world. Now he is finding out the truth about his past and his world starts to crumble around him.
In "Death of a Salesman," Willy Loman is the opposite of the classic tragic hero. Unlike Oedipus, Willy is a ordinary man. His name implies he is a "lowman" whose dreams and expectations have been shattered by the false values of thesociety he has put his faith into. This simple characteristic makes him a tragic hero like "Oedipus Rex."
The tradition of the tragedy, the renowned form of drama based on human suffering that invokes an accompanying catharsis, has principally become a discontinued art. Plays that evoke the sense of tragedy-the creations of Sophocles, Euripides, and William Shakespeare-have not been recreated often, nor recently due to its complex nature. The complexity of the tragedy is due to the plot being the soul of the play, while the character is only secondary. While the soul of the play is the plot, according to Aristotle, the tragic hero is still immensely important because of the need to have a medium of suffering, who tries to reverse his situation once he discovers an important fact, and the sudden downturn in the hero’s fortunes. Arthur Miller’s Death of a Salesman is the modern tragedy of a common man named Willy Loman, who, like Oedipus from Oedipus Rex by Sophocles, exhibits some qualities of a tragic hero. However, the character Willy Loman should not be considered a full-on tragic hero because, he although bears a comparable tragic flaw in his willingness to sacrifice everything to maintain his own personal dignity, he is unlike a true tragic hero, like Oedipus, because he was in full control of his fate where Oedipus was not.
Sophocles' trilogy of Oedipus the King, Oedipus at Colonus, and Antigone is a powerful, tragic tale that examines the nature of human guilt, fate and punishment. Creon, Oedipus' uncle and brother-in-law, is the story's most dynamic character. His character experiences a drastic metamorphosis through the span of the three dramas. Creon's vision of a monarch's proper role, his concept of and respect for justice, as well as his respect for the design evolve considerably by the trilogy's tragic conclusion.
Oedipus fits Aristotle's definition of the tragic flaw and protagonist almost flawlessly. Aristotle described the protagonist as "someone regarded as extraordinary rather than typical..."(1117). Oedipus freed Thebes from the Sphinx by solving her riddle-- something nobody else had been able to do. The priest in the first scene of Act I calls Oedipus "...our greatest power" (1121) and describes him as rated first among men.
Oedipus, throughout this work, seems more than a merely passive player lost in the hands of fate. He makes critical errors in judgment that set the events of the story into action. His pride and arrogance, blindness and ignorance, as well as foolishness and quick temper all play a part in the tragedy that befalls him.
Since the beginning of time epic tales have been passed on from generation to generation as a form of entertainment. Even though each epic is different in its plot, every epic has certain features in common. The prime example of their similarities is their main character, the hero of the epic. The hero's behavior changes from the beginning to the end of the tale. Since the plot revolves around the epic hero, in most cases, they are made to seem God-like, or larger then life, in their capabilities and strengths. The hero constantly has to conquer major obstacles to achieve their initial and final goal. Usually the hero is tremendously suspicious of other characters intensions. Also, this character usually demonstrates examples of hubris throughout the tale, which ultimately makes his journey more difficult. The epic heroes differences vary but in the epic tale, The Odyssey written by Homer, and the Greek drama, Oedipus The King written by Sophocles, the differences is what makes Oedipus fail and Odysseus succeed. In both these tales, the powerful gods enormously affect their decisions and the consequences they eventually have to face.
The great Sophoclean play, Oedipus Rex is an amazing play, and one of the first of its time to accurately portray the common tragic hero. Written in the time of ancient Greece, Sophocles perfected the use of character flaws in Greek drama with Oedipus Rex. Using Oedipus as his tragic hero, Sophocles’ plays forced the audience to experience a catharsis of emotions. Sophocles showed the play-watchers Oedipus’s life in the beginning as a “privileged, exalted [person] who [earned his] high repute and status by…intelligence.” Then, the great playwright reached in and violently pulled out the audience’s most sorrowful emotions, pity and fear, in showing Oedipus’s “crushing fall” from greatness.
The tragedy of Sophocles’ Oedipus the King is not only that of a man exposing the horrific truth behind his past. The greatest tragedy is the ever-changing perception of Oedipus, by both the citizens of Thebes, and the play’s audience. Oedipus exudes a gross amount of self-confidence and ego, leading to narrow vision with no room for the perspectives of Tiresias, Jocasta or Creon, thus insuring his own demise. By the end of the play, the audience, along with the other characters, can track the personality flaws that led Oedipus to his personal, living hell. But the context of the play’s and Oedipus’ history, along with his unfortunate traits, actually highlights another aspect of his character.
After much defeat Willy reflected on his life and said that he was of more value dead than alive (Miller 2173). Many arguments have been made about Willy's character; is Willy truly tragic or plainly pathetic? Considering all the factors of Willy's life that weighed upon him, the reader should determine that this low man was, indeed, tragic. Aristotle analyzed drama to form a definition of tragedy. Aristotle considered “Oedipus the King” the perfect tragedy, so he modeled his definition after the play.
...eveloped into a full out tragedy. This incorporation of incidents induces a sense of apprehension, where the audience easily realizes Oedipus’ fate, and lethal flaw. Oedipus’ hubris indeed becomes an undeniable fact influencing the protagonists turn of events. Every institution of self-righteous comments appears to have an enormous effect on the structural molding of the play itself. Many of the protagonist’s feelings and acknowledgements seem to underline the phases expressed in an indicative play or plot. Sophocles was right in coaxing a more understandable exposition where the audience knows of the fatal future, and in doing so successfully applies Oedipus’ hardships and weaknesses as an essential and vital allotment to an archetypal tragedy.
Sophocles’ Oedipus is the tragedy of tragedies. An honorable king is deceived and manipulated by the gods to the point of his ruination. In the face of ugly consequences Oedipus pursues the truth for the good of his city, finally exiling himself to restore order. Sophocles establishes emotional attachment between the king and the audience, holding them in captivated sympathy as Oedipus draws near his catastrophic discovery. Oedipus draws the audience into a world between a rock and a hard place, where sacrifice must be made for the greater good.
The myth of Oedipus is one of a man brought down by forces aligning against him. Over the years, different playwrights have interpreted his character in various fashions. In Sophocles’ Oedipus the King, Oedipus is a man who is blind to the path on which his questions take him and exemplifies the typical tyrannical leader in ancient times; in Senaca’s Oedipus, it is the fear of his questions that give Oedipus a greater depth of character, a depth he must overcome if he is to survive his ordeal.
The concept of tragic hero is very important in the construction of tragedy. It is the main cause of pity and fear. The tragic hero is a character between the two extremes; he is neither virtuous nor evil. At the same time, this character is better than the ordinary men or audience, he has some good qualities. Moreover, as a tragic hero, he is moving from happiness to misery by his downfall at the end. In fact, this downfall is caused by an error or a flaw in his character not by a vice or depravity. Another feature in the tragic hero is that he has good reputation and he is a man of prosperity. It can be said that Oedipus is a tragic hero because he has all the previous mentioned characteristics and the whole play is a classical application of this concept.
While this change, as well as the changes in play production and the culture in the audience that views these plays, has had a great impact on the evolution of the tragedy, the basic ideas laid down by Aristotle remain adhered to, if not always in the way he wrote them. The tragic hero, Willy Loman, is of little virtue, being in financial trouble and growing more and more reminiscent in his old age. His fall is aided by his tragic flaw, that his pride in “selling yourself” will get one anywhere hey need to be in life, slowly tears his life apart, as well as creating unrealistic expectations of his son, thus bringing his demise. The play arouses fear and pity just as well as any classical work, possibly even more effectively due to the reatability of the “common man.” Just as in The Hairy Ape, the tragic hero dies, forcing the underlying evil on to the audience. This evolution to the common man can be explained through the evolution of society alongside tragedy. In the time of Aristotle, the best way to make a commentary on both societal and familial issues was through the eyes of nobility, which dealt with both. As time went on, however, the emergence of new societal and social issues such and women’s or worker’s rights led to the more effective tragic hero to be that of the “common man,” for they saw these issues in a was the aristocracy never could. These societal changes combined with the readability of the common man led to a shift in the tragic hero, yet never changed the underlying meaning of tragedy laid down in Aristotle’s