Sophocles’ Oedipus Rex (the King) and Seneca’s Oedipus
Contrary to Sophocles’ Oedipus that was written to the Greeks, a peaceful and wise audience, Seneca’s Oedipus was written to the Romans, a militaristic and violent community. Seneca successfully appeals to the elements of Roman literature; therefore, Edith Hamilton in The Roman Way calls him the “Father of sentimental drama.” Seneca wrote the play in around 50 AD about 480 years after Sophocles’ production. The Roman audience responded to a melodramatic plot rather than the tragic theme of the former Oedipus. Seneca, in rewriting the play Oedipus makes significant adjustments to suit the Roman audience, particularly plot and style changes.
Melodrama in this sense (compared to tragedy) draws forth more of an emotional, pitiful reaction and any evidence of fear is removed; on the contrary, the emotion of pity is exaggerated and stressed. The Greek wisdom and their capability to see beauty in all life created a desire for tragedy which draws forth reactions of both pity and fear; according to the Greeks, tragedy portrays mankind at his finest, standing tall among suffering and capable of heroism by overcoming evil. Edith Hamilton in The Roman Way says, “ . . . the unfamiliar and the extraordinary were on the whole repellent to them (the Greeks) and they detested every form of exaggeration.” She goes on to say, “Greek tragedy had no appeal as the Romans understood the words.” The Romans viewed life as cheap, almost worthless; therefore, to appeal to this audience, Seneca made fate seem merciless, while Sophocles suggested a tragic flaw, indicating the partial fault of the character.
The plot of Sophocles’ and Seneca’s Oedipus are much the same. Oedipus...
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...d concentration on fate, Seneca appeals to the vicious Roman audience he writes to, as opposed to Sophocles’ pensive Greek audience. The Roman audience desired more violent literature, and responded to the concept that fate and predestination were inescapable, while the Greek audience defined tragedy, including a tragic flaw of the character, as mankind at his best because the character becomes wise. Seneca in rewriting the original Oedipus tragedy, removes any indication of fear, completely concentrating on the emotion of pity. While Sophocles’ Oedipus can be called Greek tragedy, Seneca’s Oedipus exaggerates pity and disgust and must be classified as melodrama. Instead of arousing pity and fear from the audience, Seneca uses plot and style changes and simply appeals to the emotion of pity to adhere to his Roman audience.
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In Sophocles’ Oedipus The King, King Oedipus of Thebes is confronted. and strangely obsessed with the mystery of who killed Laios. former king of Thebes, for a great plague has overtaken the city of. Thebes because of this murder. During his quest for the truth, he begins to discover that the answer to his query is also the answer to another disturbing mystery about himself, who am I?
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.
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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.
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With this in mind, many believe that King Oedipus in Sophocles’ play, Oedipus the King, is the perfect example of Aristotle’s tragic hero. Does he, however, truly fulfill all the “requirements” described in Poetics or is there something we miss in the depths of his fascinating and multi-faceted character that does not fit into Aristotle’s template? Without a doubt, Oe...
Although Incendies (2010), filmed by Denis Villeneuve, is the rewrite of Sophocles’ play, Oedipus The King, these two stories have their own variations in them. Both of their narratives are surrounding with the same concept: nobody could escape from their family’s history, which it has some tragedy outcomes and violence as the characters’ journey begin. Each character from Oedipus Tyrannus and Incendies responds differently obtaining knowledge about their past, and the closure of these two stories are completely diverse.
Oedipus Rex”, by Socrates, is a play that shows the fault of men and the ultimate power of the gods. Throughout the play, the main character, Oedipus, continually failed to recognize the fault in human condition, and these failures let to his ultimate demise. Oedipus failed to realize that he, himself was the true answer to the riddle of the Sphinx. Oedipus ignored the truth told to him by the oracles and the drunk at the party, also. These attempts to get around his fate which was determined by the gods was his biggest mistake. Oedipus was filled with hubris and this angered the gods. He believed he was more that a man. These beliefs cause him to ignore the limits he had in being a man. Oedipus needed to look at Teiresias as his window to his future.
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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.
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.... They fear the real identity of Oedipus and they do not want him to discover it. Moreover, the pity is associated with his downfall at the end. These emotional of pity and fear lead to the emotional purgation of the audience, which is the main aim of tragedy according to Aristotle. He is very appropriate to arouse such feelings because he has all the qualities of the tragic hero.
Oedipus and Tiresias, characters of Sophocles' play "Oedipus Tyrannus," are propelled to their individual destinies by their peculiar relationships with truth. Paranoid and quick to anger Oedipus, is markedly different from the confident and self-assured Tiresias. In the dialogue between the two men, Oedipus rapidly progresses from praise of Tiresias as a champion and protector of Thebes in line 304, to blatantly accusing the blind prophet of betraying the city in line 331, to angrily insulting him in line 334. Rather than be intimidated by the protagonist's title and temperament, Tiresias draws strength from what he knows is true and is able to stand his ground.