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Oedipus the King Notes

Area of Exploration: Time and Space

1. How important is cultural or historical context to the production and reception of a text?

In order to understand a text better, one must go in-depth into the cultural and historical

context of a text. The background of a writer informs the themes, motifs, and language used in

the text. Similarly, the cultural and historical context of the reader influences their interpretation

and understanding of the text. Sophocles' tragedy, Oedipus Tyrannus, is an excellent example of

how cultural and historical context shapes a text. The play reflects the ancient Greek culture and

society, where fate, prophecy, and the power of the gods were significant elements of life. The

play's themes of free will, fate, and the search for truth were central to the Greek worldview and

reflected in their literature. There are multiple references to Ancient Greek cities, customs, and

societal views, without knowing the background context of this text the reader cannot fully

understand the world within the works.

2. How do we approach texts from different times and cultures to our own?

When approaching texts from different times and cultures, it is essential to keep an open

mind and recognize our cultural biases and assumptions. One should consider the historical and

cultural context in which the text was produced, the language used in the text, the intended

audience, and the diversity within the culture. One should avoid imposing their own cultural

values and assumptions onto the text and attempt to understand it on its own terms. Approaching
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the text with respect, curiosity, and an open mind can help to gain a deeper understanding and

appreciation of the text and the culture that produced it. In the case of Oedipus Tyrannus, it is

important to consider the ancient Greek cultural and historical context and understand the

significance of the themes of fate, free will, and the search for truth in that society. Recognizing

cultural differences and avoiding ethnocentrism can promote cross-cultural understanding and

facilitate a more profound appreciation of literature from different times and cultures.

3. To what extent do texts offer insight into another culture?

Texts offer valuable insights into another culture, providing readers with a window into

the values, beliefs, customs, and traditions of that culture. Literature can expose readers to

different cultural perspectives and ways of life, expanding their knowledge and understanding of

the world. Through literature, readers can gain insight into a culture's history, social norms, and

political structures. Oedipus offers the reader a window into Greek culture, by showing what the

Greeks considered taboo (incest, patricide, etc.), their cultural and social practices (Greek

theatre, Great Dionysia, Democratic values), city-states also known as polises, and their religious

practices (polytheism, sacrifices, oracles, etc.), but Oedipus especially shows the mindset of a

good Athenian citizen, as he denounces oracles. This denouncement mirrors the thoughts of

Euripides and Thucydides.

4. How does the meaning and impact of a text change over time?

As societies change, so do their values and attitudes, which can lead to different ways of

interpreting a text. Furthermore, historical events can provide new contexts and interpretations of
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a text, making it relevant to contemporary issues. Lastly, as critical approaches and theoretical

perspectives evolve, so can the interpretation of a text, providing fresh insights into its meaning

and significance. The play Oedipus Tyrannus is an excellent example of how the meaning of a

text can change over time due to different critical approaches and interpretations. The play has

been subject to various interpretations, reflecting different historical and cultural contexts and

critical perspectives. Understanding how the meaning and impact of a text can change over time

is essential for appreciating the continued relevance of literary works across generations. Edith

Hall gives two reasons why Oedipus Tyrranos has remained so popular over time. One is that the

story deals with taboos, such as not burying the dead, killing people in your family, and incest,

among many others. Intragenerational incest, as seen in Oedipus is taboo and outlawed in every

human culture. She sees this similarity between our modern world’s taboos and ancient Greece’s

taboos as a bridge that connects people to the story throughout the ages. The second reason is

that the story is so susceptible to different kinds of interpretation, with each era or country

finding itself reflected in the work of Sophocles. Oedipus Tyrannus is interpreted from a

psychological perspective by Freud, or a political and historical allegory, an odyssey, and many

many other things. It can even be seen simply as the first glance into a mystery fiction novel.

5. How do texts reflect, represent or form a part of cultural practices?

Texts reflect, represent, and form a part of cultural practices in various ways. They reflect

the cultural practices of the time and place in which they were created, representing the beliefs,

values, and social norms of a society. They can also represent cultural practices by depicting

them through language, imagery, and symbols. Furthermore, texts can form a part of cultural
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practices by contributing to the development and preservation of cultural traditions, providing a

record of cultural practices and beliefs that can be passed down from generation to generation.

The play Oedipus Tyrannus serves as an example of how texts reflect, represent, and form a part

of cultural practices. The play reflects the cultural practices of ancient Greece, representing the

role of kingship and the importance of oracles, and contributing to the development and

preservation of Greek tragedy, a literary tradition that has had a significant impact on Western

literature and culture. Understanding how texts reflect, represent, and form a part of cultural

practices is essential for appreciating the cultural significance and relevance of literary works

across time and space.

6. How does language represent social distinctions and identities?

Vocabulary

Word Definition

Contemporary Something or someone that lives or occurs at

the same time.

Agnostic Being doubtful or non-committal (particularly

towards religion); being unsure whether or not
God exists.

Dramatic Irony A form of irony that is expressed through

structure; when the audience knows
something that the characters do not know.

Paradox A figure of speech that seems to contradict

itself, but which, upon further examination,
contains some kernel of truth or reason.
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Archetypal Very typical of a certain kind of person or

thing.

Democracy A system of government by the whole

population, or all the eligible members of a
state, typically through elected
representatives.

Sophists The term used to describe itinerant

intellectuals who traveled around Greece in
the 5th century, usually teaching their students
about rhetoric and debate.

Didacticism A philosophy that emphasizes instructional

qualities.

Oracle A priest or priestess acting as a medium

through whom advice or prophecy was sought
from the gods in classical antiquity.

Hubris Excessive pride or overconfidence, which

drives a person to overstep limits in a way
that leads to their downfall.

Peripeteia A sudden reversal of fortune or change in

circumstances, especially in a fictional
narrative.

Anagnorisis A startling discovery that brings about a

change from a state of ignorance to a state of
knowledge.

Hamartia This is a highly contested term in scholarly

debate. It can refer to a tragic flaw/ error or to
ignorance. We will look at how both
interpretations could apply to Oedipus.

Stichomythia Rapid dialogue. Alternating lines are used to

heighten intensity or provide a spirited
exchange between characters. Each
character’s lines are typically brief and might
consist of only two or three words.
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1.1 The Plot of Oedipus Tyrannus

Unity of Opposites

● Heraclitus of Ephesus (c.535-475) was a philosopher who believed in a theory called the

Unity of Opposites. This theory holds that opposites always turn into each other. For

example:

○ Day inevitably turns into night;

○ The happiest individual will inevitably turn into the most miserable

○ Call no man happy until he is dead - Solon

The plot of Oedipus (Original Myth)

● The Greek audience would already know the plot of Oedipus, which is why we will also

go through the myth.

● The Delphic Oracle says Laius’s son will kill him, so Jocasta and Laius tie their son’s

ankles together and give him to a shepherd to expose (place him on a mountain to die)

him.

● They think they have escaped the prophecy, but the shepherd takes pity on the baby and

gives him to the King and Queen of Corinth who is childless, who then adopt him but

never tell him he was adopted.

● One day, someone suggests to Oedipus that he may not be their son, which leads to

Oedipus consulting the Delphic Oracle.

● He is told he is fated to commit incest and patricide, thus he runs away, toward Thebes.

● On the way, he kills a man in the first-ever record of road rage

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● Oedipus thinks he has escaped the prophecy…

● Oedipus arrives at Thebes and is confronted by the Sphinx, but he uses his intellect to

solve her riddle and rescue the people of Thebes.

● He is welcomed as King of the city because of his triumph over the Sphinx and marries

the Queen of the city who was recently widowed and he has 4 children with her.

The plot of Oedipus Tyrannus

● At the start of the play, the city of Thebes is suffering terribly

● A group of citizens (presumed to be elderly men) comes to the royal palace to ask for

help from Oedipus

● Oedipus has already sent his brother-in-law, Creon, to the Delphic Oracle to find out what

can be done

● Creon returns with the oracle's news: for the plague to be lifted from the city, the

murderer of Laius must be discovered and punished

● Oedipus curses the unknown murderer of Laius

● He questions Tiresias, a blind prophet, but Tiresias refuses to reveal what he knows

● Oedipus and Tiresias argue

● Tiresias says that Oedipus is the cause of the plague and the murderer of Laius

● Oedipus accuses Tiresias of plotting with Creon to overthrow him, while Tiresias hints at

other terrible things that Oedipus has done

● Jocasta tries to calm Oedipus by assuring him of the futility of listening to oracles
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● As an example, she tells him the false prophecy she once received: that Laius would be

killed by their own son

● Jocasta’s description of where Laius was killed worries Oedipus. It's the same place

where Oedipus killed a man in road rage on his way to Thebes

● Oedipus tells Jocasta that he received a prophecy that he would kill his father and sleep

with his mother, which is why he left Corinth and never returned...

● A messenger arrives to say Oedipus's father (the king of Corinth) has died of old age

● It seems Oedipus’s prophecy might not come true, but he remains worried because his

mother is still alive. The messenger tells him not to worry—the king and queen of

Corinth were not his real parents

● The messenger himself brought Oedipus as a baby to the royal family after a shepherd

found him in the mountains

● The shepherd was the same man Oedipus has already sent for as the eyewitness to Laius's

murder

● Jocasta begs Oedipus to abandon his search for his origins, but Oedipus insists he must

know the story of his birth

● The Shepherd reveals that he disobeyed the order to kill the infant son of Laius and

Jocasta, and instead gave that baby to the messenger, which means Oedipus did commit

patricide and incest.

● Oedipus realizes that he has fulfilled his awful prophecy, which leads to Jocasta killing

herself by hanging and Oedipus gouging out his own eyes.

● Creon, after consulting an oracle, banishes him from Thebes.

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Other Oedipuses: Greek Tragedy

● There were other versions of the Oedipus tragedies by Aeschylus and Euripides.

● Aeschylus’s version was a thematically connected trilogy about 3 generations: Laius,

Oedipus, Eteocles, and Polynices. Only the third play is extant.

● Sophocles’s play is a standalone tragedy. That focuses attention even more on the

suffering of Oedipus. It is thinking about the catastrophe of a single, isolated individual.

● In contrast, Aeschylus raises issues around the curse of Laius and Oedipus is just one in a

series of disasters.

Homer Sophocles

● Told from the female perspective. ● Gradual revelation of the truth is the
Very succinct. focus of the whole play.
● The gods reveal the truth about ● Oedipus launches an investigation,
Oedipus. taking personal responsibility for
● Oedipus goes on ruling in Thebes finding out the truth.
(although he does so in anguish)- this ● Oedipus is banished after gouging his
suggests he is not viewed with so eyes out.
much horror. ● It shows the total destruction of the
individual who ends up in pathetic
isolation, separated from his family,
his city, and the gods.

1.2A The Plot of Oedipus Tyrannus

Literary Form: Drama

Social, cultural and historical context

● When exploring or performing a play, it is important that its context is understood,

including when and where the play was written and when and where it is set.
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● Context is usually divided into three categories:

○ social - the way people lived and what they believed when the play was written

and set

○ cultural - the arts and popular interests associated with a particular time and place

○ historical - what was happening in the world when the play was written and set

● When rehearsing or studying a play, the context will inform a range of artistic decisions.

For example, the historical context of a play will influence design decisions. A play that

is set in the Georgian era will use costumes and sets associated with that period in history.

Genre and style

● The genre of a play refers to the type of story being told and is decided by the playwright.

The style of a play is how the work is presented on stage.

● For example, a play in the tragedy genre features a serious plot with a sad ending,

whereas a comedy features a light-hearted plot with a happy ending.

● Epic theater, developed by Bertolt Brecht, seeks to educate the audience about political

issues. It uses a range of dramatic devices to remind the audience that they are watching a

play, keeping the audience intellectually and politically engaged, rather than just

emotionally involved or entertained.

● Physical theater, on the other hand, is a style of theater where the storytelling or

emotional content is achieved through physical movement, rather than just dialogue.

● Melodrama is a style that features a highly dramatic plot, an over-the-top acting style, and

stock characters.
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● Many modern plays incorporate a range of different genres and performance styles, each

with its own characteristics. Plays that mix genres and styles like this are known as mixed

forms.

Dramatic Structure

● The structure is how the plot or story of a play is laid out, including a beginning, a

middle, and an end.

● Plays may also include subplots, which are smaller stories that allow the audience to

follow the journey of different characters and events within the plot. Plays also feature an

element of conflict, which does not necessarily mean a fight or argument but instead an

obstacle that needs to be overcome.

● A typical dramatic structure is linear, with events occurring chronologically. This might

include:

○ exposition - introduces background events and characters

○ rising action - a series of events that create suspense in the narrative

○ climax - the part of the story where the suspense reaches its highest part

○ falling action - the main conflict starts to resolve

○ resolution - the conclusion of the story where questions are answered and loose

ends are tied up

● Structures can also be non-linear, with the action of the play moving forwards and back

in time. This is done through the use of flashbacks and flashforwards, to help make the

play more exciting or to highlight points through contrast and juxtaposition.

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● Alternatively, plays may follow a cyclical structure, with the play ending at the same time

as it began. This can be exciting for the audience as they try to work out how the

character ended up in the position they see at the start of the play.

● Traditionally, plays use acts and scenes to help define particular moments in time, and a

new scene will show the audience that the action is taking place in a different location.

● Structures can also be non-linear, with the action of the play moving forwards and back

in time. This is done through the use of flashbacks and flashforwards, to help make the

play more exciting or to highlight points through contrast and juxtaposition.

Sophocles Literary Form: Drama

● Linear structure: A typical dramatic structure is linear, with events occurring

chronologically.

● Quintessentially Athenian

● Grew from ritual

● Unique role of the Chorus

● Aristotle’s critique

1.3 A Context: Greek Theater

5th Century Athens

● The 5th Century BCE represented the classical area in Ancient Greece

● The century opened with the Greco-Persian War

● The century closed with the Peloponnesian War

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Greek tragedy as an art form

● Vase painting and drama were the two great art forms of the classical period.

● The word tragedy comes from the words ‘goat’ and ‘song’. (sacrifice/prize)

● It grew from ritual- the chorus existed first.

● Choruses are also performed at weddings, funerals, and other public occasions.

● Catharsis - cleansing of emotion

Greek Drama = Athenian Drama

● Tragedy was performed once a year at The Great Dionysia. In theory, every (adult, male)

citizen would be present. There would be a sacrifice at the start along with rituals.

● 3 full days of the tragedy. On each day, the audience would see 3 tragedies, all by the

same playwright followed by a satyr (comedy) play.

● Following the performances, a winner would be chosen and a series of political votes

would be held.

● Sophocles won 18 times.

The Theatre Structure

● 20,000 people could watch!

● Skene (back wall) had a small rectangular stage in front of it.

● There were doors on either side; one went to ‘far away’ and the other went to ‘nearby.’

● Theater= literally ‘place for seeing.’

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● Orchestra= literally ‘place for dancing.’

● Chorus performed in the orchestra.

1.4 A Context: Religion

The Greeks were:

● Polytheistic

● Anthropomorphic

● Panhellenic

● Sacrifices and libations

● Religion involved in sporting events and festivals

● Temples dominated the urban landscape

● Mysteries and oracles

● Personal and direct

The Importance of the Chorus

● The Oracle was a fact of life for Ancient Greeks

● Sparta asked to invade Athens in 431 BC

● Herodotus described the role of prophets in the final battle of the Persian War

● Individuals consulted it about life decisions (Xenophon)

● However, beliefs were being challenged in the intellectual fervor of C.5th Greece
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Backlash against prophecy

● Thucydides (the historian) dismisses prophecy

● Euripides (the playwright) regularly attacks it

● Athens was becoming an intellectual center

Notes on Greece and Theater (Knox)

The impact of such a small country on Western civilization

● Greece, as it turns out, was very poor, to me, this is very surprising as the culture built in

it grew well, without seemingly any financial aid.

● According to Herodotus that Greece has always been a “rugged place”

● That the geographical aspects of the land restrict the growth, with it being fertile but

never growing enough grain to feed everyone

● The structure of city-states led to immense competition between each other, thus leading

them to hold sports competitions and compete for glory

● This seems to be what inspired the majority of our society, but nowadays we compete in

sports for money and fame, whereas the Greeks simply did it for glory

The connection between nature, religion, and culture

● The barren mountains of Greece gave them the inspiration to create statues and other

things and gave them materials to develop ideas

● Thus it served as a possible inspiration for their religion and thus their culture

● Children were abandoned on mountains in nature quite often, seems as if it was also a

cultural belief
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● The wine was essential to their religious beliefs through their natural circumstances, they

took what they could get, which was coincidentally grape vines

● In their theaters, they connected with their gods, with actors wearing a mask and for a

second they identified with the masked figure on stage

● Their politics were part of their culture (theater) and thus part of their religion through it

● Everything seems to be interconnected

The concept of city-states

● Thebes was often used as a setting because it was possibly so far away from the rest of

the city-states, thus it was other than the rest of the cities

● The city-states were so separate, but they still united to go against a common enemy in a

time of need, which is fascinating to me

Notes on Introduction (KNOX)

● Sophocles was active in the fifth century BCE and he played a key role in the growth of

Greek tragedy, and the influence of his writings on Western literature and society has

endured.

● "Antigone," "Oedipus Rex," and "Oedipus at Colonus" - are known collectively as the

Theban plays, which are considered to be among Sophocles' greatest works and are still

widely studied and performed today.

● The Theban plays share a lot of common themes and characters and are tied to one

another. They recount the history of Thebes and the sad end of the royal line, especially

that of King Oedipus and his offspring.

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● The plays examine a number of Greek tragedy's fundamental questions, such as the

nature of fate and free will, our relationship with the gods, and the boundaries of human

knowledge and power.

● The plays are also renowned for their examination of gender roles and their presentation

of powerful female characters, especially in "Antigone".

● The plays have been altered and reinterpreted in numerous contexts and are still relevant

today. They provide eternal understandings of the nature of authority, justice, and

morality as well as the human predicament.

1.5A Context: Democracy

In what ways does Knox believe Oedipus can be viewed as an archetypal Athenian?

Oedipus is a man of action and experience, these two are the main characteristics of an

archetypal Athenian. Oedipus's investigation into his past no matter what obstacles stood in his

way and his ability to admit his wrongdoings, thus showing human progress and thus being

viewed by Knox as an archetypal Athenian.

Democracy

● What is democracy? And is there only one interpretation of it?

● Do you believe that democracy truly leads to fair representation for the people?

● How was Athenian democracy different from modern versions of democracy?

● Why would the Athenians have been proud of this political system?
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The Pnyx

● Pnyx means ‘place where people are closely packed together’ as this open-air chamber

could hold around 10,000 people.

● Organized as a semi-circular auditorium, with a speaker’s platform and a terrace used for

seating, this is where politics of all sorts were discussed.

● Citizens were called to the assembly by archers, who stretched a braided rope to guide

them to the Pnyx. The rope was marked with red paint, which rubbed against stragglers

and marked them so they were not paid the nominal stipend for attending.

The Ritual of Tragic Experience

● Tragedy originated in rituals dedicated to Dionysus

● Four major rituals took place before any play. Such as:

1. Sacrifices and Libations

a. Pigs were walked around the theater and then sacrificed in the sacred space. The

10 Generals (the most important political leaders) poured libations (a drink

poured out as an offering to the gods). This was a rare event- experts estimate that

it happened bi-annually.

b. It makes it clear that the theater festival is under the power and control of the city

as a political entity.

c. How would your view of the theater change if before you saw a play the

highest-ranking government officials were on stage doing a religious ritual?

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I would most likely think that the theater had no political aspect to the theater, but

after seeing this it would show the power of the state to control my life more or

less. They are able to dictate what the people see and think.

2. The Parade of the Tributes

a. Slaves came in carrying large lumps of silver, walking them around the theater

and back out again, which were tributes by other states.

b. The foreign ambassadors sitting at the front would watch their tribute be paraded

around, which would have been humiliating.

3. Announcement of the names of people who had been awarded by the state for their

services to the state

a. 5th Century Athens was a fiercely competitive society, with pride and honor at

stake.

b. Ancient sources emphasize this ritual demonstrated how to be a good citizen. This

was not about selfish individualism but about how members of the democracy

could benefit the state.

4. Ephebic war orphans were presented with armor when they reached adulthood

a. They were paraded in their armor in front of everyone. They took the ephebic

oath and swore they would fight and die for Athens as their fathers had. This

relates to what Aristotle tells us about what it means to be a democratic citizen:

you have the right to bear office but also the duty to fight for the state.

b. Almost every able-bodied adult male was a member of the armed forces of

Athens. It was a direct democracy, so they would vote themselves into war.
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Athenians voted themselves into war in almost every year of the fifth century:

there were no 2 years in succession without doing so. War was normal. It was a

warrior state.

● Each of these four rituals has a role in projecting an idea and ideal of what it means to be

a democratic citizen in Athens. You need to be prepared to recognize the military and

political prowess of the state and be prepared to fight and die for the state.

● The Athenians were glorifying the democratic nature of the state of Athens. Making

people feel like they belong. Sharing the ideology of the city. Scholars have differing

opinions about how the Athenians sought to do this.

1.6 Context: The Chorus

● Choruses were present at nearly every significant life event in Greek society, the drama

would have been unimaginable without the chorus.

● The chorus was to pass on accepted wisdom and speak on behalf of the community.

● Most 5th-century Greek citizens participated in the chorus themselves. At the Dionysia,

there was a chorus of 15 in each tragedy, 24 in each comedy, and a chorus for the

dithyramb (50 men and 50 boys from each tribe.)

● Plato defines the uneducated man as the one who has not performed in a chorus (Laws),

claiming that, through participation in the chorus, the young man learns how to be part of

the community and how to relate to events in real life.

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● Very rich citizens were taxed by being asked to fund something beneficial for society-

they could be asked to fund a tragedy or comedy or dithyrambic chorus with the

benefactor being called the choregos.

● The formal announcement to signal the start of the play (there were no curtains to go up)

was: ‘Bring on your chorus!’ because they would not be called out until 100 lines or so.

Analysis of a Choral Ode (Parados)

The purpose of the first choral ode is to establish the context and setting of the play. It also

serves to introduce the chorus as a character in its own right and to give the audience a sense of

the chorus's role as a commentator on the action of the play.

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The ode also foreshadows the theme of blindness that runs throughout the play, as the chorus

sings about how the people of Thebes have been blinded to the truth and are in need of someone

to guide them. It discusses the fact that the citizens held Oedipus on a pedestal, and are now

asking for the help of the gods, Zeus, Artemis, Apollo, and Athena.

The language and style of the first choral ode are highly poetic and metaphoric. The chorus uses

the imagery of sickness, death, and darkness to convey the despair of the people of Thebes. The

ode is also highly musical, with the use of choral singing and repetition of phrases.

The impact of the first choral ode on the audience would be to create a sense of foreboding and

unease. Especially since Oedipus addresses the chorus itself as a singular entity, the audience

gets a feeling of who Oedipus is as a leader, and this adds to the idea of the “tragic hero” and

establishes the characterization of Oedipus. The imagery of sickness and darkness creates a bleak

and ominous mood, and the use of repetition and poetic language emphasizes the gravity of the

situation. The ode also establishes a sense of the supernatural and the divine, as the chorus sings

about the gods and their power over human fate.

Themes

● Fate vs. Free Will*

● Guilt and Shame

● Sight vs. Blindness

● Finding out the truth / the search for the truth

● Action vs. Reflection

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HL Essay Notes

Essay 1

● Introduction:

○ Thematic opener including quotes and information from Knox, Pericles in

Thucydides, thus solidifying points.

○ Thesis statement discusses Athenian values with points being Sophocles’ use of

dramatic irony, characterization, and symbolism throughout the play.

● Paragraph 1:

○ Discusses the use of dramatic irony in Oedipus’ character and the deeds that he

has done.

○ Talks about the effect of words on the audience, using quotes to strengthen points.

● Paragraph 2:

○ Talks about the Athenian value of truth

○ Use of specific terminology and the effect (9 elements of styles, etc.)

○ Continues to use quotes and effect on the audience

● Paragraph 3:

○ Comparison between Creon and Oedipus to show differences in Oedipus’ temper

and characterization

○ Continues to make reference to Athenian values and consistent quote usage

● Paragraph 4:

○ Characterization of the chorus

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○ Athenian values in terms of Oedipus’ character

● Paragraph 5:

○ Symbolism of the crossroads in showing Oedipus’ power over his fate

○ Fully reveals Oedipus’ character and continues to make in-text references

● Paragraph 6:

○ Symbolism of eyes - Athenian value of accountability

○ Discusses Oedipus gouging his eyes out and the impact of this on the audience's

perception of him

● Conclusion:

○ Repeats the thesis and discusses Athenian values

○ Connects to the previous mention of contemporary, discussing today’s value of

the play

Essay 2

● Introduction:

○ Thematic opener discussing the value of Oedipus as an adaptation made by

Sophocles

○ Thesis discusses religious debate and effect on the audience using the given

question of dramatic irony, symbolism, and conventions of Greek tragedy

● Paragraph 1:

○ The use of dramatic irony to explore agnosticism and religion

○ Use of constant quotes to prove point and use of relevant vocabulary (didacticism)
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○ Effect on the audience and different interpretations to explore the topic further

● Paragraph 2:

○ Talks about symbols such as swollen ankle and crossroads

○ Bound feet = bounding to his fate

○ Triple crosswords = unraveling of his hamartia and the unraveling of his fate

○ Summation at the end

● Paragraph 3:

○ Peripeteia and anagnorisis happening at the same time (use of vocabulary)

○ Explores religion and refers to example

○ Talks about elements of style

● Conclusion:

○ Summarizes text, making points regarding religion and punishment of Oedipus

○ Refers to the debate of whether Oedipus’ fate was due to the prophecy or his

actions

○ Revises thesis

1.7 A Introduction to Poetics + Exploring Hamartia

In their argument, Tiresias denies telling Oedipus the truth, with their dialogue being outlined

using stichomythia thus heightening the intensity. This denial of truth leads to Oedipus’ hamartia

show, showing his ignorance towards Tiresias' own choice to not reveal the truth, leading to

hubris. He insults Tiresias to which he jabs back and his hamartia further pushes Tiresias to deny

him the truth.

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1.8 A Symbols and Oracles

Swollen Ankles

● Oedipus’s name can literally translate to ‘swollen foot’- he has a lifelong foot deformity-

and Jocasta says she ‘fastened’ her son’s ankles.

● His physical injury represents a fate he cannot escape and the fastening suggests he has

been constrained since birth.

● Written by Terence Turner: “the structural imperfection of his situation is symbolized by

his crippled feet: he can walk, but not as well as naturally ‘whole’ man”

● Oedipus is not a whole man as his father wounded him as a child, you cannot be a whole

man without a father in ancient Greece

● His limp is his stigmata

● He starts as an outcast, then a ruler, and finally a wandering suppliant

● Since his birth all locomotion had been misdirected and blind, he will never truly

understand his own real nature

● In the play Oedipus self-blinding is a symbolic reenactment of his earlier wounding, with

the messenger in Greek using the same word for joints

● His self-blinding completes the tragic pattern, his two wounds come together in the

middle of his life

Crossroads

● The place where Laius was killed is a triple crossroads.

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● Usually, crossroads metaphorically represent a choice we have to make, but here they

represent the fate of Oedipus being fulfilled.