Sophocles’ “Oedipus the King”, Essay Example

“Oedipus the King” through the Lens of Aristotle’s Poetics

One of the key components of Sophocles’ “Oedipus the King” is the Oracle at Delphi. Like many Greek tragedies and other legendary tales, “Oedipus” begins in media res, with much of the backstory of Oedipus waiting to be revealed; this structure means that Oedipus’ personal revelations during the story mirror those offered to the audience. At the heart of the story of Oedipus the King is the aphorism carved on the entrance to the Temple of Apollo at Delphi, which states (along with other sayings) “know thyself.” This instructive and philosophically significant statement is particularly resonant in the story of Oedipus, as the ultimate tragedy of his life was that he did not know himself, and thus was fated to fulfill the prophecies that he would murder his father and marry his mother.

The story of Oedipus serves as a classic example of Aristotelian tragedy, as it contains many of the specific elements and concepts necessary for great tragedy that Aristotle described in his Poetics. Aristotle believed that tragedy involved mimesis, or imitation of an action. This differs from narrative, and in the mimesis of “Oedipus the King,” the story is representative of grand ideas about fate and the order of the universe. The tale of Oedipus is not just a story; it is an allegory for the way that fate can determine a person’s destiny no matter how hard he or she might attempt to subvert their fate. In this sense, then, Oedipus also contains dianoia, or theme; in the case of Oedipus the theme is the inexorable pull of fate.

Throughout the story, Oedipus attempts to shake off the fate that he has been told awaits him. And throughput the story, Oedipus is blind to his own nature, and to the truth about his birth, his lineage, and even his own actions.  The ethos, or character, within “Oedipus the King” is, like many Greet tragedies, exemplified in the actions and motivations of the characters. These tragic characters and those who are affected by the tragedy are presented in broad strokes with a minimum of extraneous detail. This was to some extent a function of the form; as these tragedies were generally brief, it was important to ensure that audiences could understand the motives and drives of the characters. With these elements in place, the core principle of mythos –in essence, the story or action of the play- can unfold.

Aristotle outlines several paths the stories within tragedies can follow; each centers on some form of pathos, or suffering. Aristotle further describes several directions in which stories can move; these are typically stories that begin well but end badly or that begin badly but end well. It is clear that “Oedipus the King” is an example of the former, in the sense that he is depicted in a position of good fortune at the beginning of the play, and by the end he is driven nearly mad with grief. The path taken by Sophocles depicts pathos occurring in the life of Oedipus, but Oedipus is ignorant of this pathos until the concluding moments of the story. Examples of this pathos-in-ignorance are scattered throughout the play, beginning in the opening scene. As the priest beseeches Oedipus about the disease plaguing the city, Oedipus informs him that he has sent his brother-in-law Creon to ask the Oracle for assistance or insight. Creon tells Oedipus that the murder of the previous king “brings on the storm which blasts our state.” As Oedipus and viewers will discover, the murder of the king was at Oedipus’ own hands, just as his fate decreed it would be.

Further elements of Aristotelian tragic elements can be seen throughout the play.  The character of Tiresias , the “god-like prophet,” is asked by Oedipus if he knows who committed the murder. Tiresias, who is blind, refuses to answer, and instead laments “how dreadful it can be to have wisdom when it brings no benefit.” In addition to bolstering the notion that Oedipus does not know himself –a revelation that will come later- there is clearly a measure of dramatic irony involved in the fact that Tiresias is physically blind, but can see the truth, and Oedipus is physically sighted, but is ignorant of his own truth, and of the pathos that has and will continue to beset him.

Oedipus’ ignorance of his birth and family lineage serves as his hamartia, or fatal flaw. Oedipus, in attempting to subvert the warning that he will murder his father and marry his mother, leaves the home of his adoptive parents, thinking that they are his real parents, and thus putting distance between himself and them will allow him to avoid fulfilling the prophecy of his fate. Of course, soon after leaving home he encounters the king –his real father- at the crossroads and murders him and all of his companions except for one. As the story builds momentum, Oedipus continues to take steps he believes will allow him to avoid fulfilling his fate. When a messenger informs Oedipus that his adopted father has died, Oedipus believes –at first- that the man was his real father. As more is revealed about his life, Jacosta, Oedipus’ mother and wife- has a moment of anagnorisis, or recognition, as she realizes the truth. When Oedipus himself finally learns the truth, he is overwhelmed with grief at the realization that he had killed his father, married his mother, and succumbed to his fate.

The expository structure of “Oedipus the King” allows the truth to be revealed both through action and through the words of the chorus. As the truth of Oedipus’ story comes to light, the chorus proclaims, “poor wretched Oedipus, your fate stands here to demonstrate for me how no mortal man is ever blessed.” In the ultimate moment of catharsis, as Oedipus understands what he has done, he attempts to purge himself of his tragedy by blinding himself and demanding to be cast out. For his entire life, Oedipus did not know himself, and was unable to see himself; in the final cathartic act, when he could finally see himself, he was so overwhelmed that he wanted never to see, or be seen, again.