Plot
Act One
The play opens with a fearful Oedipus lamenting a vicious plague which is affecting Thebes, the city over which he rules. People are dying in such huge numbers that there are not enough of the living to ensure that each of the victims is cremated. He also mentions a prophecy that he had received from Apollo before he came to Thebes that he would kill his father and marry his mother. He had thus fled the kingdom of his father Polybus. However, Oedipus is so disturbed by what is occurring in Thebes that he even considers returning to his home city. But Jocasta strengthens his resolution, and he stays.
Act Two
Creon returns from the Oracle at Delphi with the instruction that Thebes is required to avenge the death of the former King Laius if the citywide plague is to end. Oedipus utters an ironic curse on the yet unrevealed killer, wishing for him "the crimes that I have fled from". The prophet Tiresias appears and is asked by Oedipus to make clear the meaning of the oracle. Tiresias then proceeds to carry out a sacrifice, which contains a number of horrific signs. As Tiresias does not have the name of King Laius' killer, he proposes to summon Laius' spirit back from Erebus to learn the identity of the guilty one.
Act Three
Creon returns from seeing Tiresias after he has spoken to Laius' ghost, but is unwilling to reveal to Oedipus the killer's name. Oedipus threatens him, and then Creon relents. He says Laius accuses the king of having blood on his hands, and who "has defiled his father's marriage-bed". He goes on to say that Laius promises the plague will cease if the king is expelled from Thebes. Creon advises Oedipus to abdicate, but Oedipus believes that he has invented this story, along with Tiresias, in order to seize his throne. Despite Creon's protestations of innocence, Oedipus has him arrested.
Act Four
Oedipus is troubled by the faint memory of a man whom he had killed on the road for behaving arrogantly before him while Oedipus was travelling to Thebes. An elderly messenger comes from Corinth to tell Oedipus that his father King Polybus has died and for him to come and take his throne. Oedipus does not want to return as he still fears the prophecy that he will marry his mother. The messenger then tells him that Corinth's queen is not his mother, and that he was given Oedipus as a baby on mount Cithaeron. Oedipus then learns, after threatening the shepherd that gave him away, that he is in fact Jocasta's son.
Act Five
A messenger relays the news that Oedipus contemplated suicide and wanted his body flung to wild beasts; but then Oedipus decided that his crime deserved something even more horrible, on account of the suffering Thebes has endured. He resolved to find a slow death for himself. He craved a punishment in which he would neither "join the number of the dead nor dwell among the living". The messenger goes on to explain how Oedipus tore out his eyes with his hands. The chorus question fate, each person's "commanding thread of life", and then hear Oedipus entering. He appears with both eyes removed and is confronted by Jocasta. She realises from his action that she, too, must punish herself for her crimes. While on stage, she takes his sword and kills herself with it.
Reputation
During the English Renaissance in Elizabethan England, Oedipus, along with Seneca's other plays, was regarded as a model of classical drama. [6] The translator Alexander Neville regarded the play as a work of moral instruction. He said of the play: "mark thou ... what is meant by the whole course of the History: and frame thy lyfe free from such mischiefes". [7] The influential early 20th Century French Theatre critic Antonin Artaud considered Seneca's Oedipus and Thyestes models for his Theatre of Cruelty, originally speaking and writing about Seneca's use of 'the plague' in Oedipus in a famous lecture on 'Theatre and the Plague' given at the Sorbonne (April 6, 1933) and later revised and printed in "Nouvelle Revue Française" (no. 253, 1 Oct. 1934).
In recent times, A. J. Boyle in his book Tragic Seneca: An Essay in the Theatrical Tradition (1997) rejects the criticism of T. S. Eliot that Oedipus, like the other plays of Seneca, is simplistically peopled by stock characters. He says that "In the Oedipus, for example, it is hard to name any stock character except the messenger." [8] The play, particularly with its theme of one's powerlessness against stronger forces, has been described as being as "relevant today in a world filled with repeated horrors against those who are innocent, as it was in ancient times". [9] In 2008, translator Frederick Ahl wrote that in comparison with Sophocles's Oedipus the King, Seneca's version of the myth "is today among the least commonly read of ancient tragedies, largely because the scholarly world regards it as a dull and vastly inferior work". [10]
Antigone is an Athenian tragedy written by Sophocles in 441 BC and first performed at the Festival of Dionysus of the same year. It is thought to be the second oldest surviving play of Sophocles, preceded by Ajax, which was written around the same period. The play is one of a triad of tragedies known as the three Theban plays, following Oedipus Rex and Oedipus at Colonus. Even though the events in Antigone occur last in the order of events depicted in the plays, Sophocles wrote Antigone first. The story expands on the Theban legend that predates it, and it picks up where Aeschylus' Seven Against Thebes ends. The play is named after the main protagonist Antigone.
Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.
In Greek mythology, Eteocles was a king of Thebes, the son of Oedipus and either Jocasta or Euryganeia. Oedipus killed his father Laius and married his mother without knowing his relationship to either. When the relationship was revealed, he was expelled from Thebes. The rule passed to his sons Eteocles and Polynices. However, because of a curse from their father, the two brothers did not share the rule peacefully and died as a result, ultimately killing each other in battle for control of the city. Upon his death, Eteocles was succeeded by his uncle, Creon.
In Greek mythology, Polynices was the son of Oedipus and either Jocasta or Euryganeia and the older brother of Eteocles. When his father, Oedipus, was discovered to have killed his father and married his mother, he was expelled from Thebes, leaving his sons Eteocles and Polynices to rule. Because of a curse put on them by their father Oedipus, the two sons did not share the rule peacefully and died as a result, killing each other in battle for control over Thebes.
Creon, is a figure in Greek mythology best known as the ruler of Thebes in the legend of Oedipus.
In Greek mythology, Jocasta, also rendered Iocaste and also known as Epicaste, was a daughter of Menoeceus, a descendant of the Spartoi Echion, and queen consort of Thebes. She was the wife of first Laius, then of their son Oedipus, and both mother and grandmother of Antigone, Eteocles, Polynices and Ismene. She was also sister of Creon and mother-in-law of Haimon.
In Greek mythology, King Laius or Laios of Thebes was a key personage in the Theban founding myth.
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus, or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation.
Oedipus at Colonus is the second-last of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles's death in 406 BC and produced by his grandson at the Festival of Dionysus in 401 BC.
Peripeteia is a reversal of circumstances, or turning point. The term is primarily used with reference to works of literature; its anglicized form is peripety.
The Phoenician Women is a tragedy by Euripides, based on the same story as Aeschylus' play Seven Against Thebes. It was presented along with the tragedies Hypsipyle and Antiope. With this trilogy, Euripides won the second prize. The title refers to the Greek chorus, which is composed of Phoenician women on their way to Delphi who are trapped in Thebes by the war. Unlike some of Euripides' other plays, the chorus does not play a significant role in the plot, but represents the innocent and neutral people who very often are found in the middle of war situations. Patriotism is a significant theme in the story, as Polynices talks a great deal about his love for the city of Thebes but has brought an army to destroy it; Creon is also forced to make a choice between saving the city and saving the life of his son.
The Infernal Machine, or La Machine Infernale is a French play by the dramatist Jean Cocteau, based on the ancient Greek myth of Oedipus. The play initially premiered on April 10, 1934 at the Theatre Louis Jouvet in Paris, France, under the direction of Louis Jouvet himself, with costumes and scene design by Christian Bérard. The Infernal Machine, as translated by Albert Bermel, was first played at the Phoenix Theatre, New York, on February 3, 1958, under the direction of Herbert Berghof, with scenery by Ming Cho Lee, costumes by Alvin Colt, and lighting by Tharon Musser.
Œdipe (Oedipe) is an opera in four acts by the Romanian composer George Enescu, set to a French libretto by Edmond Fleg. It is based on the mythological tale of Oedipus, as told by Sophocles in Oedipus the King.
The heroic drama Oedipus: A Tragedy, is an adaption of Sophocles' Oedipus Rex, written by John Dryden and Nathaniel Lee. After being licensed in 1678 and published in 1679, it became a huge success on stage during the Restoration period.
Oedipus Rex is a 1967 Italian film directed by Pier Paolo Pasolini. Pasolini adapted the screenplay from the Greek tragedy Oedipus Rex written by Sophocles in 428 BC. The film was mainly shot in Morocco. It was presented in competition at the 28th Venice International Film Festival. It was Pasolini's first feature-length color film, but followed his use of color in "The Earth Seen from the Moon" episode in the portmanteau film The Witches (1967).
Polybus is a figure in Greek mythology. He was the king of Corinth whose wife was variously referred to as Periboea, Merope or Medusa, daughter of Orsilochus.
Antigone is a 1961 Greek film adaptation of the Ancient Greek tragedy Antigone by Sophocles. It stars Irene Papas in the title role and was directed by Yorgos Javellas.
Oedipus rex is an opera-oratorio by Igor Stravinsky, scored for orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's tragedy, was written by Jean Cocteau in French and then translated by Abbé Jean Daniélou into Latin; the narration, however, is performed in the language of the audience.
Oedipus is a play by the 5th-century BCE Athenian dramatist Euripides. The play is now lost except for some fragments. What survives of the play covers similar ground as Sophocles' acclaimed Oedipus Rex, but scholars and historians have found there are significant differences. In Oedipus Rex, the title character blinds himself upon learning his true parentage, accidentally killing his father and marrying his mother Jocasta. In Euripides' play, however, it appears Oedipus is blinded by a servant of his father Laius, Oedipus' predecessor as king of Thebes. Furthermore, Euripides' play implies Oedipus was blinded before it was known that Laius was his father. Also, while in Sophocles' play Jocasta kills herself, remaining fragments of Euripides' play depict Jocasta as having survived and accompanied Oedipus into exile.
In Greek mythology, Merope was a Queen of Corinth, and wife of King Polybus. In some accounts, she was called Periboea.
