oedipus rex ppt

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Alvarez, Mary Joy Baldomero, Yunisa J. Bohol, Jhoanna Marie O. Falcasantos, Kreanne L.

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Alvarez, Mary JoyBaldomero, Yunisa J.

Bohol, Jhoanna Marie O.Falcasantos, Kreanne L.

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Significance of the Story

Author’s Background

ConclusionsPresenter’s Insights

Title

Elements of the story

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It has been the case throughout history the stories are indicative of a society's culture and values. In Sophocles' Theban tragedy Oedipus Rex, Oedipus

struggles to assert his will against his fate set forth by the gods, and in doing so reveals the values of the Greeks in the period of the play's

composition. Through Oedipus' words actions and the words and actions of his fellow Thebans, the ideals of the Greeks concerning governance and society, as well as Greek ideals concerning fate and man's relationship with the Gods are told to the observer. Thus, though it is a single work,

Oedipus Rex unveils much about ideas and philosophies.

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Of the topics touched upon in Oedipus Rex, governance takes some prominence, no

doubt since the central figure of the drama, Oedipus, is a king. Greeks had the strong belief that reason should be the defining

characteristic of a ruler, and the subject is touched upon lightly in the text. For

instance Creon when Oedipus hotly accuses him of misdeeds toward asserts strongly "If

you think that stubbornness is of value apart from reason, you are a madman!" (Sophocles, 574-575) Creon in essence

accuses Oedipus of being irrational, letting his anger over a perceived wrong drive his

mind away from Socratic reason.

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Similarly the Chorus, who sometimes in Greek tragedies speaks as the voice of reason,

says this about kingship and tyranny, "Audacity sires the tyrant-audacity, if filled up rashly with all excess neither timely nor

useful, scaling the highest eaves rushes into precipitous necessity where it suffers from

its ill placed foot." (Sophocles, 902-907) The words "rashly" and "audacity" are obviously not synonymous with reason, as well as the phrase "it suffers from its ill placed foot".

Here the Chorus seems to comment on Oedipus' actions in attempting to find out the truth of the plight affecting Thebes,

seemingly saying he his not acting a proper governor should. To sum up the point, the

Greeks held reason to be the greatest gift of man, and therefore a tyrant's actions should

be governed by reason.

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As with many ancient societies, one's birth or blood was important in the Greek society of

Sophocles, but not absolute in terms of Greek governance. This is plane in Oedipus

Rex, since the king spends much of the drama seeking the truth to his descent. The king when angered by the prophet Tiresias orders him to leave. To which the blind seer retorts "Men like myself are born, to your

eyes, fools, but to the parents who bore you we seem wise." Oedipus is quick to exclaim

"To whom? Wait! Who on earth are my parents?" indicative of the importance he

places on his lineage. (Sophocles, 458-460) He reiterates later the importance of the question when he discovers he is not the

son of Polybus, the late King of Corinth. "Let it all burst out, if it must! As for me, though

it be small, I wish to know my stock.

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But she (Jocasta) since a woman is proud of such things is troubled by this low birth of mine."

(Sophocles, 1104-1106) His resolution to find his ancestry, and his reaction to Tiresias' words about

his parents, clearly shows that a Greek placed value on the lineage of man, or indeed a woman,

as Oedipus' comment about Jocasta reveals. However one's blood was not necessarily critical

to be a king. Immediately following the previously mentioned lines, Oedipus speaks, "But I deem

myself a child of Chance, who gives good things, and I will not be dishonored." (Sophocles, 1107-1108) In essence, Oedipus claims that though he may not be of regal inheritance but fate (i.e. the

gods) has placed him in his position, and therefore he is fit to be King of Thebes. To sum up the point, it was clearly important to the Greeks

who they are descendant from, but as with Oedipus not absolute for ruler.

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The Chorus, in essence, says that such crimes are especial heinous, as the

"Furies" themselves were deities that punished such transgressors. But the

most compelling as to the Greeks perception of acts against family is the

fate of Oedipus and his and mother Jocasta. Oedipus, unable to bear the

shame of what he has done gouges out his own eyes because, for as he says "For why must I see, I for whom no sight is sweet." (Sophocles, 1364-1365) Jocasta, his wife

and mother, kills herself over the horror of what she has sired. Such acts can only say how important family was to Greeks, as it was to other peoples in his ancient world.

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While governance and societal values take some precedence in Oedipus Rex, arguably more central and integral are the topics of fate and man's relationship with the god's themselves. One inescapable fact of Greek

culture was the god's were in control. This is seen early on since what spurns Oedipus into his detective story to find the truth of himself

is the plight of Thebes sent upon them the gods. As the Priest when conversing with Oedipus says, "Falling upon us, the fire-

bringing god, most hateful disease, drives the city, and by him the house of Cadmus is drained, and dark Hades grows rich with

groans and wails." (Sophocles, 30-33) Oedipus in trying to seek the truth was

hoping to appease the gods so they would lift the plague from the city.

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As the Priest also says, "But may Phoebus who sent these prophecies come at once

as savior and stayer of disease!" (Sophocles, 160-161) Though Oedipus

heroically struggles against his destiny; he as well still acknowledges the supremacy of the gods. "You have spoken justly, but no man can compel the gods when they

are unwilling." (Sophocles, 291-292) Very humble words coming from a man who is supposed be a tyrant. This reveals how central the gods were to Greek as well.

That beings said to offend was something that merited harsh punishment. Oedipus,

unaware that the offender is himself declares:

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I ban this man, whoever he is, from all land over which I hold power and the throne. I decree that no

one shall receive him, nor make him partner in prayers to the gods or sacrifices, nor allow him holy

water; but instead that everyone must expel him from their homes as the man is the source of our pollution, as the oracle of Pytho has revealed to

me. (Sophocles, 240-249)Irony abounds in tragedy, but that aside such a

condemnation from a king shows how much influence the gods held over Greek society and

even governance. Oedipus goes as far as to damn the criminal from worship, that "no one shall

receive him, nor make him partner is prayers to the gods…" and further, "but instead everyone must

expel him from their homes." Such ostracism is of the heaviest sentences in the Greek world, as shows the severity of the crime. Clearly to the

Greeks, no matter the actions of mortal men on Earth, the gods rule.

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Of all the themes in Sophocles' Oedipus Rex, fate is the most profound. Oedipus' struggle

against his fate, as has been mentioned throughout this essay, is arguably the primary conflict of play. Oedipus' story

demonstrates the Greek belief that men were bound by fate no matter how they

fought against it. The Chorus again acting as the voice of reason comments on fate,

"What man can protect himself, warding away the shafts of anger when such things happen?" (Sophocles, 921-922) The Chorus in essence asks what man can control fate. But more indicative are the events the play

itself. Laius, the late King of Thebes in attempting to avoid his fate of his son murdering him sends his son away.

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But instead insures his son would return and kill him. Oedipus hearing his fate leaves so he would not kill his father, as he says "I heard and fled henceforth to share with

Corinth only the stars, where I would never see completed the disgrace of those evil

oracles of mine." (Sophocles, 822-825) But in doing so he ensures the prophecies would

be realized. In end all the prophecies that had been heard from the Delphi Oracle came true. The idea even great kings of men, like

Oedipus are bound by this cosmic force called fate, is extremely powerful. It

illustrates the profundity of fate in Greek life. The last lines of the play spoken by the Chorus show the Greeks sentiments toward

fate:

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People of our country Thebes, behold this Oedipus, who knew the famous riddle and was a most powerful man, whose fortunes all citizens watched with emulation, how deep the sea of dire misfortune that has

taken him! Therefore, it is necessary to call no man blessed as we await the final day, until he has reached the limit of life and

suffered nothing grievous. (Sophocles, 1550-1559)

The utter pessimism of this lines implies the importance of fate to the Greeks Fate is so present in the tragedy of Oedipus that it

itself is almost its own character. Man was ruled by his fate and could not escape it.

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Oedipus Rex is the story of a king of Thebes upon whom a hereditary curse is placed and

who therefore has to suffer the tragic consequences of fate. During a time of plague, fires, and other forms of decimation, Oedipus

decides to take action to restore life and prosperity to his kingdom, only to discover

through this quest that his identity is not what he thought. He learns that he has killed his

father, married his mother, and had children with her; his wife−mother Jocasta kills herself,

and Oedipus blinds himself and goes into exile; his uncle. Creon becomes King of

Thebes.

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Another theme in the play is the distinction between the

truthfulness of oracles and prophecies of the gods (fate), as

opposed to man's ability to influence his life's trajectory

through his own actions (free will or self−determinism).

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Ever since Aristotle's high praise regarding its structure and characterization in his

Poetics, Oedipus Rex has been considered one of the most outstanding examples of tragic drama. In tragedy, a protagonist

inspires in his audience the twin emotions of pity and fear. Usually a person of virtue

and status, the tragic hero can be a scapegoat of the gods or a victim of

circumstances. Their fate (often death or exile) establishes a new and better social

order.

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Not only does it make the viewer aware of human suffering, tragedy illustrates the

manner in which pride (hubris) can topple even the strongest of characters. It is part of

the playwright's intention that audiences will identify with these fallen heroes−and possibly rethink the manner in which they

live their lives. Theorists of tragedy, beginning with Aristotle, have used the term catharsis to capture the sense of purgation

and purification that watching a tragedy yield in a viewer: relief that they are not in

the position

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The dramatic structure of Greek drama is helpfully outlined by Aristotle in the twelfth book of Poetics. In this classical

tragedy, a Prologue shows Oedipus consulting the priest who speaks for

the Theban elders, the first choral ode or Parodos is performed, four acts are presented and followed by odes called stasimons, and in the Exodos, or final act, the fate of Oedipus is revealed

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The play has a single unified plot. It is presented like a detective play which is like an investigation into the cause of

the plague. The play therefore commences as a search and proceeds as a search until the messenger from

Corinth arrives. The events of the play run chronologically and causally from

the beginning to the end. The incidents have causes and consequences (interdependence of incidents).

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Born in 495 B.C. about a mile northwest of Athens, Sophocles was to become one of the great playwrights of the golden age.

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is one of three ancient Greek tragedians whose plays have survived. His first plays were written later than those of Aeschylus, and earlier than or contemporary with those of Euripides. According to the Suda, a 10th century encyclopedia, Sophocles wrote 123 plays during the course of his life, but only seven have survived in a complete form: Ajax, Antigone, The Women of Trachis, Oedipus the King, Electra, Philoctetes and Oedipus at Colonus.

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In conclusion Oedipus's duel wit the fates displays, with poetic wit, the values of the Greeks in the era of its composition. Oedipus' and his fellows' actions exemplified Greek values toward their society, as well as their ideas of ate the gods themselves. Oedipus' fight against his fate, his attempt to try an escape his doom reveals the merits and values of Greek society. His tragic rise and fall, from King of Thebes to a blind vagabond, shows the supremacy of fate and gods in the Greek World. In that sense his fall is the jewel of the tragedy, for how can there be a greater hero than the one that fights a battle he is sure to lose?

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While lineage was important, one's family or kinsmen was integral, a fact that Sophocles'

drama clearly asserts. Family was critical and thus crimes against family were irreprehensible.

For instance, when Oedipus comes to believe that Creon sent the Tiresias to him as a ploy to gain

the rule of Thebes he is enraged beyond reason, which as discussed earlier was considered

integral to the Greeks. Oedipus says this in his confrontation with Creon, "If you (Creon) think a

man that does his kinsman ill will not pay the price, you are fool." (Sophocles, 576-577) Calling

Creon a fool indicates Oedipus' anger over the perceived betrayal of his adopted relative. And why would he be angry if it was not considered horrendous act to plot against one's own? The

Chorus after Tiresias' revelation of Oedipus' own acts against his family comments upon sins

against kin:

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Who was it the oracles-speaking rock of Delphi saw committing the most

unspeaking acts with red hands? Now, stronger than swift-footed horses, he must deftly move his foot in flight. For in arms against him leaps the son of

Zeus with fire and lightning and, following after him the terrible unerring

Furies. (Sophocles, 486-496)

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