Oedipus Rex: a critical literary review - Research Paper Example

6 February Oedipus Rex: A critical Literary Review Introduction What is Literature? Is it just language as it is learnt in school or is it a perception or an art form? This language is also closely connected to the human mind. The human mind interprets the sounds and sights and smells that it experiences. Literature is based largely on the times and gets popular based on what people liked and felt at that particular period of time. In that sense as Northrop Frye (1964) mentions, literature gets left behind when science and the arts move forward into the realm of development and advancement. Shakespeare, Yeats and especially Sophocles who this article is based on, each brought their own thought and imagination to whatever controversy, religious beliefs or fascism that existed at the times that wrote. In this article we examine the work of Sophocles works mainly Oedipus Rex. Considered as one of his foremost works and the epitome of Greek Tragedy in its description, dialogues, songs and storyline the play articulates the pathos and morals existent of the times. A writer uses many different aspects in his book, literary rules and licenses to bring forth with force what he is trying to convey. This article examines the book in relation to the critical principles posited by Northrop Frye in his book The Educated Imagination 1964, and how Oedipus Rex falls into the different categories and thus, serves to prove that Literature largely has not changed over the years and rather just evolved based on the social times in respect to content and controversies. The article is thus evaluated based on the key points raised by Frye The Motive of Metaphor The Singing School Giants in time The Keys to Dreamland The Motive of Metaphor Frye explains in simple terms how a metaphor can be distinguished from Simile, as one of being an analogy and other a likeness (Frye, 1964, p. 32). Such a simple concept of expression has been exploited and taken to its most ultimate form by Greek tragedies. As a whole, Greek tragedies are imbibed with culture, feeling of righteousness and the fears of the time. One can feel the grip of the society in the thoughts of man and religion. At times these analogies and likeness as seen in Greek Tragedies can be violent and quite disturbing to the modern mind and heart. As Albert Henrichs states in his article Drama and Dromena Greek tragedy is not for the faint of heart. Sophocles is also true to tradition describing Oedipus life as one filled with anguish, sorrow, violence and rigorous choices. There is an abundance of metaphor’s rather than simile in his works as an assumption by Sophocles that the reader understands the analogy as it is based largely on the times. He refers to plague and disease as the fire bringing God establishing the Greek ways of noting Gods in different images and forms for good and evil. Allusion is greatly present in Sophocles works used to give an imagery of the times. The reference of life and society land and state as ship is brought forth in the lament referring to Oedipus as the Pilot of the Ship. In all of Sophocles works the intelligent use of allusion is evident. God and Land are all personified and take part in dialogue, songs and laments. Crime and sin are all grouped under pollution and referred to as such. Oedipus Rex therefore, falls under the context of Classical literature in its following of the basic rules of poetry, imagination, interpretation and allusions. The Singing Choir Literature can only derive its forms only from itself: They can’t exist outside Literature, any more than musical forms like the Sonata and Fugue can exist outside music. (Frye 1965, p.43) Here, Frye refers to the form of a classic Greek tragedy. Typically, a tragedy in Greek theatre has tragic hero who is usually a paragon of virtue and not a villain who knowingly commits crime or atrocities, but is rather an innocent victim of circumstance. This pathos is further exonerated by referring to the hero of the drama, Oedipus in this case as a great kind and a boon to the land. It is repeated through out in the words of Oedipus and that of the people and the land itself which in Sophocles plays has a voice. The imagery created out of a 3-character play is for the readers’ benefit to have an idea of the culture, religious beliefs and the worship of the people in those days. An introduction to Greek culture is metaphorically alluded to in many parts of the play. The priest in the depiction of the tragedies facing Cadmus regales Oedipus name referring to him as the greatest in the eyes of all and their saviour. Oedipus is referred to as all seeing who has intuitive mind and instinct and one who comes forth to his people in times of sorrow without being beckoned. Oedipus in his dialogue also puts his people’s land in front of his own when he refers to his own struggles with the search for clarity (which in this particular story is for his lineage), but puts his people troubles before himself and calls their pain more important that than of his own soul. Oedipus as their saviour from the Sphinx is never forgotten through out the play and is stressed by self and the people through out the drama, even through the last scene, showing him as a convicted man who has sinned and as the man who caused the pollution of the land. As Frye mentions earlier in the book the strong feelings of what the people want is manipulated in Greek tragedies. The audience wants to leave the plays feeling sympathy for the main character. The advent of unfortunate events is what evokes the tragic note in the play. Oedipus Rex is a series of laments, again characteristic of Greek tragedies, of the sadness in his life. The tragedy of his very life is exonerated by the tragedy of the entire play. The prophecies of the Oracles shown as a test to the greatness of their king, the saviour of their land, ironically are also responsible for the terrible state of their suffering It has all the makings of a classic tragedy with its visual imagery of a dark and dreary setting, still born children and the imagery of the women as suppliants wanting justice for their still born children. The character of Oedipus, which is built on complexities of life and circumstances that he has no power over thus makes a typical tragedy. It is a simple yet complex plot as exemplified by Aristotle in his writings of what comprises a typical Greek tragedy. Giants in Time What kind of reality does Literature have? (Frye 1964, p. 61) Does Literature and drama have to really depict the truth and relate historical events or is it a poet’s job to talk about events that do take place, Universal Events as Aristotle says? In Oedipus Rex Sophocles there are more than hints on events of that era. For a student of Literature or anyone reading his plays, a very distinctive imagery is provided. His plays hint on various things, which to a curious mind can draw comparisons to historical and even political and sociological events of that particular era. The ancient Greeks were known for their constant pursuit of philosophical awareness and inner truth. Evidence of that is more than available in the fact that the nation produced some of the greatest philosophers of all times. Oedipus’ wanderings in the road of the mind is a classic example of that pursuit even if it refers directly to Oedipus search for his genealogy. Oedipus Rex beautifully depicts the sociological theory of network theory and sociological constructionalism theory. He talks of how crime against another human or sin is referred to as pollution, clouds or prevents the rational thinking in the case of the Gods and causes them to inject calamities like plague and suffering into human kind. Cadmus’ suffering or pollution is because of the crime committed against Laius by Oedipus and how he lives amongst them unaware of his own pollution. The catharsis that is suggested by the Oracle bears its roots in many religious philosophies the aspect of ritual cleansing of the soul. The introduction of “suppliants” is easily understood by the audience of the time, as there is evidence in classical history in the Trojan War and others. It also gives an overview of the importance given to funeral rites, something that is still prevalent in Grecian society and in some Eastern and Western cultures. Talking about the flight pattern of bids indicates a relevance and awareness to science. When Oedipus moans that he has no idea what he is being charged of, as he notes nothing from even the flight pattern of birds. Scientists have researched and continue to research the connection between the flight patterns of birds and use the signs to depict the occurrence of cataclysmic effects. As Frye mentions very early in his book, people watch and connect to what they want to see and what they are familiar with. There is ample reference to the Athenian system of justices and the constitution in Creon’s attempt to defend himself from the accusation of treachery by Oedipus. There is evidence of that in Sophocles works which this article has chosen as a prime example of Greek tragedy. The Keys to Dream land Frye talks here about a critical response that humans have to anything we see, hear or read. Conscious critical response we make after we’ve finished reading or left the theatre, where we compare what we’ve experienced with other things of the same kind, and form a judgement of value and proportion on it (Frye 1964, p.104) When analyzing Oedipus Rex based on the above, there is evidence to how the plot, the sequence and the ending bring to play the minor and major turning points in the story. The play starts with the stark depiction of the dark times drawing comparison and metaphorical references of plague, sunset and Hades. God is in itself a metaphor. The audience is drawn in by the sequence of events of Oedipus, the righteous king, coming out on his own accord to free his people of the suffering. The allusion of him is great, because God and the Oracles speak to him directly to advise him on events. The main part of the play is the prophesy that Creon brings back which says that the pollution of the land is because of the living of a sinner, in this case the murderer of Laius, in their midst. Right through the story line the audience empathizes with Oedipus even though they are aware that the murderer is Oedipus, mainly because he has no idea what he has done and his circumstances prevent him from finding out. The queen Jocasta is shown in her fervent attempt to prevent Oedipus from knowing the truth as it would hurt him further and call for his destruction. The play writer Sophocles tries to bring in the feeling of hate and evoke strong feelings of justice to be done, no mater who the perpetrator is, in the final lament of the land. Despite their love for Oedipus and the land, the people cry from the pain of deceit and treachery whilst sympathizing with their king, thus making Oedipus even more righteous. Does Sophocles really have a moral or a line of thinking that he tries to propagate in this play? It appears so. The readers and the audience leave the arena having mixed feelings of sorrow, empathy and even pity. There is a compulsion to justify the actions of Oedipus and empathize with his situation, especially in modern times where morality and crime have progressed far beyond the Greek theatre. There is a leaning towards the justice system where we want to prove him guilty, without a doubt, beyond provocation and conscious intent. Sophocles’ intent in this drama is primarily a tragedy with many intertwining events and patterns that rule our lives, which in itself is a reality. The word and the thing signified, there is established a double reciprocal relation of magical resemblance and meaning ( Satre 1950, p.7) It is true that a reader, despite the initial response to the play, can later relate it to the events in their own modern context. The complex nature of life and the circumstances make or break lives coupled with a self- righteousness, which is forever the challenge of human life no matter what era we live in. Conclusion The language used by Sophocles and his story line is one of action, movement and familiarity. He goes on to prove that man is solely responsible for his actions and every individual is answerable, no matter who he/she is. He uses all the weapons of literature: monologues, social participation and extreme imagination in his works. That allure is what makes his works timeless. Works Cited Frye, Northrop. The Educated Imagination. 1964. Print Sartre,Jean-Paul. What is Literature. 1950. Print Sophocles. “Oedipus Rex”. Enhanced enotes. 2012. enotes.com. Web Albert Henrichs. “Drama and Dromena”. Jstor. 2000. jstor.org. Web Read More