The Key Ingredients of the Catastrophes in Oedipus the King

Oedipus the King

The ancient Greek philosopher Aristotle once identified the key ingredients of the catastrophes that his culture is so well-known for. These active ingredients include a character with a deadly flaw, the realization of the fault for a particular problem and the final abrupt turnaround of fortune. For many tragedies, the fatal defect is shown as extreme pride, which generally works as the driving force of the play’s action.

It is common, even advantageous, to have pride in oneself, however when it ends up being expressed as arrogance or in defiance of one’s fate, it is thought about excessive and often leads males to engage in activities that will lead to their downfall. Aristotle (1998) mentioned “the terrible hero falls into bad fortune because of some flaw in his character of the kind discovered in guys of high reputation and good fortune such as Oedipus.” This attitude, commonly discovered in men of high station is not particularly recognized as pride when it comes to Oedipus and, indeed, various readings can put Oedipus’ excellent defect in a number of locations.

It seems as if Sophocles meant to emphasize the more common interpretation of Oedipus’ defect being excessive pride, but other analyses, such as Pier Paolo Pasolini’s 1967 film Oedipus Rex, present other possibilities as the main character is brought through the 3 main components of disaster. In both the play and the movie, Oedipus is quickly shown to have a deadly flaw. In the play, the action opens as Oedipus is approached by plague-stricken masses asking help from him as king.

He reacts to their appeals saying, “What implies this reek of incense everywhere,/ From others, and am hither come, myself,/ I Oedipus, your world-renowned king” (4-8). In this declaration, Oedipus’ pride in his social position is clear. In the film, though, he is seen as somewhat insecure, even as a child when he cheats at a video game, and after that as a haunted man with a burning mystery scorching his dreams, both showing him to be a male of deep passions. Throughout the remainder of the action in the play, Oedipus’ personality plainly reflects excessive pride in his ability to require things his way.

When Oedipus learned of the forecast that he was destined kill his dad and wed his mother, he had plenty of self-pride to defy the fates and leave Corinth. The movie illustrates this as a heart-wrenching decision to never ever go near his moms and dads again in order to conserve them followed by a time of desperate roaming through barren wastelands. While both versions show extreme passion involved in the killing of Laius and the claiming of Jocasta, the Oedipus in the play greets his topics with almost hidden ridicule and the Oedipus of the movie greets them with sorrow and deeply shared concern.

While Sophocles sets his character approximately battle pride, Pasolini prepares him to come face to face with the consequences of passion. It is easy to see the paradox in both play and film that if Oedipus had not been so identified to escape and avoid the prediction, he would have not unwittingly fulfilled it. This is foreshadowed by Creon in the play prior to the reality of the story is realized. Creon informs Oedipus, “You are obstinate–/ undoubtedly dissatisfied to concede,/ and when you lose your temper, you go too far. But men like that discover it most difficult/ to endure themselves” (814-819). In this one brief statement, Jocasta’s brother sums up the whole tragedy. He points to Oedipus’ stubbornness and pride in hesitating to think about the possibility that he might be the killer he seeks. As an outcome of his own impatience and driving desire to bring honor and further pride to his name, Oedipus becomes extreme in his proclamations concerning intentions and penalties to be handed down and after that suddenly recognizes that he can not leave the scary of his criminal offenses.

This scary is shown in the film to excellent effect as the confused Oedipus slowly becomes overwhelmed with the possibilities, lastly shouting out his confession in a now-customary burst of enthusiasm. By the end of the story, Oedipus has actually pertained to realize that everything he has done has just served to bring him closer to his wicked destiny. In the procedure of trying to avoid fate, he has devoted some of the best sins possible to him– defiled his mom’s bed, killed his daddy and generated monstrous children born of incest.

Instead of deal with the fact and not able to take the serious injury to his pride, Oedipus stabbed out his eyes with broaches and ignored Thebes permanently, therefore sealing his doom through additional prideful actions. The unexpected reversal of fortune has Oedipus ignoring Thebes a blind, homeless beggar rather than the respected king he need to have been based upon his more worthy qualities. While this is a surprise, it is however a sensible possible conclusion to the occasions that have actually taken place.

This idea is brought out to greater level in the movie through the modification in setting. Pasolini begins and ends the film in a contemporary setting to when the movie was made. While the play recommends that Oedipus went roaming into the desert a self-blinded beggar guy, the movie indicates that he has been wandering a tortured person for a lot longer than a normal life expectancy. Hence, the aspects of timeless disaster are brought throughout both play and movie to somewhat various analyses.

In both, a deadly flaw within the character of Oedipus drives his actions that eventually seal his own doom. Viewed as it is throughout the different elements of the timeless tragedian format of first showing a worthy characteristic to tragic percentages, then becoming conscious of it and after that suffering as an outcome of it, it can not be missed that Sophocles was trying to highlight to his audience the risks of a lack of humbleness and good sense when he highlighted Oedipus’ extreme pride.

Pasolini appears to have actually been more thinking about alerting his audiences about the sins of extreme passion. This is, in some sense, what Aristotle was attempting to interact relating to the function of disaster, which he describes as “a replica of an action that is serious, total, and of a particular magnitude; in language decorated with each sort of creative accessory, the several kinds being found in different parts of the play … through pity and worry effecting the appropriate purgation of these emotions” (Aristotle pointed out in Friedlander, 2005).

By showing the numerous things that can fail when one believes they have no defects, Sophocles and Pasolini hoped to encourage a closer connection with truth as a means of avoiding Oedipus’ fate. Functions Cited “Aristotle.” Critica Hyperlinks. (1998 ). The University of Hawaii. May 21, 2007 Pasolini, Pier Paolo (Dir. ). Edipo Re. Perf. Silvana Mangano, Franco Citti, Carmelo Bene, Julian Beck & & Ninetto Davoli. Arco Films, 1967. Sophocles. Antigone, Oedipus the King, Electra. Oxford World’s Classics. Ed. Edith Hall. Oxford University Press, 1998.

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