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The Oedipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges

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Excerpt from The OEdipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges The Tauchnitz edition, have thrown in the way of Notes such aids to the study of the Greek as may assist, not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reprod Excerpt from The OEdipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges The Tauchnitz edition, have thrown in the way of Notes such aids to the study of the Greek as may assist, not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.


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Excerpt from The OEdipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges The Tauchnitz edition, have thrown in the way of Notes such aids to the study of the Greek as may assist, not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reprod Excerpt from The OEdipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges The Tauchnitz edition, have thrown in the way of Notes such aids to the study of the Greek as may assist, not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

45 review for The Oedipus Tyrannus of Sophocles: With English Notes, for the Use of Students in Schools and Colleges

  1. 5 out of 5

    Ana

    “Fear? What has a man to do with fear? Chance rules our lives, and the future is all unknown. Best live as we may, from day to day.” Game of Thrones meets Greek mythology meets Star Wars. Oedipus is proof you can't escape your destiny. King Laius and Queen Jocasta received a prophecy that their son would kill his father and marry his mother. So they did what any good parent would do: they ordered a slave to ditch him on a mountain. The slave, however, took pity on him and gave him to the king o “Fear? What has a man to do with fear? Chance rules our lives, and the future is all unknown. Best live as we may, from day to day.” Game of Thrones meets Greek mythology meets Star Wars. Oedipus is proof you can't escape your destiny. King Laius and Queen Jocasta received a prophecy that their son would kill his father and marry his mother. So they did what any good parent would do: they ordered a slave to ditch him on a mountain. The slave, however, took pity on him and gave him to the king of Corinth. Oedipus grew up with Polybus and Merope, believing they were his real parents. One day, after consulting the Oracle of Delphi, he found out that he would kill his father and marry his mother. He fled from the city, scared and bewildered, desperate to escape his fate. If only it were so simple. Soon he stumbles upon Thebes, kills his real father and marries his mother, thus unintentionally fulfilling the prophecy. *wipes sweat from brow* This in turn led to the creation of Antigone, my favorite Greek heroine. Characters involved in the play- Oedipus Creonte Jocasta Tiresias “Whose tale more sad than thine, whose lot more dire? O Oedipus, discrowned head, Thy cradle was thy marriage bed.”

  2. 5 out of 5

    Lizzy

    What can I say about Sophocles’ Oedipus Rex that has not already been said? Apart from the patricide and the infamous incest, this is an ancient tale of angst and overall calamity. But since I recently revisited it, this legendary tragedy hasn’t left my mind. "Look and learn all citizens of Thebes. This is Oedipus. He, who read the famous riddle, and we hailed chief of men, All envied his power, glory, and good fortune. Now upon his head the sea of disaster crashes down.” I felt after reading the What can I say about Sophocles’ Oedipus Rex that has not already been said? Apart from the patricide and the infamous incest, this is an ancient tale of angst and overall calamity. But since I recently revisited it, this legendary tragedy hasn’t left my mind. "Look and learn all citizens of Thebes. This is Oedipus. He, who read the famous riddle, and we hailed chief of men, All envied his power, glory, and good fortune. Now upon his head the sea of disaster crashes down.” I felt after reading the play that there was not really anything that Oedipus could have done to get himself out of his destiny. In fact, it seems that the more he attempts to get out of it, the deeper he is immersed in its inevitability. It is simply that there was no way for him to avoid doing it all and facing his fate. After hearing of the prophecy he flees because he doesn't want it to come true, but there is a lot that he does not know and a lot that he is not being told. His parents, when told by the oracles decided to sacrifice him. But he was saved by the compassionate nature of humanity. Later on, his step parents also leave him in ignorance, and in hiding the truth they are also making the prophecy come true. The theme as I see it, therefore, is of fate versus freewill. However, there really does not seem to be any freewill here. Every decision that Oedipus makes only brings the revelation closer to being fulfilled. But to fully understand Sophocles work, you have to know that for the ancient Greeks the word "tragedy" didn't mean “a lamentable, dreadful, or fatal event or affair; calamity; disaster.” For them the idea of such a play, that had a certain and defined theme and structure, is about a person that because of a single tragic flaw becomes the victim of the gods. The specific purpose was called "catharsis", the audience watching the play should gain an emotional release that made your own trivial issues fade into insignificance. According to Aristotle’s Poetics “the complexity of the plot is established through reversal, recognition and suffering.” The tragedy is created, in part, by the complexity of its plot which leads towards the catharsis. The Chorus is crucial; its speeches are revealing. It is the cautious voice of collective wisdom. And from the very beginning of the play, the Chorus revealed the omen of disaster. This can all be summed up in the following lines: "O god- All come true, all busting to light! O light- now let me look my last on you! I stand revealed at last-” Oedipus is a passionate man, who asks questions and takes risks. Despite his flaws and his sins, Oedipus is good and always seeks the truth no matter how devastating. In the end, he accepts the responsibility for his actions, his fate and punishment. Does he have free will or the ability to choose his own path or is everything in his life been predetermined? Indeed, despite the prophecy, it can never be denied that Oedipus and his parents had made the choices, not the oracle or the Gods. Is the very idea of carving out your eyes, after discovering your wife is your mother in this incredibly packed tragedy that alleviates so much the enormous pain that seems so causeless? Is the existential angst finally satisfies by the human need to identify the guilty that alleviates our human sensation of utter, senseless and chaotic misery? This is what torments us, being humans: we have free will but we can never control everything. Oedipus’s specific life events aren’t exactly relatable to any of us, but the sensations are not less pertinent. Aren’t we used to impending unconquerable doom? I ask myself, could ignorance lead us through hell? Oedipus Rex doesn’t make us only question the role of the gods (or whatever may decide our fate nowadays: politicians, the economy, the news, and even our own expectations!), but above all the argument of fate and destiny, and whether we are able to live without external powers deciding our chances. It also makes us question who we are; whether our personalities, or other personal characteristics, are a kind of destiny in itself. Where's our human freedom? More important: do you feel a prevailing sense of inevitability, no matter what you do?! Why are we always being judged, by ourselves and by the world? If we try to transpose the play to today, many questions are still left with no definite answers. For certain, we can choose what we want to become. The curse is that our capacities are finite; we are not gods. What happened to Oedipus was the torture of being human, can we escape this curse? Oedipus Rex is a literary masterpiece! Highly recommended!

  3. 5 out of 5

    Renato Magalhães Rocha

    "Look and learn all citizens of Thebes. This is Oedipus. He, who read the famous riddle, and we hailed chief of men, All envied his power, glory, and good fortune. Now upon his head the sea of disaster crashes down. Mortality is man’s burden. Keep your eyes fixed on your last day. Call no man happy until he reaches it, and finds rest from suffering." I believe that in one way or another, everyone - at least to some extent - has heard of the story of Oedipus and Jocasta. It's one of those tales that' "Look and learn all citizens of Thebes. This is Oedipus. He, who read the famous riddle, and we hailed chief of men, All envied his power, glory, and good fortune. Now upon his head the sea of disaster crashes down. Mortality is man’s burden. Keep your eyes fixed on your last day. Call no man happy until he reaches it, and finds rest from suffering." I believe that in one way or another, everyone - at least to some extent - has heard of the story of Oedipus and Jocasta. It's one of those tales that's been on our collective consciousness forever even though we may not even be able to assertively answer about its origins. The same might be said, for example, of Odysseus and Don Quixote: they've been so used and re-used, adapted and re-adapted throughout so many generations and in so many different formats that one might as well state they were simply born within us, for they're public and common knowledge. I, for one, believed Oedipus and Jocasta's tale came from the Bible! As I was never a religious person and therefore never payed much attention to it - and unfortunately never decently studied Greek mythology -, I used to unconsciously attribute to the Bible the origins of all stories which seemed to me as too ancient to properly date. I'm terribly sorry and embarrassed about that, Sophocles. I stand corrected now. Every time I read an ancient text I recurrently find myself to blame because of the same mistake: being surprised by its quality despite being written so long ago. It turns out more and more I agree with an analysis I've read somewhere that states that, unlike science, there is no progress, no discovery in art. An artist, while he creates, is not helped by the efforts of all the others - like scientists are - and depends upon his own individual truths. The ancient art is in no way a primitive version of the art created by our contemporaries. So it should not be astonishing to me that a text written thousands of years ago possesses the same qualities or refinement of awarded pieces that only now cracked their fifty years of age mark. Putting the story itself a little aside, it's precisely this refinement, this brilliance in the construction of the narrative that impressed me so much. The pace, the development of the action and disentanglement of this intricate plot was written so masterfully that it requires little investigation in discovering the reasons why it became so influential to the subsequent generations. Now, I'm not knowledgeable enough to affirm that Sophocles himself wasn't influenced by other works that preceded him, so I'm not claiming unprecedented originality to his name here, but merely(!) talent in using the most appropriate techniques to write so many wondrous predicates into this marvelous play. The ability with which he created, sustained and solved the various mysteries that surround this classical tragedy is very remarkable, as well as a striking mixture of pity and horror that the themes developed here successfully imposes on the reader. Themes such as fate, free will, interference in human life by the Gods (for some that hasn't changed much, has it?) and its inflexible exploration of human nature and suffering are skillfully written in the form of intense dialogues and shocking revelations that could even prove too disturbing had not been Sophocles accurate treatment, much like the reader likely pities Phedre's actions instead of automatically blaming her for her fate. The ever so mesmerizing battle between destiny and logical consequences also plays a big role here: does fate completely control Oedipus's actions - is it all predetermined? -, or is he simply a victim of his own doings, even if unknowingly? Oedipus Rex (also known as Oedipus the King and Oedipus Tyrannus) tells the story of Oedipus, a man that's respected and loved in Thebas, where he is King after solving the riddle of the Sphinx and marrying Jocasta, the widow of the previous king. After a plague threatens his kingdom, he is begged by a chorus of Thebans for help and Oedipus sends for an oracle in order to find some guidance. As it turns out, Tiresias, the blind prophet, believes the King is the only one to blame for his malady. At first outraged and, because of it, incensed into proving his innocence, he starts connecting the clues that he receives from various bits of information gathered by different sources. (view spoiler)[As it turns out, Oedipus, after leaving his home in Corinth due to a prophecy which stated he would murder his father and sleep with his mother, entered a fight with some men at a crossroads and ended up killing them, before arriving in Thebes. One of these men was Laius, Jocasta’s husband and previous King. In order to escape the prophecy, Oedipus fell into it, as he was Laius’s son who was sent away to be killed many years ago exactly because he received an oracle that he would be murdered by his own son. Oedipus’s life ended up being spared and, unknown to him, he was adopted by the King of Corinth. Now it was clear to him that, besides murdering his father, he has slept with his own mother and fathered children that were also his brothers and sisters. Jocasta, upon finding out this complex imbroglio, can't deal with the unimaginable situation and kills herself. (hide spoiler)] Completely horrified and ruined by everything he found out, Oedipus blinds himself (ironically at the precise moment when he sees the whole truth) so he wouldn't ever again need to see his own feelings of shame and humiliation mirrored in the faces of the others. I've read some criticism stating that some of the drama in the play is a bit over the top, and while I wouldn't agree and, more importantly, couldn't possibly begin to imagine myself in the same situation, I guess it was in vogue at the time that the heroes would suffer so much when they'd find their worlds turned upside down that they would impose on themselves severe sentences such as mutilations or death. Part of their heroism is exactly accepting to endure serious consequences, not once pleading blamelessness. Even later, in Shakespeare, we were still to find six or seven characters dying just like that, entire families decimated because of the belief that there could be no way out once the universe had programmed their fates. Film adaptation: as influential as this story was everywhere, of course it wouldn’t lack adaptations in film. When I found out there was one Edipo Re (1967), directed by Pasolini, I instantly picked it to watch as I imagined that controversial material filmed by controversial director could only result in very interesting movie - to say the least! Much to my surprise, the ick factor was greatly downplayed and this time the Italian director focused more on the emotional aspects of his narrative than on the sexual ones. His rendition was very faithful to the story, although the linear narrative lacked the sophistication employed by Sophocles that chose to slowly reveal details of the plot by making use of different characters referring to past events. The power of the prophecy and the influence in human lives by the Gods were also not as active as in the original story. The intro Pasolini used though was very interesting: it begins in modern days where a father is very jealous of his son's connection with his mother and decides to get rid of him, as if he was anticipating an Oedipus complex situation; after that, time goes back to the ancient days. Rating: I can't wait to read more from Sophocles and if my anticipation for the remaining plays in this trilogy (Oedipus at Colonus and Antigone) means anything, is that it's a great testament of Oedipus Rex's qualities and how highly I enjoyed this short but intense reading experience: 5 stars.

  4. 5 out of 5

    Ahmad Sharabiani

    Οἰδίπους Τύραννος = Oedipus the King (The Theban Plays #1), Sophocles Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: Οἰδίπους Τύραννος), 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. In antiquity, t Οἰδίπους Τύραννος = Oedipus the King (The Theban Plays #1), Sophocles Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: Οἰδίπους Τύραννος), 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. In antiquity, the term “tyrant” referred to a ruler, but it did not necessarily have a negative connotation. Oedipus sent his brother-in-law Creon to ask advice of the oracle at Delphi concerning a plague ravaging Thebes. Creon returns to report that the plague is the result of religious pollution, since the murderer of their former King, Laius, had never been caught. Oedipus vows to find the murderer and curses him for causing the plague. ... عنوانها: ادیپ شهریار؛ ادیبوس شاه؛ ادیبوس شهریار؛ تاریخ نخستین خوانش: بیست و ششم ماه آگوست سال 1974 میلادی عنوان: ادیپ شهریار؛ نویسنده: سوفوکلس؛ مترجم: شاهرخ مسکوب؛ در 96 ص؛ چاپ دوم با عنوان: ادیب در کلنوس؛ در 212 ص؛ موضوع: نمایشنامه های نویسندگان یونانی - قرن پنجم پیش از میلاد عنوان: ادیپ شهریار؛ نویسنده: سوفوکل؛ مترجم: فاطمه عربی؛ استهبان، 1387؛ در 72 ص؛ شابک: 9786005209006؛ عنوان: ادیبوس شاه؛ مترجم: ساسان قاسمی؛ تهران، جعفری، 1387؛ در 132 ص؛ شابک: 9789646088733؛ عنوان: ادیبوس شهریار؛ مترجم: تهران، پژواک کیوان؛ 1389؛ در 144 ص؛ شابک: 9789648727890؛ قسمتی از نمایشنامه .همسرایان: می‌خواهیم حقیقت هیاهویی را که تا به امروز بر سر زبانهاست بدانیم ..ادیپوس: وای بر من .همسرایان: آرام باش تمنا می‌کنم ..ادیپوس: بسیار ناهنجار است. باری می‌گویم. من نارواترین بیداد را بر خود هموار کردم. من ستمی ناسزاوار بر خود هموار کردم. خدا می‌داند که اختیاری در کار نبود .همسرایان: در چه کاری؟ ..ادیپوس: در ازدواجی ننگین به خاطر شرم، نادانسته به زناشویی رسوایی دست زدم .همسرایان: می‌گویند مادرت در این پیوند ننگین همسر تو بود ..ادیپوس: بیاد آوردن آن در حکم مرگ من است. تازه این دو نیز(آنتیگنه و ایسمنه) از آن منند .همسرایان: نه ..ادیپوس: فرزندان نفرین شده .همسرایان: آه، خدایا ..ادیپوس: و میوه‌های بطن همان مادر .همسرایان: دختران تو و ..ادیپوس: خواهرانم! آه خواهران پدر خود .همسرایان: آیا پدرت را ..ادیپوس: باز هم رنجی دیگر و شکنجه‌ای تازه؟ .همسرایان: تو او را کشتی؟ ..ادیپوس: آری اما به حق .همسرایان: به حق؟ ..ادیپوس: آری (ناشناخته، در راه) کسی را کشتم که می‌خواست مرا بکشد داستان نمایشنامه تقدیر چنین مقرر کرده‌ که «ادیپ» شهریار، پدر خود را بکشد، و با مادر خویش همبستر شود. فرمانی ست ظالمانه و دوزخی. این حکم را پدر و مادر ادیب دریافته‌ اند، و برای گریختن از آن، «ادیپ» کودک را به چوپانی می‌سپارند، تا جانش را بگیرد. اما اگر ریختن خون طفلی، بر پدر و مادر او دشوار آید، بر چوپان ساده دلی نیز آسان نیست؛ چوپان لبخند معصومانه ی کودک را می‌بیند، و او را به چوپانی دیگر، از دیار «کرنت» می‌سپارد. شبان دوم او را نزد شاه کشور خویش می‌برد، و کودک در دربار آن شاه بزرگ می‌شود. «ادیب» در دوران جوانی به وسیله ی هاتفان، از سرنوشت خود آگاه می‌شود، و چون پدرخوانده، و مادرخوانده‌ اش را پدر و مادر حقیقی خود می‌پندارد، برای گریز از سرنوشت، از آن دیار می‌گریزد. در راه به گردونه ی پیرمردی می‌رسد. پس از گفتگویی کوتاه، پیرمرد را (که پدر واقعی او بوده) می‌کشد، و به سوی شهر «تب» می‌تازد. بر دروازه ی آن شهر از دیرگاه ابوالهولی بوده، که از مردمان معمائی می‌پرسیده، و چون آنان در پاسخ درمی‌ماندند، طعمه ی مرگ می‌شدند. «ادیب» معمای ابوالهول (نماینده تقدیر) را پاسخ درست می‌گوید، و ابوالهول بر خاک می‌افتد. ساکنان شهر «تب» به پاس این گره‌گشائی، شهریاری دیار خود را به «ادیپ» می‌بخشند، و دست ملکه ی شهر (مادرادیپ) را، در دست او می‌گذارند. پس از سالها فرمانروائی، مرگ، و طاعون بر آن شهر فرود می‌آید، و چون «ادیب» خود سبب آن فاجعه را از معبد کاهنان آپولو می‌پرسد، پاسخ می‌شنود که گناهکار باید از میانه برخیزد، گناهکاری که پدر خود را کشته و با مادرش هم‌بستر شده‌ است. ادیپ در جستجوی گناهکار پلید، پس از ماجراهایی، سرانجام به خود می‌رسد، و چشمهای جهان بین خویش را برمی‌کند. ا. شربیانی

  5. 5 out of 5

    Bookdragon Sean

    Sometimes life's a real bitch. Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you’d best do nothing because it’s going to happen anyway. Any preventative action you take will only lead to the same ending. So, you’re pretty much screwed. You might as well lie down and accept it. The God's are mean. But, Sometimes life's a real bitch. Fate is unavoidable in ancient Greek Tragedy. Trying to avoid it will only lead to it, and doing nothing will lead you there too. So if a God tells you that you will die at the hands of your son, and that he will then go on to steal your wife, you’d best do nothing because it’s going to happen anyway. Any preventative action you take will only lead to the same ending. So, you’re pretty much screwed. You might as well lie down and accept it. The God's are mean. But, nope, if you’re like the King of Thebes you’ll leave your infant son for dead instead. Poor Oedipus. He really didn’t have much chance in life. He could do nothing to intervene with his own destiny, mainly because his tragic flaw is his lack of awareness about his true origins. He hears a rumour of the prophecy told to his farther, so he endeavours to stay away from him. But, in doing so he is pushed ever closer to his real farther. That’s the problem with being abandoned at birth; you just don’t know who is who in the world! There’s some irony in this somewhere. Indeed, it suggests that no free will exists at all because any exertions of the supposed free will lead to the predetermined fate. So every action has been accounted for already. The intended audience may have been aware of these powers but Oedipus and his farther were hapless in their wake. They had to both learn the hard way. Oedipus had to recognise it, and in the process he shattered his life: it made him tear out his very eyes. Now that’s real grief. There’s no wonder Aristotle made this his model for the perfect play because this is masterful. Aristotle’s theory can be used to assist the reader in understanding how the plot contributes to the tragedy. I couldn’t have read tragedy without it. The tragedy is created, in part, by the complexity of its plot which leads towards the catharsis. According to Aristotle’s Poetics the complexity of the plot is established through reversal, recognition and suffering. A simple plot will only establish one of these; therefore, it will have a limited catharsis. The reversal (peritpeteia) is the change of a state of affairs to its opposite, such as the reversal of Oedipus’ identity. The recognition (anaghorsis) is achieved through the acquiring of knowledge, like the knowledge Oedipus gains of his birth. Aristotle argues that an effective plot has its anaghorisis bound up with the peritpeteia. This is because it, “carries with it pity or fear” such as these following lines: "O god- All come true, all busting to light! O light- now let me look my last on you! I stand revealed at last-” (Lines 1305-9) I hope I didn’t lose anyone or bore them to death with my summary of Poetics. The structure is the key; it is everything in delivering the plot. If, in the cathartic moment, the action can evoke suffering through a combination of a reversal of circumstances during a brutally stark recognition, then the ultimate delivery of pity and fear will be achieved. Such is the case with Oedipus. Oedipus’s hamartia, his tragic flaw at the core of his being, is his ignorance, and when the veil is lifted he realises the tragedy of the situation; he realises all too late that fate is unshakable and unconquerable. He has unknowingly committed incest with his mother and murdered his farther, so, like I said, life is a real bitch.

  6. 4 out of 5

    James

    Book Review 4 out of 5 stars to Oedipus Rex, the first of "The Theban Plays," written by Sophocles around 430 BC. If you are unfamiliar with Greek tragedies, the thing you need to know most is that the authors often played with the concept of fate: not just that some things are meant to be or to come back and haunt you, but that there is always more going on than you realize at the time. This is one of the plays you should absolutely read. Although borderline spoiler, it's important to know 1 Book Review 4 out of 5 stars to Oedipus Rex, the first of "The Theban Plays," written by Sophocles around 430 BC. If you are unfamiliar with Greek tragedies, the thing you need to know most is that the authors often played with the concept of fate: not just that some things are meant to be or to come back and haunt you, but that there is always more going on than you realize at the time. This is one of the plays you should absolutely read. Although borderline spoiler, it's important to know 1 fact about the play, as it plays into the mind of so many psychologists today when they speak about an Oedipal Complex, as in all young boys (kids?) fall in love with their mothers at some point. Essentially, Oedipus kills the King and marries the King's wife. Little does he know.... that was his father and she is his mother. Whaaaaattttt? How does that happen? Seriously... well, the plot is intricate, the history is insane... and it's only the first of three in this trilogy. Find a translation and read it. It's a little convoluted, and the language may be a bit metaphorical in too many places, but the characters and the plot is amazing! About Me For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https://thisismytruthnow.com, where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.

  7. 5 out of 5

    Kalliope

    THE EYE THAT DIES I have not read Sophocles’ text recently, but listened to this exceptional audio edition. Powerfully acted out, with an eerie chorus and dramatic music, it has been a superb experience. I have come back to this play now in a roundabout way. As part of a Seminar on Aesthetics, The Eye that Thinks, imparted in the Prado Museum, we were prompted by our Professor Félix de Azúa to read Oedipus in a Hegelian framework. We had been discussing the contributions of Hegel to Aesthetics THE EYE THAT DIES I have not read Sophocles’ text recently, but listened to this exceptional audio edition. Powerfully acted out, with an eerie chorus and dramatic music, it has been a superb experience. I have come back to this play now in a roundabout way. As part of a Seminar on Aesthetics, The Eye that Thinks, imparted in the Prado Museum, we were prompted by our Professor Félix de Azúa to read Oedipus in a Hegelian framework. We had been discussing the contributions of Hegel to Aesthetics, and he wanted us to visit the play and think of the role of Sphinx and the significance of Thebes. In Hegel’s aesthetic system he identified Greek sculptures as the apex of what art could achieve in its quest of perfect and supreme beauty. Earlier architecture and art were still immature attempts. For example, the large Egyptian monuments were undertakings in which matter still prevailed over Geist. When Hegel saw some Kouroi in Munich (now in the Glyptotech), specimens of very early Greek art, he was struck by the significance of the step in this walking man. In Egyptian representations of humans, legs are seen in profile. They depicted stability, while the Greek marble in Munich man was striding forward. The Kouros, although still using Egyptian conventions presented something very new. It embodied gesture. And Hegel thought that art should strive to represent movement. The conceptual step of the Kouros, an awakening out of immobility, separated the worlds of the two Thebes: the one in Boetia in ancient Greece from the one up the Nile in ancient Egypt. In Greece Geist was finally on the move. If Hegel favoured Greek sculpture, he found that Greek drama could offer an additional dimension to sculpted beauty as the unfolding of time could be represented as well. For him Greek tragedy had invoked the greatest aesthetic power. Hegel had also understood the Egyptian Sphinx as the first instance of the representation of human emerging out, liberating himself, from his animal nature. In this reading of Oedipus Rex as I have tried to keep on some sort of Hegelian glasses (and forget about the pervasive Freudian interpretation), I have seen the solution of Oedipus to the riddle of the Sphinx, and the consequent dissolution of the curse on Thebes and the destruction of the monster, as the emergence of humanity over its previous servitudes and imprisonment. And yet, this conquered freedom also brought the possibility of unwilled intention or of the unintended will and the impossibility of unlearning what one already knows. Trapped in this situation Oedipus attempt to escape his knowledge by doing away with his eyes, could only bring death. As the chorus chants: it is the only liberation. ---

  8. 5 out of 5

    emma

    nothin like a forced reread in order to write a terrible paper ------- classic oedipus!!! always going and getting himself into life-ruining, city-destroying shenanigans :')

  9. 4 out of 5

    Hend

    Oedipus of Sophocles is a great work of art written by a great poet,this play symbolizes for the human misery and despair... the torments of the human soul,the innocence and guilt,Wisdom Out of Suffering and Fate that determines many things no matter how we struggle to change it.... Oedipus hears about his dreadful fate from the Delphic oracle and flees from Corinth. But instead of fleeing from his fate he runs into it... Oedipus a passionate heart,who ask questions and take risks,has all the quali Oedipus of Sophocles is a great work of art written by a great poet,this play symbolizes for the human misery and despair... the torments of the human soul,the innocence and guilt,Wisdom Out of Suffering and Fate that determines many things no matter how we struggle to change it.... Oedipus hears about his dreadful fate from the Delphic oracle and flees from Corinth. But instead of fleeing from his fate he runs into it... Oedipus a passionate heart,who ask questions and take risks,has all the qualities of a great man...he has gone through sudden shifts on the course of his life and lets every situation control him.... Despite his flaws, Oedipus is a good person who seeks the truth no matter how devastating. and who accept the responsibility for his actions..... At the end of the play, Oedipus accepts his fate as well as the punishment given to him .... He had promised to exile the one who is responsible for the plague , and he fulfills his promise even if he himself is the one to be exiled. By mercilessly punishing himself, he becomes a great hero... who has a Respect for Justice .... Jocasta, on the other hand, appears as a person who would rather control the situation. She reveals that she is more mature than Oedipus and even reveals a maternal side towards him. This is evident in the way she tries to stop Oedipus from investigating further into the mystery of his birth. At this point, she has realized the possibility that Oedipus may be her son. She would rather let the dreadful fact remain a mystery then let it ruin their lives The entwined sheets with which she hangs herself symbolize the double life she has led........ Oedipus tragic position and his trial to elude the prophecies and to challenge his Fate, that was inevitable as he at last fails, but just having the courage to attempt , makes him a true hero. This play raises a question,when someone is trying to avoid doing things. Does he have free will or the ability to choose his own path or is everything in life predetermined?

  10. 5 out of 5

    Sarah

    “Fear? What has a man to do with fear? Chance rules our lives, and the future is all unknown. Best live as we may, from day to day.”

  11. 5 out of 5

    Cheryl

    I'd say "spoiler alert" but it seems ridiculous . . . I've taught this play for years, and I think this year I finally decided what makes this play great. My students never feel sympathy for Macbeth, but they do for Oedipus, and that always used to bother me. They whine in their teenage attitudinal voices, "But he didn't know that was his father." I always respond, "So it's ok to KILL PEOPLE if they're not your father?!" In identifying with Oedipus, they forget the nature of the atrocities he co I'd say "spoiler alert" but it seems ridiculous . . . I've taught this play for years, and I think this year I finally decided what makes this play great. My students never feel sympathy for Macbeth, but they do for Oedipus, and that always used to bother me. They whine in their teenage attitudinal voices, "But he didn't know that was his father." I always respond, "So it's ok to KILL PEOPLE if they're not your father?!" In identifying with Oedipus, they forget the nature of the atrocities he committed, and that is where the greatness of this play lies - in creating a character who does horrible things, but who never seems like a monster to his audience: to them, he's just a human with human failings. He is essentially a good man, one who tries to help people, who makes tragic mistakes. In this sense my students mirror the feelings of the people of Thebes: the chorus defends Oedipus to the end, unable to believe evil of this great man who saved them once and is trying to save them again. When Oedipus is revealed as not being the son of Polybus and possibly the son of slaves, the chorus believes then that he must be the child of a god, for who else could spawn such a great man? But Oedipus' humanity lies in his course of action which spirals out of his control - and that, I think, is the element in Oedipus with which my students identify. Oedipus becomes a victim of the unforseen consequences of his own actions. These actions, of course, are fueled by his own pride - arrogance to think he can avoid Apollo's prophecy, and pride turned to anger in being pushed off the road when he feels the other driver should be giving way to his own great self (Ancient Greek road rage!). He may have been doomed since before birth by Apollo's curse on his family, but Oedipus creates his own problems. In believing he can avoid Apollo's prophecy, he shows us that he thinks he has outsmarted the gods, that he is greater than the gods. This, then, is the ultimate hubris and his ultimate undoing.

  12. 5 out of 5

    Mahdi Lotfabadi

    یک تراژدی به تمام معنا فوقالعاده! واقعاً آدم نمیدونه چی بگه دربارهی نمایشنامهای که 2500 سال پیش نوشته شده و انقدر حرفهای داستانپردازی شده و انقدر دیالوگهاش قویه! شدیداً توصیه میشه خوندنش! یک تراژدی به تمام معنا فوق‌العاده! واقعاً آدم نمی‌دونه چی بگه درباره‌ی نمایشنامه‌ای که 2500 سال پیش نوشته شده و انقدر حرفه‌ای داستان‌پردازی شده و انقدر دیالوگ‌هاش قویه! شدیداً توصیه می‌شه خوندنش!

  13. 4 out of 5

    Readi Ar.

    Tek kelime ile mükemmel. Önsöz kitabın yarısını oluşturuyor ve önbilgi olması adına çok güzel detaylara yer verilmiş. Yalnız geçenlerde okuduğum Zweig eserinin önsözünde yaptıkları gibi yine bütün kitabın hikayesi özetleniyor. Zaten okurken anlayacağımız kısımların neden kısaca özetlendiğine bir türlü anlam veremesem de 2500 sene önce tanrıları ön plana çıkaran bir topluma ait bu eserde tanrıların "keyif",insanların da "kader" dedikleri bu alın yazısı ancak bu kadar güzel yerilebilirdi. Bu vesil Tek kelime ile mükemmel. Önsöz kitabın yarısını oluşturuyor ve önbilgi olması adına çok güzel detaylara yer verilmiş. Yalnız geçenlerde okuduğum Zweig eserinin önsözünde yaptıkları gibi yine bütün kitabın hikayesi özetleniyor. Zaten okurken anlayacağımız kısımların neden kısaca özetlendiğine bir türlü anlam veremesem de 2500 sene önce tanrıları ön plana çıkaran bir topluma ait bu eserde tanrıların "keyif",insanların da "kader" dedikleri bu alın yazısı ancak bu kadar güzel yerilebilirdi. Bu vesile ile Tragedya'yı da sevdiğim türler arasına ekledim. -430 - 2017

  14. 4 out of 5

    Lyn

    I'm being irreverent, but whenever I think of this work I cannot help recalling Mel Brooks in History of the World Part 1. Apart from the legendary, and infamous, incest, this is an ancient tale of psychological terror and angst. Human nature does not change and the themes Sophocles explored are still relevant today, this is truly a timeless work.

  15. 4 out of 5

    Amaranta

    “ Chi tra gli umani, chi riceve più felicità di quanta ne basti per sembrare felice? ”. Mi sono ritrovata a voler rileggere questo dramma, affrontato più volte sui banchi di scuola, per i numerosi richiami che Pamuk ne fa nel suo “ la donna dai capelli rossi”. Volevo capire l’ossessione che il personaggio ha per questo mito e niente è meglio che ritornare sui propri passi. Edipo è l’archetipo del male, che si perpetua senza coscienza, l’uomo che uccide senza saperlo il padre, colui che lo ha gen “ Chi tra gli umani, chi riceve più felicità di quanta ne basti per sembrare felice? ”. Mi sono ritrovata a voler rileggere questo dramma, affrontato più volte sui banchi di scuola, per i numerosi richiami che Pamuk ne fa nel suo “ la donna dai capelli rossi”. Volevo capire l’ossessione che il personaggio ha per questo mito e niente è meglio che ritornare sui propri passi. Edipo è l’archetipo del male, che si perpetua senza coscienza, l’uomo che uccide senza saperlo il padre, colui che lo ha generato, sangue del suo sangue e carne della sua carne, pur facendo di tutto perché ciò non succeda, e che giace con la madre da cui genera dei figli, suoi stessi fratelli dunque. Quello che mi ha sempre colpito di Edipo è il fatto che non si uccida, ma che scelga di accecarsi. Morire sarebbe una liberazione per chi tanto ha commesso. Invece continuare a vivere, senza più vedere le bellezze del mondo, in un buio senza fine, gli ricorderà sempre la sua colpa ed è questo il modo per espiarla davanti agli occhi del mondo e degli stessi dei. Il ritmo è veloce, incalzante come la verità, il coro ammalia prima con parole splendide, poi con accuse feroci: “ Le sue mani sono rosse di sangue!” e rimanda a messaggi sibillini: “ Sospeso nell’aria/Non decifro il presente/Il passato mi è oscuro” Penso alla Pizia di Dürrenmatt che lancia ad Edipo un vaticinio assurdo solo per toglierselo dai piedi come se quel “verbo” una volta emesso dalla sua bocca sia di per sé motivo di realizzazione del destino di Edipo. Imponente la figura di Tiresia, interprete del volere di Apollo: “ EDIPO: pensi di poter parlare così in eterno e rallegrartene ? TIRESIA: Si, se esiste la forza della verità. E tu che ora vedi chiaro vedrai solo tenebra” Colpiscono le immagini di una città in balia della peste come una nave squassata dalle onde, e di un Ade nero che si nutre di singhiozzi e lamenti. Una lettura più consapevole, oggi. “ Ubris genera tiranni.” Mai frase fu più vera.

  16. 4 out of 5

    david

    I really do not like my mother. I realize that moms (mums for the English) have many hats to wear. There is the tumult she has with the husband who never listens to her, and the children who end up at the principal’s office, and the clothes that need mending, and the purveying and construction of victuals to meet everyone’s different palate. Got it. I cannot even imagine what extra toll and toil the 1960’s will bring on these unappreciated females. But that is still years away. I like to focus on I really do not like my mother. I realize that moms (mums for the English) have many hats to wear. There is the tumult she has with the husband who never listens to her, and the children who end up at the principal’s office, and the clothes that need mending, and the purveying and construction of victuals to meet everyone’s different palate. Got it. I cannot even imagine what extra toll and toil the 1960’s will bring on these unappreciated females. But that is still years away. I like to focus on the now. Why? Sounds good, I think. Please pass the black and white corn on the cob. But some mothers are…well…mothers. I include mine in this subsection. She is so bad I do not hesitate to walk little old ladies across the interstate. She is so bad that occasionally I will borrow an elder’s walker for few minutes and ask them to lean against a wall while I spin it around. She is so bad that I consciously walk through the make-up departments at big chains and offer an ersatz opinion to elderly mothers on their rouge or their eyeliner or whatever it is that they buy for their faces. I will say, in passing, “No, the lipstick is too vermillion.” Of course, they will think it over, because what kind of man knows the word vermillion. “Periwinkle eye-shadow? In the summer?” will cause them to blush vermillion, as I roll my eyes (drama). You can never use the word vermillion enough, I have always thought. It’s the opposite of pizza. One slice of it after forty-years old and you have gained twelve pounds. Two slices, straight away to a triple bypass at the local emergency room. Three slices and a Parson delivers the box, and waits. And even after many attempts at self-normalizing behavior, I still do not like my mother. I know, it is against one of those ten commandments, but we just do not get along. It happens. Why are you trying to make me feel guilty? “Tell me about your mother, david?” “Oh no, not again.” “Is she pretty?” “What?” “Is she malicious?” “Well…” “Oops. Sorry. The session is up. See you again next Monday at nine?” “Cannot. I must give a speech at the Greater NY Jockey association. The topic is ‘Organic Horse Feed, Worth the Cost?’” “You sound resentful?” “I thought our time was over? Hmm.” “One hundred dollars, please.” “A little resentful, now.” Sophocles, what’s your deal? This is Greece. It is friggin’ hot here. There are no “Saturday Morning food fairs” and you do not like fishing? Why not go to Santorini for the week? They are having a sale on last year’s togas and this year’s newest flip-flops. No. Instead, you go off on your own, chisel in hand and rocks on the ground, no one around for hectares, and you start writing a story about a boy and his mommy, in an intimate way? Our Athenian audience is all men, this is not Off-Off Broadway. They ain't going to like it. Well, maybe the politicians... Listen to me, your friend Socratberg. Go to the nearest dispensary and buy yourself some hybrid hemlock. Have it with a little vino. Don’t forget it may take an hour before the effects set in. Okay, basta. Y’all know how the story goes. A tragedy indeed for the son/husband and serendipity for Sophocles, who, so far has about twenty-five hundred years run on this production. Next time, take my mother, please.

  17. 5 out of 5

    Laura

    Pensaba que me iba a costar leerlo por el lenguaje pero para nada ha sido así. Es muy fácil de leer, y aunque es una historia que todos conocemos hay algún momento de sorpresa. La única pega que le pongo es que es muy corto, podían haber dado algún rodeo en lugar de ir tan al grano, pero aún así he disfrutado mucho leyéndolo.

  18. 4 out of 5

    Araz Goran

    أوديب ملكاً - سوفوكليس لم أتوقع أنني سأتأثر بهذه التراجيديا بعدما سمعتها مرات ومرات وكدت أن أفقد دهشة الحكاية لولا قرائتي لهذه المسرحية , كونها من أكثر القصص والأساطير اليونانية شهرة على الإطلاق, قلت آن لي أن أقرأ هذه المسرحية الشهيرة التي أستوحاها سوفوكليس من الاسطورة اليونانية المذكورة في ملحمة اليونان القديمة المعروفة بالإلياذة .. جسدها سوفوكليس بعبقرية لا توصف وتراجيدية وفلسفة عميقة يشهد لها التاريخ ومازالت تثير الدهشة في قلب القارئ , وهي قصة أوديب الذي قتل أباه وتزوج من أمه بعد ذلك من دون أن أوديب ملكاً - سوفوكليس لم أتوقع أنني سأتأثر بهذه التراجيديا بعدما سمعتها مرات ومرات وكدت أن أفقد دهشة الحكاية لولا قرائتي لهذه المسرحية , كونها من أكثر القصص والأساطير اليونانية شهرة على الإطلاق, قلت آن لي أن أقرأ هذه المسرحية الشهيرة التي أستوحاها سوفوكليس من الاسطورة اليونانية المذكورة في ملحمة اليونان القديمة المعروفة بالإلياذة .. جسدها سوفوكليس بعبقرية لا توصف وتراجيدية وفلسفة عميقة يشهد لها التاريخ ومازالت تثير الدهشة في قلب القارئ , وهي قصة أوديب الذي قتل أباه وتزوج من أمه بعد ذلك من دون أن يعلم ذلك , حدث ذلك بعد الوحي الذي أوحاه أبولون لوالد أوديب الذي حاول جاهداً التخلص من أبنه وتفادي المصير المشؤوم الذي قال به الوحي, ولكن ماذا عسى أن ينقذ الأب إذا كانت الأقدار قد سلطت ذلك المصير القاسي على أوديب وكيف يتفادى المرء حدثاً قد كان مكتوباً .. تدور الأحداث وتنقلب الأيام فيقع الأثم وتتحطم مسارات البشر أمام جحيم القدر ويعلم أوديب أنه لم يولد إلا لكي يقع فريسة لتلك النبوءة المشؤومة, يصرخ أوديب , يتألم كأن جنون العالم قد صب على رأسه , يعلم حينها أنه أشقى البشر على وجه الأرض.. " أنظروا, يا أهالي ثيبا , ها هو ذا أوديب الحاذق في حل الألغاز الشهيرة والذي صار أول بني الإنسان , لم يكن أحد في المدينة يتأمل مصيره إلا ويحسده .. أما اليوم , فها هو قد وقع في هاوية من الشقاء الرهيب.. فحذار إذن من أن نصف إنساناً بأنه سعيد , قبل أن يكون قد إجتاز نهاية عمره دون أن يكون قد عانى مصيبة !! " هذه واحدة من أكثر القصص تراجيدية وعبثية التي ستقرأها في حياتك , كيف لا وهي تتعلق بمصير إنسان قد حكمت عليه الأقدار بمصير كالجحيم وحياة شقية أكثر سوداوية من كل تصوراتنا العبثية حتى ..

  19. 5 out of 5

    Foad

    نمايشنامه ى مشهور اديپ شهريار، يكى از بزرگترين تراژدى هاى يونان باستان. از لحاظ داستان، واقعاً اعجاب انگيزه. داستان ابتدا با معمايى شروع ميشه كه نجات شهر "تِبس" از نابودى به حل اون بسته است، ولى هيچ كس جوابش رو نميدونه. بعد كم كم كه معما حل ميشه، پاسخ وحشتناك و تراژيكش آشكار ميشه و نجات شهر از نابودى، به بهاى بسيار سنگينى حاصل ميشه. اين روش طرح معما و حل مرحله به مرحله ش، بسيار شبيه به داستان هاى جنايى امروزيه، و از خيلى از اين داستان ها به مراتب بهتره. اما اثر، طبعاً به مقتضاى زمان نگارشش، مشكلات نمايشنامه ى مشهور اديپ شهريار، يكى از بزرگترين تراژدى هاى يونان باستان. از لحاظ داستان، واقعاً اعجاب انگيزه. داستان ابتدا با معمايى شروع ميشه كه نجات شهر "تِبس" از نابودى به حل اون بسته است، ولى هيچ كس جوابش رو نميدونه. بعد كم كم كه معما حل ميشه، پاسخ وحشتناك و تراژيكش آشكار ميشه و نجات شهر از نابودى، به بهاى بسيار سنگينى حاصل ميشه. اين روش طرح معما و حل مرحله به مرحله ش، بسيار شبيه به داستان هاى جنايى امروزيه، و از خيلى از اين داستان ها به مراتب بهتره. اما اثر، طبعاً به مقتضاى زمان نگارشش، مشكلات خودش رو هم داره. از جمله اين كه تمام نمايشنامه فقط با ديالوگ روايت ميشه و چيزى "نمايش" داده نميشه. (view spoiler)[حتا خودكشى و کور شدن ادیپوس هم، که اوج تراژيك داستانه، فقط از قول يه خادم نقل ميشه و ما چيزى نمى بينيم. (hide spoiler)]

  20. 5 out of 5

    David Sarkies

    The Ultimate of Greek Tragedies 8 April 2012 This play is so messed up that a part of me says that it has to be based on true events. It is sort of like one of the arguments that people use regarding the authenticity of the Bible: every character (with the exception of Jesus Christ) is so flawed that one cannot consider that the stories have been made up. In particular we see the heroes of the Israelite nation, that being Abraham, Moses, and David, warts and all. However when us consider the Grec The Ultimate of Greek Tragedies 8 April 2012 This play is so messed up that a part of me says that it has to be based on true events. It is sort of like one of the arguments that people use regarding the authenticity of the Bible: every character (with the exception of Jesus Christ) is so flawed that one cannot consider that the stories have been made up. In particular we see the heroes of the Israelite nation, that being Abraham, Moses, and David, warts and all. However when us consider the Grecian myths we suddenly discover similar things here. The story of Oedipus is that his parents received a prophecy that their child would kill his father and marry his mother, Laius, Oedipus' dad, and king of Thebes, pinned the child's legs together and left him to die on Mount Cithaeron. However, unbeknownst to him a shepherd found the boy, took him into his care, and then sent him to the city of Corinth to be raised by the king and queen there. However, years later when Oedipus had come of age, during a feast a man got too drunk and blurted out that Oedipus' parents weren't his true parents. Despite their pleading Oedipus left Corinth and travelled to Delphi to ask the oracle the truth. The Pythian Oracle, as usual, did not give him a straight answer and simply repeated the prophecy to Oedipus. As such, he decided not to return to Corith but to flee so as not to kill whom he believed where his parents. However on his way out of Delphi he is confronted by a rather arrogant man who demanded that Oedipus move out of the way. Oedipus tells him to bugger off and a fight ensures resulting in Oedipus' victory. He then arrives at Thebes while the city is being tormented by a sphinx who has a riddle that nobody knows the answer, but Oedipus correctly guesses it, kills the sphinx, and when word is brought about Laius' death Oedipus marries Jocastra, and lives happily ever after. Actually they don't because without realising it the prophecy has been fulfilled. Further a great crime has been committed, and since a father murderer is living in Thebes the entire city is struck with a plague. Oedipus, who has become king, and is the hero of the city, decides to investigate. However his investigations quickly uncover a truth that is hidden from him and upon learning of this truth, namely that he killed Laius, who turns out to be his father, and married his wife, Jocastra, who turns out to be his mother, he is struck with the guilt of what has come about, Jocastra kills herself and Oedipus rips out his eyes and exiles himself from Thebes. Well, I have just told you the plot of the play without actually saying anything about the themes in the play. Well, there are two reasons why I outlined the plot, one being that it is a very complicated plot, and secondly to demonstrate how messed up everything is. This is not a simple Hollywood plot where everything is resolved in the end and everybody goes away happy. In fact it does not seem that there was really anything that Oedipus could have done to get himself out of the mess that he found himself in. In fact it seems that the more he attempts to get out of it the deeper the hole that he digs for himself, but it is not as if he could avoid doing it. He flees because he doesn't want the prophecy to come true, but there is a lot that he does not know and a lot that he is not being told. His step parents are not telling him the truth, and in hiding the truth, they are also making the prophecy come true. As for Laius, once again, everything that he does only serves to make the prophecy come true. While he attempts to kill his son, this fails because of the compassionate nature of humanity. It is the shepherd's compassion that prevents him from leaving Oedipus alone on Cithaeron. The essay question that I answered on this play involved the question of fate and freewill. However there really does not seem to be any freewill here. Every decision that Oedipus makes only brings the revelation closer to being revealed. As a good king he simply cannot ignore the plague, and as a good king, he cannot do anything but seek justice and cleanse the city, despite the fact that he is the root cause of the problem. Despite the curse that he calls on the perpetrator, he must suffer the punishment himself, despite the pleas to the contrary. Oedipus is a just king, but despite his actions it is only when the fog is cleared and the truth comes out that he discovers that he is the perpetrator. Hey, he didn't even realise that the guy that he encountered at the crossroads was the king of Thebes, and his father. Aristotle in his Poetics writes that characters in a drama should have a fatal flaw, but nobody seemed to have told Sophocles that. Granted Ajax may have had a fatal flaw, but Ajax is not Shakespeare, and is dealing with an issue that has nothing to do with his character. Ajax is dealing with PTSD (though not by that name) and Oedipus does not seem to have that fatal flaw. In reality, other than killing Laius at the crossroads (though some could argue that he did so in self-defense), Oedipus has done nothing wrong. In fact, if he had not investigated the cause of the plague then he would have been negligent. No, it is not Oedipus that has done anything wrong, but rather his ancestors. Laius is cursed and I believe that going up the ancestral chain further we come to a situation where an ancestor fed human flesh to another human, mostly as payback (I can't remember off hand who it was, it could have been Thyestes, but it could have been somebody else - one of Agamemnon's line is also guilty of a similar offense). In a sense then it is not the actions of Oedipus that brings about his suffering and downfall, but that of his father, and of his father's father. Poor Oedipus is only caught in the middle. One might wonder what was so appealing about a story that everybody knows. Well, it is the same with us. When we look through the video store at all the movies available we discover that the plots of each and every one of those movies are pretty much the same. It is not the question of the plot, but how we get to the ending, and how the movie ends. We pretty much know that in around 90% of the movies available the good guys win and the hero gets the girl. We know that so we don't watch the movie for that, but rather how they get there, and how the good guys win. This was the same for the Greeks, and it is fortunate that we have versions of the Electra from the three great playwrights. In this we can see how the actual event differs and how each of the playwrights treated the subject. No doubt with Oedipus, both Aeschylus and Euripides would have explored different themes, and painted Oedipus in a different light, so that despite knowing the outcome, we arrive there through a different method.

  21. 4 out of 5

    ✨ jamieson ✨

    honestly, I feel bad for Oedipus. He left his house to do the right thing and try to avoid killing his dad, just to come across his real dad and kill him anyway. It's really unfortunate and it really sucks for him. And then he had to go and skewer his eyeballs like yikes he's not having a good time, is he ? RIP Oedipus eyes, I'm sorry this happened to you. Honestly, I know this play is super tragic, and it actually is interesting how he tried to avoid his fate which led to him fulfilling it anywa honestly, I feel bad for Oedipus. He left his house to do the right thing and try to avoid killing his dad, just to come across his real dad and kill him anyway. It's really unfortunate and it really sucks for him. And then he had to go and skewer his eyeballs like yikes he's not having a good time, is he ? RIP Oedipus eyes, I'm sorry this happened to you. Honestly, I know this play is super tragic, and it actually is interesting how he tried to avoid his fate which led to him fulfilling it anyway but you can't not laugh at his misfortune. Or maybe I have to laugh to avoid thinking about the fact his siblings are his children

  22. 4 out of 5

    Jenny

    "[...] Θα το νιώσεις με τον καιρό καλά,τι ο χρόνος μόνο τον τίμιο άντρα φανερώνει· όμως το φαύλο σε μια μέρα τον γνωρίζεις."

  23. 5 out of 5

    Bam

    This is my first reading of the ancient Greek play. Like so many stories that are part of our cultural consciousness, I thought I was very familiar with the plot but was so wrong. I asked my husband what he knew of Oedipus Rex and he said the same thing I was thinking: man murders his father and marries his mother=oedipus complex ala Dr Sigmund Freud. That, of course, is what happens but the true tragedy is that it was not intended. In the opening scenes of the play, Thebes has been plagued by f This is my first reading of the ancient Greek play. Like so many stories that are part of our cultural consciousness, I thought I was very familiar with the plot but was so wrong. I asked my husband what he knew of Oedipus Rex and he said the same thing I was thinking: man murders his father and marries his mother=oedipus complex ala Dr Sigmund Freud. That, of course, is what happens but the true tragedy is that it was not intended. In the opening scenes of the play, Thebes has been plagued by failing crops, barren women, etc. and the people want to know what has angered their gods. Creon, Queen Jocasta's brother, has sought the advice of an oracle who says King Laius was murdered and they must bring his killer to account, either by exile or death, to make things right again. Tiresias, the blind soothsayer, is brought to court and asked to identify the killer and he names King Oedipus. At first, Oedipus thinks his brother-in-law is involved in a plot to gain the crown for himself. But then the truth begins to slowly come to light as various twists of fate are revealed. The moral of the tragedy seems to be that the fate the gods have planned for a person cannot be avoided. Excellent tale! No wonder it is still so popular after over two thousand years! I look forward to reading the rest of the trilogy now.

  24. 4 out of 5

    Arthur Graham

    DUDE BANGS HIS MOM LOL

  25. 4 out of 5

    Deniz Balcı

    Ben Kral Oidupus'un Bordo/Siyah Dünya Klasikleri Serisinden çıkan versiyonunu okudum. Eser herkesin okuması, üzerine düşünmesi gereken antik bir kült. Artık etkisi yalnız tiyatro sahnelerinde değil; sinemada, edebiyatta, şiirde, psikolojide sürekli olarak bize kendini gösteriyor. Bordo/Siyah versiyonunda Versel Atayman'ın yazmış olduğu önsöz nefis. Her açıdan Kral Oidipus'a bir bakış getirmiş. Hepimizin az çok bildiği ve kavradığı bu hikayeye; kısa ama çok yeterli/açıklayıcı bir makale yazmış. Çe Ben Kral Oidupus'un Bordo/Siyah Dünya Klasikleri Serisinden çıkan versiyonunu okudum. Eser herkesin okuması, üzerine düşünmesi gereken antik bir kült. Artık etkisi yalnız tiyatro sahnelerinde değil; sinemada, edebiyatta, şiirde, psikolojide sürekli olarak bize kendini gösteriyor. Bordo/Siyah versiyonunda Versel Atayman'ın yazmış olduğu önsöz nefis. Her açıdan Kral Oidipus'a bir bakış getirmiş. Hepimizin az çok bildiği ve kavradığı bu hikayeye; kısa ama çok yeterli/açıklayıcı bir makale yazmış. Çeviride keyifli ve özenli. Tavsiye ederim.

  26. 4 out of 5

    Özgür

    "Yazık, insanın değiştiremeyeceği şeyleri bilmesi ne korkunç." "Bu yüzden, beklemeli en son günü, ve dememeli ölümlü kimseye bahtiyar Acılar çekmeden hayatın hedefine ulaşmadan önce o kimse."

  27. 5 out of 5

    Reckoner

    Σύμφωνα με τον Αριστοτέλη το συγκεκριμένο έργο αποτελεί την τελειότερη τραγωδία. Έχει μια στυνομική πλοκή, διαπνέεται απο μια μεγαλειώδη τραγικότητα και ειρωνεία, λογοτεχνικά παιχνίδια και συμβολισμούς(σταυροδρόμι=σημείο μοιραίων αποφάσεων/Οιδίποδας=αυτός που έχει πρησμένα πόδια+ γνωρίζει και το τρίτο πόδι του αινίγματος της Σφήκας). Ο Σοφοκλής ενδιαφέρεται για τα όρια της ανθρώπινης γνώσης. Πόση αλήθεια μπορεί να αντέξει ο άνθρωπος ?? Εξέρχεται ηττημένος αλλα πιο σοφός. Η τύφλωση του περα απο τ Σύμφωνα με τον Αριστοτέλη το συγκεκριμένο έργο αποτελεί την τελειότερη τραγωδία. Έχει μια στυνομική πλοκή, διαπνέεται απο μια μεγαλειώδη τραγικότητα και ειρωνεία, λογοτεχνικά παιχνίδια και συμβολισμούς(σταυροδρόμι=σημείο μοιραίων αποφάσεων/Οιδίποδας=αυτός που έχει πρησμένα πόδια+ γνωρίζει και το τρίτο πόδι του αινίγματος της Σφήκας). Ο Σοφοκλής ενδιαφέρεται για τα όρια της ανθρώπινης γνώσης. Πόση αλήθεια μπορεί να αντέξει ο άνθρωπος ?? Εξέρχεται ηττημένος αλλα πιο σοφός. Η τύφλωση του περα απο το οτι προκαλεί τον έλεο στον θεατή, συμβολίζει και την εσώτερη συνειδητοποίηση της αλήθειας ( η όραση δεν του χρησιμεύει πλεόν, έχει ανακαλύψει αυτό που ζητά). Οι θεοί συντρίβουν τον Οιδίποδα υπογραμμίζοντας το εφήμερο της ευτυχίας, την τραγικότητας της ύπαρξης(εδώ δεν υπάρχει η σωτηρολογία των θρησκειών). Όμως ο Οιδίποδας πορεύεται ελεύθερα στο μονοπάτι που επέλεξε κρίνοντας και αποφασίζοντας χωρις έξωθεν παρεμβάσεις. Ο λιμός θα είναι απλά η η αφορμή και ο τρόπος των θεών για την αποκατάσταση της κοσμικής τάξης. Εδώ οι Θεοί σε οδηγούν στην γνώση μεσα απο τον πονο, την ντροπή, και τέλος την λυτρωση. Προσπαθούν να σε κάνουν κάτοχο της αλήθειας δι' ελέου και φόβου. Ο Οιδίποδας χωρίς να το γνωρίζει έχει διαπράξει θηριωδίες και πρέπει να απομονωθεί απο τους ανθρώπους. Και θα το κάνει γιατι ενω δεν είναι ένοχος (αφου δε γνώριζε τι έκανε) θα αυτοτυφλωθεί και θα εξοριστεί λογω ντροπής. Σύμφωνα με τον Νίτσε η τραγωδία είναι σύζευξη του έλλογου με το ενστικτώδες στοιχείο. Ο λόγος υπάρχει για να τιθασεύσει το άγριο ένστικτο. Ο Σοφοκλής θεωρείται δικαίως ο καλύτερος τραγικός συνδυάζοντας το θείο(Αισχύλος) με τον ανθρωπισμό και τα παθη(Ευρυπίδης) σε ένα απο τα πιο συγκλονιστικά έργα που γράφτηκαν ποτέ.

  28. 4 out of 5

    Ahmed Oraby

    إنني أريد أن أعرف الحقيقة -» - ليتك لا تعلمها» جحيم المعرفة، ونعيم الجهل. هذا هو ما تدور عنه القصة ههنا. تحكي المسرحية عن أوديب البطل الذي يحكم عليه أبوه طفلًا بأن يقتل، أملًا في تجنب المصير الأسود الذي تنبأ به أبولون له ولولده، بأن سيقتل على يديه ويضاجع ابنه زوجته. يبعد الطفل مع راعٍ على أمل أن يتكلف هو بقتله لكنه سرعان ما يهبه لأحد الجوالة فيأخذه ملك كورنت بوليبوس ويعنى به ويتخذه وليًا للعهد من بعده، ينبو إلى سمع أوديب هواجس من حاشية الملك تشكك في بنوته، فيهرب أوديب من عاره، ليلاقي مصيره الذي تن إنني أريد أن أعرف الحقيقة -» - ليتك لا تعلمها» جحيم المعرفة، ونعيم الجهل. هذا هو ما تدور عنه القصة ههنا. تحكي المسرحية عن أوديب البطل الذي يحكم عليه أبوه طفلًا بأن يقتل، أملًا في تجنب المصير الأسود الذي تنبأ به أبولون له ولولده، بأن سيقتل على يديه ويضاجع ابنه زوجته. يبعد الطفل مع راعٍ على أمل أن يتكلف هو بقتله لكنه سرعان ما يهبه لأحد الجوالة فيأخذه ملك كورنت بوليبوس ويعنى به ويتخذه وليًا للعهد من بعده، ينبو إلى سمع أوديب هواجس من حاشية الملك تشكك في بنوته، فيهرب أوديب من عاره، ليلاقي مصيره الذي تنبأ له به أبولون اللعين. المسرحية تصور أزمة الإنسان الشديدة وتخبطه بين مصير محكوم غليه وبين إرادة بشرية جاهلة طائشة لا يحكمها سوى التخبط والعماء. يسبح أوديب في بحر من النسيان والتيه والتشتت والتشرد حتى، يجهل مصيره ويلعن أبولون والآلهة، يحاكم الإله والآلهة، ويعاتب زيوس - أو ذوس، كما ترجمها طه حسين - لكتابته مثل هذا المثير على عبده الوفي، ويلوم قدره الذي أسلمه لكل هذا الجهل والبعد والأذى، ويلوم نفسه حتى لرغبتها الشديدة في معرفة الحقيقة، الحقيقة التي أنبأه الكاهن أنها لم تكن يومًا في صالحه يطمح الإنسان دومًا للحقيقة، لكته لا يدري بأن الحقيقة تلك هي تحقق فناءه وشقاؤه على أيدي القدر التي لا ترحم. يقول أوديب في ما يقارب نهاية المسرحية :"من بين كل تلك المصائب، ألا تعد تلك التي يرتكبها المرء عن إرادة هي الأفظع"؟

  29. 5 out of 5

    Bruce

    We all know the story that this play tells; it has been part of the cultural heritage that most of us have known for as long as we can remember, and many of us have read it any number of times. Each reading brings new insights, new questions, and rather than tell the story once again, I prefer to dwell on the thoughts and questions that this reading brought to my mind. Wherein lies the Evil in this play? In the prophecy and, apparently, the determinism of the gods that Oedipus will kill his fathe We all know the story that this play tells; it has been part of the cultural heritage that most of us have known for as long as we can remember, and many of us have read it any number of times. Each reading brings new insights, new questions, and rather than tell the story once again, I prefer to dwell on the thoughts and questions that this reading brought to my mind. Wherein lies the Evil in this play? In the prophecy and, apparently, the determinism of the gods that Oedipus will kill his father and marry his mother? In Oedipus’ doing so despite his attempt to avoid this fate and his ignorance that he has but done what Fate decreed? How can he be held responsible for this? In his attempt to outwit Fate, in his attempt to be an independent moral agent, an attempt that may be interpreted as hubristic? Why does he blind himself? Out of guilt? Out of a refusal to look upon his wife and children, the result of his life’s tragic trajectory? Is it an irrational impulse that has no meaning? The play is all about seeing, about revealing the hidden, and blinding is its antithesis. Perhaps Oedipus’ blinding of himself is a symbol of the blindness he labored under in the past, creating a sort of blindness-brief seeing-blindness sequence; maybe seeing is too much to bear. It is interesting to note how hearing supplants seeing as the play progresses. And why does Jocasta kill herself, since she can hardly be blamed for what has occurred? Simply because she has offended an incest taboo, albeit unknowingly? Or is this the final blow for her, the culmination of grief that began when her infant son was taken from her to be exposed and killed many years before? There are many puzzles in this play beyond the obvious puzzle that history hides and that is eventually revealed. This is the story of the overcoming of illusion, of developing clear sight. Is seeing clearly always painful? Is seeing oneself for who one is what we try hard to avoid (Oedipus’ power of denial, of an almost willful blindness to the signs and messages coming to him, is stark)? Is it necessary for healing, however? Do we remain somehow polluted and constrained without the sight that comes through knowledge, or is knowledge itself a source of suffering? Is this the reason why we try so hard to distract ourselves, to avoid the hard job of seeing ourselves without illusions? How interesting, though, that Oedipus is able to become a free moral agent, governed by free will and not by necessity, only when he achieves dis-illusionment. The gods foretell events, implying determinism, and then hold Thebes responsible for not banishing Oedipus. Why do they hold Oedipus responsible and punishable for something they decreed and that he did unintentionally, indeed for something he tried desperately to avoid? There is an element of Fate or Evil in this play that is beyond rationality, beyond understanding. The Chorus is all important; its speeches should not be rushed through in order to “get to the action.” It is the conservative voice of the past, of collective wisdom. From the very beginning of the play, the Chorus has premonitions of disaster. How is each of us fated? What part does chance, fate, or determinism play in our lives? To what extent do we take responsibility for our actions, for the pattern of our lives? For what are we responsible and for what are we not? How does intention change our responsibility for our actions? In what ways are we blind to what we do, to what we have done, to how these have changed or influenced our lives and the lives of others? To what extent do we live in perpetual ignorance of the effects of our lives and actions? And once we know ourselves, can we live with what we once were, where we once were, or is all irrevocably changed? At what price do we gain knowledge of ourselves, of reality? Oedipus gains such knowledge only through living his life in reverse, moving from his present into his past. It is easy to see how texts like this have survived to speak to readers and the watchers of drama through millennia. The themes are universal, the questions perennial, the mysteries haunting even as they are unfathomable.

  30. 4 out of 5

    Teresa Proença

    "Cuadrúpedo en la aurora, alto en el día y con tres pies errando por en vano ámbito de la tarde, así veía la eterna esfinge a su inconstante hermano, el hombre, y con la tarde un hombre vino que descifró aterrado en el espejo de la monstruosa imagen, el reflejo de su declinación y su destino. Somos Edipo y de un eterno modo la larga y triple bestia somos, todo lo que seremos y lo que hemos sido. Nos aniquilaría ver la ingente forma de nuestro ser; piadosamente Dios nos depara sucesión y olvido." — Jorge Luis "Cuadrúpedo en la aurora, alto en el día y con tres pies errando por en vano ámbito de la tarde, así veía la eterna esfinge a su inconstante hermano, el hombre, y con la tarde un hombre vino que descifró aterrado en el espejo de la monstruosa imagen, el reflejo de su declinación y su destino. Somos Edipo y de un eterno modo la larga y triple bestia somos, todo lo que seremos y lo que hemos sido. Nos aniquilaría ver la ingente forma de nuestro ser; piadosamente Dios nos depara sucesión y olvido." — Jorge Luis Borges (Edipo y el enigma) (Francis Bacon - Sphinx)

  31. 5 out of 5

    Marty :} (thecursedbooks)

    I actually like this one better than Antigone, the subject is very disturbing, but I liked the writing a lot.

  32. 4 out of 5

    Antonella

    Una de las grandes (y más conocidas) tragedias de Sófocles. Ambientada en la peste que asola a Tebas, Edipo deberá buscar el origen de la fatal desgracia y darle una solución. Esta es una tragedia donde uno de los ejes principales es la disputa por el poder: Edipo, ante la revelación que Tiresias hace sobre el culpable de la peste que flagela a Tebas, piensa que todo se trata de un complot para sacarlo del trono. Acusa y construye teorías que tienen como principal perpetrador a Creonte y como ví Una de las grandes (y más conocidas) tragedias de Sófocles. Ambientada en la peste que asola a Tebas, Edipo deberá buscar el origen de la fatal desgracia y darle una solución. Esta es una tragedia donde uno de los ejes principales es la disputa por el poder: Edipo, ante la revelación que Tiresias hace sobre el culpable de la peste que flagela a Tebas, piensa que todo se trata de un complot para sacarlo del trono. Acusa y construye teorías que tienen como principal perpetrador a Creonte y como víctima su propia investidura real. Aquí no vamos a conocer la historia previa a la asunción del reino, sino que Sófocles sólo nos presenta la parte final de la tan conocida historia de Edipo. Este énfasis en un fragmento de la historia está ligada al contexto histórico y social de la Atenas del 430 a.c. El año anterior (431 a.c) dió comienzo la Guerra del Peloponeso, la cual enfrentó a Atenas con Esparta, y poco tiempo después (430) se produce, en la ciudad ática, una mortífera peste que cercena a gran parte de la población ateniense. Si tomamos en cuenta la función política y educativa que el teatro tenía con relación a los ciudadanos, se puede decir que la inclusión de determinados hechos, la supresión de otros, el resaltar ciertos personajes o modificar las líneas secundarias de las historias míticas que se relataban en las tragedias, siempre tenía una finalidad explícita orientada a la formación en valores que beneficiaban el funcionamiento armónico de la democracia ateniense. En Edipo Rey, a diferencia de lo que sucede en el Edipo de Séneca, el foco está puesto en la búsqueda de la verdad para la preservación de Tebas, de la integridad del reino aunque ello implique la destrucción de su rey. La polis ante todo es el lema a sostener por cualquier ciudadano ateniense de la época. Tragedia donde se muestra claramente la ironía trágica, como mecanismo vital del teatro de Sófocles, y un sentimiento de profunda desprotección con respecto a los dioses, que va precedida de una crisis espiritual en su tiempo.

  33. 5 out of 5

    Kaion

    What's interesting about fate, and what's different from our world and Oedipus's, is that "fate" doesn't really exist in our world. No real oracles go around telling you you're going to sleep with your mother. Instead, it's a philosophical device. On one side you've got "free will" (traditional very Western, very American even with the idea of the individual going forward), and on the other side you've got your fatalists (see my mom and her Vietnamese cosmology [is that the word? Whatever, I’m g What's interesting about fate, and what's different from our world and Oedipus's, is that "fate" doesn't really exist in our world. No real oracles go around telling you you're going to sleep with your mother. Instead, it's a philosophical device. On one side you've got "free will" (traditional very Western, very American even with the idea of the individual going forward), and on the other side you've got your fatalists (see my mom and her Vietnamese cosmology [is that the word? Whatever, I’m going to use it], in which the people who are around you are literally born to be so because of the debt you owe each other in the present, owed in the past, and/or will use in the future). I'm not really a fan of philosophy, and as far as I'm concerned the goodness of each approach is only to be judged by how useful they are to a specific person in a specific situation (and place and time). I say that there is no fate in our world, but that's not really true. What separates fate from free will is foresight, and there's plenty of that in our world. A cancer patient (like my aunt) being told she has six months to live. One step lower on the surety scale, my remaining aunts and my mother living under the knowledge that they're likely (what, like 50/50 chances) to get this dubious inheritance from their father (oh hey! Antigone, didn’t see you there). Or even to the much lower level of common sense, like stock markets: what goes up so precipitously, without merit, is likely to come down just as precipitously. What’s interesting about Oedipus, is at first glance the prophecies within are so abhorrent, who wouldn’t react in horror to the idea of killing one’s father and sleeping with one’s mother? But at second glance, is it not common sense, is it not true for all families that one day the son will surpass the father, one day the father will fall and the son will take the father’s place? Is it not true men will judge their relationships with women against that first relationship with their moms? The prophecy given to Oedipus and to his birth parents is a sensationalist version of the common sense truth for all families (even to those where the son cannot so literally inherit a father’s throne). And the real-world response to that un-sensational real-world dilemma is: “Hey, one day I’m going to die, and I’m going to try and leave the world(kingdom) in the hands of a good human being” (& “I’m going to teach my son to treat the women he loves with respect” & “I’m going to be good to my father while he’s alive and a really good person when he’s gone”). You might say I’m unfair in comparing Oedipus to an unchangeable fate (cancer, though for most people, I don’t think killing one’s baby is really an option on the table… but we’ll get back to that). No, my aunt couldn’t change her rapidly-growing tumor, but she could change the way she went out. She took hold of her finances for the first time in her life, she aired her grievances towards her husband (and the frightful in-laws) and her children instead of stewing in them, she tied up her inheritance to provide for her youngest through college, she got the death she wanted (at home and with Buddhist rites), all so she could live her remaining months in peace, and die in peace, instead of continuing to live (practically a lifetime) in sorrow. Is it fair she died so young? Is life fair? My mom doesn’t know if she’s going to get cancer in 4 years, but she’s you know, de-stressing her life, selling the house, doing things she wants to do, and going in for all her medical tests. No, it’s no magic trick to see one’s future, it’s magic to decide what to do about it. It’s easy to get desperate and anxious to change one’s fate, hey, how else do you think those snake doctors make a living… It’s not always easy to see the difference between trying to ‘master your fate’ and trying to make the best of it/just being proactive/smart. I say sensationalist, but that’s not really true—you needn’t look far—when there’s a real shortage of women in the world (China and India are the real places of impact, though considering how much of the world population is from those two countries, it is effectively, a world impact) due to selective-gender abortion and female child abandonment (told you I’d get back to it). The ‘making the best world’ response (from parents, and from governments/society) is to educate girls, give them the same chances as boys, give them a world where women can be as useful to their families as men. The ‘master your fate’ response has created increased demand for sex-trafficking (and increased forced marriages and honor killings). Of course people want to escape “fate”, it is so human (and what makes the play so human)—of course, whether you call if “life” or “gods” or “fate”, it isn’t fair, but how much of it is really “fate” and how much is it our (humans) own choices? And if we think the answer is to try ignorance, how can we try ignorance (no foresight)—people spend their whole lives trying to know, trying to make the world make sense (and we make gods and science to try and make sense of it for us) and it really is for the best psychics are really charlatans, because we got plenty of foresight on our own thanks, we just don’t know what to do with it (can’t ignore it either, see global warming). As the alcoholics/Christians say: "God, grant me the serenity to accept the things I cannot change,/Courage to change the things I can,/And wisdom to know the difference.” Basically what I’m saying is Sophocles is pretty genius, and Freud as usual gets it half-right, half-wrong.

  34. 4 out of 5

    Evandro

    Já tinha lido esta peça muitos anos atrás. Mas agora li-a com muito mais proveito, pois li a Ilíada recentemente e estava, portanto, muito mais familiarizado com o "espírito" grego. E a tradução portuguesa da Edições 70, apesar de ser em prosa, é de leitura muito, muito poética, como aliás é tão típico dos portugueses. As frases são tão bem redigidas, a sonoridade é tão bem construída e natural ao mesmo tempo! Foi um grande prazer. Quanto ao conteúdo, uma das coisas que mais me marcaram foi a idé Já tinha lido esta peça muitos anos atrás. Mas agora li-a com muito mais proveito, pois li a Ilíada recentemente e estava, portanto, muito mais familiarizado com o "espírito" grego. E a tradução portuguesa da Edições 70, apesar de ser em prosa, é de leitura muito, muito poética, como aliás é tão típico dos portugueses. As frases são tão bem redigidas, a sonoridade é tão bem construída e natural ao mesmo tempo! Foi um grande prazer. Quanto ao conteúdo, uma das coisas que mais me marcaram foi a idéia de a progênie carregar consigo o legado dos atos abomináveis cometidos pelos pais. Prefiguração do tema judaico-cristão do pecado original? Antes, creio eu, expressão de uma mesma realidade, porém num plano menos profundo, menos abrangente, já que os gregos concebiam a transcendência de uma maneira mais, por assim dizer, naturalista; isto é, como algo que se passaria em um mundo quase que contíguo a este aqui.

  35. 4 out of 5

    Mya

    I can say that the movie and the book was both delightful.

  36. 5 out of 5

    Danger

    OMG this Oedipus dude just totally banged out his own mom LOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLZ But really, there were descendants whose genetic makeup is irrevocably tied into my own that were walking the Earth when Sophocles wrote this play. And here I am, in 2017, thousands of years later, reading it. Literature serves humanity in subtle yet profound ways; it is one of the only bridges we have into the psychology of the past. The world is so goddamn complicated. Reading books like t OMG this Oedipus dude just totally banged out his own mom LOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLOLZ But really, there were descendants whose genetic makeup is irrevocably tied into my own that were walking the Earth when Sophocles wrote this play. And here I am, in 2017, thousands of years later, reading it. Literature serves humanity in subtle yet profound ways; it is one of the only bridges we have into the psychology of the past. The world is so goddamn complicated. Reading books like this make me feel gigantic and tiny at the same time.

  37. 5 out of 5

    B. Han Varli

    talihsiz oidipus! nasıl oldu da böyle çılgınlığa kapıldın? hangi intikamcı tanrı kara bahtını büsbütün kararttı? yazık oldu, ah yazık! çok isterdim seninle konuşmak, seni dinlemek, ama bakamıyorum yüzüne; dehşetten ürperiyorum! ufaktan edebiyatla, kahve ve kitaplarla iç içe olan bir yılı geride bırakıyorum. birçok farklı tür eser okudum, araya bir de oyun sıkıştırmak istedim. kral oidipus'a başladım, resmen eski türk filmlerindeki bizanslı kötü adamların ortasına düştüm. olum, aklıma geldikçe gülü talihsiz oidipus! nasıl oldu da böyle çılgınlığa kapıldın? hangi intikamcı tanrı kara bahtını büsbütün kararttı? yazık oldu, ah yazık! çok isterdim seninle konuşmak, seni dinlemek, ama bakamıyorum yüzüne; dehşetten ürperiyorum! ufaktan edebiyatla, kahve ve kitaplarla iç içe olan bir yılı geride bırakıyorum. birçok farklı tür eser okudum, araya bir de oyun sıkıştırmak istedim. kral oidipus'a başladım, resmen eski türk filmlerindeki bizanslı kötü adamların ortasına düştüm. olum, aklıma geldikçe gülüyorum, tüm mahalle tren yapmış gibi, hale bak: çocukken terk edilen oidipus, kral polybos'a götürülür ve onun tarafından büyütülür. delikanlı oidipus, bir gün bir dağ yolunda at süren bir soyluya rastlar. aralarında kavga çıkar ve oidipus soyluyu öldürür. sonra kraliçe epikaste'nin kocası ve thebai kentinin kralı olur. oysa dağlarda öldürdüğü adamın babası, yatağına girdiği kadının ise anası olduğundan haberi yoktur. bu arada kader, halkına veba hastalığını musallat eder ve bu salgın hastalık nedeniyle onlara büyük acılar çektirir. oidipus halkının çektiği acıların nedeninin kendisi olduğunu anlayınca gözlerini kör eder ve o kör haliyle thebai'den çıkar gider hey yavrum hey... neler dönmüş, görüyor musun? tabii milattan önce beş yüzlü yıllar, telefon yok bişey yok, tragedya tavan. iyi ki bu eserlerin yazıldığı yıllarda yaşamamışız yemin ediyorum. şöyle düşün bir de, oidipus'un hikayesinin üzerinden iki bin yıl geçmiş, şimdiki krallar onun kadar şerefli olamıyor. ay sözcü gazetesi duyarı yaptım, kaçıyorum hemen.

  38. 5 out of 5

    Alissa

    I've read these plays multiple times. They never fail to amaze me.

  39. 4 out of 5

    Nelson Zagalo

    Não vou fazer nenhuma análise em profundidade desta obra pois para o tamanho do texto, nomeadamente o conflito principal em causa, já foi tudo tão amplamente dissecado que será impossível dizer algo de novo. Por isso expressarei apenas breves notas sobre a minha experiência de leitura. Há muito tempo que tinha intenção de iniciar a leitura dos textos dramáticos da antiga Grécia, mas tal como aconteceu com Shakespeare, fui sempre protelando, porque as peças teatrais escritas não são propriamente o Não vou fazer nenhuma análise em profundidade desta obra pois para o tamanho do texto, nomeadamente o conflito principal em causa, já foi tudo tão amplamente dissecado que será impossível dizer algo de novo. Por isso expressarei apenas breves notas sobre a minha experiência de leitura. Há muito tempo que tinha intenção de iniciar a leitura dos textos dramáticos da antiga Grécia, mas tal como aconteceu com Shakespeare, fui sempre protelando, porque as peças teatrais escritas não são propriamente o meu forte. Tenho dificuldade em aceitar aceder a uma obra que no estado escrito é apenas parte de um todo. Contudo, quando li Shakespeare e agora Sófocles, fui surpreendido pelos textos, pela sua capacidade de me demover. Sei bem que falo de peças não apenas de grande qualidade mas capazes de ultrapassar o teste de séculos e milénios. Assim e se Édipo era para mim um personagem amplamente conhecido, pelo modo como invadiu o imaginário ocidental, não sei se por graça de Sófocles ou das tontices de Freud, a peça acabou por me surpreender exatamente no modo como se destaca da descoberta do conflito principal. Quando iniciei a leitura senti-me algo desmotivado por ver tanta discussão — sobre o filho que mata o pai e casa com a mãe — tentasse eu aceder à obra onde quer que fosse, em que edição fosse. No entanto Sófocles vai muito para além da trama, ela está lá, ela tudo faz mover, e de certo modo confere a Aristoteles razão quando este afirma que é a trama mais importante que os personagens, mas é Sófocles que acaba a demonstrar o contrário. Ou seja, se o conflito está lá, se o enredo empurra os personagens para uma espécie de precipício dramático, continuam a ser os personagens quem decidem saltar ou não. Sófocles centra-se nesse ponto, em buscar o modo como reagir a algo que conhecíamos de antemão, e executa de forma trágica, como não podia deixar de ser numa tragédia. Assim, digo que se me incomodou toda a dependência dos deuses e dos adivinhos, não deixou de me impactar a decisão final de Édipo pensada para ter efeito tanto nesta vida como no além. É um clímax digno da catarse de Aristoteles, e que explica bem o receio que Platão tinha de ver a República manipulada pelas artes. "The blind Oedipus commending his children to the Gods", 1784, de Bénigne Gagneraux Uma nota final para a questão do incesto. Vivemos uma época de grande liberação sexual, o que tem vindo a abrir espaço para a defesa do incesto entre adultos (cf. "Impunidade" HG Cancela). Em defesa destas visões muitas vezes enunciam-se os nossos antepassados gregos e romanos pela sua liberdade que teria sido, mais tarde, castrada pela igreja. Contudo, do que se pode ler nestes textos, é que se existia maior liberdade sexual ela estava muito longe de uma anarquia moral.

  40. 5 out of 5

    Emma

    I had to read this book for one of my classes because the theme of the course is lost/abandoned children. It’s quite fitting because this is the main theme of the work. I think it was well done and the parts after the big reveal truly showed the emotions felt by the protagonist.

  41. 5 out of 5

    Yıldırım Topçu

    2500 yıl önce yazılmış bir eser olmasına rağmen sadeliği ve akıcılığı hoşuma gitti. Thebai üçlemesinin ilk kitabı. Diğer kitaplar Antigone ve Oidipus Kolonosta. Eser aynı zamanda Sigmund Freud'un "Oedipus Kompleksi" kuramının esin kaynağıymış. Orhan Pamuk'un Kırmızı Saçlı Kadın kitabında da değindiği söyleniyor. Kaderinden kaçmaya çalışan kişinin beyhude çabası çok güzel işlenmiş. Bir çırpıda okunabilen kısa ve sarsıcı bir tragedya.

  42. 4 out of 5

    Mayy Wilde-Shakespeare

    "How dreadful the knowledge of the truth can be When there’s no help in truth." Wow. This was...intense. And I don’t mean the sort of intensity I feel whenever I read a Shakespeare play, but this is a sort of intensity I can’t even describe. To be honest I kind of expected for this to be quite dry. I mean, I was required to read this for my English literature class and you know how it usually is. Plus, this old is pretty old, and not Shakespeare old. Usually books like this can be quite tedious a "How dreadful the knowledge of the truth can be When there’s no help in truth." Wow. This was...intense. And I don’t mean the sort of intensity I feel whenever I read a Shakespeare play, but this is a sort of intensity I can’t even describe. To be honest I kind of expected for this to be quite dry. I mean, I was required to read this for my English literature class and you know how it usually is. Plus, this old is pretty old, and not Shakespeare old. Usually books like this can be quite tedious and tiresome and I am in one hell of a reading slump so I wasn’t really looking for anything heavy or difficult to help me out of it. To be honest, I was kind of relying of Twilight to rescue me. But that was a hit and a miss. But surprisingly enough, this was not at all what I expected. It wasn’t dry, it wasn’t tedious, it wasn’t very complicated and it most certainly wasn’t boring. It was incredible. The thing is, I would understand if someone who isn’t the biggest fan of literature wouldn’t like this, like I mentioned before it’s not for everyone. But it is for me. Shakespeare is one of my favorite play-write of all time (hence the username), so being able to read this play and recognize all of the similarities between this and one of Shakespeare’s or even any other tragedy, was mind-blowing for me. And at the end of the day, this play really motivated me to pick up a book and read. I love it and it is one of my favorites. Oh and by the way, Oedipus kind of reminded me of Thor and Kreon reminded me of Loki. I don’t know why, I guess I’m too much of a Marvel freak.

  43. 5 out of 5

    ♫ gabi ♫

    Eh. That is all I want to say. This book was crazy. Oedipus's wife was really his mother, and gave birth to him then gave birth to his children. He stabs his own eyes out. I am so done with this book.

  44. 5 out of 5

    Çağdaş T

    Orhan Pamuk'un Kırmızı Saçlı Kadın'ında fazlasıyla spoiler okumuştum. Yine de merakla ve keyifle okudum. ".. son gününü görmeden hiç kimseye mutluluğa ermiş demeyin! "

  45. 4 out of 5

    Yann

    Il est un être à deux pieds, trois pieds, quatre pieds sur la terre, mais une seule voix: il est seul à changer de nature parmi les êtres qui vont sur la terre, dans l'air, dans les vagues: lorsque prenant appui sur le plus de pieds il chemine, c'est alors que la rapidité de son corps est la moindre. (Anthologie Palatine, XIV, 64) Juste une petite relecture rapide d'Œdipe (prononcé édipe) Roi de Sophocle avant d'en traduire plusieurs passage, histoire de bien avoir l'histoire en tête. Œdipe (lit Il est un être à deux pieds, trois pieds, quatre pieds sur la terre, mais une seule voix: il est seul à changer de nature parmi les êtres qui vont sur la terre, dans l'air, dans les vagues: lorsque prenant appui sur le plus de pieds il chemine, c'est alors que la rapidité de son corps est la moindre. (Anthologie Palatine, XIV, 64) Juste une petite relecture rapide d'Œdipe (prononcé édipe) Roi de Sophocle avant d'en traduire plusieurs passage, histoire de bien avoir l'histoire en tête. Œdipe (littéralement en grec, pied enflé) est sollicité par la population de Thèbes, car la population est frappée par un mal mystérieux: les dieux annoncent qu'une souillure infecte la cité. Le pauvre Œdipe ignore qu'il est lui-même la victime des imprécations qu'il lance contre le responsable, et le dénouement est bien évidemment, tragique! Cette édition a la charité de bien vouloir faire goûter au lecteur les merveilles du rythme du grec, en indiquant sur les voyelles à quantité variable si elle est longue ou brève: une excellente initiative!

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