Biography and autobiography definition oedipus

Outline of Sophocles'
Oedipus the King LinesEvents1-85The priest, talking with Oedipus, tells him Thebes is under a curse and the city needs his help again.86-150Creon learns from Apollo that the curse on Thebes resulted from King Laius' murder. The city must banish the murderer to lift the curse.151-215The Chorus calls on various Olympians to aid Thebes.216-275Oedipus asks the Thebans to help him find and expel Laius' murderer. He avidly begins an all-out manhunt.276-379The blind priest Tiresias has information about the plague, which he refuses to divulge. After much prodding from Oedipus, Tiresias claims that Oedipus is the source of the curse.380-461Oedipus alleges that Creon and Tiresias are conspiring against him. Tiresias tells Oedipus to learn the truth about his parents and then forecasts Oedipus' downfall.462-531Creon, talking with the Chorus, denies the charges of collusion with Tiresias.532-633Oedipus threatens to execute or deport Creon. Creon maintains his innocence and advises Oedipus to consult Apollo.634-678Oedipus' wife, Jocasta, and the Chorus defend Creon and convince Oedipus not to kill or banish him.679-725Oedipus explains Tiresais' prophecy to Jocasta; Jocasta counters that not all of Apollo's vision come true and cites King Laius as an example.726-770Jocasta recounts Laius' murder. Oedipus has the first suspicions that he may have killed Laius.771-863Oedipus tells about the group of travellers he murdered. Oedipus demands to see the lone survivor of the group to confirm if he indeed killed Laius.864-910Chorus calls on the gods for help.911-974A messenger tells Oedipus that the King of Corinth is dead and that Oedipus is to assume the throne. Oedipus refuses to return, for fear of fulfilling Apollo's prophecy that Oedipus would sleep with his mother.975-1076Messenger tells Oedipus that he is not, in fact, the son of Polybus (the dea
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  • Sophocles

    5th century BC Athenian tragic playwright

    For other uses, see Sophocles (disambiguation).

    Sophocles (c. 497/496 – winter 406/405 BC) was an ancient Greek tragedian known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus and earlier than, or contemporary with, those of Euripides. Sophocles wrote more than 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens, which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions and was sometimes defeated by Sophocles; Euripides won four.

    The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.

    Life

    Sophocles, the son of Sophillus, was a wealthy member of the rural deme (small community) of Hippeius Colonus in Attica, which was to become a setting for one of his plays; and he was probably born there, a few years before the Battle of Marathon in 490 BC: the exact year is unclear, but 497/6 is most likely. He was born into a w

    Oedipus Rex

    Classical Athenian tragedy by Sophocles

    This article is about the play by Sophocles. For other uses, see Oedipus Rex (disambiguation).

    Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: Οἰδίπους Τύραννος, pronounced[oidípuːstýrannos]), or Oedipus the King, is an Atheniantragedy by Sophocles. While some scholars have argued that the play was first performed c. 429 BC, this is highly uncertain. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation.

    Of Sophocles' three Theban plays that have survived, and that deal with the story of Oedipus, Oedipus Rex was the second to be written, following Antigone by about a dozen years. However, in terms of the chronology of events described by the plays, it comes first, followed by Oedipus at Colonus and then Antigone.

    Prior to the start of Oedipus Rex, Oedipus has become the king of Thebes while unwittingly fulfilling a prophecy that he would kill his father, Laius (the previous king), and marry his mother, Jocasta (whom Oedipus took as his queen after solving the riddle of the Sphinx). The action of Sophocles's play concerns Oedipus's search for the murderer of Laius in order to end a plague ravaging Thebes, unaware that the killer he is looking for is none other than himself. At the end of the play, after the truth finally comes to light, Jocasta hangs herself while Oedipus, horrified at his patricide and incest, proceeds to gouge out his own eyes in despair.

    In his Poetics, Aristotle refers several times to the play in order to exemplify aspects

    Oedipus as the
    Ideal Tragic Hero
     
      In his famous "Poetics," the philosopher Aristotle laid the foundations for literary criticism of Greek tragedy. His famous connection between "pity and fear" and "catharsis" developed into one of Western philosophy's greatest questions: why is it that people are drawn to watching tragic heroes suffer horrible fates? Aristotle's ideas revolve around three crucial effects: First, the audience develops an emotional attachment to the tragic hero; second, the audience fears what may befall the hero; and finally (after misfortune strikes) the audience pities the suffering hero. Through these attachments the individual members of the audience go through a catharsis, a term which Aristotle borrowed from the medical writers of his day, which means a "refining" -- the viewer of a tragedy refines his or her sense of difficult ethical issues through a vicarious experious of such thorny problems. Clearly, for Aristotle's theory to work, the tragic hero must be a complex and well-constructed character, as in Sophocles' Oedipus the King. As a tragic hero, Oedipus elicits the three needed responses from the audience far better than most; indeed, Aristotle and subsequent critics have labeled Oedipus the ideal tragic hero. A careful examination of Oedipus and how he meets and exceeds the parameters of the tragic hero reveals that he legitimately deserves this title.
      Oedipus' nobility and virtue provide his first key to success as a tragic hero. Following Aristotle, the audience must respect the tragic hero as a "larger and better" version of themselves. The dynamic nature of Oedipus' nobility earns him this respect. First, as any Greek audience member would know, Oedipus is actually the son of Laius and Jocasta, the King and Queen of Thebes. Thus, he is a noble in the simplest sense; that is, his parents were themselves royalty. Second, Oedipus himself believes he is the son of Polybus and Merop
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