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"Oedipus the King", 2008.
A brief analysis of Sophocles' "Oedipus the King".
874 words (approx. 3.5 pages), 1 source, MLA, £ 16.95
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Abstract
This paper examines how "Oedipus the King" by Sophocles is about Oedipus, a man doomed by his fate. It looks at how, like most tragedies, "Oedipus the King" contains a tragic hero, a heroic figure unable to escape his own doom, and how the tragic flaw that Sophocles gives Oedipus is hubris (exaggerated pride or self-confidence), which causes Oedipus to walk right into the fate he sought to escape. The paper also discusses how Oedipus' pride pushes him toward his tragic end in the initial journey, when he kills his father, in the episode of the sphinx.
From the Paper
"On his trip away from Corinth, he unknowingly met with his father, King Laius. When Oedipus tells Jocasta of his encounter he says that he met with a carriage at an intersection and they fought over the right of way. He also mentions one man (King Laius) struck him and said that: "He [King Laius] was paid in full and ... my stick had struck him backwards from the car and he rolled out of it. And then I killed them all" (45, 1.801-13). Oedipus' pride caused him to kill his own father (unknowingly). He kept seeking for ways to avoid his destiny. This shows that he was so zealous that he thought he could avoid destiny. Also, in trying to avoid his destiny, he got into an argument over a small right of way incident. Had he just swallowed his pride and let the carriage have the right of way, he could have avoided everything. "
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"Oedipus the King", 2002.
Analysis of the Greek Tragedy "Oedipus the King" with special focus on the meaning of the last line in the play.
650 words (approx. 2.6 pages), 3 sources, £ 13.95
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Abstract
"Oedipus the King" is a tragedy that focuses on the life and downfall of the unfortunate King Oedipus, who was condemned by the oracle at an early age to murder his father and marry his mother. This paper, analyzes, and pays special attention to the last line in the play, "Crave not mastery in all." And what this means in the context of the play and the ending of it all.
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Irony in "Oedipus the King", 2002.
Examines how Sophocles wove irony into all elements of his tragic play "Oedipus the King".
1,100 words (approx. 4.4 pages), 1 source, £ 20.95
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Abstract
This essay addresses the numerous instances of irony in Sophocles' renowned Greek tragedy "Oedipus the King"; in the plot, the themes, and the dialogues. The author discusses how the audience knows of Oedipus' situation, long before he figures things out for himself, and examines one of the most ironic scenes between the king and the blind soothsayer, Teiresias.
From the Paper
"Oedipus the King is one of the best-known Greek tragedies in dramatic history. The central theme was instrumental to daily life of the early Greeks, because it demonstrates the powers of fate. The main plotline revolves around Oedipus and his quest to escape his own destiny, which turns his life to turmoil. The play is about murder, incest, and suicide. Knowing the play contains these exciting elements, one would think there would be no problem drawing an audience. When the play was produced, however, the Greek audience would have been familiar with the legend of Oedipus Rex. Sophocles faced a great challenge to develop a play that would generate interest in watching a play in which the patrons already knew the story. Sophocles captures and holds his audience's attention by introducing profound irony in the dialogue, in the plot and in the setting of Oedipus the King. "
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Creon in "Antigone" and "Oedipus the King", 2004.
Discusses he character of Creon in Sophocles's "Antigone" and "Oedipus the King", describing the same man in differing circumstances.
1,222 words (approx. 4.9 pages), 2 sources, MLA, £ 21.95
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Abstract
In the play, "Oedipus the King", and in "Antigone", Sophocles has Creon as one of the central characters. This paper argues that a first look at Creon in the two plays suggests that Creon's character has changed substantially. However, a closer look reveals that Creon remains the same basic character, only differing in appearance because of the situations he is in.
From the Paper
"The first character trait that defines Creon is his pride. This trait is clear in Antigone, where it is the major reason he refuses to change the law and allow Antigone to bury her brother, despite her many pleas. Creon initially makes the law out of a need to save Thebes. He is then unable to even consider changing the law, as doing so would show that he was wrong to make the law. In this way, his driving force is his pride. Creon's actions in refusing to allow Antigone to bury her brother is often considered a sign of Creon's cruel nature. This view fails to notice that, while the outcome may seem like cruelty to Antigone, Creon's intention is not to be cruel. Therefore, a tendency toward cruelty should not be considered as part of Creon's character. Instead, the outcome is a result of Creon's character trait of pride. Creon's motivation of pride is also seen where he makes the decision to send Antigone to her death. In deciding this Creon says, "For since I have taken her, alone of all the city, in open disobedience, I will not make myself a liar to my people-I will slay her" (Sophocles, Antigone)."
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"Iliad" and "Oedipus the King", 2006.
A comparison of "Iliad" by Homer and "Oedipus the King" by Sophocles.
1,921 words (approx. 7.7 pages), 2 sources, MLA, £ 32.95
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Abstract
This paper discusses how, in both "Iliad" by Homer and "Oedipus the King" by Sophocles, the idea of authority is used by both authors to construct the chains of relationships between the characters of these literary works. The paper further looks at how this idea also reflects the attitudes of one social group towards the other, or the relationships between men and women, between father and son, mortals and immortals. In addition, the paper discusses how both books help us understand better the ethics of ancient society.
From the Paper
"From the first pages of Book One of the "Iliad" we can see a number of levels of authority existing in the Ancient Greece. Even in the first few sentences one can notice hints which show the relationships between different classes. "Will of Zeus was accomplished"(Homer 59) can explain the very high level of authority of this god above others. The audience does not know what was that will exactly and how was it accomplished, so it makes an impression that anything said by Zeus was accepted and done immediately and without compliant. This leads to the conclusion that Zeus indeed possessed the highest level of authority above all others - both mortals and immortals. However, as we know from the further readings, other gods did not always agree with Zeus. "
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Oedipus the King, 2002.
An examination of the feelings and emotions that run through the play "Oedipus the King" by Sophocles.
930 words (approx. 3.7 pages), 3 sources, MLA, £ 17.95
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Abstract
"Oedipus the King" (Greek: "Oidipous Tyrannos") is a Greek tragedy written by Sophocles in the 5th Century BC. This paper examines the underlying theme of violence and inevitable tragedy brought about, in part, by the uncontrolled temper, arrogance and stubbornness of its central character, as well as the irony of fate. These aspects of the play are analyzed in this essay.
From the Paper
"The start of the play depicts its main character, Oedipus as a wise, happy, and beloved ruler of Thebes, though hot-tempered, and somewhat impatient, and arrogant. Oedipus flees Corinth because of a prophecy by a Delphic oracle that he would murder his father and wed his mother. While journeying to Thebes from Corinth, the young Oedipus angrily attacks and kills a small band of travelers who refuse to make way for him at a crossroads, a "place where three roads meet." (Therese). The scene depicts the terrible and self-destructive temper of Oedipus as well as the irony of fate with the tragic hero taking the road leading to ultimate tragedy. His fiery temper is further exhibited in the argument between Teiresias and himself, where Teiresias states the truth and Oedipus replies, "Do you think you can say such things with impunity?" and later calls Teiresias a "Shameless and brainless, sightless, senseless sot!" (Tragedy in Oedipus the King)."
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Every Chorus Has a Song to Sing, "Oedipus the King", 2005.
An analysis of the importance of the Chorus in Sophocles' "Oedipus the King".
1,304 words (approx. 5.2 pages), 1 source, MLA, £ 23.95
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Abstract
This paper discusses how in Sophocles' "Oedipus the King" the Chorus is absolutely essential to the play since it is like a narrator to a third person limited omniscient novel. It looks at how the Chorus provides a background for the audience that cannot be derived from dialogue and how it allows time passage to occur. The paper also examines how it gives the play depth, presents irony, and more fully develops the plot and characters from a non-biased point of view typical of the audience the work was originally written for.
From the Paper
"Just like the narrator in a good novel fills the reader in on what has happened, the chorus provides background for the audience in its odes. Without this background information the audience would be bewildered and could not follow the plot line. For example, the Theban plague is important because it is the driving force behind the pursuit of the murderer, "Wasted thus by death on death / All our city perisheth. / Corpses spread infection round; / None to tend or mourn is found. / Wailing on the altar stair / Wives and grandams rend the air-- / Long-drawn moans and piercing cries / Blent with prayers and litanies" (Oedipus the King ). The chorus clearly provides insight on how realistic and savage the Theban plague is, so there is no mistaking the city's predicament."
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"Oedipus the King" and "Death of a Salesman", 2003.
A comparative analysis of the tragic heroes from Sophocles' "Oedipus the King" and Arthur Miller's "Death of a Salesman."
690 words (approx. 2.8 pages), 3 sources, MLA, £ 12.95
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Abstract
This paper examines the tragic heroes from Sophocles' "Oedipus the King" and Arthur Miller's "Death of a Salesman." It looks at the characteristics and fates of tragic the heroes and the effect of their quests.
From the Paper
" The tragic heroes of Sophocles' Oedipus the King and Arthur Miller's Death of a Salesman, Oedipus and Willy Loman respectively refuse to passively accept their fate. In his essay Tragedy and the Common Man, Miller argued ..."
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"Oedipus the King" and "Fences", 2005.
A comparative analysis of Sophocles' "Oedipus the King" and the play "Fences" .
920 words (approx. 3.7 pages), 2 sources, MLA, £ 16.95
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Abstract
This paper compares and contrasts Sophocles' "Oedipus the King" with the modern play "Fences," explaining the concepts of a tragic hero and a fatal flaw and relating these to the comparison of the two stories.
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"Oedipus the King", 2007.
A comparison of two translations of the play of "Oedipus the King" by Sophocles.
1,279 words (approx. 5.1 pages), 2 sources, MLA, £ 22.95
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Abstract
This paper discusses some of the significant differences that can exist between different versions of the play "Oedipus the King" by Sophocles. The paper specifically focuses on the different ways that translators interpret and represent the ancient Greek play. It compares the translations of the play by Dudley Fitts and Robert Fitzgerald, with that of Robert Fagles, focusing on one pivotal moment in the play.
From the Paper
"The influence a translator can have on the final form of a translated text, in this case Sophocles' Oedipus the King, is quite obviously very significant. At times, the differences--like stanza and line break--can seem subtle, but have important effects on the play's presentation. Other times, the language is so wildly different that it would take a reader as blind as Oedipus not to note the extreme variation in translation. The cautionary tale of Oedipus, his pride, his fate, and his downfall is evident in both translations presented above. What differences exists are simply a matter of interpretation and intention. For Fagles: "These are the griefs that burst upon them both, / coupling man and woman" (ln. 1416-1417) while for Fitts and Fitzgerald the same play illustrates that "from the unhappiness of two this evil has spring. / A curse on the man and woman alike" (ln. 1231-1232)."
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Oedipus the King, 2002.
An analysis of the play "Oedipus the King", by Sophocles
650 words (approx. 2.6 pages), 2 sources, £ 13.95
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Abstract
This paper examines the elements of peripeteia, anagnorisis, and catastrophe in the play Oedipus the King, by Sophocles. The author identifies the moment these appear and who is most severely affected.
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"Oedipus the King", 2007.
An analytical review of Sophocles' "Oedipus the King".
1,346 words (approx. 5.4 pages), 1 source, MLA, £ 23.95
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Abstract
This paper discusses how studying and analyzing the classical play "Oedipus the King" in terms of character, plot, and theme confirms that these elements are mainly presented through carefully crafted dramatic dialogue and speeches, and developed through the use of literary devices such as hamartia, hubris, and catharsis. It also examines how this type of dramatic approach enabled ancient Greek playwrights like Sophocles to stage their plays in a convincing manner while meeting the immediate challenge of entertaining their audiences.
From the Paper
"Oedipus the King also demonstrates that it is valuable to characterize by comparing and contrasting one character with another, since, like most of the complex symbolism this play, the characters are made to embody certain antithetical qualities that inevitably come into conflict. This helps develop the theme that human flaws such as ambition or daring can and often do lead to tragedy. These flaws have grievous consequences for many characters in Greek drama, who are oblivious to the fatal effect some of their intentions and actions will have. (Kirszner and Mandell1657-1699) "
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"Hamlet" and "Oedipus the King", 1994.
A comparison in the search for knowledge and truth in Shakespeare's "Hamlet" and Sophocles's "Oedipus the King".
1,792 words (approx. 7.2 pages), 7 sources, MLA, £ 30.95
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Abstract
This paper deals with the protagonists' search for knowledge and truth in Shakespeare's "Hamlet" and Sophocles's "Oedipus" the King. Examples from each play are given to reveal how the protagonists' motivations and personal traits play a key factor in the outcomes of their journeys.
From the Paper
"In Hamlet by William Shakespeare and Oedipus the King by Sophocles, the protagonists' tragic falls are caused by their unrelenting search for knowledge and truth. Regardless of the outcome, each protagonist is compelled to discover the meaningful aspects that make their lives important. The reader can only comprehend the necessity of the searches through an understanding of the protagonist's motivation, personal traits, and the relevance of the outcomes to the overall quest."
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"Oedipus the King", 2002.
An analysis of "Oedipus the King" as interpreted by Sophocles, Aristotle, and Sigmund Freud.
880 words (approx. 3.5 pages), 5 sources, MLA, £ 16.95
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Abstract
This paper discusses how "Oedipus the King" ("Oedipus Tyrannus"), by Sophocles, which is set in the remoteness of ancient Greece and has come down to us in the form of a tragic myth, was allegedly inspired by true events and actual characters. It examines how the Greek philosopher, Aristotle, referred to this play continually in his "Poetics", pointing out features of the ideal tragic poem, and in the later years of the 19th century, Sigmund Freud adapted this myth as the basis for one of his most controversial psychoanalytic interpretations, namely, the "Oedipal Complex."
From the Paper
"In the case of Aristotle, Oedipus the King was interpreted not only as a powerful myth but also as a source of what defines true tragedy. For Aristotle, this connoted "an imitation of an action, not of narrative, that is serious and complete and through pity and fear, the proper purgation of these emotions is effected" (Martin 136). Thus, the central character of a tragedy like Oedipus the King must emote some sense of being virtuous despite having feelings of pity and fear for his eventual downfall which creates in the reader or the viewer a kind of outrage. Also, such a character cannot revel in evilness; he must be one "who is not outstanding in virtue nor full of righteousness but through a fatal flaw (hamartia) meets his end" (Woodard 178)."
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