22/1/07 – Classical Literature – Sophocles: Introduction

How should we relate the play to the original audience?

Sophocles was called up in political service, but he was inconspicuous as a playwright. It has been said that his plays have had enduring interest because of the universal truths explored in them.

Sophocles wrote 123 plays, grouped into four, including a satire. He competed in the Great Dionysia thirty times. We know very little about his young career. We have no clear idea of progression in his plays, because only seven have survived, which are probably only his masterpieces. Oedipus the King was Aristotle’s favourite play, especially because of its tragic reversal.

It has been thought that tragedy has to be something bad happening to a good person, and it must not be random. The situation must be potentially avoidable for the audience to be able to feel the profundity of the tragedy. The tragedy must be beautiful as well as dark and desolate. The tragic isn’t a philosophy; for the Greeks tragedy was a festival play and there followed a satire full of food, sex and other pleasures of life. The tragedy simply made the audience aware of potential tragedy; it was speculative.

People watching the plays at the Great Dionysia already knew the myths that the play utilised as its plot. They were more interested in how the play was written, rather than the storyline: plot changes, poetry, spectacle, etc.

Opening scene (Prologos, 1-168): Oedipus and the priest (1-97). The priest pleads for help: the city is suffering from a plague; Oedipus is aware of their suffering, and is awaiting Creon’s return from Delphi, where Oedipus has sent him to consult the oracle of Apollo.
Oedipus and Creon (98-168). Creon returns: the oracle declares that the plague has been caused by the murder of the previous king, Laius. Oedipus undertakes to solve the crime. All exit.

First choral ode (Parodos, 170-244): The chorus enter. The play to the gods Zeus, Apollo, Athena and Artemis; describe the horrors of the plague, which they compare to death and/or the god of war, and call on the same gods, plus now Dionysus, to banish him.

Second scene (First epeisodion, 245-526): Oedipus reassures the chorus, and makes three edicts: 1. If the murderer comes forward and confesses, he will be exiled, but without further punishment; 2. Oedipus offers a reward for any information, and banishment for whoever conceals any knowledge of the crime; 3. Oedipus curses the murderer. The chorus leader suggests sending for Teiresias, but Oedipus has already done so. Teiresias arrives, asks to be dismissed. Oedipus denounces him, Teiresias replies in kind. Oedipus accuses Teiresias of conspiring with Creon, Teiresias replies that Oedipus is the murderer. Oedipus and Teiresias drive each other on until Oedipus dismisses Teiresias in disgust, and Teiresias denounces Oedipus’s true situation (note problem: exit Oedipus?).

Second choral ode (First stasimon, 527-572): The chorus describes the curse, now in swift pursuit of the murderer. As for Teiresias, the chorus expresses puzzlement and worry, but finally give Oedipus the benefit of the doubt: “never will I convict my king.”

Third scene (Second epeisodion, 573-954, including lyric exchanges 725-767): i) Oedipus and Creon. Oedipus accuses Creon of treason: why did Teiresias accuse Oedipus of the murder, and did Creon put him up to it? Creon denies any aspirations to rule. Enter Jocasta. Jocasta intervenes, and Creon swears his innocence, then leaves. ii) Jocasta tries to calm Oedipus, and reassures him of the unreliability of oracles. She tells him of the prophecy to Laius: if he had a son, the son would kill him. But Laius was killed by thieves, they say, while the baby was exposed. Oedipus: was Lauis killed at the crossroads? Oedipus now fears he killed Laius. He tell Jocasta about his past: his life and then flight from Corinth, the prophecy at Delphi (kill father, wed mother), and then the fight at the crossroads, and his slaying of whole party. He fears he has cursed himself as the murderer. Jocasta entreats him to wait until they can question a shepherd, the sole surviving witness of Laius’ murder. If his version of events is true (thieves, plural), then Oedipus is innocent: one cannot equal many.

Third choral ode (Second stasimon, 954-997): Eternal laws, nothing mortal, a god inhabits them; “pride breeds the tyrant”; let god punish the arrogant man; “why join the sacred dance”; how cant he oracles be wrong? Where are Zeus and Apollo? Is religion dead?

Fourth scene (Third epeisodion, 998-1194): Jocasta is supplicating Apollo for Oedipus’ sake, when the messenger from Corinth arrives. He announces that he brings good tidings: Oedipus’ father Polybus, the king of Corinth has died. Oedipus is to inherit the crown. Oedipus enters, learns the news, and is elated: the oracle has been refuted. But Oedipus still fears for his mother. The messenger inquires about Oedipus’ worries, and reveals to Oedipus that ha was not really the son of Polybus. The messenger further reveals that he rescued Oedipus as a baby, or rather took him from another shepherd. Oedipus asks the chorus, then Jocasta: is that shepherd the same man sent for, the survivor of the murdered party? Jocasta asks Oedipus to stop his search, but Oedipus simply accuses her of thinking him of low birth. Jocasta leaves with shrieks. Oedipus names himself “the son of chance.”

Fourth choral ode (Third stasimon, 1195-1214): The chorus tries a prophecy: tomorrow Mount Cithaeron will be sung as the mother of Oedipus; the chorus wonder: which of the gods is Oedipus’ father?

Fifth scene (Fourth epeisodion, 1215-1310): Oedipus greets the shepherd, cross-examines him. The shepherd denies all knowledge, is refuted by the messenger, and under threat of torture reveals all. Oedipus as “son of pain.”

Fifth choral ode (Fourth stasimon, 1311-1350): Generations of men, a mere dream? Oedipus the great example: count no man blessed. The chorus expands on the “outrage” of Oedipus’ actions: Oedipus saved the city/chorus by killing the Sphinx, but now brings them down.

Sixth scene (Fifth epeisodion, 1351-1430): Messenger scene: a messenger announces to the chorus the events within the palace: Jocasta has hanged herself. Oedipus then finds her, lays her down and blinds himself.

Lyrics between Oedipus and chorus (1431-1498): Oedipus exits the palace, his eyes gouged out. The chorus asks Oedipus why he acted thus, rather than kill himself. Oedipus justifies his actions, and asks for exile.

Final scene (Exodos, 1499-1684): Enter Creon. Oedipus begs for exile, but Creon will not act until he has consulted Apollo. Oedipus gives his last wishes concerning the children, asks to see his girls Antigone and Ismene. Oedipus is again refused his plea for exile, and Creon takes the girls from him, against Oedipus’ will. Chorus: “count no man happy till he dies.”