Oedipus Rex Or Oedipus The King Annotated Worldwide Classics

Oedipus, King of Thebes, sends 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, has never been caught. Oedipus vows to find the murderer and curses him for causing the plague.Oedipus summons the blind prophet Tiresias for help. When Tiresias arrives he claims to know the answers to Oedipus's questions, but refuses to speak, instead telling him to abandon his search. Oedipus is enraged by Tiresias' refusal, and verbally accuses him of complicity in Laius' murder. Outraged, Tiresias tells the king that Oedipus himself is the murderer ("You yourself are the criminal you seek"). Oedipus cannot see how this could be, and concludes that the prophet must have been paid off by Creon in an attempt to undermine him. The two argue vehemently, as Oedipus mocks Tiresias' lack of sight, and Tiresias in turn tells Oedipus that he himself is blind. Eventually Tiresias leaves, muttering darkly that when the murderer is discovered he shall be a native citizen of Thebes, brother and father to his own children, and son and husband to his own mother.

A collection of eight critical essays on the classical tragedy, arranged in the chronological order of their original publication.

The story of Oedipus the King (or Oedipus Rex), is a Theban play written by Sophocles, one of the three ancient Greek Tragedians whose work as survived. In the story of Oedipus Rex, Laius, King of Thebes, finds an oracle foretelling that the child born to him by his queen Jocasta would slay his father and wed his mother. So when in time a son (Oedipus) was born the infant's feet were riveted together and he was left to die on Mount Cithaeron. But a shepherd found Oedipus and tended him, and delivered him to another shepherd who took him to his master, the King of Corinth. Polybus being childless adopted Oedipus, who grew up believing that he was indeed the King's son. Afterwards doubting his parentage he inquired of the Delphic god and heard himself the word declared before to Laius. Wherefore he fled from what he deemed his father's house and in his flight he encountered and unwillingly slew his father Laius. Arriving at Thebes he answered the riddle of the Sphinx and the grateful Thebans made their deliverer king. So he reigned in the room of Laius, and espoused the widowed queen. Children were born to Oedipus and Thebes prospered under his rule, but again a grievous plague fell upon the city. Again the oracle was consulted and it bade them purge themselves of blood-guiltiness. Oedipus denounces the crime of which he is unaware, and undertakes to track out the criminal. Step by step it is brought home to him that he is the man. The closing scene reveals Jocasta slain by her own hand and Oedipus, King of Thebes, blinded by his own act and praying for death or exile.

Oedipus Rex is the greatest of the Greek tragedies, a profound meditation on the human condition. The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus. David Mulroy’s brilliant verse translation of Oedipus Rex recaptures the aesthetic power of Sophocles’ masterpiece while also achieving a highly accurate translation in clear, contemporary English. Speeches are rendered with the same kind of regular iambic rhythm that gave the Sophoclean originals their drive. The choral parts are translated as fluid rhymed songs. Mulroy also supplies an introduction, notes, and appendixes to provide helpful context for general readers and students.

When the play opens, Thebes is suffering a plague which leaves its fields and women barren. Oedipus, the king of Thebes, has sent his brother-in-law, Creon, to the house of Apollo to ask the oracle how to end the plague. Creon returns, bearing good news: once the killer of the previous king, Laius, is found, Thebes will be cured of the plague (Laius was Jocasta's husband before she married Oedipus). Hearing this, Oedipus swears he will find the murderer and banish him. The Chorus (representing the people of Thebes) suggests that Oedipus consult Teiresias, the blind prophet. Oedipus tells them that he has already sent for Teiresias.

Considered by many the greatest of the classic Greek tragedies, Oedipus Rex is Sophocles' finest play and a work of extraordinary power and resonance. Aristotle considered it a masterpiece of dramatic construction and refers to it frequently in the Poetics. In presenting the story of King Oedipus and the tragedy that ensues when he discovers he has inadvertently killed his father and married his mother, the play exhibits near-perfect harmony of character and action. Moreover, the masterly use of dramatic irony greatly intensifies the impact of the agonizing events and emotions experienced by Oedipus and the other characters in the play. Now these and many other facets of this towering tragedy may be studied and appreciated in Dover's attractive inexpensive edition of one of the great landmarks of Western drama.

Oedipus King of Thebes Sophocles - Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: , pronounced [oidípos týrannos]), 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 (), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from another of Sophocles's plays, Oedipus at Colonus. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation