Oedipus Questions for January 12th!

Things to Consider
Oedipus the King

Hey there! Welcome back from break. I thought it would be fun to punctuate the cold, dismal severity of winter with a nice, refreshing blast of inescapable Greek tragedy. Freudian complexes, anyone? So, this is how things are going to work. Ironically, with this text about predestination, you have a choice to make. When forum time comes around on the 12th (that’s next Friday) you can either make use of our standard discussion format or write your responses in short essay format. This decision is up to you and must be made by Monday the 9th so that I can build the forum groups and distribute the questions.

Prologue (1-150):
Thebes turns to Oedipus to save them again by ridding them of a terrible plague. (Sophocles may have written this play shortly after a great plague which struck Athens.) All call upon the Healer Apollo.
• What does Apollo have to do with healing?
• Why should Oedipus consult this god's oracle?
• Does Oedipus strike you as arrogant in this scene and others, or does Oedipus’ ability to back up his boasts leave him free from the dangers of hubris?
Pay close attention to any references to sight, eyes or blindness, as vision is an important metaphor in this play. After Creon enters and tells the words of Apollo, note the discrepancy between the number of outlaws in the account of each character.
• Why do you think Oedipus says "thief" while Creon says "thieves"? This will happen again later.
• Consider the extent to which Oedipus embodies the characteristics of the ideal.

Parodos (151-212):
• The Chorus calls on a series of gods for help. Why invoke these gods in particular?

First Scene (216-462):
• This scene is filled with many instances of dramatic irony. Discuss.
• Why does Tiresias refuse to help Oedipus?
• Why can't Oedipus understand the information Tiresias does give to him?
• Oedipus seems to be driven by a mixture of paranoia and an earnest desire to save the city. What do you make of his character at this point in the play?

First Stasimon (463-511):
• The Chorus is completely confused by the accusations of Tiresias. Why? Consider the images of hunting and wildness here, as they will return later.

Second Scene (573-953):
Arguably, this is the key scene.
• Is Creon especially admirable here?
• Compare his actions and wishes to Oedipus'.
• Read carefully Jocasta's account of her lost child which begins at 705, and then Oedipus' reaction to it. Does anything in his reaction strike you as strange?
• Consider this especially in light of the almost identical story he tells later in the same scene .
• Why doesn't Oedipus make a connection?
• Pay close attention to Jocasta's denunciation of oracles.
• Think about the larger resonances of Oedipus' comment (845) "How can one be the same as many?"

Second Stasimon
• The Chorus describes a wild, impious, violent man. Whom do they mean?
• What is the connection between this wild man and "the sacred dance" (896) ?

Third Scene (911-1085):
Consider the general force of Jocasta's on-going aspersion of oracles in the light of what is about to happen. Note: lines 980-2 are underlined in the German translation of this play which Freud owned
1032.
• Why is the connection between Oedipus' name and his ankles so important?
• At what point do you think that Jocasta begins to suspect the truth?
• When the Shepherd arrives, why won't he talk willingly?
• When Jocasta runs off the stage, Oedipus thinks she is afraid he will be proven a peasant. Why does this idea make him so happy (1076ff) ? And how does Jocasta seem to you now?

Third Stasimon (1086-1109):
The Chorus' takes Oedipus' hope and runs with it, imagining him to be the foundling son of a god.

Fourth Scene (1215-1310):
Aristotle believed this was the finest tragedy because the protagonist's recognition of the truth coincides with the reversal of his fortunes.

• Where, exactly, does this occur in the play? Why do you think so?

Note the half-line exchanges between Oedipus and the Herdsman; this marks the heightened suspense and excitement in the dialogue. With the remark "Her own baby?" Oedipus' world collapses.

Fourth Stasimon (1186-1221):
• In what way is Oedipus now a paradigm of misfortune?

Fifth Scene (1222-1432):
• What was Oedipus trying to do when he finds his wife-mother dead?
• Is blinding an appropriate punishment?
• Why doesn't he commit suicide?

(1295) The Messenger instructs all to "pity" Oedipus. Think about the other references to pity in this drama.

Kommos (1298)-1415:
A kommos is a scene of lamentation in lyrical meters between actor and chorus.
• How would you describe Oedipus' state of mind and attitude here?
• Does anything surprise you about the way he views his disaster?
• Discuss the Chorus' near panic about him and their complete inability to respond coherently to his presence.

Sixth Scene and Exodus (1416-end):
• Again: How would you describe Oedipus' state of mind and attitude here?
• Is Creon fair to Oedipus? Consider especially his admonition at 1523. Consider how the drama would change if the closing lines of the chorus were absent; some scholars believe the text ends with Creon's words.
• Why are Oedipus' daughters in particular so special to him?
• What effect has blindness had on his knowledge?