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The transformation of Oedipus : characterization and anagnorisis in the Oedipus Tyrannus of Sophocles

University of British Columbia

The Oedipus myth is a very ancient one in the Greek tradition. In the Oedipus Tyrannus, Sophocles builds on the familiar theme to explore the mystery of human existence using Oedipus as a metaphor for the indomitable spirit of the human individual in face of the incomprehensible workings of the gods. Although Sophocles uses a generally well-known story, he brings originality to his drama in the way he develops the characters and stages the action. The thesis is divided into four parts. In the Introduction, I shall give an overview of the story with reference to the historic and mythic background to the Oedipus legend. In this section I discuss the Sphinx, an important icon in art, as an underlying image and suggest that she is a catalyst for action at specific points in the play; she is also closely linked with the god Apollo. It is her riddle that is heard in echo throughout the dialogue, from the forbidding language of the oracles to the maddening riddles of Teiresias and to the seemingly innocent musings of the Chorus. I also show how Sophocles treats the characters to bring about the peripeteia (reversal of fortune) and anagnorisis (self-recognition) of his protagonist, methods much admired by Aristotle. In this treatment Sophocles uses human as well as divine agents. And, lastly, I give a brief summary of the interpretation of the views of representative modern critics. In Chapter One, I analyse the human agents of peripeteia and anagnorisis, showing how these characters try to prevent the anagnorisis, yet to no avail. The main agents, the dramatis personae, are (in the order in which they appear in the play) the priest of Zeus, Creon, Teiresias, Jocasta and the Chorus. In Chapter Two, I discuss the divine agents, Apollo and the Sphinx. Although neither of these agents appears in the drama, each has a profound effect on the action. Since the epithets used for Apollo vary throughout the dialogue, I suggest possible significance for the varying usage. And, finally, I detail what is known of the Sphinx in literature, myth and the plastic arts. To summarize, in the self-blinding of Oedipus, we see not the defeat of human being but his transformation. The sufferings of a previously all-knowing yet ignorant Oedipus have changed him into a refined being, reduced to outer blindness yet opened to inner sight. The mysteries and riddles have become untangled and solved. Oedipus is a success story despite all appearance to the contrary.

Thesis/Dissertation

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2009-02-10

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http://hdl.handle.net/2429/4362

Classics

University of British Columbia

UBCV

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