Aristotle’s passage Poetics was composed in 350 BC, one hundred years after Sophocles Oedipus Oedipus (4228 BC). Both texts can be read in unison, even though they are chronologically separated. Aristotle particularly used Oedipus for the basis of his explanation theory. A tragedy must possess certain characteristics, which Oedipus is known to have. Since then, tragic literature has been influenced by his definition of tragedy. “Tragedy” is a resemblance of an action that is complete, serious, and of great magnitude. It is also used in embellished language and not narrated. The katharsis …”of these emotions is what he calls it (Aristotle 521). Oedipus is an example of these characteristics. It encompasses a certain amount, illustrates a complex plot, and has a tragic protagonist (or “hamartia”) that leads to “katharsis.”
Oedipus’ plot is, in Aristotle 522, the “end for tragedy exists”. Oedipus has a plot that is both serious and large because it violates two basic taboos. It is universally significant because of its use of myths. Oedipus is accused of violating the taboos incest (Patricide) and the cardinal sins, patricide. His play is the first one to contain both. Sophocles includes myths in the play, with the Oracle’s Prophet Apollo and Sphinx. Oedipus also discusses contingent identity and asks his audience whether they believe a person should feel guilty for reasons other than their own. This raises questions about human condition and fate. Aristotle argues that the plot to a tragedy consists of the arrangement of events or combinations of them that are narrated. The plot must be coherent, with a unity of action. Oedipus plays all episodes in one episode. Every incident is a result of internal necessity. Aristotle disapproved of Medea’s escape in her magic horse because of the machine. He stated, “In the events of a plot…” or “If there is anything unreasonable, it should remain outside the play.” Oedipus contains various parts that can be considered unreasonable or mechanistic, but these are not included in the play. The play presents them as though the irrational acts have already been performed and cannot be changed. Sophocles doesn’t address questions that could lead readers to believe that certain irrational actions are still occurring within the plot. Sophocles does not address questions such as why Oedipus married a woman older than his mother, why they didn’t see their similarities, and why Oedipus killed people despite his curse. This plot is driven by the inevitability of it all.
A complete flow must have a beginning and middle of equal importance to the plot “… (Aristotle 523) It should have a series of terrible events that continue to the end, and not just be one-offs. The beginning is the first of a series of events that together will lead you to the climax. The inciting moment must be at the beginning of a tragedy. Oedipus has it as the plague in Thebes. Oedipus is pleaded to by the priest, “Thebes has died.” The plague strikes the city …”( Sophocles 393 (a blight that affects the fresh crops and rich pastures. Cattle die and sicken, and women are forced to work, with stillborn children and death. Oedipus was alerted to the city’s dire condition by Creon, who sent him to consult the Oracle at Delphi. The Oracle says that Laius’ murderer should be exterminated from Thebes. (Sophocles 395). The second incident in the chain is what the Oracle responds to. Oedipus curses Laius’s murderer, and he vows to find him and expel him from the Land. (Sophocles 396). Fourth incident: Tireseas, a blind prophet, arrives to accuse Oedipus. This is a great way to build irony, especially in light of Oedipus suffering both now and later from blindness. Oedipus’ faults are exposed to the audience as a result of this quarrel between Creon, Oedipus. Jocasta comes in and tells the tale of Laius’ death. Oedipus then becomes suspicious. (Sophocles 412).
Aristotle identifies the sixth incident as the peripeteia. This is the Messenger’s reverse of intent when he states, “Wonderful information-for the house and your lady as well” (Sophocles 407). Polybus and Merope didn’t have Oedipus as their birth parents. He then provides crucial information that will prove that Oedipus was Jocasta’s child. Aristotle says that recognition should be accompanied by a reverse, such as the Oedipus example (Aristotle 523) The Peripeteia was intrinsically linked to Oedipus. Oedipus’s story is reconstructed by the Anagnorisis. Oedipus discovers his true identity through the Messenger’s reversal. These two elements result in Oedipus’ combined climax. It is a change in fortune that causes Oedipus from being an honourable king, a decent husband, and to become an incestuous father murderer. The Chorus said, “You, your life, Oedipus man in misery,” (Sophocles 424). These events lead to the climax. Jocasta’s suicide and Oedipus’ self-blinding are all revealed. Creon then pities Oedipus. He responds to him with anger as well as irony, “Still King, Master of All Things?” Your power is over here. You are not in control of your own power” (Sophocles 343).
The play is not about Oedipus, but rather it focuses on the development and events that occur to him during the play. Plot is more important than character. Aristotle still believes Oedipus is the ideal tragic hero. Aristotle 523, aristotle, said that the protagonist should be “first and most important” (Aristotle 53). The character must be both wicked and good. Oedipus’ leadership qualities (shown by people turning to him during times of plague) as well as his wisdom (his ability solving the Sphinx’s riddle) follow Sophocles’ instructions. His tragic flaw, “hamartia”, must be understood by the audience. He believes he is superior than others and seeks to be equal to the gods. He said, “I am all right the land’s conqueror.” Apollo is Apollo’s Champion too”(Sophocles 396). And, “You pray the gods?” Let me grant your prayers” (Sophocles 398). He is a victim of his exaggerated pride and hubris. As he says, “But the eye that caught my eyes was mine, no one else, I did it all myself!” (Sophocles 448)
The audience is reminded throughout the play that Oedipus falls from his position of honor not because he has any faults or flaws, but because he couldn’t escape his fate. Oedipus’ destiny is inevitable, which evokes fear and pity in the audience. Even though he has flaws, the pain he suffers seems inexcusable. This remorse directs the audience towards their “katharsis.”
Oedipus is a perfect example of an Aristotelian tragedy. It displays both seriousness and grandeur through the inclusions of significant affairs. It touches the audience and makes them feel the misery as well as the katharsis.
