The protagonist, Oedipus is a heroic mythical king who had it all.

It is interesting to note that in the tragedy, we seem to have come full circle in regards to the senses: the prophetic sign given to Oedipus in the hour of his death is once again one of synesthesia, as he is to depart when Zeus sends his "rolling thunder" -- the characters both see and hear this sign, and are touched by the awe-inspiring prophecy.

The whole of the tragedy has then the underlying imagery of blindness, deafness, and general sensory deficiency; much of this seems to be caused by Oedipus' own refusal to acknowledge the ever-encroaching truth, but it can also be credited to the overwhelming importance of sight and sound to the reception of the tragedy by the characters themselves and by the audience.

One of the main underlying themes in Oedipus the King is the struggle of sight vs.

4) The groaning city is seen, heard, felt, and smelled in her misery, and the audience is immediately transported into the world of the tragedy itself.


"Oedipus the King" was introduced around 429 B.C.E.

evil, the central conflict is onthe Oedipus complex. Star Wars shed new light on the Freud'sidea, for it showed the tragic consequence of sexual abuse and theeffects of being brought up without a mother. In , the penis is representedby the Light-saber that Luke Skywalker and Darth Vader used. However, Leia did not have a saber. Because Luke's mother was notpresent, he turned his desires towards his sister. He had adeviant form of the Oedipus complex. Luke feared that his fatherwould punish him for loving his sister. Darth Vader castrated hisson by cutting his saber from his hand. Vader had a sexual lovefor his son. The "dark side" that Vader tried to pull Luke intowas a metaphor for the sexual abuse Vader inflicted on Luke.


Tragic stories offer a sense of learning about the human condition.

The appearance of the tragic mask of the classical era is a representation of a body/mind state of being. A state of meditation is created within the mask wearer, either by focusing the gaze at a single point or by the voice—or more specifically—by the cries, found in the tragic texts as original, archetypical sounds; words without lexical meaning and usually not translatable. That part of vocalisation is able to evoke an enormous range of emotional connotations. The cries correspond to different resonance chambers in the human body and lead to a metamorphosis. This has a physiological effect on the actor: the human face acquires the appearance of the tragic mask. The face radiates great intensity and presence. The face is expressionless, in a state of total presence, a state of emptiness. The tragic mask represents this state of mind and this is the state of mind the actor has to assume on stage. We define this state of body/mind as a state of kenosis (emptying, depletion) and the tragic mask as the mask of kenosis. The mask has no expression (though is by no means a neutral mask), but it is not a character mask either. The mask of kenosis has no physiognomic traits that make it possible for the audience to define the character of the stage figure through the appearance of the mask. The mask does not present on stage any fixed human types. Instead, its features correspond only to indications of sex, age, ethnic origins, social status and other dichotomies such as human or divine, living or dead.

Oedipus Rex or Oedipus the King Study Guide | …

1470-1473) The mixture of touching, seeing, speaking, hearing, and crying is here a powerful tool for the exhibition of pathos on the part of Oedipus, who no longer can express his inner feelings through mere words, and must now rely on the devices of synesthesia; these, as we see, can represent both ends of the spectrum of human emotion.

Free Oedipus the King Blindness Essays and Papers

Character drawing is not created on stage by the mask at the beginning of the performance but in the mind of the audience and by the totality of the performance at the end of it. The actions define the character drawing of the roles. Aristotle defined tragedy not as a representation of men, but of action, and tragedy's end is not the representation of character, but the representation of action, because it is men's actions that make them happy or the opposite. For us, that means the actor seeks the actions and not the coherent personality that commits them. The task of the actor is to inhabit the actions with such presence that the stage figure becomes alive. The mask does not give to the audience any key to read the character, but it becomes a projection screen for the actions of the role. The mask creates an empty space for the reflection of the spectator. Of course, the lack of character is connected to the fact that at a textual level Greek tragedy operates not on the level of psychological realism and the idea of characters, but it depends on archetypes. The human being was an organic part of the community, without the psychological autonomy that marks modern man.