Sunday, December 5, 2010

The Question of a Moral Lesson in the Play "Oedipus Rex"

Oedipus Rex is a play of inexhaustible interest. Literary critics and students of Greek religion in our times continue to turn to it. Anthropologists and Psychologists find it useful as a reflection of an ancient myth and man’s unconscious mind. In short, the play continues to be a subject of intensive discussion.
Certain things about it are clearer than others. For instance, it can easily be analysed as a piece of stagecraft; the methods used to arouse the interest and excite the emotions of the audience are evident to the analytical reader. But the meaning or significance of the play has aroused a lot of controversy. Briefly speaking, there are two major considerations regarding this play: (i) Sophocles’s dramatic craftsmanship, and (ii) Sophoclean thought—the former presenting no problem and the latter giving rise to considerable differences of opinion. Most critics have found a profound meaning in the play and they have offered a variety of interpretations ranging from the didacticism of Plutarch to the more complex explanations of the 20th century (such as Freudian, post-Freudian, Marxist, and existentialist).
Matching Wits with the gods
The plot of this play is a search for knowledge, and its climax is a recognition of truth. The hero here is a man whose self-esteem is rooted in his pride of intellect. The gods here manifest themselves not by means of any miracle but by a prediction which is proved true after a long delay. Various formulas have been imposed on this play. For instance, the play has been interpreted to mean that a wicked man is punished, or that an imprudent man pays the price, or that a family curse returns, or that an innocent man is victimised by fate. However, a more appropriate formula would be to say that in this play a man matches wits with the gods. We might even lend universality to this formula by saying that here man (and not a man) matches wits with the gods.
The gods always Win
The play appears to dramatize the conventional Greek wisdom that, when mortal man vies with the immortal gods, the gods always win. The theme is as old as Homer, who tells this story to illustrate it in the sixth book of the Iliad. In this particular play the specific point of contention is knowledge. This is Sophocles’s way of translating the old theme into a form suited to the age of enlightenment and it creates a fine contrast or opposition between knowledge as power and self-knowledge. In short, the awareness that man is less than the gods is undoubtedly an element in the play.
Victory in Defeat
Oedipus Tyrannus of Sophocles combines two apparently irreconcilable themes, the greatness of the gods and the greatness of man, and the combination of these themes is inevitably tragic, for the greatness of the gods is most clearly and powerfully demonstrated by man’s defeat. The god is great in his laws and he does not grow old. But man does grow old, and not only does he grow old, he also dies. Unlike the gods, he exists in time. The beauty and power of his physical frame is subject to sickness, death, and corruption, the beauty and power of his intellectual, artistic, and social achievement to decline, overthrow, and oblivion. His greatness and beauty arouse in us a pride in their magnificence which is inseparable from and increased by our sorrow over their imminent death. Oedipus is symbolic of all human achievement, his hard-won magnificence, unlike the everlasting magnificence of the divine, cannot last and, while it lives, shines all the more brilliant against the sombre background of its impermanency. Sophocles’s tragedy presents us with a terrible affirmation of man’s subordinate position in the universe, and at the same time with a heroic vision of man’s victory in defeat. Man is not equated to the gods but man at his greatest, as in Oedipus, is capable of something which the gods cannot experience; the proud tragic view of Sophocles sees in the fragility and inevitable defeat of human greatness the possibility of a purely human heroism to which the gods can never attain, for the condition of their existence is everlasting victory.”
The Lesson of Modesty or Self-Restraint
It might be held that the play teaches us the precept: “know thyself”. If we agree, we shall have to support the view that the play is didactic and that Sophocles is a teacher; for what the Delphic maxim just quoted amounts to is a warning to cultivate sophrosyne, a word best translated as modesty or self-restraint. It may be asserted that the play teaches the reader to cultivate the virtue of modesty, or self-restraint, or self-control, or caution. According to a strong supporter of this view, the touchstone by which Oedipus is to be judged is Creon. Creon’s “pious moderation” and “modest loyalty” are the ideals against which the arrogance of Oedipus is measured and found to be wrong. If the play teaches the lesson of self-control and self-restraint, then we have to admit that Creon’s personality illustrates this virtue. Creon explicitly claims this virtue in one of his speeches. He is at all time respectful, cautious, and reverent. Even at the end, he insists that he will not exile Oedipus until he is absolutely sure that this is what the gods desire. It is he who points the obvious moral in the last scene, that now perhaps Oedipus will put his faith in the gods. His last, minor dispute with Oedipus is over a question of caution. Oedipus wants to be exiled immediately but Creon will not promise this until the will of the gods is made quite clear. Twice in the course of the play Creon makes a statement that may be taken as his motto. The statement is to the effect that Creon will not do or say anything unless he possesses definite knowledge to justify his doing or saying it.
The Contrast with Creon
This trait in Creon contrasts him sharply with Oedipus who suffers from the pride of knowledge. Creon shows a desire to avoid the responsibilities of kingship because they are dangerous and painful. Creon would be content instead with public approval and with honours that bring gain. Creon is a just man; he is even a kind man who brings the children in the last scene to meet Oedipus. He is also an innocent man unjustly accused who reacts mildly and seems not to bear any grudge at the end. But he is humdrum and poor spirited and self-satisfied. He is thoroughly decent in his way, but Oedipus with his boldness and intelligence and ease of command is a much greater personality.
The Contrast between Oedipus and
the Other Main Characters
The contrast between Oedipus and the other two principal characters is also noteworthy. Teiresias represents and defends the wisdom of the gods in his opposition to human folly. But Teiresias, as a person, stands no comparison with Oedipus. His first words in the play show that Teiresias finds his knowledge unbearable, and he is quite prepared to go back home until Oedipus provokes him to anger. As for Jocasta, she has raised irresponsibility to the status of a principle. Besides, neither Jocasta nor Teiresias is willing to face the truth, while Oedipus is not only willing but determined. Neither Teiresias nor Creon desires the responsibility that comes with office and power, but Oedipus does. Teiresias and Creon are both wiser men than Oedipus and at the end of the play Creon is still giving to Oedipus a lesson in sophrosyne or self-restraint. But the brilliance and the courage of Oedipus make him a greater man than both Teiresias and Creon.
The True Greatness of Man
Oedipus may be taken to represent all mankind. He represents also the city which is man’s greatest creation. His resurgence in the last scene of the play is a prophetic vision of a defeated Athens which will rise to a greatness beyond anything she had attained in victory. In the last scene, we witness a vision of a man superior to the tragic reversal of his action and the terrible success of his search for truth, reasserting his greatness not this time in defiance of the powers which shape human life but in harmony with those powers. In the last scene we see beyond the defeat of man’s ambition the true greatness of which only the defeated are capable.
No Moral Lesson
There is no moral lesson here. No moralist would present human folly in such bright colours and depict wisdom and temperance as dull. The kind of play Sophocles was writing in Oedipus Rex was intrinsically unsuited to be a lesson. The play does not persuade that Creon is a nobler man; it only shows him to be a wiser man. It does offer some comfort to the pious reader, but only a little, though it creates a difficulty for a philosopher like Plato who believed in the unity of human virtues. Nor could this play have pleased humanists of the fifth century, who attached great importance to the human intellect. Here we have a play showing man at his noblest and greatest when he is most foolish and in the very actions which exhibit his folly. We may accept that gratefully as a great artistic triumph, but we should not expect a moral lesson from it.

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