Comparison of the Three Plays in the Oedipus Trilogy - Research Paper Example

Oedipus Trilogy: The Function of the Chorus and How the Character of Creon is presented. Both Creon and Chorus are of fundamental value throughout the Oedipus trilogy. The Chorus plays a role of cautioning and advocating for goodness, stability, sense of wisdom and respect for the law. In terms of stage participation, Creon happens to be the most dominant character in the Oedipus trilogy after Chorus (Dallas 54) . He is Oedipus brother in law and also his (Oedipus) most trusted adviser. This explains why when the city gets plague stricken; he is the one who gets selected to go and seek Apollo’s advice at Delphi’s Oracle, showing the extent to which he is entrusted with very sensitive matters affecting the entire city. As King’s most special advice, he comes second in the order of command. Creon is probably the most dynamic character in the play, in the sense that he keeps displaying different images in each of the plays in Oedipus Trilogy. Creon The image of Creon as presented in the first of the trilogy, Oedipus the King, is that of e calm, sensible character and an embodiment of the voice of reason of the reason. This is portrayed in the manner he relates to Oedipus as his special adviser. When he first appears in Oedipus the King, he is associated with good news as Oedipus asks him whether he has come with good news from the oracle to the people of Thebes. Before answering the question, he takes a precaution and informs Oedipus: “If thou wouldst hear my message publicly,/I'll tell thee straight, or with thee pass within.” He does not want to speak important matters that would be of some political value publicly, and therefore carry himself with an air of political secrecy (Campbell 94). He understands that a ruler often needs to get information of fundamental political impact, so that he may be prepared on the best way to reveal it to the public. However, to this Oedipus says “speak before all; the burden that I bear is more for these my subjects than myself.” Therefore, right from the beginning, a difference may be seen: whereas Creon is very calculating and manipulative character and is cautious in as far as screening public information is concerned, Oedipus does not give an afterthought to this aspect. At a time when Oedipus is filled with rage and he storms, Creon is in control of him and keeps his calm. He warns Oedipus against Tyranny and pride. He reminds him “If thou dost count a virtue stubbornness, Unschooled by reason, thou art much astray.” He calls upon him to be composed and make a judicious reaction. In the midst of Oedipus outburst with rage, he patiently listens and tells the King: “Attend me. Thou hast spoken, 'tis my turn To make reply. Then having ….O argue not that thou art not a rogue….If thou dost hold a kinsman may be wronged, And no pains follow, thou art much to seek.” He therefore turns out not just to be a keen listener, but also an eloquent adviser, who can take control and prevail upon the King , to the extent that he drives his pointy home. Oedipus’s solace and reassures the King that he is no of no harm to the King. He makes it very clear that he has no intention whatsoever to usurp Oedipus from Kingship, since Oedipus, Jocasta and him rule Thebes equally. Eventually, he makes use of his honey-tongue and rhetorical questions to appeal to the King’s sense of reason. Not so, if thou wouldst reason with thyself, As I with myself. First, I bid thee think, Would any mortal choose a troubled reign Of terrors rather than secure repose, If the same power were given him? As for me, I have no natural craving for the name Of king, preferring to do kingly deeds, And so thinks every sober-minded man. Now all my needs are satisfied through thee, And I have naught to fear; but were I king, My acts would oft run counter to my will. How could a title then have charms for me Above the sweets of boundless influence? I am not so infatuate as to grasp The shadow when I hold the substance fast. Now all men cry me Godspeed! wish me well, And every suitor seeks to gain my ear, If he would hope to win a grace from thee. Why should I leave the better, choose the worse? That were sheer madness, and I am not mad. … 'Tis not right to adjudge Bad men at random good, or good men bad. I would as lief a man should cast away The thing he counts most precious, his own life, As spurn a true friend. Thou wilt learn in time The truth, for time alone reveals the just; A villain is detected in a day. Creon’s persuasive and well reasoned words cones out with a sense of protection to Oedipus the King, accompanied with a sense of gentleness and firmness. By the end of the tragic play, Creon therefore comes out as one of the most admirable, responsible and sensible and judicious character. Little wonder one when Thebes falls Kingless, he is regarded as one of the good leaders who fit for the city’s Kingship (Segal 98). Creon emerge with a completely different image in Oedipus at Colonus; he loses his sense of prudence and reason and comes out as a manipulative , crafty ad selfish character who will do anything within his capability to have his ends met. On realizing that mere words of flattery will neither shake nor move Oedipus, he does not give a second thought to holding Ismene and Antigone hostage as well as making threats of war to Theseus. He gets provoked and angry very easily. In this play, therefore, Creon therefore emerges as an embodiment of a ruthless and undesirable leader, who will go any mile to sacrifice dictates of humanity and the law of gods, at the altar of his selfish aggrandizement and power hunger. In Antigone, the character of Creon turns out to be virtually complete opposite of that which he exhibited in the first play. He emerges as a complete autocrat and a very tyrannical leader. As a King, he identifies with the very proud and despotic leadership styles of Oedipus the King, the very practices he had vehemently criticized in Oedipus at Colonus. He is so much overwhelmed with power and maintains the throne as though it is inherent right. Rather than rule in the interest of the people and on the people’s good, he opts to rule Thebes by his own will and as it pleases him. This power madness that characterizes Creon in this play makes him become a very vindictive and unyielding leader, who will cling to power with all his might. Even his own son’s effort to plead with him, to reconsider his leadership style falls on deaf ears. He fails to recall that this is the very manner in which the Creon of Oedipus the King did speak to Oedipus the King, only to be ignored. He therefore resorts to ignoring the reasonable voice of reason, a pride that led to the fall of Oedipus the King. The full pride that he has at the beginning of the play eventually culminates into his down fall, when the Gods get angry at him and he becomes a victim of their wrath. He ends in his own word as being “Nothing.” Chorus Chorus in the trilogy refers to a team of Theban elders who command much societal respect and are generally regarded to be wise by the virtue of their age, life experience and knowledge they have accumulated over time (Vernant 30). The chorus tends to dominate the three plays than any other character, as they make comments and reactions on the events that occur in the play and tragic circumstances as they unfold and build up. Owing to the wisdom associated with their views and judgment, their words are often treated with finality and therefore end all the three plays. Among the ancient Greeks, the chorus played a fundamental role of setting a stage for business and helping or presiding or gracing the story telling session. In the trilogy of Oedipus, Chorus is brought forward as they converse with various characters, particularly with the protagonist and other principle characters or when they comment on various actions. Broadly stated the chorus serves the role of middlemen who observes set of circumstances and then convey the same (Vernant 30). Since they are technically be commentators and independent advisers, they may be viewed as reflecting the voice of the spectators, although they participate from within. The Chorus often reacts to events as they occur, generally in a manner that calls for calmness, stability and fairness. For instance, In Oedipus the King, when Oedipus contemplates banishing Creon, it asks him not to do that. They condemn pride exhibited by the King: But the proud sinner, or in word or deed, That will not Justice heed, Nor reverence the shrine Of images divine, Perdition seize his vain imaginings, If, urged by greed profane, He grasps at ill-got gain, And lays an impious hand on holiest things. Who when such deeds are done Can hope heaven's bolts to shun? If sin like this to honor can aspire, Why dance I still and lead the sacred choir? (Sophocles Oedipus the King Str. 2) Similarly, in Colonus in Oedipus at Colonus, Chorus similarly attempts to send Oedipus away and out of Colonus, as it views him as the source of the curse.(242–251). An attempt to maintain state of balance and prevent upheaval is found in Antigone is when it questions the tyranny of King Creon (909–962). Chorus therefore has a role of maintaining peace, condemning injustices and advocating for stability ( Sealey 396). The playwright has also given the last word to Chorus in the three Plays . In Oedipus the King the King, the play ends with chorus words: “Wail no more, let sorrow rest/ All is ordered for the best.” This message is essentially directed to the audience. The first line of the chorus seems to suggest that Oedipus is dead. The second line suggests that state of normalcy could be restored and lots of relief is got. Ironically, Oedipus is not dead, but wondering somewhere in Thebes. Therefore, this chorus creates a sense of conflict resolution, and by extension a sense of closure. Like Oedipus, the audience cannot tell what tomorrow has in store for Oedipus. The Chorus therefore serves the role of complicating the tragedy and in a way heightens the suspense arising from the eagerness to know the fate of Oedipus and what is to happen to the entire Kingdom of Thebes , which has apparently fallen Kingless. The Chorus is therefore of key value in buttressing the tragic nature of the play. Similar create tragic effect is to be found at the end of the Oedipus at Colonus when the Chorus expresses a reigned statement to the effect that all is now left on the hands of gods. Oedipus must suffer for his injudicious actions and this should not raise any contention. At the end of Oedipus at Colonus, the Chorus expresses a view that there can be no more to say, as everything is now on hands of gods. Who knows? The gods could have mercy on Oedipus. Through these comments, the chorus passes two major points: on one hand they bring a sense of hope, as nobody knows what gods will decide. On the other hand, they emphasize the finality of gods in decision making, thus caution against going against their laws and dictates of humanity ( Rotimi 43). Antigone equally ends with a Chorus’ statements: “There is no happiness where there is no wisdom; no wisdom but in submission to the gods. Big words are always punished, and proud men in old age learn to be wise.” This chorus reflects submission to fate. It is quite different from the ending chorus of the other two plays in the sense that it admits to truism that human being has no control on fate (Brown 210). It also out rightly condemns foolish acts, as whoever defies wisdom is headed to punishment by gods. Conclusion Both Creon and Chorus are of fundamental value throughout the Oedipus trilogy . Creon as character displays different images in each of the plays in Oedipus Trilogy, changing from a well reasoned and admirable character in Oedipus the King the King, to a power hungry and crafty individual in Oedipus at Colonus , and at worst in Antigone where he completely part with sense of reason, becomes proud leading to his downfall. The Chorus on the other hand palys a role of cautioning and advocating for goodness, stability, sense of wisdom and respect for the law. Works Cited Brown, A.L. "The End of the Seven against Thebes" The Classical Quarterly 26.2 (1976) 206- 19. Campbell, Lewis ed. Sophocles: Plays & Fragments. Vol. I .Oedipus Tyrannus., .Oedipus Coloneus. & .Antigone.. London: Clarendon Press, 1879. Dallas, Ian, Oedipus and Dionysus. Granada : Freiburg Press, 1991. Rotimi, Ola. The Gods are Not to Blame. Lagos, Nigeria Three Crown Books, 1974. Sealey, Raphael. “On the Athenian Concept of Law”. The Classical Journal. 77 (1982): 289-302. Segal, Charles. Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge. New York: Twayne Publishers, 1993. Sophocles. Oedipus the King. Accessed May 9, 2011. Sophocles. Oedipus at Colonus. Accessed May 9, 2011. Sophocles. Antigone. Accessed < ifup.cit.cornell.edu/antigone/pdf/3174Antigonebook.pdf > May 9, 2011. Vernant, J.P. “Tensions and Ambiguities in Greek Tragedy.” Myth and Tragedy in Ancient Greece. Ed. J.P. Vernant and P. Videl-Naquet. (Cambridge: Zone Books, 1988): 29-48. Read More