Destiny Does Not Make House-Calls by Carlos Zafron - Essay Example

? “Destiny does not make house-calls” Introduction Carlos Zafron seminally d, “Destiny does not make house-calls.” Zafron is indicating that while individuals have a set destiny, they must actively pursue it to ensure it comes to fruition. The themes of fate and destiny have long been major concerns of literature. Indeed, destiny plays a central role in many of the tragedies of Greek antiquity. Sophocles’ Oedipus Rex seems to challenge Zafron’s statement, as Oedipus Rex attempts to escape his fate, but it tragically comes calling. In the play Oedipus ismotivated to escape the destiny he has have received from the oracle by attempting to assert free will, run away and avoid it. In all instances, however, this proves to be a futile act of arrogance, as Sophocles demonstrates the impossibility of escaping your destiny. Through the examination of a number of literary techniques and narrative concerns, this essay demonstrates the ways that Sophocles’ Oedipus Rex presents a converse perspective to Zafron’s belief that ‘destiny does not make house-calls.’ Analysis Perhaps the most overarching concern in Sophocles’ Oedipus Rex is the contention that one cannot escape their destiny. Theorists such as Freud have even articulated the play as, a “tragic conflict between human will and divine destiny” (Miller, pg. 229). From a broad perspective, the play follows the fall of Oedipus Rex as a number of fateful occurrences alter his life. The prophecy cast on Oedipus condemned him from birth. After hearing their son’s fate Jocaste and Laius had Oedipus feet tied together and taken to die. When Oedipus consults the oracle he is older and takes it to mean that he will kill his adoptive parents, so he leaves Corinth. He says, "As this I fled away, putting the stars between me and Corinth, never to see home again, that no such horror should ever come to pass" (Sophocles). Instead of facing his destiny Oedipus is continually running from it in the mistaken belief that he can escape his ultimate fate. In reality he has exacerbated the issue and can never escape the fate the Oracle prophesizes. Oedipus is arrogantly assuming that he can overcome the god’s by running from his fate, when in actuality they control his ultimate destiny. In further displaying the nature destiny, Sophocles demonstrates the tremendous fall from grace Oedipus experiences. Oedipus place of good is witnessed at the beginning of Oedipus Rex as Oedipus is featured as a respected king in a land that is experiencing a plague. Through a series of unfortunate events Oedipus falls from this position, discovering that he had actually murdered his father and married his mother. At the play’s conclusion the Chorus states, “He solved the famous riddle with his brilliance, he rose to power, a man beyond all power. Who could behold his greatness without envy? Now what a black sea of terror has overwhelmed him” (Sophocles). Oedipus is demonstrated to exhibit the classic Greek standard of the tragic hero through his shift from good to bad. Correspondingly, this fall from grace demonstrates the in escapable nature of destiny. The cyclical recurrence of arrogance is explored throughout the play further demonstrating the way destiny is inescapable. Towards the beginning of the play we see such an example after Creon relays to Oedipus a curse the God’s have placed on Thebes; in his arrogance, Oedipus promises to capture and bring the murdered to justice. He says, “I also, as is meet, will lend my aid to avenge this wrong to Thebes and to the god. Not for some far-off kinsman, but myself, shall I expel this poison in the blood” (Sophocles). Sophocles is using dramatic irony to illustrate the peril of Oedipus brash behavior as Oedipus later discovers that he is actually the murderer he has sworn to kill. Another instance of Oedipus’ arrogance occurs when he confronts Tiresias when he tells Oedipus that he is actually Laius’s murderer. Oedipus accuses Tiresias and Creon of conspiring against his authority and attempting to overthrow him. Oedipus screams at Tiresias to reveal who the murderer is, “Monster! thy silence would incense a flint. Will nothing loose thy tongue? Can nothing melt thee, Or shake thy dogged taciturnity?” (Sophocles). The dramatic irony is apparent here as Oedipus arrogantly assumes that Tiresias is aiding the killer when in actuality he is protecting Oedipus from himself. Another instance where dramatic irony is used to convey Oedipus’ arrogance is demonstrated in Oedipus steadfast belief that the people who raised him are his true parents. Throughout the play Oedipus whole-heartedly believes that he has escaped the destiny the oracle prophesized for him by escaping to Thebes. When it is revealed that the shepherd saved Oedipus as a child he finally comes full-circle and realizes he has committed the ultimate act of sin. Ultimately, this further demonstrates that rather than seeking destiny, it is an inescapable aspect of being. Another element throughout the play that demonstrates Sophocles’ perspective on destiny is the recurring use of sight images. Towards the beginning of the play when Oedipus is talks to the priests about what he believes will occur he says, “I would be blind to misery” (Sophocles). Later, when Tiresias is speaking about the issues that are troubling Thebes he says “How terrible-to see the truth when the truth is only pain to him who sees!" (Sophocles). This is an ironic reference to the ultimate destiny of Oedipus as well as a dialogue on the nature of seeing and truth. While Tiresias cannot visually see, he is capable of envisioning the truth. After Oedipis and Tiresias fight because Oedipus accusses Tiresias of being the curse upon the town, Tiresias begins to mock Oedipus by saying, "You with your precious eyes, you're blind to the corruption of your life" and later “Blind who now has eyes, beggar who now is rich, he will grope his way toward a foreign soil, a stick tapping before him step by step" (Sophocles). Here Tiresias is referring to the thematic concern of visual site vs. actual site in life and is mocking Oedipus because while he can visually see only the blind Tiresias actually sees the truth. After this fight, the chorus responds "...I'm lost, and the wings of dark foreboding beating-I cannot see what's come, what's still to come..." (Sophocles). In referring to the foreboding being as dark, this quote is keeping with the thematic element that holds dark as being without site or vision, as the chorus is wondering what will follow. The implementation of this site imagery functions as a comment on the nature of destiny in the play. Namely, while Oedipus believes he can see his destiny and take steps to prevent it, in actuality it is inevitable and finds him. Conclusion In conclusion, this essay has examined Carlos Zafron’s quote, “Destiny does not make house calls” within the context of Sophocles’ Oedipus Rex. Within this context of understanding it’s demonstrated that Sophocles largely contradicts this statement. Rather than presenting Oedipus Rex as a play where one must encounter their destiny Sophocles demonstrates the foibles of attempting to do so. Specifically, Oedipus attempts to escape his destiny but it tragically encounters him at the play’s conclusion. This essay has considered Sophocles’ narrative, the use of the tragic hero archetype, cyclical recurrences, sight imagery, and characterization as literary techniques that support this perspective on destiny. These techniques have demonstrates that for Oedipus and ultimately Sophocles, destiny unfortunately makes house calls. References Miller, Patrick Lee. "Oedipus Rex Revisited." Modern Psychoanalysis 31.2 (2006): 229-250. Sophocles, . "Oedipus Rex." ancient-mythology. N.p., 2012. Web. 29 Jul 2012. . Read More