Comparing Ovid's And Sophocles Versions

“Every man has his own destiny: the only imperative is to follow it, to accept it, no matter where it leads him.” In other words, the connotation of this anonymous quote states that despite whatever one chooses to decide, the outcome of their choices and decisions will still result to their predetermined fate. Sophocles’ tragedy, Oedipus the King, demonstrates this statement throughout the play in the role of his tragic hero Oedipus. In the course of Oedipus’ actions of trying to escape his predestined fortune, his fate and flaws of being human played major roles to bring about his downfall.

It is interesting to note then, that the argument between Agamemnon and Achilles finds a parallel right at the end of the same book in the fight between Zeus and his wife Hera. This produces a somewhat suprising effect, the first chapter of an epic that is originally about a foreign military campaign is bookended by scenes of internal conflict: dissent within the ranks of the Greek army and a domestic dispute among the immortals. Even

In the works of Greek and Roman literature many aspects of their writings are similar. For example, in both Greek and Roman literature universality is stressed which means that we are only moved by the fall of the heroes in their plays because we can relate to their situations and project ourselves into similar circumstances. I believe that is completely true, only through the fall of our heroes we see ourselves in the characters. Before their downfalls, we don’t see us in them because they seem basically perfect. Since none of us are perfect it is only when they make mistakes leading to their downfall we see that the heroes are like us.

In Oedipus the King, one of Sophocles’ most popular plays, Sophocles clearly depicts the Greek’s popular belief that fate will control a man’s life despite of man’s free will. Man was free to choose and was ultimately held responsible for his own actions. Throughout Oedipus the King, the concept of fate and free will plays an integral part in Oedipus' destruction.

Many people believe that fate has planned out their lives and despite efforts on their part what was meant to happen, will eventually happen. This belief has been handed down over the centuries from some of the first civilizations, such as the Greeks. However, not all Greek citizens wanted destiny to take control of their lives. Some decided to choose freewill over the will of the gods. In Oedipus the King, Sophocles writes a cautionary tale meant to warn the doubters in Greek society that regardless of their beliefs in gods and prophecies, it is necessary to heed their warnings. Oedipus, Jocasta, and Laius are Sophocles’ characters that prove that escaping one’s fate is not possible, as each of their predicted fates is realized despite extensive efforts to thwart them.

The story begins when Odysseus and Neoptolemus are on a beach on the island of Lemnos. They are looking for Philoctetes. Odysseus tells Neoptolemus to find Philoctetes, and tell him that he is the son of Achilles. Odysseus wants him to become friendly with Philoctetes and gain his trust. When he has accomplished

The tragedies of Antigone and Othello were written with great depth and are structured in such a way that both characters are victims, in spite of their crimes. Antigone and Othello are tragedy plays created by using many techniques to create the feelings of fear and pity. There are differences and similarities in characters, action, and themes between Antigone and Othello.

Sophocles, a famous and renowned Greek dramatist, is the playwright to both the play Oedipus the King and Antigone. Along with Antigone and Oedipus Sophocles had also wrote Electra and Fete. Sophocles wrote many Greek tragedies which are plays in which the main character in the play suffers a tragedy due to some flaw of theirs. An example would be how Oedipus (thinking he is defying a prophecy) murders his father and weds his mother. His flaw was him trying to defy fate if he had not just stayed where he was he would’ve been fine. His works are referred to and taught all over the world in many schools along with colleges; this should give light to how will written his plays are and how

The best way to view the translations of Oedipus the King by Sophocles and Seneca is to compare a sketch and a painting. Sophocles is an outline of the story that shows us the highlights in words that are easily digested and transcend through every time period. The word reverent, as spoken in class, applies due to its graceful nature of giving us moral values, while not over-sensationalizing the issues. During Seneca, we are given a violent, bloody, and visually stunning portrayal of Oedipus’ downfall. Each tell the story, but only Seneca features a long soliloquy, massive choral odes, and live-action suicide. He strokes thick, dirty detailed lines that show off the internal struggle of men, damning oracles, and dying cow fetuses.

Large-scale questions of such ideas are raised in Sophocles’ play, “Oedipus the King”—a story that deals with the tragic hero, Oedipus, and his demise. Oedipus progresses through the play struggling against his own wicked destiny: the prophecy that declares that he would kill his father and marry his mother. Ultimately, Oedipus fulfills this prophecy; in fact, he had completed his fate without his own knowing and before the play even begins. Despite his belief that he was fighting against his prophesized destiny, Oedipus was ironically fulfilling it, and he slowly brings about his own downfall. He becomes a victim of his own fate. In this regard, “Oedipus the King” explores a terrifying concept: Oedipus never had free will—a puppet in every sense to the higher beings that decided his ending for him.

When Teiresias asks in Antigone (line 1051), "What prize outweighs the priceless worth of prudence?" he strikes (as usual) to the heart of the matter in Sophocles' Theban Plays. Sophocles dramatizes the struggle between fate and free will, in one sense, but in another sense the drama might be better understood as the struggle between the will of the goods (which it is prudent to follow, according to Teiresias) and man's will (which is often imprudent). Sophocles' characters are moved by their own wills, of course (either in accordance or in conflict with the will of the gods). Oedipus in Oedipus the King is determined to pursue the truth in spite of the objections of Jocasta, the priest, and his own misgivings. In Oedipus at Colonus, Theseus "cannot rest" (line 1773) until he has served both Antigone and the late Oedipus (implying that conscience is his motivator awareness, in other words, of his duty towards them). In Antigone, Antigone acts in accordance to the will of the gods (but in disobedience to the will of Creon) and does so knowing the punishment that awaits her: "Go I, his prisoner, because I honored those things to which honor truly belongs" (lines 178-9). This paper will show how while fate is a powerful force in The Theban Plays, the characters themselves are still left to exercise their own free will (either with respect or disrespect to will of the gods). Thus, the main drama consists not in the

Over the extensive history of the theatre arts, most of the many plays and productions fall into unique categories in regards to structure. The two most simplest of the structural categories are climactic and episodic. A climactic structure, or alternatively known as an intensive structure, contains a play in which all components are restricted as the main conflict in the story commences late into the play and only a little time passes until the story occurs. Everything is restricted to a few components. There are not as many characters, scenery change and very limited amounts of action. climactic structures focuses heavily on the climax in contrast to other structures. One notable example of a climactic performance is Oedipus Rex by Sophocles. The story of Oedipus is that of tragedy and despair as Oedipus and his family are unable to escape the fate that Oedipus has had since birth. The exposition and starting action (in this case, the events that led up to him to being king of Thebes) occur before the play and is only ever talked about. The play only takes place in the castle and has only four primary characters. Ultimately, Oedipus Rex only takes place within a day and primarily focuses on the realization and aftermath of the story of Oedipus and his sins, or the climax. All these components that define a climactic structure of production are found in the aforementioned play by Sophocles, strengthening what a climactic structure is and the vast potential a climactic play

No one can deny freewill of a person totally, so as fate. But as I m in favor of Oedipus, the protagonist of ancient Greek play “Oedipus Rex” by Sophocles. I think here in it, fate is more responsible for Oedipus’ end.

Sophocles’ play, Oedipus the King, has risen many questions concerning the main character and whether or not he acts on free will or if his future is predestined by the gods. I am going to test the theory that although Oedipus believes he is acting on his own free will, he is in fact a victim of the gods. I will analyze several different sources that discuss fate and human agency in Oedipus the King and then proceed to build my original argument on the archaic debate.

The famed tragedian Sophocles is known for his unique ideas and intellect. Sophocles carefully utilizes of all of his intelligence and creative ability in order to make use of illuminating moments throughout the play which allow his audience to draw conclusions about free will, fate, knowledge, and power throughout perhaps his most iconic play, Oedipus Rex. the main character Oedipus experiences an illuminating moment when he gouges his eyes out at the discovery of the truth about his actions. This illumination is expressed in order to express Sophocles’ idea that fate overpowers free will.