‘Oedipus Rex’ and ‘Streetcar’ | Similarities | Contrasts | Clever Points | Actions / Events | Both ‘Oedipus Rex’ and ‘A Streetcar Named Desire’ have scenes where a character’s past is revealed, whether it is to other characters or to the audience (e.g. Oedipus’ parentage or Blanche’s past). This shows an underlying tone that they cannot fully escape their past, whether it is an eventual surfacing (in A Streetcar Named Desire) or an abrupt revelation (in Oedipus Rex). This is linked
Oedipus Rex, or Oedipus the King, has been translated thousands of times from the original ancient Greek version to English of varying recency. Consequently, each work varies incredibly in its meaning and its presentation of Oedipus and the tragedy surrounding him. Two translations of Sophocles’ ancient play, one translated by Robert Fagles and the other by J.T. Shepherd, are perfect illustrations of this concept. Although these two works share several similarities, they vary greatly in their presentation
The most famous scene in Sophocles’, Oedipus Rex, is when Oedipus gouges out his eyes. But that’s not the only example of sight and blindness in this play. In Sophocles world, eyes play a big part in society, as the theme of vision invites the audience to look at the action with a double perspective, through own eyes and through the eyes of those on stage ( Mastronarde pp. 179-182). Considering eyes as an essential piece, it places them as a motif of the play. Within Greek literature, scholars focus
Oedipus Rex, written by Sophocles at approximately 430 BC, is viewed as one of the greatest tragic plays of all time. Greek plays were predominantly performed in religious ceremonies in honor of the Greek Gods. This play, whose plot is fulfilled in a day, engages the audience to ponder on the interactions between fate and free will. It also captivates the minds of the audience by stimulating thought on the implications of obliviousness and knowledge. Initially, Oedipus, the protagonist believes
with the Christian acronym , or Ichthus (Jesus Christ, Son of God, Savior): "it is inconceivable for one as widely read and travelled in fishing and Christian circles as was Hemingway . . . not to have become familiar with the fish as a God-Man symbol" (142). When Santiago finally kills the fish, he thrusts the harpoon into "the fish's side just behind the great chest fin" (94), thus reminding us of Christ's side being pierced while on the cross. Finding insightful commentary on the Santiago-as-Christ