Oedipus Rex

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This article is about the play by Sophocles. For other uses, see Oedipus Rex
(disambiguation).
Oedipus Rex
Oedipus.jpg
Louis Bouwmeester as Oedipus in a Dutch production of Oedipus Rex, c. 1896
Written by Sophocles
Chorus Theban Elders
Characters
Oedipus
Priest
Creon
Tiresias
Jocasta
Messenger
Shepherd
Second Messenger
Mute Daughters of Oedipus (Antigone and Ismene)
Date premiered c. 429 BC
Place premiered Theatre of Dionysus, Athens
Original language Classical Greek
Series Theban Plays
Genre Tragedy
Setting Thebes
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: ??d?
p??? ???a????, pronounced [oid�po?s t�rannos]), or Oedipus the King, is an Athenian
tragedy by Sophocles that was first performed around 429 BC.[1] Originally, to the
ancient Greeks, the title was simply Oedipus (??d?p???), as it is referred to by
Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to
distinguish it from another of Sophocles's plays, Oedipus at Colonus. In antiquity,
the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did
not necessarily have a negative connotation.[2][3][4]

Of Sophocles's three Theban plays that have survived, and that deal with the story
of Oedipus, Oedipus Rex was the second to be written. However, in terms of the
chronology of events that the plays describe, it comes first, followed by Oedipus
at Colonus and then Antigone.

Prior to the start of Oedipus Rex, Oedipus has become the king of Thebes while
unwittingly fulfilling a prophecy that he would kill his father, Laius (the
previous king), and marry his mother, Jocasta (whom Oedipus took as his queen after
solving the riddle of the Sphinx). The action of Sophocles's play concerns
Oedipus's search for the murderer of Laius in order to end a plague ravaging
Thebes, unaware that the killer he is looking for is none other than himself. At
the end of the play, after the truth finally comes to light, Jocasta hangs herself
while Oedipus, horrified at his patricide and incest, proceeds to gouge out his own
eyes in despair.

Oedipus Rex is regarded by many scholars as the masterpiece of ancient Greek

tragedy. In his Poetics, Aristotle refers several times to the play in order to
exemplify aspects of the genre.[5][6]

Contents
1 Context
1.1 Curse upon Laius
1.2 Birth of Oedipus
1.3 Oedipus and the Oracle
1.4 Fulfilling prophecy
1.4.1 The old man
1.4.2 Riddle of the Sphinx
2 Plot
3 Relationship with mythic tradition
4 Reception
5 Themes, Irony and motifs
5.1 Fate, free will, or tragic flaw
5.2 State control
5.3 Irony
5.4 Sight and blindness
6 Sigmund Freud
7 Adaptations
7.1 Film adaptions
7.2 Stage Adaptions
7.3 TV/Radio Adaptions
7.4 Parodies
8 See also
9 Notes
10 Translations
11 Further reading
12 External links
Context

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Many significant elements of the myth of Oedipus take place prior to the events of
this play, although some are alluded to in the text.

Firstly, Oedipus is the biological son of Laius and Jocasta, the king and queen of
Thebes.

Curse upon Laius

The misfortunes of Thebes are believed to be the result of a curse laid upon Laius
for the time he had violated the sacred laws of hospitality (Greek: xenia).

In his youth, Laius was taken in as a guest by Pelops, king of Elis, where he would
become tutor to the king's youngest son, Chrysippus, in chariot racing. Laius
seduces or abducts Chrysippus, and rapes him. According to some versions,
Chrysippus then kills himself in shame. This terrible act casts doom upon Laius and
all those who descend from him. However, many scholars believe that this tale of
Laius' transgressions against Chrysippus were added later to the myth in order to
explain the family's curse.

Birth of Oedipus
When Laius' son is born, he consults an oracle as to his fortune. To his horror,
the oracle reveals that Laius "is doomed to perish by the hand of his own son."
Laius binds the infant's feet together with a pin and orders Jocasta to kill him.
Unable to do so to her own son, Jocasta orders a servant to slay the infant
instead. The servant exposes the infant on a mountaintop, where he is found and
rescued by a shepherd. (In other versions, the servant gives the infant to the
shepherd.)

The shepherd names the child Oedipus, "swollen foot", as his feet had been tightly
bound by Laius. The shepherd brings the infant to Corinth, and presents him to the
childless king Polybus, who raises Oedipus as his own son.

Oedipus and the Oracle

As he grows to manhood, Oedipus hears a rumour that he is not truly the son of
Polybus and his wife, Merope. He asks the Delphic Oracle who his parents really
are. The Oracle seems to ignore this question, telling him instead that he is
destined to "mate with [his] own mother, and shed/With [his] own hands the blood of
[his] own sire." Desperate to avoid this terrible fate, Oedipus, who still believes
that Polybus and Merope are his true parents, leaves Corinth for the city of
Thebes.

Painting by Jean-Auguste-Dominique Ingres depicting Oedipus after he solves the

riddle of the Sphinx.[7] The Walters Art Museum.
Fulfilling prophecy
The old man
On the road to Thebes, Oedipus encounters an old man and his servants. The two
begin to quarrel over whose chariot has the right of way. While the old man moves
to strike the insolent youth with his sceptre, Oedipus throws the man down from his
chariot, killing him. Thus, the prophecy in which Oedipus slays his own father is
fulfilled, as the old man�as Oedipus discover later�was Laius, king of Thebes and
true father to Oedipus.

Riddle of the Sphinx

Main article: Riddle of the Sphinx
Arriving at Thebes, a city in turmoil, Oedipus encounters the Sphinx, a legendary
beast with the head and breast of a woman, the body of a lioness, and the wings of
an eagle. The Sphinx, perched on a hill, was devouring Thebans and travellers one
by one if they could not solve her riddle.

The precise riddle asked by the Sphinx varied in early traditions, and is not
explicitly stated in Oedipus Rex, as the event precedes the play. However,
according to the most widely regarded version of the riddle, the Sphinx asks "what
is the creature that walks on four legs in the morning, two legs at noon, and three
in the evening?" Oedipus, blessed with great intelligence, answers correctly: "man"
(Greek: anthr�pos), who crawls on all fours as an infant; walks upright in
maturity; and leans on a stick in old age.[8]:463

Bested by the prince, the Sphinx throws herself from a cliff, thereby ending the
curse.[9] Oedipus' reward for freeing Thebes from the Sphinx is kingship to the
city and the hand of its dowager queen, Jocasta. None, at that point, realize that
Jocasta is Oedipus' true mother.[10] Thus, unbeknownst to either character, the
remaining prophecy has been fulfilled.

Plot

P. Oxy. 1369, a fragmentary papyrus copy of Oedipus Rex, 4th century BC.
Oedipus, King of Thebes, sends his brother-in-law, Creon, to ask advice of the
oracle at Delphi, concerning a plague ravaging Thebes. Creon returns to report that
the plague is the result of religious pollution, since the murderer of their former
king, Laius, has never been caught. Oedipus vows to find the murderer and curses
him for causing the plague.

Oedipus summons the blind prophet Tiresias for help. When Tiresias arrives he
claims to know the answers to Oedipus's questions, but refuses to speak, instead
telling him to abandon his search. Oedipus is enraged by Tiresias' refusal, and
verbally accuses him of complicity in Laius' murder. Outraged, Tiresias tells the
king that Oedipus himself is the murderer ("You yourself are the criminal you
seek"). Oedipus cannot see how this could be, and concludes that the prophet must
have been paid off by Creon in an attempt to undermine him. The two argue
vehemently, as Oedipus mocks Tiresias' lack of sight, and Tiresias retorts that
Oedipus himself is blind. Eventually Tiresias leaves, muttering darkly that when
the murderer is discovered he shall be a native citizen of Thebes, brother and
father to his own children, and son and husband to his own mother.

Creon arrives to face Oedipus's accusations. The King demands that Creon be
executed; however, the chorus persuades him to let Creon live. Jocasta, wife of
first Laius and then Oedipus, enters and attempts to comfort Oedipus, telling him
he should take no notice of prophets. As proof, she recounts an incident in which
she and Laius received an oracle which never came true. The prophecy stated that
Laius would be killed by his own son; however, Jocasta reassures Oedipus by her
statement that Laius was killed by bandits at a crossroads on the way to Delphi.

The mention of this crossroads causes Oedipus to pause and ask for more details. He
asks Jocasta what Laius looked like, and Oedipus suddenly becomes worried that
Tiresias's accusations were true. Oedipus then sends for the one surviving witness
of the attack to be brought to the palace from the fields where he now works as a
shepherd.

Jocasta, confused, asks Oedipus what the matter is, and he tells her. Many years
ago, at a banquet in Corinth, a man drunkenly accused Oedipus of not being his
father's son. Oedipus went to Delphi and asked the oracle about his parentage.
Instead of answers he was given a prophecy that he would one day murder his father
and sleep with his mother. Upon hearing this he resolved to leave Corinth and never
return. While traveling he came to the very crossroads where Laius was killed, and
encountered a carriage which attempted to drive him off the road. An argument
ensued and Oedipus killed the travelers, including a man who matches Jocasta's
description of Laius. Oedipus has hope, however, because the story is that Laius
was murdered by several robbers. If the shepherd confirms that Laius was attacked
by many men, then Oedipus is in the clear.

A man arrives from Corinth with the message that Oedipus's father has died.
Oedipus, to the surprise of the messenger, is made ecstatic by this news, for it
proves one half of the prophecy false, for now he can never kill his father.
However, he still fears that he may somehow commit incest with his mother. The
messenger, eager to ease Oedipus's mind, tells him not to worry, because Merope was
not in fact his real mother.

It emerges that this messenger was formerly a shepherd on Mount Cithaeron, and that
he was given a baby, which the childless Polybus then adopted. The baby, he says,
was given to him by another shepherd from the Laius household, who had been told to
get rid of the child. Oedipus asks the chorus if anyone knows who this man was, or
where he might be now. They respond that he is the "same shepherd" who was witness
to the murder of Laius, and whom Oedipus had already sent for. Jocasta, who has by
now realized the truth, desperately begs Oedipus to stop asking questions, but he
refuses and Jocasta runs into the palace.

When the shepherd arrives Oedipus questions him, but he begs to be allowed to leave
without answering further. However, Oedipus presses him, finally threatening him
with torture or execution. It emerges that the child he gave away was Laius's own
son, and that Jocasta had given the baby to the shepherd to secretly be exposed
upon the mountainside. This was done in fear of the prophecy that Jocasta said had
never come true: that the child would kill his father.

Everything is at last revealed, and Oedipus curses himself and fate before leaving
the stage. The chorus laments how even a great man can be felled by fate, and
following this, a servant exits the palace to speak of what has happened inside.
When Jocasta enters the house, she runs to the palace bedroom and hangs herself
there. Shortly afterward, Oedipus enters in a fury, calling on his servants to
bring him a sword so that he might cut out his mother's womb. He then rages through
the house, until he comes upon Jocasta's body. Giving a cry, Oedipus takes her down
and removes the long gold pins that held her dress together, before plunging them
into his own eyes in despair.

A blind Oedipus now exits the palace and begs to be exiled as soon as possible.
Creon enters, saying that Oedipus shall be taken into the house until oracles can
be consulted regarding what is best to be done. Oedipus's two daughters (and half-
sisters), Antigone and Ismene, are sent out, and Oedipus laments their having been
born to such a cursed family. He asks Creon to watch over them and Creon agrees,
before sending Oedipus back into the palace.

On an empty stage the chorus repeats the common Greek maxim, that no man should be
considered fortunate until he is dead.[11]

Relationship with mythic tradition

The two cities of Troy and Thebes were
events surrounding the Trojan War were
remains, and those about Thebes in the
Theban Cycle recounted the sequence of
which the story of Oedipus is a part.
the major focus of Greek epic poetry. The
chronicled in the Epic Cycle, of which much
Theban Cycle, which have been lost. The
tragedies that befell the house of Laius, of

Homer's Odyssey (XI.271ff.) contains the earliest account of the Oedipus myth when
Odysseus encounters Jocasta (named Epicaste) in the underworld. Homer briefly
summarises the story of Oedipus, including the incest, patricide, and Jocasta's
subsequent suicide. However, in the Homeric version, Oedipus remains King of Thebes
after the revelation and neither blinds himself, nor is sent into exile. In
particular, it is said that the gods made the matter of his paternity known, whilst
in Oedipus the King, Oedipus very much discovers the truth himself.[12]

In 467 BC, Sophocles's fellow tragedian Aeschylus won first prize at the City
Dionysia with a trilogy about the House of Laius, comprising Laius, Oedipus and
Seven against Thebes (the only play which survives). Since he did not write
connected trilogies as Aeschylus did, Oedipus Rex focuses on the titular character
while hinting at the larger myth obliquely, which was already known to the audience
in Athens at the time.

Reception

B�nigne Gagneraux, The Blind Oedipus Commending his Children to the Gods
The trilogy containing Oedipus Rex took second prize in the City Dionysia at its
original performance. Aeschylus's nephew Philocles took first prize at that
competition.[13] However, in his Poetics, Aristotle considered Oedipus Rex to be
the tragedy which best matched his prescription for how drama should be made.[14]

Many modern critics agree with Aristotle on the quality of Oedipus Rex, even if
they don't always agree on the reasons. For example, Richard Claverhouse Jebb
claimed that "The Oedipus Tyrannus is in one sense the masterpiece of Attic
tragedy. No other shows an equal degree of art in the development of the plot; and
this excellence depends on the powerful and subtle drawing of the characters."[15]
Cedric Whitman noted that "the Oedipus Rex passes almost universally for the
greatest extant Greek play..."[16] Whitman himself regarded the play as "the
fullest expression of this conception of tragedy," that is the conception of
tragedy as a "revelation of the evil lot of man," where a man may have "all the
equipment for glory and honor" but still have "the greatest effort to do good" end
in "the evil of an unbearable self for which one is not responsible.[17] Edith Hall
referred to Oedipus the King as "this definitive tragedy" and notes that "the
magisterial subtlety of Sophocles' characterization thus lend credibility to the
breathtaking coincidences," and notes the irony that "Oedipus can only fulfill his
exceptional god-ordained destiny because Oedipus is a preeminently capable and
intelligent human being."[18] H. D. F. Kitto said about Oedipus Rex that "it is
true to say that the perfection of its form implies a world order," although Kitto
notes that whether or not that world order "is beneficent, Sophocles does not
say."[19]

The science revolution attributed to Thales began gaining political force, and this
play offered a warning to the new thinkers. Kitto interprets the play as Sophocles'
retort to the sophists, by dramatizing a situation in which humans face undeserved
suffering through no fault of their own, but despite the apparent randomness of the
events, the fact that they have been prophesied by the gods implies that the events
are not random, despite the reasons being beyond human comprehension.[20] Through
the play, according to Kitto, Sophocles declares "that it is wrong, in the face of
the incomprehensible and unmoral, to deny the moral laws and accept chaos. What is
right is to recognize facts and not delude ourselves. The universe is a unity; if,
sometimes, we can see neither rhyme nor reason in it we should not suppose it is
random. There is so much that we cannot know and cannot control that we should not
think and behave as if we do know and can control.[20]

Themes, Irony and motifs

Fate, free will, or tragic flaw

A Greek amphora depicting Oedipus and the Sphinx, circa 450 BC.
Fate is a motif that often occurs in Greek writing, tragedies in particular.
Likewise, where the attempt to avoid an oracle is the very thing that enables it to
happen is common to many Greek myths. For example, similarities to Oedipus can be
seen in the myth of Perseus' birth.

Two oracles in particular dominate the plot of Oedipus Rex. Jocasta relates the
prophecy that was told to Laius before the birth of Oedipus (lines 711�4):

[The oracle] told him

that it was his fate that he should die a victim
at the hands of his own son, a son to be born
of Laius and me.

The oracle told to Laius tells only of the patricide, whereas the incest is
missing. Prompted by Jocasta's recollection, Oedipus reveals the prophecy which
caused him to leave Corinth (lines 791�3):

that I was fated to lie with my mother,

and show to daylight an accursed breed
which men would not endure, and I was doomed
to be murderer of the father that begot me.

The implication of Laius's oracle is ambiguous. One interpretation considers that

the presentation of Laius's oracle in this play differs from that found in
Aeschylus's Oedipus trilogy produced in 467 BC. Smith (2005) argues that "Sophocles
had the option of making the oracle to Laius conditional (if Laius has a son, that
son will kill him) or unconditional (Laius will have a son who will kill him). Both
Aeschylus and Euripides write plays in which the oracle is conditional;
Sophocles...chooses to make Laius's oracle unconditional and thus removes
culpability for his sins from Oedipus, for he could not have done other than what
he did, no matter what action he took." [21][22]

This interpretation is supported by Jocasta's repetition of the oracle at lines

854�55: "Loxias declared that the king should be killed by/ his own son." In Greek,
Jocasta uses the verb chr�nai: "to be fated, necessary." This iteration of the
oracle seems to suggest that it was unconditional and inevitable.

Other scholars have nonetheless argued that Sophocles follows tradition in making
Laius's oracle conditional, and thus avoidable. They point to Jocasta's initial
disclosure of the oracle at lines 711�14. In Greek, the oracle cautions: "h�s auton
hexoi moira pros paidos thanein/ hostis genoit emou te kakeinou para." The two
verbs in boldface indicate what is called a "future more vivid" condition: if a
child is born to Laius, his fate to be killed by that child will overtake him.[23]

Whatever the meaning of Laius's oracle, the one delivered to Oedipus is clearly
unconditional. Given the modern conception of fate and fatalism, readers of the
play have a tendency to view Oedipus as a mere puppet controlled by greater forces;
a man crushed by the gods and fate for no good reason. This, however, is not an
entirely accurate reading. While it is a mythological truism that oracles exist to
be fulfilled, oracles do not cause the events that lead up to the outcome. In his
landmark essay "On Misunderstanding the Oedipus Rex",[24] E.R. Dodds draws a
comparison with Jesus' prophecy at the Last Supper that Peter would deny him three
times. Jesus knows that Peter will do this, but readers would in no way suggest
that Peter was a puppet of fate being forced to deny Christ. Free will and
predestination are by no means mutually exclusive, and such is the case with
Oedipus.

The oracle delivered to Oedipus is what is often called a "self-fulfilling

prophecy," whereby a prophecy itself sets in motion events that conclude with its
own fulfilment.[25] This, however, is not to say that Oedipus is a victim of fate
and has no free will. The oracle inspires a series of specific choices, freely made
by Oedipus, which lead him to kill his father and marry his mother. Oedipus chooses
not to return to Corinth after hearing the oracle, just as he chooses to head
toward Thebes, to kill Laius, and to take Jocasta specifically as his wife. In
response to the plague at Thebes, he chooses to send Creon to the Oracle for advice
and then to follow that advice, initiating the investigation into Laius' murder.
None of these choices are predetermined.

Oedipus and Antigone, by Charles Jalabert.

Another characteristic of oracles in myth is that they are almost always
misunderstood by those who hear them; hence Oedipus misunderstanding the
significance of the Delphic Oracle. He visits Delphi to find out who his real
parents are and assumes that the Oracle refuses to answer that question, offering
instead an unrelated prophecy which forecasts patricide and incest. Oedipus'
assumption is incorrect, the Oracle does, in a way, answer his question. On closer
analysis the oracle contains essential information which Oedipus seems to neglect.
The wording of the Oracle: "I was doomed to be murderer of the father that begot
me" refers to Oedipus' real, biological father. Likewise the mother with polluted
children is defined as the biological one. The wording of the drunken guest on the
other hand: "you are not your father's son" defines Polybus as only a foster father
to Oedipus. The two wordings support each other and point to the "two set of
parents" alternative. Thus the question of two set of parents, biological and
foster, is raised. Oedipus' reaction to the Oracle is irrational: he states he did
not get any answer and he flees in a direction away from Corinth, showing that he
firmly believed at the time that Polybus and Merope are his real parents.

The scene with the drunken guest constitutes the end of Oedipus' childhood. He can
no longer ignore a feeling of uncertainty about his parentage. However, after
consulting the Oracle this uncertainty disappears, strangely enough, and is
replaced by a totally unjustified certainty that he is the son of Merope and
Polybus. We have said that this irrational behaviour�his hamartia, as Aristotle
puts it�is due to the repression of a whole series of thoughts in his
consciousness, in fact everything that referred to his earlier doubts about his
parentage.[26]

State control

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The exploration of the theme of state control in Oedipus Rex is paralleled by the
examination of the conflict between the individual and the state in Antigone. The
dilemma that Oedipus faces here is similar to that of the tyrannical Creon: each
man has, as king, made a decision that his subjects question or disobey; and each
king misconstrues both his own role as a sovereign and the role of the rebel. When
informed by the blind prophet Tiresias that religious forces are against him, each
king claims that the priest has been corrupted. It is here, however, that their
similarities come to an end: while Creon sees the havoc he has wreaked and tries to
amend his mistakes, Oedipus refuses to listen to anyone.

Irony
Sophocles uses dramatic irony to present the downfall of Oedipus. At the beginning
of the story, Oedipus is portrayed as "self-confident, intelligent and strong
willed."[27] By the end, it is within these traits that he finds his demise.

One of the most significant instances of irony in this tragedy is when Tiresias
hints at Oedipus what he has done; that he has slain his own father and married his
own mother (lines 457�60):[28]

To his children he will discover that he is both brother and father.

To the woman who gave birth to him he is son and husband and to his father, both, a
sharer of his bed and his murderer.
Go into your palace then, king Oedipus and think about these things and if you find
me a liar then you can truly say I know nothing of prophecies.

The audience knows the truth and what would be the fate of Oedipus. Oedipus, on the
other hand, chooses to deny the reality that has confronted him. He ignores the
word of Tiresias and continues on his journey to find the supposed killer. His
search for a murderer is yet another instance of irony. Oedipus, determined to find
the one responsible for King Laius' death, announces to his people (lines 247�53):
[8]:466-467

I hereby call down curses on this killer...

that horribly, as he is horrible,
he may drag out his wretched unblessed days.
This too I pray: Though he be of my house,
if I learn of it, and let him still remain,
may I receive the curse I have laid on others.

This is ironic as Oedipus is, as he discovers, the slayer of Laius, and the curse
he wishes upon the killer, he has actually wished upon himself. Glassberg (2017)
explains that �Oedipus has clearly missed the mark. He is unaware that he is the
one polluting agent he seeks to punish. He has inadequate knowledge...�[29]

Sight and blindness

Literal and metaphorical references to eyesight appear throughout Oedipus Rex.
Clear vision serves as a metaphor for insight and knowledge, yet the clear-eyed
Oedipus is blind to the truth about his origins and inadvertent crimes. The prophet
Tiresias, on the other hand, although literally blind, "sees" the truth and relays
what is revealed to him. "Though Oedipus' future is predicted by the gods, even
after being warned by Tiresias, he cannot see the truth or reality beforehand
because his excessive pride has blinded his vision�"[30] Only after Oedipus gouges
out his own eyes, physically blinding himself, does he gain prophetic ability, as
exhibited in Oedipus at Colonus. It is deliberately ironic that the "seer" can
"see" better than Oedipus, despite being blind. Tiresias, in anger, expresses such
(lines 495�500):[31]:11

Since you have chosen to insult my blindness�

you have your eyesight, and you do not see
how miserable you are, or where you live,
or who it is who shares your household.
Do you know the family you come from?
Without your knowledge you�ve become
the enemy of your own kindred

Sigmund Freud
Sigmund Freud wrote a notable passage in Interpretation of Dreams regarding the
destiny of Oedipus, as well as the Oedipus complex. He analyzes why this play,
Oedipus Rex, written in Ancient Greece, is so effective even to a modern audience:
[32]:279�280

"His destiny moves us only because it might have been ours � because the oracle
laid the same curse upon us before our birth as upon him. It is the fate of all of
us, perhaps, to direct our first sexual impulse towards our mother and our first
hatred and our first murderous wish against our father. Our dreams convince us that
this is so."

Freud goes on to indicate, however, that the �primordial urges and fears� that are
his concern are not found primarily in the play by Sophocles, but exist in the myth
the play is based on. He refers to Oedipus Rex as a �further modification of the
legend,� one that originates in a �misconceived secondary revision of the material,
which has sought to exploit it for theological purposes.�[32]:247[33][34]

Adaptations
Film adaptions
The play has been filmed several times, but only twice in English.

The first English-language adaption, Oedipus Rex (1957), was directed by Tyrone
Guthrie and starred Douglas Campbell as Oedipus. In this version, the entire play
is performed by the cast in masks (Greek: prosopon), as actors did in ancient Greek
theatre.

The second English-language film version, Oedipus the King (1968), was directed by
Philip Saville and filmed in Greece. Unlike Guthrie's film, this version shows the
actors' faces, as well as boasting an all-star cast, including Christopher Plummer
as Oedipus; Lilli Palmer as Jocasta; Orson Welles as Tiresias; Richard Johnson as
Creon; Roger Livesey as the Shepherd; and Donald Sutherland as the Leading Member
of the Chorus. Sutherland's voice, however, was dubbed by another actor. The film
went a step further than the play by actually showing, in flashback, the murder of
Laius (portrayed by Friedrich Ledebur). It also shows Oedipus and Jocasta in bed
together, making love. Though released in 1968, this film was not seen in Europe or
the US until the 1970s and 1980s after legal release and distribution rights were
granted to video and television.

In Italy, Pier Paolo Pasolini directed Edipo Re (1967), a modern interpretation of

the play.

Toshio Matsumoto's film, Funeral Parade of Roses (1969), is a loose adaptation of

the play and an important work of the Japanese New Wave.
In Colombia, writer Gabriel Garc�a M�rquez adapted the story in Edipo Alcalde,
bringing it to the real-world situation of Columbia at the time.

The Nigerian film The Gods are STILL not to Blame (2012) was produced by Funke
Fayoyin, premiering at Silverbird Galleria in Lagos.

Park Chan-wook's South Korean film, Oldboy (2003), was inspired by the play while
making several notable changes to allow it to work in a modern South-Korean
setting.[35] The film even alters the iconic twist, causing many American critics
to overlook the connection. It received widespread acclaim, and is seen in South
Korea as the definitive adaptation.[citation needed]

Play by the Celje Slovene People's Theatre in 1968

Stage Adaptions
Composer Igor Stravinsky wrote an opera/oratorio version of Oedipus Rex, which
premiered in 1927 at the Th��tre Sarah Bernhardt, Paris. It is scored for
orchestra, speaker, soloists, and male chorus. The libretto, based on Sophocles's
tragedy, was written by Jean Cocteau in French and then translated by Abb� Jean
Dani�lou into Latin. The narration, however, is performed in the language of the
audience. The work was written towards the beginning of Stravinsky's neoclassical
period and is considered one of the finest works from this phase of the composer's
career. He had considered setting the language of the work in Ancient Greek, but
decided ultimately on Latin because, in his words, "a medium not dead but turned to
stone."

Nigerian writer Ola Rotimi adapted Oedipus Rex into a 1968 play and novel, titling
it The Gods Are Not to Blame. In 2012, the play was further adapted by Rasheed Otun
and titled The Gods Are STILL Not to Blame.

TV/Radio Adaptions
Don Taylor's 1986 translation/adaptation of Oedipus Rex formed part of the BBC's
Theban Plays trilogy. It starred Michael Pennington as Oedipus, with Claire Bloom
as Jocasta, Sir John Gielgud as Tiresias, and John Shrapnel as Creon

In 1977, CBS Radio Mystery Theater broadcast a version of the story called "So
Shall Ye Reap," set in 1851 in what was then the U.S. Territory of New Mexico.

In 2017, BBC Radio 3 broadcast a production of Anthony Burgess' translation of the

play with Christopher Eccleston as Oedipus and Fiona Shaw as Tiresias/Second Elder.
John Shrapnel, who starred as Creon in the 1986 BBC television version, played the
First Elder.

Other television portrayals of Oedipus include that of Christopher Plummer (1957),

Ian Holm (1972), and Patrick Stewart (1977).

Parodies
Peter Schickele parodies both the story of Oedipus Rex and the music of
Stravinsky's oratorio-opera of the same name in Oedipus Tex, a Western-themed
oratorio purportedly written by P.D.Q. Bach. It was released in 1990 on the album
Oedipus Tex and Other Choral Calamities.

Chrysanthos Mentis Bostantzoglou makes a parody of the tragedy in his comedy Medea
(1993).[36]

In episode ten of the second season of the Australian satirical comedy show CNNNN,
a short animation in the style of a Disney movie trailer, complete with jaunty
music provided by Andrew Hansen, parodies Oedipus Rex.[37] Apart from being
advertised as "fun for the whole family," the parody is also mentioned at other
times during that same episode, such as in a satirical advertisement in which
orphans are offered a free "Oedipus Rex ashes urn" as a promotional offer after
losing a relative.[38]

John Barth's novel Giles Goat-Boy contains a forty-page parody of the full text of
Oedipus Rex called Taliped Decanus.

See also
Incest
Lille Stesichorus, a papyrus fragment of an alternative version by the lyric poet
Stesichorus
Oedipus
Oedipus complex
Patricide
Notes
Although Sophocles won second prize with the group of plays that included Oedipus
Rex, its date of production is uncertain. The prominence of the Theban plague at
the play's opening suggests to many scholars a reference to the plague that
devastated Athens in 430 BC, and hence a production date shortly thereafter. See,
for example, Knox, Bernard (1956). "The Date of the Oedipus Tyrannus of Sophocles".
American Journal of Philology. 77 (2): 133�147. JSTOR 292475.
Bridgewater, William, ed. "tyrant". The Columbia Encyclopedia. Columbia University
Press. (1963) p. 2188
Lloyd-Jones, Hugh. Introduction and trans. Sophocles: Ajax, Electra, Oedipus
Tyrannus. By Sophocles. Loeb Classical Library ser. vol. 20. Harvard University
Press. ISBN 978-0674995574.
Mulroy, David. trans. �Introduction�. Sophocles, Oedipus Rex. Univ of Wisconsin
Press, (2011) ISBN 9780299282530. p. xxviii
Aristotle: Poetics. Edited and translated by St. Halliwell, (Loeb Classical
Library), Harvard 1995
Belfiore, Elizabeth (1992). Tragic Pleasures: Aristotle on Plot and Emotion.
Princeton. p. 176.
"Oedipus and the Sphinx". The Walters Art Museum. Archived from the original on
2013-05-24. Retrieved 2012-09-18.
Powell, Barry B. (2015). Classical Myth. with translations by Herbert M. Howe (8th
ed.). Boston: Pearson. ISBN 978-0-321-96704-6.
Ahl, Frederick. Two Faces of Oedipus: Sophocles' Oedipus Tyrannus and Seneca's
Oedipus. Cornell University Press, 2008. page 1. ISBN 9780801473975.
Johnston, Ian. "Background Notes", Vancouver Island University
Herodotus, in his Histories (Book 1.32), attributes this maxim to the 6th-century
Athenian statesman Solon.
Dawe, R.D. ed. 2006 Sophocles: Oedipus Rex, revised edition. Cambridge : Cambridge
University Press. p.1
Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. p. 1. ISBN
978-0-313-33268-5.
Thomas, J.E. & Osborne, E. (2004). Oedipus Rex: Literary Touchstone Edition.
Prestwick House Inc. p. 69. ISBN 978-1-58049-593-6.
Jebb, R.C. The Oedipus Tyrannus. p. v. ISBN 978-1-4460-3178-0.
Whitman, C. (1951). Sophocles. Harvard University Press. p. 123.
Whitman, C. (1951). Sophocles. Harvard University Press. p. 143.
Hall, E. (1994). "Introduction". Sophocles: Antigone, Oedipus the King, Electra.
Oxford University Press. pp. xix�xxii. ISBN 0-19-282922-X.
Kitto, H.D.F (1966). Greek Tragedy. Routledge. p. 144. ISBN 0-415-05896-1.
Kitto, H.D.F (1966). Poiesis. University of California Press. pp. 236�242.
Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. p. 82. ISBN
978-0-313-33268-5.
See Dodds 1966; Mastronarde 1994, 19; Gregory 2005, 323.
Thus Sir Richard Jebb in his commentary. Cf. Jeffrey Rusten's 1990 commentary.
 Greece & Rome, 2nd Ser., Vol. 13, No. 1 (Apr., 1966), pp. 37�49
Strictly speaking, this is inaccurate: Oedipus himself sets these events in motion
when he decides to investigate his parentage against the advice of Polybus and
Merope.
Brunner M. "King Oedipus Retried" Rosenberger & Krausz, London, 2001. ISBN 0-
9536219-1-X
"Use of Irony in Oedipus the King". 123HelpMe.com. Retrieved 6 Dec 2019.
Theodoridis, G. (2005). Oedipus Rex (Oedipus Tyrannus, Tyrannos, King,
Vasileus) ??d?p??? ???a????. Retrieved from Bacchicstage:
https://bacchicstage.wordpress.com/sophocles/oedipus-rex/ Note: this source is
assumed as reliable, as it is provided in Powell (2015), a university-course-level
textbook.
Glassbery, Roy (April 2017). "Uses of Hamartia, Flaw, and Irony in Oedipus
Tyrannus and King Lear". Philosophy and Literature. vol. 41 (no. 1): 201�206.
Ziaul Haque, Md. & Kabir Chowdhury, Fahmida. "The Concept of Blindness in
Sophocles' King Oedipus and Arthur Miller's Death of a Salesman", "Archived copy".
Archived from the original on 2014-05-25. Retrieved 2015-04-01., International
Journal of Applied Linguistics & English Literature, vol. 2, no. 3; 2013, p. 118,
Retrieved on April 01, 2015.
Johnston, Ian, ed. Oedipus the King. Saint Louis: Saint Louis Public Schools,
2004. https://www.slps.org/site/handlers/filedownload.ashx?
moduleinstanceid=22453&dataid=25126&FileName=Sophocles-Oedipus.pdf.
Freud, S. 2010. The Interpretation of Dreams. New York: Basic Books. 978-
0465019779.
Fagles, Robert, �Introduction�. Sophocles. The Three Theban Plays. Penguin
Classics (1984) ISBN 978-0140444254. page 132
Dodds, E. R. �On Misunderstanding the Oedipus Rex�. The Ancient Concept of
Progress. Oxford Press. (1973) ISBN 978-0198143772. page 70
"Sympathy for the Old Boy... An Interview with Park Chan Wook" by Choi Aryong
Kaggelaris, N. (2016), "Sophocles' Oedipus in Mentis Bostantzoglou's Medea" [in
Greek] in Mastrapas, A. N. - Stergioulis, M. M. (eds.) Seminar 42: Sophocles the
great classic of tragedy , Athens: Koralli, pp. 74- 81 [1]
The Chaser Archive (2011-10-13), CNNNN - Season 2 Episode 10, retrieved 2018-02-14
The Chaser Archive (2011-10-13), CNNNN - Season 2 Episode 10, retrieved 2018-02-14
Translations
Thomas Francklin, 1759 � verse
Edward H. Plumptre, 1865 � verse: full text at Wikisource, rev. edition of 1878
Richard C. Jebb, 1904 � prose: full text at Wikisource
Sir George Young, 1906 - verse
Gilbert Murray, 1911 � verse
Francis Storr, 1912 � verse: full text
W. B. Yeats, 1928 � mixed prose and verse
David Grene, 1942 (revised ed. 1991) � verse
E. F. Watling, 1947 � verse
Dudley Fitts and Robert Fitzgerald, 1949 � verse
F. L. Lucas, 1954 � verse
Theodore Howard Banks, 1956 � verse
Albert Cook, 1957 � verse
Bernard Knox, 1959 � prose
H. D. F. Kitto, 1962 � verse
Luci Berkowitz and Theodore F. Brunner, 1970 � prose
Anthony Burgess, 1972 - prose and verse
Stephen Berg and Diskin Clay, 1978 � verse
Robert Bagg, 1982 (revised ed. 2004) � verse
Robert Fagles, 1984, The Three Theban Plays: Antigone; Oedipus the King; Oedipus at
Colonus. Penguin classics. ISBN 9781101042694
Don Taylor, 1986 - prose
Nick Bartel, 1999 � verse: abridged text
Kenneth McLeish, 2001 - Verse
Ian Johnston, 2004 � verse: full text
George Theodoridis, 2005 � prose: full text
J. E. Thomas, 2006 - verse
Ian C. Johnston, 2007 - verse: full text
David Mulroy, 2011 � verse
Rachel Pollack and David Vine, 2011 - verse
Further reading
Brunner, M. 2001. King Oedipus Retried. London: Rosenberger & Krausz.
Cairns, D. L. 2013. "Divine and Human Action in the Oedipus Tyrannus." In Tragedy
and Archaic Greek Thought. Edited by D. L. Cairns, 119�171. Swansea, UK: Classical
Press of Wales.
Coughanowr, Effie. 1997. "Philosophic Meaning in Sophocles' Oedipus Rex."
L'Antiquit� Classique 66: 55�74.
Easterling, P. E. 1989. "City Settings in Greek Poetry." Proceedings of the
Classical Association 86:5�17.
Edmunds, L. 2006. Oedipus. London and New York: Routledge.
Finglass, P. J. 2009. "The Ending of Sophocles� Oedipus Rex." Philologus 153:42�62.
Halliwell, S. 1986. "Where Three Roads Meet: A Neglected Detail in the Oedipus
Tyrannus." Journal of Hellenic Studies 106:187�190.
Lawrence, S. 2008. "Apollo and his Purpose in Sophocles� Oedipus Tyrannus." Studia
Humaniora Tartuensia 9:1�18.
Macintosh, F. 2009. Sophocles: Oedipus Tyrannus. Cambridge, UK: Cambridge Univ.
Press.
Segal, C. P. 2001. Oedipus Tyrannus: Tragic Heroism and the Limits of Knowledge. 2d
ed. New York and Oxford: Oxford Univ. Press.
Sommerstein, A. H. 2011. "Sophocles and the Guilt of Oedipus." Cuadernos de
Filolog�a Cl�sica. Estudios griegos e indoeuropeos 21:103�117.
External links
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Sophocles's Oedipus Rex
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Background on Drama, Generally, and Applications to Sophocles' Play
Study Guide for Sophocles' Oedipus the King
Full text English translation of Oedipus the King by Ian Johnston, in verse
Oedipus the King Book Notes from Literapedia
Oedipus the King from Project Gutenberg
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BNE: XX3383612BNF: cb122068980 (data)GND: 4122542-9LCCN: n81058154NLA:
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Categories: Plays by SophoclesIncest in playsTheban mythologyPlays set in ancient
GreecePatricide in fictionSuicide in fictionFiction about regicideGreek plays
adapted into filmsSelf-harm in fiction
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