Fate, Hubris, and Hamartia in Oedipus Rex and in Helen of Troy

Fate, Hubris, and Hamartia in Oedipus Rex and and in Helen of Troy This paper discusses the fate that doomed the character of Oedipus, the prophecies of Cassandra that were ignored and resulted in the tragic ends of Paris’ loved ones, and if the destiny of Paris could have been altered if Cassandra’s prophecies were heeded (by Jaime Cabrera, 31 Oct 2015).

ABSTRACT Greek tragedy follows specific storytelling conventions to satisfy the audiences during the time of Homer and Sophocles. These conventions include elements such as the willing suspension of disbelief, the heroic proportions of the attributes of tragic protagonists, fate, hubris, hamartia, and catharsis. This paper answers three assignment questions. (1) What fate doomed the character of Oedipus? (2) What prophecies of Cassandra were ignored, resulting in tragic ends of those close to Paris? (3) If Cassandra‟s prophecies were heeded, could Paris‟ destiny have been avoided? Why or why not? In Sophocles‟ Oedipus Rex, Rex, the character of Oedipus was fated to commit patricide and maternal incest. In Homer‟s The Iliad , Cassandra‟s prophecies that were ignored and which resulted in the tr agic end of the royal House of Troy are: (1) that Paris‟s trip to Sparta would result in disaster; disaster; (2) that Helen‟s stay in Troy will bring tragedy to the Trojans; and (3) that bringing the Trojan horse into the city walls will cause the ruin of the city of Troy. If Cassandra‟s prophecies were heeded, Paris‟s destiny would not be avoided because catharsis is required in Greek tragedy; the protagonist must not triumph over adversity. adversit y. This paper is organized in three chapters. chapters . The Introduction The Introduction defines key elements of tragic literary structure: protagonist, catharsis, hubris, hamartia, and fate. The second chapter, Oedipus Rex, Rex, discusses those key elements in Sophocles‟ Oedipus Rex. Rex. The last chapter, Helen chapter, Helen of Troy, discusses those key elements in Homer‟s The Iliad. This Iliad. This paper ends with a References a References and and an Appendices an Appendices section. section.

Suggested citation (APA format): Cabrera, Jaime A. 2015. Fate, 2015. Fate, Hubris, and Hamartia Hamartia in Oedipus Rex and Rex and in Helen of Troy. Troy. Electronic document accessed from scribd.com at (add link).

Contents 1.

2

INTRODUCTION .............................................................................................................................................. 2 1.1

Suspension of Disbelief ................................................................................................ ......................... 2

1.2

Dramatic Structure .............................................................. ............................................................................................................................... ................................................................... 3

1.3

Fate ....................................................................................................................................................... 4

1.4

Hubris .................................................................................................................................................... 4

1.5

Hamartia................................................................................................................................................ 5

OEDIPUS REX................................................................................................................................................... 7 2.1

Background ........................................................................................................................................... 7

2.2

Plot Summary ........................................................... ............................................................................................................................ ............................................................................. ............ 7

2.3

The Prophecies of the Oracle ................................................................................................................ 8

2.4

The Character of Oedipus ..................................................................................................................... 8

2.5

The Actions of Oedipus ......................................................................................................................... 8

2.5.1

He decides to know the truth regarding his parentage. ................................................................... 9

2.5.2

He abandons the parents he knew by protecting them. .................................................................. 9

2.5.3

He kills a stranger when he felt insulted. ........................................................ ........................................................................................ ................................ 10

2.5.4

He decides to solve the riddle of the Sphinx. ................................................................................. 10

2.5.5

He decides to marry the wido wed Queen of Thebes. .......................................................... .......... 10

2.5.6

He decides to solve the pestilence that ravaged Thebes. .............................................................. 10

2.5.7

He issues a decree to automatically punish King Laius’ killer. ........................................................ 11

2.5.8

He decides to conduct the inquiry in a public forum. ........................................................... ..................................................................... .......... 11

2.5.9

He gouges out his own eyes. .......................................................................................................... 12

2.5.10 2.6 3

He chooses exile over death.. .......................................................... ..................................................................................................... ........................................... 12

Recapitulation ..................................................................................................................................... 12

HELEN OF TROY............................................................................................................................................. 14 3.1

Background ......................................................................................................................................... 16

3.2

Backstory ....................................................... ........................................................................................................................ ...................................................................................... ..................... 16

3.3

Plot Summary ........................................................... ............................................................................................................................ ........................................................................... .......... 17

3.4

The Prophecies of Cassandra ......................................................... ..................................................... 17

3.4.1

The Coming of the War .............................................................. ................................................................................................................... ..................................................... 17

3.4.2

The Destruction of Troy .................................................................................................................. 17

3.4.3

Abduction of a Seer ........................................................................................................................ 18

3.4.4

The Devastation of Troy ............................................................. .................................................................................................................. ..................................................... 18

3.4.5

Death of the King and his Men ....................................................................................................... 18

3.4.6

Slavery of the Queen ...................................................................................................................... 18

3.4.7

................................................................................................... ........................................... 19 Cassandra’s Murder, and Beyond ........................................................

3.5

Recapitulation ..................................................................................................................................... 19

REFERENCES......................................................... .......................................................................................................................... ................................................................................................. ................................ 20 APPENDICES ......................................................... .......................................................................................................................... ................................................................................................. ................................ 22

Contents 1.

2

INTRODUCTION .............................................................................................................................................. 2 1.1

Suspension of Disbelief ................................................................................................ ......................... 2

1.2

Dramatic Structure .............................................................. ............................................................................................................................... ................................................................... 3

1.3

Fate ....................................................................................................................................................... 4

1.4

Hubris .................................................................................................................................................... 4

1.5

Hamartia................................................................................................................................................ 5

OEDIPUS REX................................................................................................................................................... 7 2.1

Background ........................................................................................................................................... 7

2.2

Plot Summary ........................................................... ............................................................................................................................ ............................................................................. ............ 7

2.3

The Prophecies of the Oracle ................................................................................................................ 8

2.4

The Character of Oedipus ..................................................................................................................... 8

2.5

The Actions of Oedipus ......................................................................................................................... 8

2.5.1

He decides to know the truth regarding his parentage. ................................................................... 9

2.5.2

He abandons the parents he knew by protecting them. .................................................................. 9

2.5.3

He kills a stranger when he felt insulted. ........................................................ ........................................................................................ ................................ 10

2.5.4

He decides to solve the riddle of the Sphinx. ................................................................................. 10

2.5.5

He decides to marry the wido wed Queen of Thebes. .......................................................... .......... 10

2.5.6

He decides to solve the pestilence that ravaged Thebes. .............................................................. 10

2.5.7

He issues a decree to automatically punish King Laius’ killer. ........................................................ 11

2.5.8

He decides to conduct the inquiry in a public forum. ........................................................... ..................................................................... .......... 11

2.5.9

He gouges out his own eyes. .......................................................................................................... 12

2.5.10 2.6 3

He chooses exile over death.. .......................................................... ..................................................................................................... ........................................... 12

Recapitulation ..................................................................................................................................... 12

HELEN OF TROY............................................................................................................................................. 14 3.1

Background ......................................................................................................................................... 16

3.2

Backstory ....................................................... ........................................................................................................................ ...................................................................................... ..................... 16

3.3

Plot Summary ........................................................... ............................................................................................................................ ........................................................................... .......... 17

3.4

The Prophecies of Cassandra ......................................................... ..................................................... 17

3.4.1

The Coming of the War .............................................................. ................................................................................................................... ..................................................... 17

3.4.2

The Destruction of Troy .................................................................................................................. 17

3.4.3

Abduction of a Seer ........................................................................................................................ 18

3.4.4

The Devastation of Troy ............................................................. .................................................................................................................. ..................................................... 18

3.4.5

Death of the King and his Men ....................................................................................................... 18

3.4.6

Slavery of the Queen ...................................................................................................................... 18

3.4.7

................................................................................................... ........................................... 19 Cassandra’s Murder, and Beyond ........................................................

3.5

Recapitulation ..................................................................................................................................... 19

REFERENCES......................................................... .......................................................................................................................... ................................................................................................. ................................ 20 APPENDICES ......................................................... .......................................................................................................................... ................................................................................................. ................................ 22

Fates, Hubris, and Hamartia in Oedipus Rex and in Helen of Troy : by Jaime Cabrera

1

List of Tables Table 1: Hamartia and Hubris in Sophocles‟ Oedipus Rex...................... Rex............................................ .................................. ............ 9 Table 2: Some Prophecies by Princess Pri ncess Cassandra ........................ .............................................. ........................................... ..................... 14 Table 3: Hamartia and Hubris in Homer‟s The Iliad .................... Iliad .......................................... ........................................... .....................15 Table 4: Outline of Sophocles‟ Oedipus Rex ........................................... .................................................................. ................................ ......... 22 Table 5: Summary of Homer‟s Iliad Homer‟s Iliad ................... ......................................... ............................................ ............................................ ......................... ... 29

List of Figures Figure 1: Oedipus in Exile ............................................. ................................................................... ............................................ .................................... .............. 23 Figure 2: The Messenger M essenger with the infant Oedipus .......................................... ................................................................. ......................... .. 23 Figure 3: The Plague of Thebes .............................. .................................................... ............................................ ........................................... ..................... 23 Figure 4: Oedipus and the Sphinx.......................................... ................................................................ ............................................ ............................ ...... 23 Figure 5: The Nine Layers of Troy ......................... ............................................... ............................................ ........................................... ..................... 24 Figure 6: The Wooden W ooden Horse enters Troy ...................................................... ............................................................................. ......................... .. 24 Figure 7: Excavation Map of Troy......................................... Troy............................................................... ............................................ ............................ ...... 25 Figure 8: Aerial View of the City Ci ty of Troy ......................... ............................................... ............................................. ................................ ......... 25 Figure 9: Possible Route of Greek Expedition to Troy........................................... ............................................................ ................. 26 Figure 10: Greek Amphitheater ........................................................... ................................................................................. .................................... .............. 26 Figure 11: Map location of Thebes and Corinth .......................................... ................................................................. ............................ ..... 27 Figure 12: Thebes, now Luxor, Egypt .......................................... ................................................................ ........................................... ..................... 27 Figure 13: Oedipus & Antigone............................................. ................................................................... ............................................ ............................ ...... 28 Figure 14: Oedipus at Colonus .......................................... ................................................................ ............................................ ................................ .......... 28 Figure 15: The Judgment of Paris ........................... ................................................. ............................................ ........................................... ..................... 28


2

1. INTRODUCTION In the study of literature, the term tragedy is defined as a story where the protagonist or hero succumbs to circumstance. The opposite, comedy, is where the hero overcomes circumstance. In Ancient Greece, tragedies stories were written more for competitions and live performance than for self-expression. The yardstick of success for was audience satisfaction. Writers craft stories so that, by the end of a presentation, audiences achieve a satisfying sense of emotional relief called catharsis. To achieve this, Greek tragedies are constructed according to a specific structure. These dramatic elements should be well-woven into a compact st ory so as to shorten real-time performance. There is the endurance of audiences in hot weather in open-air amphitheaters to consider (See Figure 10). Then, there is the endurance of performers and the strength of their voices in a time when electronics and amplifiers did not exist. In addition, theatre performances were presented during a specifi c part of day and time of year when people could set aside their dail y chores and businesses, their families and calls of nature that must be attended. To shorten staging time, flashbacks were utilized in clear, logical ways that can be easily followed even by unschooled shopkeepers, farmers, and fishermen.

1.1 Suspension of Disbelief Fiction works when audiences or readers are so immersed in the story that they take vicarious pleasure despite – or perhaps because of – knowing that it‟s only a story (Brown, 2012). This phenomenon is called “willing suspension of disbelief” or, in plainer words “I believe because I agree to overlook certain factors that would otherwise cause me to not believe” (Martin, n. d.). The willing suspension of disbelief is a term most often used to describe the mechanisms of assimilation required to appreciate an invented situation, particularly a work of drama or fiction in fil m, theater, or literature. (Martin, ibid .) Effective fiction is a fragile construct: “The balance of "believability" is extremely fragile and the slightest inconsistency can compromise the credibility of an otherwise acceptable account of fictional events” (Martin, ibid .).


3

There must be careful logic and weighing of elements so that tragedy does not descend to pathos or – even worse – to bathos (Schaper, 1978). “An invented situation is considered to be more believable when the requirements for willing suspense of disbelief are kept to a minimum” (Martin, ibid). This care and craft are what classic tragedies are made of. In literary analysis of classical literature, particularly tragedies from ancient western civilizations, the analysis should include how these aforementioned elements work on the topic of analysis.

1.2 Dramatic Structure It is moot and academic to discuss ancient literary characters as though they are real persons in our time. In addition, the discussion should happen within the author‟s contrived plot structure. Tragedies have essential criteria. First, heroes should have human qualities but more than is usually found in humans. Second, they must fall. These two criteria satis fy audiences of yore due to catharsis, which is essential to effective tragedies. Mighty heroes must be overcome by circumstances.1 As in the fictional construct of Oedipus Rex, the three dramatic premises of The Iliad is that (a) men and gods are all subject to fate (Smith, 2012; UNLV, n. d.; Anon. [1], n. d.); (b) that there is individual freedom to act within the framework of what is foretold; and (c) that hubris and hamartia help what is foretold to come true. Finally, the heroic protagonist should have human attributes and errors but in more heroic proportions than ordinary people. Within this premise, the baby Paris survives and returns as a young man of considerable beauty, prowess and arrogance, thus ensuring his return to royalty and his assignment to foreign diplomacy. A similar development can be found in Oedipus Rex, where the baby Oedipus survives into an inquisitive, impulsive young man with pride and confidence, thus ensuring his besting an old man in combat, his besting the Phoenix, his marrying the widowed queen, and his excellent kingship of Thebes (See Figure 12). These backstories of high beginnings create the framework for a series of human-sized hamartia to happen, sprinkled with some heroic hubris – too many might invite pathos and non-suspension of disbelief – and make for satisfyingly cathartic audience experience when the long and painful fall comes.

1

When characters triumph over circumstances, the technical term for the type of story is comedy .


4

1.3 Fate For clarification, we present the notion of fate according to the cultural context of Greece during the lifetime of Sophocles. For Sophocles and his Greek audience, fate means “the foretelling of what will happen” (Anon. [2], n. d.). It is an essential part of Greek culture and storytelling. As exemplified in the tragic Greek plays and stories, the characters are free to exercise their will. However, “their freedom is tied with destiny” (Anon. [3], n. d.; Anon. [4], 2013; and Hossain, 2015).

1.4 Hubris Hubris, defined as “exaggerated pride or self-confidence often resulting in retribution” (Lewis, 2011, p. 2), is the earmark character tr ait of King Oedipus of Thebes as well as of Prince Paris of Troy. Hubris has been discussed by many writers as the reason for their downfall. Without hubris, Prince Oedipus would probably use calm logical deduction and choose to stay in Corinth (See Figure 11) in order to keep everybody safe; he is, after all, a skilled and intelligent fighter. Then his foster pare nts and his biological parents would live. Without hubris, Prince Paris would listen to the prophecies of his sister, Princess Cassandra, who was also a priestess in the Temple of Apollo. In those days, seers and divination were taken seriously, even by the royals. He would have returned Helen to her husband in order to protect his family, his city, and the citizens of Troy (See Figure 07 ). However, both had so much self-confidence. King Oedipus and Prince Paris were young men who took for granted their own thinking and problem-solving abilities. Paris relied on in the goddess Athena‟s promise that Helen is his prize, and on the invulnerability of walls of Troy against the seafaring Greeks‟ weaponry and might. Why King Oedipus and Prince Paris did what they had to do and how others probably interacted with them can be inferred from the following definition of hubris: Hubris is a consequence of an evaluation of succes s at one‟s standards, rules and goals …. It is associated with such descriptions as “puffed up.” In extreme cases, it is associated with grandiosity or with narcissism. In fact, hubristic is defined as to be insolent or contemptuous. Prideful people have difficulty in their interpersonal relations since their own hubris is likely to interfere with the wishes, needs and desires of others, in which case there is likely to be interpersonal conflict. The three problems associated with the prideful person are (1) it is a transient but addictive emotion; (2) it is not related to a specific action and, therefore, requires altering patterns of goal- setting or evaluation around what constitutes success; and (3) it interferes with interpersonal relationships because of its contemptuous and insolent nature. (Lewis, ibid.)


5

Authors familiar with ancient Greek agree that hubris should not be translated as pride but as “the quality of not keeping awareness of your human limitations: the opposite of sophrosyne (moderation, balance, self-control) which is “moral sanity and, from there, selfcontrol or moderation guided by true self-knowledge and even chastity” (Anon. [5]. n. d.). The forces of hubris shaped the story of Oedipus and Paris, both proud men probably because they were male in a paternalistic society, because they were young with the rashness of youth, and because they were royalty. The term hubris has often been used synonymously with pride but the latter is distinct from the former. Pride is the consequence of a successful evaluation of a specific action. The … experience is “joy over an action, thought or feeling well done.” … the focus of pleasure is specific and related to a particular behaviour. In pride, the self and object are separated …. Unlike shame and hubris, where subject and object are fused, pride focuses the organism on its action. The organism is engrossed in the specific action which gives it pride. Because this positive state is associated with a particular action, individuals have available to themselves the means by which they can reproduce the state. Notice that, unlike hubris, pride‟s specific focus allows for action. (Lewis, ibid.)

1.5 Hamartia The term hamartia has been misconstrued as synonymous with hubris (Haderlie, 2009; Anon. [6], n. d.), pride, jealousy and ambition (Anon. [7], n. d.) or tragic flaw. However, there is a more accurate translation: an error in judgment or a mistake (Wayne, n. d., p. 12). Hamartia is when a hero aims his arrow at the bull's eye, but ends up hitting something altogether unexpected; it is an error that does not immediately cause downfall, but instead pushes events towards eventual downfall. You can still call it hamartia even if the hero makes these mistakes in a state of ignorance (Wayne, ibid.). This is explained by Pawar, et. al. (n. d.). The word hamartia is rooted in the notion of missing the mark (hamartanein) and covers a broad spectrum that includes ignorant, mistaken, or accidental wrongdoing, as well as deliberate iniquit y, error, or sin. For example, the hero might attempt to achieve a certain objective X; by making an error in judgment, however, the hero instead achieves the opposite of X, with disastrous consequences (p. 28). In tragic literature, a series of hamartia serve to build up audience emotions towards an expected and inevitable ending. Protagonists unknowingly weave more threads in webs that trap them to their fate. For instance, Prince Oedipus saves a city from a sphinx and instead


becomes king of the city. Another example is when he claims his reward by marrying Queen Jocasta and instead commits incest. When Prince Paris abandons the nymph Oneone in favor of Helen, he commits hamartia. This action has a consequence: she refuses to heal him when he is mortally wounded in battle. To summarize: hamartia is to do something for a purpose but instead misses the mark and achieves something else while hubris is action based on overweening arrogance and wrong assumptions, “often resulting in retribution” (Lewis, 2011, p. 2) which should be certain and irrevocable retribution, with no chance at all of averting it. Hamartia achieves something other than the character‟s intended goal while hubris dooms the character to fulfill what is fated, thus achieving catharsis, which satisfies the audience, which is the success criterion of tragic literature.

6


2

7

OEDIPUS REX

In the Greek tragedy Oedipus Rex , Oedipus’ destiny prevailed in the end no matter what interventions other characters did. What fate doomed the character of Oedipus? The character of Oedipus was fated to commit patricide and maternal incest. He is doomed (Johnston, 2014) due to the interplay of three elements: (1) The prophecies regarding his future; (2) The character of Oedipus; and (3) The actions of Oedipus as shaped by his character, his hubris and hamartia, and the events around him (See Summary of the Story).

2.1 Background Sophocles (496 BC-406 BC) was a famous and successful Athenian writer of tragedies. Of his 120 plays, only seven survived. 2 Oedipus the King , also called Oedipus Tyrannos or Oedipus Rex, was written around 420 BC and regarded as a classic in Greek tragic drama (Castelluber, n. d.).

2.2 Plot Summary Oedipus3, son of King Laius & Jocasta of Thebes and raised as a Prince of Corinth learned from a drunk guest during a party that he is not the son of king of Corinth. Oedipus goes to the Oracle of Delphi to know the truth. He hears t he prophecy that he would kill his father and marry his mother. Fearing that he would kill his parents (the King and the Queen of Corinth) he flees to Thebes. Oedipus kills his biological father in on the way to Thebes. After arriving in Thebes, he finds the city under attack from the Sphinx (See Figure 4). He married Laius‟ widow, Jocasta, and has four children with her. 4 After many years of peace and prosperity, Thebes is attacked by a plague. Oedipus sends his brother-in-law Creon to the Oracle to ask f or a solution. Teiresias says that one who is guilty of Laius‟s death must pay for the plague to be lifted . It is revealed that Oedipus was the killer. Jocasta, upon hearing the news, hangs herself. Oedipus blinds himself and is exiled ( See Figure 14). See Table: Outline of Oedipus Rex.

2

Euripides, Aeschylus, Pindar, Stesichorus, Thebaid, Oidepodea, and Homer created characters and stories based on Oedipus but with different characterizations and motivations. See page 13 of Outline of Sophocles’ Oedipus Rex at carleton.ca 3 Or Oidipodes, meaning “swollen foot” 4 Two sons, Eteocles and Polyneices, and two daughters, Antigone and Ismene


8

2.3 The Prophecies of the Oracle It was prophesied that Oedipus would kill his own father and marry his own mother. This prophecy was revealed to his mother, Queen Jocasta, before he was even conceived. The Oracle in Greece repeated this to Oedipus when he was a young man. These truths were confirmed by the appearance of the shepherd who carried the baby Oedipus to Corinth, and by Queen Jocasta‟s former messenger who saved the baby‟s life in the wilderness of Cithaeron (See Figure 2).

2.4 The Character of Oedipus Oedipus was characterized by Sophocles as young, religious, responsible, charming, and healthy, but for a physical deformity in his lower limbs. He was also characterized as a creative thinker: impulsive, intelligent, decision-maker, and problem-solver. He sought not only proof, but proof of truth. He was also a highly focused and introspective young man. As the classical definition of a tragic protagonist requires, Oedipus had “the same positive characteristics that all ordinary human beings but to a greater degree” (Nikolarea, 1994; Barstow, 1912; and Reddy, 2014). On the other hand, the character of Oedipus reacted to situations that showed a lack of humility, acceptance, mindfulness, and self-control. These counter-productive qualities were sometimes helpful in furthering his personal goals and beliefs but fai led to balance his more numerous positive qualities. Instead, these negative qualities pushed him to commit hamartia and ensure his fated doom.

2.5 The Actions of Oedipus Oedipus could have acted to prevent his own downfall. However, the same qualities that made him a respected and effective leader ensured that the prophecies regarding him would come true. Although there were many choices that he could have taken, hamartia, hubris and character ruled. The following table outlines 10 pivotal decisions of Oedipus in Sophocles‟ Oedipus Rex.5 The table indicates that almost all of Oedipus‟ decisions resulted in something other than his intended goal, which indicates hamartia. Only three sealed his fate; these three are hubris.

5

The story of Oedipus has been told by several writers, each one with slightly differing characterizations and relationships.


9

Table 1: Hamartia and Hubris in Sophocles‟ Oedipus Rex The 10 Actions of Sophocles‟ Oedipus

Hamartia Hubris

1.

He decided to seek the truth regarding his parentage.



2.

He decided to abandon the parents he knew so as to protect t hem.



3.

He decided to kill a stranger when he felt insulted.

4.

He decides to solve the riddle of the Sphinx.



5.

He decided to marry his Queen Jocasta; the y have four children.



6.

He decided to solve the pestilence of Thebes.



7.

He decided that King Laius‟ killer can choose death or banishment.



8.

He decided to conduct the inquiry in a public forum.

9.

He decided to gouge out his own eyes.

10. He decided to exile himself.

2.5.1





  

He decides to know the truth regarding his parentage.

For instance, when he tries to confirm a rumor that he isn't the biological son of Corinthian King Polybus and Corinthian Queen Merope, he doesn't get a straight answer from his adoptive parents. He could have left it a lone and continued his life as prince of Thebes. The story could well have ended with him as king of Thebes. Instead, Oedipus goes to the Delphic Oracle to find identify his biological parents. The Oracle doesn't answer his question but says that Oedipus will kill his father and marry his mother. His decision can be classified as hamartia: he aimed to know his biological parents but, instead, learned of a terrible prophecy. This is not hubris because his actions did not cause t he prophecy to immediately come true. At this point, the prophecy could still be averted by, for instance, to non-happening of his next decisions. 2.5.2

He abandons the parents he knew by protecting them.

To escape that fate or to save his then known parents, Oedipus flees Corinth. This is hamartia: his aim was not realized. Instead, something else happened. Again, his decision cannot be classified as is hubris because this action did not cause the prophecy to immediately come true. At this point, there is still a possibility that the prophecy would not happen. This can be classified as hamartia: his goal was to protect the people that


10

he identified as his parents. He missed the mark: he did not achieve his goal, mainl y because the people that he sought to protect were not his biological parents. 2.5.3

He kills a stranger when he felt insulted.

He arrives at a crossroads where one of three roads leads to Thebes. Along that road comes a churlish, surly stranger whom he resembles and who is old enough to be his father. The man presents an insulting, violent challenge to Oedipus' right of way. Oedipus could have stayed mindful of the prophecy and avoided killing anyone. He could have consciously strived to control his temper. He could have chosen to be polite to an elder person. Instead, Oedipus responds in kind and kills the man who, later, turns out to be Laius, King of Thebes and his biological father. This is hubris: this action fulfilled half of the prophecy. If this did not happen, his tragic end would not have come to pass. This is not hamartia because his goal was to kill the man, and he achieved exactly that. He did not “miss the mark.” 2.5.4

He decides to solve the riddle of the Sphinx.

Oedipus arrives at the city gates of Thebes where he frees the city from the control of a Sphinx by solving an unsolvable riddle ( See Figure 4).6 He missed the mark: his goal was to save a city but he instead got a kingdom. This is not hubris because i t does not fulfill the prophecy of doom 2.5.5

He decides to marry the widowed Queen of Thebes.

As a reward, the Thebans offer him the vacant t hrone and the grieving, newly-widowed queen as his wife. He could have been mindful of the reason wh y he left Corinth, and respectful of the force of divine prophecy. He could have decided to be humble, respect the age gap between him and the queen, and ask for another reward instead of the kingship of Thebes. Instead, he ac cepted his rewards and married the royal widow who is old enough to be his mother. This is hamartia: his goal was to claim a prize by marrying the queen. He did not aim to commit incest, but that is what happened. This is hubris: he felt entitled to claim his prize. His decision to do so fulfilled the second half of the prophecy. If he chose not to take this action, his fate would have been different. 2.5.6 6

He decides to solve the pestilence that ravaged Thebes.

What life form moves on all fours in the morning, on twos in the afternoon, and on threes in the evening? [man]


11

Much later, a pestilence ravages Thebes of its harvests, its livestock, and its people (See Figure 3). From Apollo's shrine it's learned that the killer[s] of Laius must be identified and punished. This is hamartia: he aimed to save a kingdom. He achieved something else: he found the killer of King Laius. This has nothing to do with his fate of patricide and maternal incest. This is not hubris because it is not the fated murder of his father or incest with his mother. 2.5.7 He issues a decree to automatically punish King Laius’ killer.

He could have used his intelligence (he solved an unsolvable riddle) and deduced the truth from the clues available to him. He could have been tolerant and forgiving enough to design other options for atonement. Instead, Oedipus decides upon an automatic punishment of execution or exile, without consideration any for extenuating circumstances. This is hamartia: his rashness and self-belief pushed his aim to punish a killer and remove a pestilence. Instead, what he achieved was a situation that ensured the realization of his fate. It is not hubris because it is not the action that he was fated to do. This is his decision, not fate. 2.5.8 He decides to conduct the inquiry in a public forum.

He did not listen to advice. He rejected logical reasoning and followed his impulses and passionate sense of justice. He was driven to unearth the murder and solve the plague. He was self-confident and proud in in solving these two problems before the whole cit y of Thebes, in the presence of his people. He could have adopted an attitude of humility or at least more s elf-control. After all, he was relatively at peace now, believing that he had escaped the terrible prophecies. In addition, he was a king and respected by his people. Finally, he was a husband as well as a father of twin boys and two daughters. In short, he had a good life and this should have given him a measure of peace and serenity of mind. However, when Creon suggests that they should discuss the news from the oracle in private, Oedipus insists everything all his actions for helping the city must be done in public. In addition, he once again lost his temper when Teiresi as refused to tell him what he wanted to know. As a result, Teiresias lost his own temper as well and told Oedipus, "You are the murderer you seek." If Oedipus had better control of his t emper, he might have avoided this public revelation, or at least learned of the truth in private so that he could examine other options.


12

Is this hamartia or hubris? If it is hamartia, he aimed to know the killer and instead achieved something else – an accusation. If it is hubris, it should seal his doom. By itself, it is hamartia; fate would not happen. However, by holding it in a public forum, fate happened. 2.5.9

He gouges out his own eyes.

When he found that his wife was his mother and that she had killed herself by hanging, when he realized that his two sons and two daughters were children of incest, and that these realities could have been avoided if he decided to see the indicators or listen to those who tried to help him, he know that his pride had blinded him. Right then and there, he decides t o physically blind himself. This is hamartia: his goal was to stop seeing terrible things. Something else happened: he became helpless. 2.5.10 He chooses exile over death..

When it was discovered that he had caused the pla gue of Thebes and ruined his daughters‟ futures, he is forced by his own character to pun ish himself. His life in Thebes ends as a blind beggar in exile, accompanied only by his daughter, Antigone ( See Figure 1 and Figure 13). This is hamartia: his goal was to redeem himself in the eyes of his people. They did not exhibit love or respect for him. Instead, someone else became their king.

2.6 Recapitulation A combination of fate, character, and events doomed Oedipus to his fate. Three of his decisions were hubris while eight actions were hamartia. Both combined to fulfill his fate. Although fate predetermines the turning points in the lives of Jocasta, Laius and Oedipus, they “are not altogether puppets in the hands of fate… they are free agents, freely choosing various actions” (Hosain, ibid.). Before Oedipus was born, the Delphic oracle declared he would kill his father and marry his mother. The main characters try and circumvent fate with “ pity, cruelty, foresight and bravery” but later realize that fate cannot be circumvented. Fate shaped the life of the character, Jocasta. She knew what the oracle had prophesied. When she became pregnant with King Laius‟s child, she attempted to avert the foretelling by having her messenger remove the child. She acts on her decision and began the series of events that led to her suicide.


13

Fate sealed the destiny of the character Laius. He tried to prevent the foretelling of the Delphic Oracle. He chained and handed over the baby Oedipus to a servant who passed it to a Corinthian shepherd, who passed the baby to the Corinthian king. The child grew up as the son of King Polybus and Queen Merope of Corinth. The young Oedipus was dissatisfied with their evasions regarding his parentage and set out on a journey where one part of the foretelling came about: he killed his biological father, King Laius of Thebes. Fate, character, and action brought about the tragedies in t he life of Oedipus. Decisions classified as hubris made the foretelling real. Decisions classified as hamartia were errors that achieved something other than the goal. Hamartia contributed to the realiz ation of the foretelling, but not the foretold event itself. While the tragedies in the lives of Laius, Jocasta and Oedipus are fated, individual characters and decisions sealed their fates. They are pre-informed of future events and they chose to act accordingly to avert those events. However, the critical turning points of the story are caused by Oedipus' character and decision fuelled by hubris, with hamartia as contributing factors. Oedipus' brilliance and determination serve him well in solving mysteries such as his parentage, the riddle of the Sphinx, and the mysterious plague of Thebes. He was a respected king, effective in times of crises. He was an introspective person as well as a ruthless seeker of truth and justice, be he seemed to show a lack of inferential abilities. His reasoning was distorted by his temper and impulsiveness. However, Oedipus lacked discretion and self-control. He cannot accept t he predictions; he rejected the very idea of fate and the idea that he is not in total control of his life. This can be seen as indicative of his high level of self-confidence and of his desire to know and, thereby, to control. He acts on his viewpoints without bothering to investigate it, such as when decides to have Creon put to death, his killing Laius, his investigation of the murder, his bloody and violent gouging of his own eyes, and his insistence on being exiled showed his great pride and intentions towards the best interests of his kingdom. 7 I suggest that Oedipus' downfall was a logical outcome of the writer‟s plot structure. The elements of that fiction include: (a) character, (b) foretelling, and (c) decisions, both hubris and hamartia. 7

At the end of Oedipus the King, Oedipus is magnificent as a heroic character, accepting his infamy and begging for punishment although his errors could have been justified. However, in the sequel Oedipus at Colonus, the old, helpless, and blind Oedipus argues that his past was not his fault. True, he was entirely unaware that he killed his father and wedded his mother or that he caused the plague; his rashness is indicative of his integrity.


3

14

HELEN OF TROY

What prophecies of Cassandra were ignored, resulting in tragic ends of those close to Paris? Although Cassandra is “the Trojan seeress who uttered true prophecies, but lacking the power of persuasion, was never believed” (Parada & Förlag, 1997), two of her prophecies were heeded: when she advised the destruction of the baby Paris, and when she recognized Paris as her lost brother. Cassandra foretold many events, but four were critical turning points of the story, and three were ignored. When her other warnings were ignored, the House of Troy and the cit y suffered tragic endings including Cassandra herself (Kluth, n. d.). The f ollowing table presents the key prophecies. Table 2: Some Prophecies by Princess Cassandra Paris will cause the destruction of Troy (Johnston, n. d.). 8

Heeded

Paris‟s trip to Sparta would bring disaster.

Ignored

Helen‟s stay in Troy will bring calamities upon the Trojans 9

Ignored

Bringing the Trojan horse into the city will destroy Troy. 10

Ignored

If Cassandra’s prophecies were heeded, could Paris’ destiny have been avoided? Why or why not? When Paris was born, Cassandra foretold that he would cause the des truction of Troy. To avert the foretelling, the parents heeded her warning and had the baby put to death. However, Paris survived and fulfilled the prophecy. This can indicate that what is fated is fated, and that even if everyone believed Cassandra‟s utterings, Troy and its ro yal house would still be destroyed due to the actions of Paris.

8

“Following the advice of Cassandra's half-brother Aesacus who had learned the art of interpreting dreams from his maternal grandfather Merops, they exposed the child, since he declared that Paris was to become the ruin of the country” (Parada & Förlag, 1997). 9

“All buildings, except those belonging to traitors, were set on fire and destroyed… (the

Achaeans) slaughtered whomever they found on the streets, or i n homes, or in temples. The members of the Trojan royal family, seeing what was happening, fled to the temples to seek protection. it was then that Coroebus, Cassandra's suitor, died; for he, seeing her outra ged and abused, attacked the superior enemy in a passion of rage and was slain” (Parada & Förlag, 1997). 10 “Near the end of the Trojan War, Cassandra declared that there was an armed force hidden inside the wooden horse that the Achaeans had abandoned in the plain, feigning retreat. Again no one listened, though the Trojan seer Laocoon confirmed her” (Parada & Förlag, 1997).


15

Table 3: Hamartia and Hubris in Homer‟s The Iliad Plot Developments

Hamartia

King Priam and Queen Hecuba accept and name Alexandros as their youngest son, Prince Priam, whom they abandoned to death as a baby.



Although they have many other children, King Pr iam and Queen Hecuba assign Prince Priam to go to Sparta in Greece.



Despite Cassandra‟s warnings, Prince Priam decides to go to Greece.



Prince Priam has a love affair with Queen Helen and decides to take her away to Troy.



Hubris

Despite Cassandra‟s warnings, the Trojans do not return Helen to the Greeks. Despite Cassandra‟s warnings, the Trojans bring in the wooden horse, and to not post guards around the horse that night.





When King Priam and Queen Hecuba pronounced Paris as their long-lost son, no retribution came down, so this is not hubris. They may have acted to assuage parental guilt over the unexecuted infanticide or to express parental love. Instead, they embraced the foretold destroyer of their city. Thus, this conforms to t he definition of hamartia. When Prince Priam was tasked to travel to Greece on a peace mission, those who ignored Cassandra‟s warnings against this journey committed hamartia: the y got a self indulgent, philandering envoy instead. Instead of eliciting peace, they got war. At this point, war might still have been averted with the proper propitiations or the return of Helen, so there is still freedom of choice; the fated doom was still not sealed. Thus, this is not hubris. Prince Paris committed hamartia when he decided to ignore Cassandra‟s warning against his going to Greece as well as against keeping Helen in Troy. All the while, he was going for the most beautiful woman in the world at that time, secure that Athena has promised Helen to him. He aimed for his prize and got the anger of the Greeks instead. Again, this is not hubris because retribution could still be averted with judicious action at this point. The royal family and the citizenry could have pressured Paris to return Helen to Troy. Instead, they did not. This non-decision or tacit decision was hubris because it caused their deaths and the destruction of their city. It is not hamartia because they did not miss the mark. They knew that by not returning Helen, they were inviting war from the Greeks, and they got it.


16

3.1 Background The plot elements and characters of the movie Helen of Troy is taken from The Iliad by Homer. Written in 1186 BC (Jewsbury, 1992), Homer‟s Greek tragedy, The Iliad, is set in the “palatial city” of Troy (See Figure 5)11 “on the Dardanelles, a crossroads between East and West and a flashpoint for conflict in both ancient and modern times ” (Devitt, 2012). Troy's massive walls were considered impenetrable (Udallas, n. d.). At that time, Troy's six-acre citadel had walls more than 30 feet high and 12 feet thick (See Figure 8). “A walled lower town covered an expanse of 50 acres” (Devitt, ibid.).12 The Greeks across the waters had long wanted to attack Troy for commercial and political reasons ((See Figure 9)), but they had no strong reason to break their common cultural honor code, not until Helen relocated toTroy (Guisepi, 2001; Keko, 2010; Anon. [8 ], 2014; Gamer, 2008).

3.2 Backstory Prince Alexander 13 Paris14 of Troy was born in Troy, now Turkey. He was the youngest son (Scott, 2008) of King Priam 15 of Troy and Queen Hecuba. 16 His 99 siblings included eldest brother Hector, Helenus17, Polydorus, Deïphobus, Polyxena, Hippodamas, Troana, Creusa and Cassandra (Classical Mythology, n. d.). His half-brothers included Aesacus; Lycaon and Gorgythion (Geni, 2015). He was aba ndoned to die, but survived and returned to his royal household as a favored youngest son. Before that, when he was a young shepherd, he bested other men, had a love a affair with a nymph, and was known for his fighting skills as well as fairnes s. Thus, he was chosen to judge and award a golden apple to the most beautiful among three goddesses: Hera, Athena, and Aphrodite (See Figure 15).

11

“Now northwest Anatolia in modern Turkey” (en.wikipedia.org). “The site was occupied almost continuously for about 4,500 years, from t he beginning of the Bronze Age to the 13th century A.D., when it was abandoned and consigned to myth. It was rediscovered in the 1870s by the wealthy German businessman and pioneering archaeologist Heinrich Schliemann whose work at Troy laid the foundations for modern archaeology” (Devitt, 2012). 13 The name Alexandros means "defender" because, when Paris wa s a child, he routed a gang of cattle-thieves and returned the stolen animals. 14 Paris means "backpack" (πήρα) because the herdsman Agelaus brought car ried him in a backpack from Mount Ida and raised him as his own son. 15 Also: Priamos 16 Also: Hekuba or Hekabe 17 Also: Helenos 12


17

3.3 Plot Summary Prince Paris of Troy visits the king of Sparta and leaves 18 with the king‟s wife Helen.19 This began the ten-year war between the Greeks and the Trojans, resulting in the downfall of the House of Troy and the devastation of the citadel of Tr oy in Hissarlik. 20 Paris is the Prince of Troy 21, son of king Priam and his queen Hecuba who heard an oracle‟s foretelling that Paris would cause Troy's ruin. They left the child to die on Mount Ida. Shepherds adopted Paris, who enjoyed the love of the nymph Oenones. After he won in King Priam‟s athletic competitions, he was reunited with his family. He went to Sparta, was welcomed by King Menelaus, and took away Menelaus‟ wife Queen Helen. The rulers of the Greek kingdoms raised a powerful army and a fleet of over a thousand ships to win back Helen. The Greeks attacked Troy and began a war that lasted 10 years. Paris was killed with an arrow from Philoctetes. Just before his death, Paris begged his beloved nymph Oenone to heal him, but she refused. After (Anon., [9], n. d.).

3.4 The Prophecies of Cassandra Cassandra was the most beautiful and talented daughter of King Priam and Queen Hecuba. The god Apollo became infatuated with Cassandra‟s beauty, and granted her the gift of prophecy in return for sex. Cassandra got the gift but refused to have sex so Apollo made sure that no one would ever believe her prophecies. Cassandra knew that war was coming to Troy. She knew that her friends and family will face horrible deaths and suffering, that her home and city and people will be destroyed, that she will be raped, taken as a sex slave, and that she would be murdered by a king‟s jealous wife. 3.4.1

The Coming of the War

She foretold that Paris, her brother, would bring about a war that would destroy their city, if he went to Sparta. Her brother did not believe her, and upon his return from Sparta with Menelaus' wife, Helen, Cassandra attacked her for the pain that was about to be caused. 3.4.2

The Destruction of Troy

Many times Cassandra warned her father, King Priam, to return Helen to Greece so as to avoid the destruction of Troy. Priam believed and wanted to follow her advice. However, her mother Queen Hecuba convinced Priam to desist and strongly forbade Cassandra to stop her 18

Some legends say that Paris forcibly abducted Helen; others that she fell in love with him and went willingly Or Helen 20 A detailed backstory, The Story Before the Story of the Iliad (2013) is available at classicalwisdom.com 21 Some sources name him as Alexander or Alexandros. 19


18

prophecies, or else be imprisoned. As a result, deaths touched even those who were not in the war. For instance, after Paris‟ death, his first love, the nymph Oenone committed suicide. 3.4.3 Abduction of a Seer

When Cassandra predicted the abduction of her brother Helenus by the Greek hero Odysseus, no one listened, but Odysseus captured Helenus, who also could predict the future. Unlike the Trojans, the Greeks and their leader, Odysseus, listened to prophecies Helenus. As a result, Odysseus came up with the idea of a huge wooden horse to capture Troy at long last. 3.4.4

The Devastation of Troy

She foretold the sacking of Troy. When the Greeks withdrew to a nearby island leaving outside the walls the wooden with a few men hiding inside, she war ned her compatriots to leave the horse outside of the city halls (See Figure 6 ). Instead, they tore destroyed parts of their wall to bring the horse inside the city. That night the soldiers crept from the horse, killed t he sentries, and opened the gates to let the Greek army in. The Greeks looted, set fires throughout the city, and massacred the inhabitants. 3.4.5

Death of the King and his Men

The great King Priam, who huddled in fear near Zeus' altar, was killed by Achilles‟ son Pyrrhus22 to avenge his father‟s death. They slaughtered the Trojans – including – and set the city on fire Paris was killed by the Achaian warrior, Prince Achilles or by Philoctetes. 23 Achilles killed Paris‟ brother Hector after Paris killed Patroclus, Achilles‟ squire and best friend. Paris‟ half -brother Lycaon was killed by Achilles. Hector's young son Astyanax was thrown from the walls of the city. By morning almost all Trojan males were dead; only Aeneas, his father, and his son, managed to escape the slaughter. 3.4.6

Slavery of the Queen

The women became slaves. Paris‟ sister, Princess Polyxena and beloved by Achilles, was brutally sacrificed on the tomb of Achilles. Queen Hecuba became the slave of Odysseus. Pain stalked both sides warring parties and those who came t o their aid. King Telephus of Mysia, Aenas, Ares, Patroclus, and Diomedes were injured. Deaths included Protesilaus,

22

Also called Neoptolemus One story says that Paris was slain by a poisoned arrow from the bow of Philoctetes.

23


19

Palamedes, Pandarus, King Rhesus, Queen Penthesilea, Antilochus, Memnon, many Greeks and many Trojans 3.4.7 Cassandra’s Murder, and Beyond

Cassandra was raped by Ajax and then enslaved by King Agamemnon. Much later, Queen Clytemnestra and her lover Aegisthus killed the king and Cassandra (Anon. [10] n. d.; Anon. [11]. n. d.). Some sources mention that Cassandra and Agamemnon had twin boys, Teledamus and Pelops, both of whom were killed by Aegisthus. Cassandra foretold that Clymnestra and Aegisthus will be killed by her children, Elect ra and Orestes. Cassandra also foresaw that Odysseus will wander for a decade.

3.5 Recapitulation The best of classical dramaturgy, particularly Greek tragedies, use specific writing conventions such as the willing suspension of disbelief, compression techniques such as flashbacks and foretelling, hubris to seal fates, hamartia to hasten the sealing of fates, and characterizations with heroic proportions. Within this framework of fiction writing, Homer wove The Iliad, an epic tale spanning years, cultures, and including gods and mortals. The writing conventions require that Prince Paris Alexandros of Troy, a central character, should be overcome by circumstance, in the case the fates foretold by his sister, the Apollonian priestess Cassandra. Considering these elements and frameworks of fiction in tragic dramatur gy, the reactions of the characters to Cassandra‟s prophecies will not matter; Troy will fall, and so will Paris and his loved ones. Queen Helena of Greece goes down in history as Helen of Troy, because t his is how the tragedy happens to Paris. Cassandra goes down in history as an adjective that describes a person spouting dire portents ignored by those who choose to be blind to future consequences and preferring instead to stay within their present comfort zones.


20

REFERENCES Anonymous [01] (n. d.). Gods and Men in Greek Religion. Electronic document available online at faculty.gvsu.edu Anonymous [02] (2010). The Role of Fate in the Downfall of Oedipus . Electronic document available online at jobsbd.com Anonymous [03] (2013). The Role of Fate in the Downfall of Oedipus in Oedipus Rex. Electronic document available online at literary-articles.com Anonymous [04] (n. d.). Oedipus Rex. Electronic document available online at jobsbd.com Anonymous [05] (n.d.). Some Greek terms of importance to the play. Electronic document available online at people.duke.edu. Anonymous [06] (n. d.). Tragedy and Tragic Hero. Electronic document available online at dukeofdefinition.com Anonymous [07] (n. d.). Tragedy and the Tragic Hero. Electronic document available online at whs.wsd.wednet.edu Anonymous [08] (2014). Was the Trojan War Really a Thing? Electronic document available online at pokemaniacal.tumblr.com Anonymous [09] (n. d.). Paris. Electronic document available online at in2greece.com Anonymous [10] (n. d.) Index of The Iliad . Electronic document available online at poetryintranslation.com Anonymous [11] (n. d.) The Iliad by Homer . Electronic document available online at enotes.com Anonymous, [12] (n. d.). A Short Introduction to Ancient Greek Theatre. Carleton University. Electronic document available online at carleton.ca Barstow, M. (1912). Oedipus Rex as the Ideal Tragic Hero of Aristotle. Electronic document available online at site.iugaza.edu.pas Brown, D. (2012). The suspension of disbelief in videogames. Electronic document available online at bura.brunel.ac.uk Castelluber, L. (n. d.). Oedipus Literature Chart . Electronic document available online at hs.elmwoodparkschools.org Cho, S. (2008). Paris, Prince of Troy, p. 2. Electronic document available online at slideshare.net Classical Mythology, n. d.). Genealogy: House of Troy and Dardania . Electronic document available at timelessmyths.com Devitt, T. (2012). UW-Madison archaeologists to mount new expedition to Troy. Electronic document available online at news.wisc.edu Gamer, P. (2008). In the Trojan War, why did the Greeks attack Troy? Electronic document available online at answers.yahoo.com Geni, N. N. (2015). Paris of Troy. Electronic document available at geni.com Guisepi, R. A. (2001). The Glory that was Greece. History World International. Electronic document available online at history-world.org


21

Haderlie, D. (2009). The Tragic Hero as a Faith Device. p. 14. Electronic document available online at johnlarsen85.weebly.com Hossain, A. I. (2015). Fate VS Destiny or Fate VS Freewill in Oedipus Rex. Electronic document available online at academia.edu Jewsbury, L. (1992). The Glory That Was Greece. Electronic document available online at history-world.org. Johnston, I. (2014). Sophocles: Oedipus the King . Vancouver Island University. Electronic document available online at records.viu.ca Johnston, I. (n. d.) The Legend of the Trojan War . Electronic document available online at records.viu.ca K. H. Pawar, Annekar, Y., Patil, S., and Sargar, S. (n. d.). Introduction to Literature. Electronic document available online at archive.mu.ac.in Keko, D. (2010). The Mycenaean raid on Troy. Electronic document available online at examiner.com Kluth, F. J. (n. d.). The Role of Women in the Art of Ancient Greece. FJKluth, LLC. Electronic document available online at rwaag.org Lewis, M. (2011). The Self-Conscious Emotions. Institute for the Study of Child Development. Electronic document available online at child-encyclopedia.com Martin, G. (n. d.). Notes on Willing Suspension of Disbelief . Electronic document available at december7th.org Nikolarea, E. (1994). Oedipus the King: A Greek Tragedy. Electronic document available online at erudite.org Parada, C. & Förlag, M. (1997 ). Cassandra Κασσάνδρα. Electronic document available online at www.maicar.com Plato, N. N. (2013). The Story Before the Story of The Iliad. Electronic document available at classicalwisdom.com Reddy, C. S. (2014). “Predestination in Oedipus the King by Sophocles” in International Journal of Humanities & Social Science Studies. ISSN: 2349-6959 (Online), ISSN: 2349-6711 (Print). Vol. 1, Issue 3 (November). Pp. 162-165. Electronic document available online at ijhsss.com Schaper, E. (1978). Fiction and the Suspension of Disbelief . Electronic document available online at bjaesthetics.oxfordjournals.org Smith, N. (2012). Fate, Conflict, and the Will of the Gods in Homer’s Odyssey and Virgil’s Aeneid. Electronic document available online at articlemyriad.com Udallas, D. (n. d.). The Fall of Troy. Electronic document available online at dante.udallas.edu UNLV (n. d.). “The Gods, the Universe, and Fate” in Oedipus Generic. Electronic document available online at english.unlv.edu VHS Tigers (2008). The Trojan War, Odyssey, and Oedipus. Electronic document available online at vhstigers.org Wayne, W. (n. d.) Oedipus Trilogy Resources – Rex and Colonus. Electronic document available online at wwayne.schoowires.net


APPENDICES Table 4: Outline of Sophocles‟ Oedipus Rex A. Laius and Jocasta

1. Laius flees from Thebes to the court of Pelops 2. Laius rapes Chrysippus, son of Pelops; Pelops curses Laius 3. Laius returns to Thebes, marries Jocasta 4. Laius learns from oracle that his own son would kill him 5. Shepherd pities child, gives it to friend from Corinth 6. Friend gives it to Polybus and Merope, rulers of Corinth 7. Child called Oedipus („swollen foot‟) B. The Oracle and the Murder of Laius

1. Oedipus, grown, is accused by friend of being a bastard 2. Goes to Delphi to ask Oracle who his parents are 3. Oracle: "You will kill your father and marry your mother" 4. Decides to avoid Corinth and heads toward Thebes 5. Is abused by man and entourage at crossroads 6. Oedipus kills them all except one C. Thebes and the Sphinx

1. The Sphinx (half lion, half woman, wings) 2. No one can solve her riddle 3. Creon, brother of Jocasta, ruler in Laius' absence 4. Creon: whoever solves riddle, rules Thebes/marries Jocasta 5. Oedipus solves riddle D. Sophocles’ Oedipus the Ki ng

1. A plague in Thebes; Oedipus consults Delphic Oracle 2. Oracle: Find and punish Laius' murderer 3. Asks prophet Teiresias, who tells him that he is the murderer 4. Oedipus suspects conspiracy 5. Slowly discovers truth, via his own investigation 6. Jocasta hangs herself 7. Oedipus puts out his eyes with hairpins 8. Oedipus wants to leave Thebes, Creon now rules From Anon. [12] n. d., pp. 10-11

22


Figure 1: Oedipus in Exile Painting by Fulchran-Jean Harriet aclassicaday.blogspot.com

Figure 3: The Plague of Thebes Charles François Jalabeat (1819-1901) Musée des Beaux Arts, Marseilles thanasis.com

23

Figure 2: The Messenger with the infant Oedipus Sculpture by Antoine-Denis Chaudet aclassicaday.blogspot.com

Figure 4: Oedipus and the Sphinx thanasis.com


Figure 5: The Nine Layers of Troy The History Behind Greek Mythology hubimg.com

Figure 6: The Wooden Horse enters Troy Laser mapping spots lost city in Honduras media2.s-nbcnews.com

24


Figure 7: Excavation Map of Troy Exploring the Ruins of Ancient Troy: A Visitor's Guide Jess Lee, planetware.com

Figure 8: Aerial View of the City of Troy Project.gifwww.goddesses.com

25


Figure 9: Possible Route of Greek Expedition to Troy www.umich.edu

Figure 10: Greek Amphitheater uss-bennington.org

26


Figure 11: Map location of Thebes and Corinth rapgenius.com

Figure 12: Thebes, now Luxor, Egypt Artist’s rendition at vignette4.wikia.nocookie.net

27


28

Figure 13: Oedipus & Antigone

Figure 14: Oedipus at Colonus

Antoni Brodowski, 1828

Jean-Antoine-Théodore Giroust, 1788, Dallas Museum of Art

tumblr.com

wikimedia.org

Figure 15: The Judgment of Paris Enrique Simonet Lombardo, 1904 classicalwisdom.com

Fate, Hubris, and Hamartia in Oedipus Rex and in Helen of Troy

Recommend Documents