Part Two: Examining Story Elements Setting and Mood 1. Describe the setting. The country or locale? Weather? Sights? Sounds? Rural or urban? 2. Does the setting change in the course of the story? If it does, what might be the significance of this change in setting? 3. Are the characters in conflict with their setting? What do the characters want? Does the setting hinder them in achieving this? Help them? 4. What does the setting reveal about the characters? Fear? Pleasure? Frustration? Challenge? Dislike? Respect? Other? 5. How would you describe the mood or atmosphere created by the setting? Gloomy? Cheerful? Mysterious? Threatening? Peaceful? Other? If the setting changes, does the mood change? Why? Or why not? 6. Write sentences telling what you believe the setting and mood contribute to the work as a whole. Conflict 1. Cite an example of Person vs. Person conflict. Name the characters. Quote the exact words; indicate the line(s); explain what is happening. 2. Cite an example of Person vs. Nature. Name the characters and natural element. Quote the exact words; indicate the line(s); explain what is happening. 3. Cite an example of Person vs Society. Name the character involved. Quote the exact words; indicate the line(s); explain how that character conflict with the state/government, institutions, groups, formal religions, laws, rules, conventions, or codes. 4. Cite an example of Person vs Himself. What are the character’s desires/wants and how do they conflict with the character’s responsibilities/commitments/ oaths? What is the significance of this conflict? Quote the exact words; indicate the line(s).+ Point of View 1. Who is the narrator?/Speaker 2. From which point of view is the story told? First person? Third person Limited? Third person Omniscient? 3. What does the narrator or speaker know that no one else could know? 4. What does this persona NOT know? 5. What are this voice’s biases, if any? 6. How does the point of view affect the ways you feel about the characters? Does it make you sympathize more with one character than another? 7. Choose a different point of view/perspective from which the work could be told. How would the work change if this point view were used? Theme 1. Does the title suggest something about the whole work? Does it point to the truth the work points out about life or the human condition? (Not all titles do.) 2. Are any important statements about human life made in the work –either by the narrator r characters in the work? 3. Is the theme directly stated? If so, where is it stated? (This is rare; but it does happen.) 4. In one sentence state the work’s major theme. How do you respond to the theme? Do you think that the author is presenting a general truth about life? (Remember great literature is great because the ideas about the human condition it fosters are universal in nature.) 5. Write separate sentences for what you believe are one or more additional themes9s) in the work. How are they “universal”? 6. Remember: A there must be written as a sentence that states what the author is trying to suggest about a topic area. E.G., Theme Topic : Love— Theme statement: In Romeo and Juliet, Shakespeare suggests that true live can overcome all odds. Characterization: Cite the text. 1. 2. 3. 4. 5. 6. 7. Show how the character is revealed through his own speech. Describe how the character looks and dresses. What are the character’s private thoughts? What do other characters say/think about the character? What are the character’s actions? How does the author describe the character directly? Does the main character change in the course of the work? Does the main character realize something he/she had not known before? Style 1. Is the vocabulary simple, or does the writer use many difficult, unfamiliar words? Is the diction formal or informal? 2. Does the selection contain colloquialisms, slang, or jargon? (colloquial—common, everyday speech; slang—informal and substandard vocabulary; jargon—words and phrases characteristic of particular professions or pursuits) 3. Are the majority of the words concrete (referring to things that can be perceived by the senses), or are they abstract? 4. Does the writer use specific words or more general words 5. Does the writer favor words with particular connotations? (Do these words arouse in the reader positive or negative responses to the subject? ) 6. Are the sentences long or short? Do they have a simple, compound, complex, or compoundcomplex structure? Do the sentences follow the normal order of English, or is the syntax inverted in some way? 7. Does the writer favor the active or passive voice? 8. Does the writer use such stylistic devices as repetition or parallelism? Where are these devices used? What effect do they have? 9. What other devices or figures does the writer use? (simile, metaphor, extended analogy) SOPHOCLES OEDIPUS THE KING Translated by Ian Johnston Vancouver Island University Nanaimo, British Columbia Canada BACKGROUND NOTE Sophocles (495 BC-405 BC) was a famous and successful Athenian writer of tragedies in his own lifetime. Of his 120 plays, only 7 have survived. Oedipus the King, also called Oedipus Tyrannos or Oedipus Rex, written around 420 BC, has long been regarded not only as his finest play but also as the purest and most powerful expression of Greek tragic drama. Oedipus, a stranger to Thebes, became king of the city after the murder of king Laius, about fifteen or sixteen years before the start of the play. He was offered the throne because he was successful in saving the city from the Sphinx, an event referred to repeatedly in the text of the play. He married Laius’ widow, Jocasta, and had four children with her, two sons, Eteocles and Polyneices, and two daughters, Antigone and Ismene. OEDIPUS THE KING LIST OF CHARACTERS OEDIPUS: king of Thebes PRIEST: the high priest of Thebes CREON: Oedipus’ brother-in-law CHORUS of Theban elders TEIRESIAS: an old blind prophet BOY: attendant on Teiresias JOCASTA: wife of Oedipus, sister of Creon MESSENGER: an old man SERVANT: an old shepherd SECOND MESSENGER: a servant of Oedipus ANTIGONE: daughter of Oedipus and Jocasta, a child ISMENE: daughter of Oedipus and Jocasta, a child SERVANTS and ATTENDANTS on Oedipus and Jocasta. [The action takes place in Thebes in front of the royal palace. The main doors are directly facing the audience. There are altars beside the doors. A crowd of citizens carrying laurel branches garlanded with wool and led by the PRIEST has gathered in front of the altars, with some people sitting on the altar steps. OEDIPUS enters through the palace doors] OEDIPUS My children, latest generation born from Cadmus, why are you sitting here with wreathed sticks in supplication to me, while the city fills with incense, chants, and cries of pain?(1) Children, it would not be appropriate for me to learn of this from any other source, so I have come in person—I, Oedipus, whose fame all men acknowledge. But you there, old man, tell me—you seem to be the one who ought to speak for those assembled here. 10 [10] What feeling brings you to me— fear or desire? You can be confident that I will help. I shall assist you willingly in every way. I would be a hard-hearted man indeed, if I did not pity suppliants like these. PRIEST Oedipus, ruler of my native land, you see how people here of every age are crouching down around your altars, some fledglings barely strong enough to fly and others bent by age, with priests as well— 20 for I’m priest of Zeus—and these ones here, the pick of all our youth. The other groups sit in the market place with suppliant branches or else in front of Pallas’ two shrines, [20] or where Ismenus prophesies with fire.(2) For our city, as you yourself can see, is badly shaken—she cannot raise her head above the depths of so much surging death. Disease infects fruit blossoms in our land, disease infects our herds of grazing cattle, 30 makes women in labour lose their children, and deadly pestilence, that fiery god, swoops down to blast the city, emptying the House of Cadmus, and fills black Hades [30] with groans and howls. These children and myself now sit here by your home, not because we think you’re equal to the gods. No. We judge you the first of men in what happens in this life and in our interactions with the gods. For you came here, to our Cadmeian city, 40 and freed us from the tribute we were paying to that cruel singer—and yet you knew no more than we did and had not been taught.(3) In their stories, the people testify how, with gods’ help, you gave us back our lives. So now, Oedipus, our king, most powerful [40] in all men’s eyes, we’re here as suppliants, all begging you to find some help for us, either by listening to a heavenly voice, or learning from some other human being. 50 For, in my view, men of experience provide advice that gives the best results. So now, you best of men, raise up our state. Act to consolidate your fame, for now, thanks to your eagerness in earlier days, the city celebrates you as its saviour. Don’t let our memory of your ruling here [50] declare that we were first set right again and later fell. No. Restore our city, so that it stands secure. In those times past 60 you brought us joy—and with good omens, too. Be that same man today. If you’re to rule as you are doing now, better to be king in a land of men than in a desert. An empty ship or city wall is nothing if no men share a life together there. OEDIPUS My poor children, I know why you have come— I am not ignorant of what you yearn for. For I understand that you are ill, and yet, [60] sick as you are, there is not one of you 70 whose illness equals mine. Your agony comes to each one of you as his alone, a special pain for him and no one else. But here in my heart, I sorrow for myself, and for the city, and for you—all together. You are not rousing me from a deep sleep. You must know I’ve been shedding many tears and, in my wandering thoughts, exploring many pathways. After a careful search I grasped the only help that I could find 80 and acted on it. So I have sent away my brother-in-law, son of Menoeceus, Creon, to Pythian Apollo’s shrine, [70] to learn from him what I might do or say to save our city. But when I count the days— the time he’s been away—I now worry what he’s doing. For he’s been gone too long, well past the time he should have taken. But when he comes, I’ll be a wicked man if I do not act on all the god reveals. 90 PRIEST What you have said is most appropriate, for these men here have just informed me that Creon is approaching. OEDIPUS Lord Apollo, as he returns, may fine shining fortune, [80] bright as his countenance, attend on him. PRIEST It seems the news he brings is good—if not, he would not wear that wreath around his head, a laurel thickly packed with berries.(4) OEDIPUS We’ll know soon enough—he’s within earshot. [Enter CREON. OEDIPUS calls to him as he approaches.] My royal kinsman, child of Menoeceus, 100 what message do you bring us from the god? CREON Good news, I tell you. If things work out well, then these troubles, so difficult to bear, will end up bringing us great benefits. OEDIPUS What is the oracle? So far your words inspire in me no confidence or fear. [9 0] CREON If you wish to hear the news in public, I’m prepared to speak. Or we could step inside. OEDIPUS Speak out to everyone. The grief I feel for these citizens is even greater 110 than any pain I feel for my own life. CREON Then let me report what I heard from the god. Lord Phoebus clearly orders us to drive away the polluting stain this land has harboured. It will not be healed if we keep nursing it. OEDIPUS What sort of cleansing? And this disaster— how did it happen? CREON B y banishment— [100] or atone for murder by shedding blood again, for blood brings on the storm which blasts our state. OEDIPUS And the one whose fate the god revealed— 120 what sort of man is he? CREON Before you came, my lord, to steer our ship of state, Laius ruled this land. OEDIPUS I have heard that, but I never saw the man. CREON Laius was killed. And now the god is clear: those murderers, he tells us, must be punished, whoever they may be. OEDIPUS And where are they? In what country? Where am I to find a trace of this ancient crime? It will be hard to track. CREON Here in Thebes, so said the god. What is sought is found, but what is overlooked escapes. 130 [110] OEDIPUS When Laius fell in bloody death, where was he— at home, or in his fields, or in another land? CREON He was abroad, on his way to Delphi— that’s what he told us. He began the trip, but did not return. OEDIPUS Was there no messenger— no companion who made the journey with him and witnessed what took place—a person who might provide some knowledge men could use? CREON They all died—except for one who was afraid and ran away. There was only one thing 140 he could inform us of with confidence about the things he saw. OEDIPUS W hat was that? We might get somewhere if we had one fact— [120] we could find many things, if we possessed some slender hope to get us going. CREON He told us it was robbers who attacked them— not just a single man, a gang of them— they came on with force and killed him. OEDIPUS How would a thief have dared to do this, unless he had financial help from Thebes? 150 CREON That’s what we guessed. But once Laius was dead we were in trouble, so no one sought revenge. OEDIPUS When the ruling king had fallen in this way, what bad trouble blocked your path, preventing you from looking into it? CREON It was the Sphinx— [130] she sang her cryptic song and so forced us to put aside something we found obscure to look into the problem we now faced. OEDIPUS Then I will start afresh, and once again shed light on darkness. It is most fitting 160 that Apollo demonstrates his care for the dead man, and worthy of you, too. And so you’ll see how I will work with you, as is right, seeking vengeance for this land, as well as for the god. This polluting stain I will remove, not for some distant friends, but for myself. For whoever killed this man may soon enough desire to turn his hand [140] to punish me in the same way, as well. Thus, in avenging Laius, I serve myself. 170 But now, my children, quickly as you can stand up from these altar steps and raise your suppliant branches. Someone must call the Theban people to assemble here. I’ll do everything I can. With the god’s help this will all come to light successfully, or else will prove our common ruin. [OEDIPUS and CREON go into the palace.] PRIEST Let us get up, children. For this man has willingly declared just what we came for. And may Phoebus, who sent this oracle, 180 come as our saviour and end our sickness. [150] [The PRIEST and the CITIZENS leave. Enter the CHORUS OF THEBAN ELDERS.] CHORUS O sweet speaking voice of Zeus, you have come to glorious Thebes from golden Pytho— but what is your intent? My fearful heart twists on the rack and shakes with fear. O Delian healer, for whom we cry aloud in holy awe, what obligation will you demand from me, a thing unknown or now renewed with the revolving years? Immortal voice, O child of golden Hope, 190 speak to me! First I call on you, Athena the immortal, daughter of Zeus, and on your sister, too, [160] Artemis, who guards our land and sits on her glorious round throne in our market place, and on Phoebus, who shoots from far away. O you three guardians against death, appear to me! If before now you have ever driven off a fiery plague to keep disaster 2 00 from the city and have banished it, then come to us this time as well! Alas, the pains I bear are numberless— my people now all sick with plague, our minds can find no weapons [170] to help with our defence. Now the offspring of our splendid earth no longer grow, nor do our women crying out in labour get their relief from a living newborn child. As you can see—one by one they swoop away, 210 off to the shores of the evening god, like birds faster than fire which no one can resist. Our city dies—we’ve lost count of all the dead. Her sons lie in the dirt unpitied, unlamented. [1 80] Corpses spread the pestilence, while youthful wives and grey-haired mothers on the altar steps wail everywhere and cry in supplication, seeking to relieve their agonizing pain. Their solemn chants ring out— they mingle with the voices of lament. 220 O Zeus’ golden daughter, send your support and strength, your lovely countenance! And that ravenous Ares, god of killing, 90] who now consumes me as he [1 charges on with no bronze shield but howling battle cries, let him turn his back and quickly leave this land, with a fair following wind to carry him to the great chamber of Amphitrite or inhospitable waves of Thrace.(5) 230 For if destruction does not come at night, then day arrives to see it does its work. O you who wield that mighty flash of fire, [200] O father Zeus, with your lighting blast let Ares be destroyed! O Lycean lord, how I wish those arrows from the golden string of your bent bow with their all-conquering force would wing out to champion us against our enemy, and I pray for those blazing fires of Artemis 240 with which she races through the Lycian hills.(6) I call the god who binds his hair with gold, the one whose name our country shares, [210] the one to whom the Maenads shout their cries, Dionysus with his radiant face— may he come to us with his flaming torchlight, our ally against Ares, a god dishonoured among gods.(7) [Enter OEDIPUS from the palace.] OEDIPUS You pray. But if you listen now to me, you’ll get your wish. Hear what I have to say 250 and treat your own disease—then you may hope to find relief from your distress. I speak as one who is a stranger to the story, a stranger to the crime. If I alone were tracking down this act, I’d not get far [220] without a single clue. But as things stand, for it was after the event that I became a citizen of Thebes, I now proclaim the following to all of you Cadmeians: Whoever among you knows the man it was 260 who murdered Laius, son of Labdacus, I order him to reveal it all to me. And if the killer is afraid, I tell him to avoid the danger of the major charge by speaking out against himself. If so, he will be sent out from this land unhurt and undergo no further punishment. If someone knows the killer is a stranger, [23 0] from some other state, let him not stay mute. As well as a reward, he’ll earn my thanks. 270 But if he remains quiet, if anyone, through fear, hides himself or a friend of his against my orders, here’s what I shall do— so listen to my words. For I decree that no one in this land, in which I rule as your own king, shall give that killer shelter or talk to him, whoever he may be, or act in concert with him during prayers, or sacrifice, or sharing lustral water.(8) [240] Ban him from your homes, every one of you, 280 for he is our pollution, as the Pythian god In this, I’m acting as an ally of the god and also of dead Laius. And I pray whoever the man is who did this crime, one unknown person acting on his own or with companions, the worst of agonies will wear out his wretched life. I pray, too, that, if he should become an honoured guest in my own home and with my knowledge, 290 [250] I may suffer all those things I’ve just called down upon the killers. And I urge you now to make sure all these orders take effect, for my sake, for the sake of the god, and for our barren, godless, ruined land. For in this matter, even if a god were not urging us, it would not be right for you to simply leave things as they are and not to purify the murder of a man who was so noble and who was your king. 300 You should have looked into it. But now I possess the ruling power which Laius held in earlier days.