The document provides background information on Sophocles' tragedy Oedipus Rex. It discusses key themes in the play like governance, societal values, fate, and man's relationship with the gods in ancient Greek society. Oedipus struggles against his fate foretold by the gods to kill his father and marry his mother, exemplifying Greeks' belief that humans were bound by fate. The play examines ideas around kingship, family, and the supremacy of oracles in Greek culture. It achieved classic status due to its profound examination of these themes and tragic elements that still resonate with audiences today.

1. Alvarez, Mary Joy
Baldomero, Yunisa J.
Bohol, Jhoanna Marie O.
Falcasantos, Kreanne L.

2. Title
Significance of the Story
Elements of the story
Author’s Background
Conclusions
Presenter’s Insights

5. It has been the case throughout
history the stories are
indicative of a society's culture
and values. In Sophocles'
Theban tragedy Oedipus Rex ,
Oedipus struggles to assert his
will against his fate set forth by
the gods, and in doing so reveals
the values of the Greeks in the
period of the play's
composition. Through Oedipus'
words actions and the words
and actions of his fellow
Thebans, the ideals of the
Greeks concerning governance
and society, as well as Greek
ideals concerning fate and
man's relationship with the
Gods are told to the observer.
Thus, though it is a single work,

6. Of the topics touched upon
in Oedipus Rex ,
governance takes some
prominence, no doubt
since the central figure of
the drama, Oedipus, is a
king. Greeks had the
strong belief that reason
should be the defining
characteristic of a ruler,
and the subject is touched
upon lightly in the text.
For instance Creon when
Oedipus hotly accuses
him of misdeeds toward
asserts strongly "If you
think that stubbornness
is of value apart from
reason, you are a
madman!" (Sophocles,

7. Similarly the Chorus, who
sometimes in Greek
tragedies speaks as the
voice of reason, says this
about kingship and
tyranny, "Audacity sires
the tyrant-audacity, if filled
up rashly with all excess
neither timely nor useful,
scaling the highest eaves
rushes into precipitous
necessity where it suffers
from its ill placed foot."
(Sophocles, 902-907) The
words "rashly" and
"audacity" are obviously not
synonymous with reason,
as well as the phrase "it
suffers from its ill placed
foot". Here the Chorus
seems to comment on
Oedipus' actions in

8. As with many ancient
societies, one's birth or
blood was important in the
Greek society of Sophocles,
but not absolute in terms of
Greek governance. This is
plane in Oedipus Rex , since
the king spends much of the
drama seeking the truth to
his descent. The king when
angered by the prophet
Tiresias orders him to
leave. To which the blind
seer retorts "Men like
myself are born, to your
eyes, fools, but to the
parents who bore you we
seem wise." Oedipus is
quick to exclaim "To whom?
Wait! Who on earth are my
parents?" indicative of the
importance he places on his

9. But she (Jocasta) since a
woman is proud of such things
is troubled by this low birth of
mine." (Sophocles, 1104-1106)
His resolution to find his
ancestry, and his reaction to
Tiresias' words about his
parents, clearly shows that a
Greek placed value on the
lineage of man, or indeed a
woman, as Oedipus' comment
about Jocasta reveals.
However one's blood was not
necessarily critical to be a
king. Immediately following
the previously mentioned
lines, Oedipus speaks, "But I
deem myself a child of
Chance, who gives good
things, and I will not be
dishonored." (Sophocles,
1107-1108) In essence,
Oedipus claims that though he
may not be of regal

10. The Chorus, in essence,
says that such crimes are
especial heinous, as the
"Furies" themselves were
deities that punished
such transgressors. But
the most compelling as to
the Greeks perception of
acts against family is the
fate of Oedipus and his
and mother Jocasta.
Oedipus, unable to bear
the shame of what he has
done gouges out his own
eyes because, for as he
says "For why must I see,
I for whom no sight is
sweet." (Sophocles,
1364-1365) Jocasta, his
wife and mother, kills

11. While governance and
societal values take some
precedence in Oedipus Rex,
arguably more central and
integral are the topics of
fate and man's relationship
with the god's themselves.
One inescapable fact of
Greek culture was the god's
were in control. This is
seen early on since what
spurns Oedipus into his
detective story to find the
truth of himself is the
plight of Thebes sent upon
them the gods. As the Priest
when conversing with
Oedipus says, "Falling upon
us, the fire-bringing god,
most hateful disease,
drives the city, and by him

12. As the Priest also says, "But
may Phoebus who sent
these prophecies come at
once as savior and stayer
of disease!" (Sophocles,
160-161) Though Oedipus
heroically struggles
against his destiny; he as
well still acknowledges the
supremacy of the gods.
"You have spoken justly,
but no man can compel the
gods when they are
unwilling." (Sophocles,
291-292) Very humble
words coming from a man
who is supposed be a
tyrant. This reveals how
central the gods were to
Greek as well. That beings

13. I ban this man, whoever he is,
from all land over which I
hold power and the throne. I
decree that no one shall
receive him, nor make him
partner in prayers to the gods
or sacrifices, nor allow him
holy water; but instead that
everyone must expel him from
their homes as the man is the
source of our pollution, as the
oracle of Pytho has revealed
to me. (Sophocles, 240-249)
Irony abounds in tragedy, but
that aside such a
condemnation from a king
shows how much influence
the gods held over Greek
society and even governance.
Oedipus goes as far as to damn
the criminal from worship,
that "no one shall receive him,
nor make him partner is

14. Of all the themes in
Sophocles' Oedipus Rex,
fate is the most profound.
Oedipus' struggle against
his fate, as has been
mentioned throughout this
essay, is arguably the
primary conflict of play.
Oedipus' story
demonstrates the Greek
belief that men were bound
by fate no matter how they
fought against it. The
Chorus again acting as the
voice of reason comments
on fate, "What man can
protect himself, warding
away the shafts of anger
when such things happen?"
(Sophocles, 921-922) The

15. But instead insures his son
would return and kill him.
Oedipus hearing his fate
leaves so he would not kill
his father, as he says "I
heard and fled henceforth
to share with Corinth only
the stars, where I would
never see completed the
disgrace of those evil
oracles of mine."
(Sophocles, 822-825) But
in doing so he ensures the
prophecies would be
realized. In end all the
prophecies that had been
heard from the Delphi
Oracle came true. The idea
even great kings of men,
like Oedipus are bound by
this cosmic force called

16. People of our country
Thebes, behold this
Oedipus, who knew the
famous riddle and was a
most powerful man, whose
fortunes all citizens
watched with emulation,
how deep the sea of dire
misfortune that has taken
him! Therefore, it is
necessary to call no man
blessed as we await the
final day, until he has
reached the limit of life and
suffered nothing grievous.
(Sophocles, 1550-1559)
The utter pessimism of this
lines implies the
importance of fate to the
Greeks Fate is so present in
the tragedy of Oedipus that

17. Oedipus Rex is the story of a
king of Thebes upon whom a
hereditary curse is placed
and who therefore has to
suffer the tragic
consequences of fate. During
a time of plague, fires, and
other forms of decimation,
Oedipus decides to take
action to restore life and
prosperity to his kingdom,
only to discover through this
quest that his identity is not
what he thought. He learns

18. Another theme in the
play is the distinction
between the
truthfulness of
oracles and
prophecies of the
gods (fate), as
opposed to man's
ability to influence
his life's trajectory

19. Ever since Aristotle's high
praise regarding its
structure and
characterization in his
Poetics, Oedipus Rex has
been considered one of the
most outstanding
examples of tragic drama.
In tragedy, a protagonist
inspires in his audience
the twin emotions of pity
and fear. Usually a person
of virtue and status, the

20. Not only does it make the
viewer aware of human
suffering, tragedy
illustrates the manner in
which pride (hubris) can
topple even the strongest of
characters. It is part of the
playwright's intention that
audiences will identify with
these fallen heroes − and
possibly rethink the
manner in which they live
their lives. Theorists of

21. The dramatic structure
of Greek drama is
helpfully outlined by
Aristotle in the twelfth
book of Poetics. In this
classical tragedy, a
Prologue shows Oedipus
consulting the priest
who speaks for the
Theban elders, the first
choral ode or Parodos is
performed, four acts are

22. The play has a single
unified plot. It is
presented like a
detective play which is
like an investigation into
the cause of the plague.
The play therefore
commences as a search
and proceeds as a search
until the messenger
from Corinth arrives.
The events of the play

23. Born in 495
B.C. about a
mile
northwest
of Athens,
Sophocles
was to
become one
of the great
playwrights
of the golden
age.

24. is one of three
ancient Greek
tragedians
whose plays
have survived.
His first plays
were written
later than
those of
Aeschylus, and
earlier than or
contemporary
with those of
Euripides.
According to
the Suda, a
10th century
encyclopedia,
Sophocles
wrote 123
plays during

25. In conclusion Oedipus's duel
wit the fates displays, with
poetic wit, the values of the
Greeks in the era of its
composition. Oedipus' and
his fellows' actions
exemplified Greek values
toward their society, as
well as their ideas of ate the
gods themselves. Oedipus'
fight against his fate, his
attempt to try an escape his
doom reveals the merits
and values of Greek
society. His tragic rise and
fall, from King of Thebes to

26. While lineage was
important, one's family or
kinsmen was integral, a
fact that Sophocles' drama
clearly asserts. Family was
critical and thus crimes
against family were
irreprehensible. For
instance, when Oedipus
comes to believe that Creon
sent the Tiresias to him as a
ploy to gain the rule of
Thebes he is enraged
beyond reason, which as
discussed earlier was
considered integral to the
Greeks. Oedipus says this
in his confrontation with
Creon, "If you (Creon)
think a man that does his
kinsman ill will not pay the
price, you are fool."

27. Who was it the oracles-
speaking rock of Delphi
saw committing the most
unspeaking acts with
red hands? Now,
stronger than swift-
footed horses, he must
deftly move his foot in
flight. For in arms
against him leaps the son
of Zeus with fire and
lightning and, following
after him the terrible
unerring Furies.
(Sophocles, 486-496)