In “Oedipus the king” translated by David Grene, a dialogue between different characters in which the idea of tone, attitude, and diction is amplified throughout this text using many rhetorical strategies and shifts supporting more emphasis to the text which brings it to life, as it also provides the tools for the audience to live through the text, and live through it’s reality. In the beginning as Oedipus mentions “I pity you, children” in a way it conveys not the the idea of sympathy, but the idea of sharing pain or close emotional feeling; providing the idea that words are often very good vehicles of communication. Oedipus uses children as a hook to grab people’s attention providing a patronizing yet audacious tone. As the text goes on Oedipus questions the priest “Why do you sit here with suppliant crowns?” this question conveys the writer’s support of the main idea by providing a confident yet disconcerted language. …show more content…
Within the text it is conveyed through the language of Oedipus towards the priest how Oedipus is so full of himself, very confident as he is called the great.
Moreover that confused tone provided as he questions the priest. This emphasizes the relationship between the great and the priest providing the right language to convey the speaker’s attitude to the audience. The Priest’s attitude towards Oedipus was very reverent as the priest is treating Oedipus with so much honor and respect as he says “O ruler of my country” and “Raise up our city” also using impressionable vocabulary , supporting the idea of trust. “thanks for your gracious words” an appreciative yet condescending tone. Emphasizing the great relationship of a great king and a kind priest, and how this relationship emphasizes a laudable attitude from the priest towards the
For the meaningful coincidence,I remember in the book page 32 to 33, there is a paragraph. When Kafka meets Sakura on the bus, both of them agree that "even chance meetings . . . are the results of karma" and we know the things in life are fated by our previous lives, even in the smallest events there's no such thing as coincidence. So far as i know in this book, it’s talk about a 15 year old boy who ran away from home escaped a terrible to the prediction of the Oedipus complex, and maki, aging and illiterate idiot who never fully recover from the pain of the war.
The field is freshly raked, the sun is blaring in, the game is beginning, but before she is ready, the ball is hit. With the spot light on her, she quickly stumbles over her feet and misses the ball. “Stupid rock” she mumbles under her breath. Her parents protect her with words like “good job” then she proceeds to smile. Ignorance is bliss, for some.
The use of rhetorical appeal in Oedipus the Colonus is prominent, as it paves the way for the plot of the story. In this portion of the play Oedipus tries to appeal to the audience’s emotions by forcing them to empathize with his past horrors and misfortunes. Oedipus states” I have suffered terribly, Theseus, wrongs on wrongs, no end”(ll. 670-671). Thus, evoking sadness and extreme grief those reading or watching the play.
Odysseus often acts intelligently to fulfill intentions of self-provided survival. Using his gift of persuasion, he manipulates others to get help when he is in difficult situations. One such instance occurs when he arrives at Crete, an unfamiliar island where he knows nothing of the people and their customs, and needs to get home. Upon being washed up into the store, he comes across the princess Nausicaa, and immediately concocts a strategy to persuade her to give him help. In his speech to nausicaa he uses many clever tactics to get her to help him (79-80).
Zimmerman’s script of The Odyssey informs actors’ as she interprets her stage direction and dialog from Homer in a way he could not. In many ways, The Odyssey is about Telemachus’s homecoming as much as Odysseus, especially in Book I. As throughout Book I, the demeanor towards “young Telemachus” who is the “prince of the house” as his “god-like” father is assumed dead all while the suitors continue to take advantage of his required hospitality. Zimmerman’s dialog attempts to mimic Homer’s original characters’ dialog that is dense with imagery and epithets such as “thoughtful Telemachus” (Homer) are lost in translation. When Telemachus is tasked with interacting with the suitors in Zimerman’s play his awkward and naivete is highlighted as the suitors demean him.
When the king of a large, important city is accused of performing an assassination, it is not surprising that the townspeople are overwhelmed with emotions. In an instance like this, the majority of people go through something similar to the grieving process, in which there are several stages: denial, anger, bargaining, depression, and acceptance. When King Oedipus of the city of Thebes in Sophocles’ Oedipus Rex is accused of murdering their former king, Laius, the Thebans are astonished and lost. Through the incorporation of imagery, diction, and other forms of figurative language, Sophocles conveys the gradual shifting of the civilian’s feelings on what has happened and how it contributes to their perception of fate. The people undergo
After weeks of struggle, Athena sends Telemachus, Odysseus’ son, to his father. Once Odysseus reveals his identity to his son, Telemachus questions how a low-life looking beggar could be his noble father. The unrecognizable father tells his son, “It is no hard thing for the gods of heaven to glorify a man or bring him low” (Homer 633). One can see Odysseus’ impersonation of a beggar and the proverb symbolizes a growth in character. To be brought low in the hierarchy, Odysseus experiences struggles in the commonwealth.
With the laws of Venice miles behind them, the characters of Othello seem to have entered a Hobbesian state of nature where anything is permissible so long as it furthers the individual interest. Indeed, upon arriving in Cyprus, the majority of the characters have lives that are “poor, nasty, brutish, and short” (Hobbes 76). Othello is the perfect illustration of the dangers of rhetoric. Iago exemplified the type of rhetoric that made the Greek demagogues threatening.
Plato’s dialogues Gorgias and Phaedrus both consider the idea of rhetoric. Rhetoric being the art or skill of getting something from the masses or individuals, and often used in getting away with a crime. The type of rhetoric being argued about in the Gorgias dialogue is public rhetoric, what exactly rhetoric is, whether it is an art or not, and how it is best used so as to promote the highest good. In the Phaedrus dialogue private rhetoric is being discussed over the issue of love. This paper will examine how eros is central to both the Gorgias and Phaedrus dialogues.
2. Oedipus is given god like attributes, you can even see the chorus. “gathered around [Oedipus’] altars, praying… ” P.6 Chorus. The reference to Oedipus’ altars and praying makes it seem as if they believe him to be a God capable of easily fixing their problems. Besides from saving the city, Oedipus is also called upon to get
Tragedies often trigger emotional responses to audiences. It allows an individual to perceive the situation and emotionally respond to it. Sophocles uses the relationships of individuals with one another that incorporate compromise and division between the clashes of stubborn heroism and defeat. In tragedies, one many often feel pity, which can be very relatable to the reader and audiences. This can be evident in “Oedipus the King.”
When he visits the kingdom of wise Nestor, the king remarks to Telemachus, “how tall and handsome… you {are} now… be brave… so men will… sing your praises,” (226). Although helpless back in Ithaca, Telemachus is met with the observance of his bravery to travel so far in search of answers about his father’s whereabouts. Serving the purpose of a father-like figure to Telemachus, King Nestor showcases an encouragement to the youth of Greece about leadership and legacy that had never before been introduced to the nineteen-year-old. This causes Telemachus to think and realize that maybe he would have the character in him to be brave, to stand tall against the suitors, and to be the leader his father once was. Now moving towards a better self, Odysseus, like his son, “stood, gazing at all this bounty {of King Alcinous}”, (156).
In many ways, The Odyssey is about Telemachus’s homecoming as much as Odysseus, especially in Book I. As throughout Book I,the demeanor towards “young Telemachus” who is the “prince of the house” as his “god-like” father is assumed dead all while the suitors continue to take advantage of his required hospitality. Zimmerman’s dialog attempts to mimic Homer’s original characters’ dialog that is dense with imagery. Yet, epithets such as “thoughtful Telemachus” (Homer) are lost in translation as her dialog would seem interrupted by this addition. For example, the term “grey-eyed Athena” is more of a figurative ideal than a stage direction for Zimmerman’s interpretation.
Critic Northrop Frye claims that tragic heroes “seem the inevitable conductors of the power about them… Conductors may of course be instruments as well as victims of the divisive lightning.” A perfect example of this assertion would be King Oedipus in the classical tragic play “Oedipus Rex,” written by Sophocles, where Oedipus, himself, becomes the victim of his doomed fate. As someone who was born and raised of royal blood, he becomes too proud and ignorant, believing that he was too powerful for his fate. Using the metaphor “great trees [are] more likely to be struck by lightning than a clump of grass,” Frye compares the heroic but unfortunate Oedipus to the great trees as they both are apt to experience victimization of tragic situations
Oedipus the King is one of the most ironic plays ever written. Sophocles, the author, is a famous philosopher of the ancient times The Play is about Oedipus, the king of Thebes, who kills his father and marries his mother. An oracle warned Laius, the king of Thebes prior to Oedipus, that his son would murder him. Accordingly, when his wife, Jocasta, had a son, he exposed the baby by first pinning his ankles together. The infant, who was adopted by King Polybus of Corinth and his wife was then brought up as their very own.