South Island School Anahita Sharma Centre: 003258

IB English A1 HIGHER LEVEL

May 2012 Exam Session

World Literature Assignment 2

Word Count: 1510

TITLE New scene in Oedipus Rex: an exploration of Jocasta’s character in the context of the Greek tragedy

Candidate Session Number: 003258-138

Statement of Intent

This creative task is based on Sir George Young’s translation of Oedipus Rex, originally written in Greek

by Sophocles. It is an additional scene in which Jocasta, following her horrific epiphany, comes to terms with

her - and Oedipus’ - fate. In the play, however, details of Jocasta’s suicide, which is offstage, are recounted

by a witnessing Messenger. This scene explores her potential character through a dramatic monologue, and

her significance to the drama’s context.

Her voice is extrapolated from the few attributes ascribed to her in earlier scenes. Jocasta is conveyed as

an intelligent and peace-loving Queen who is the second character to foresee the outcome of unfolding

events after Teiresias. She attempts to suppress mutiny, “You foolish men, why are you arguing / in such a

silly way? With our land so sick, are you not ashamed to start a private fight?” ll. 633-5. This quality re-

emerges as she attempts to protect Oedipus from reality. The truth prompt Oedipus to blind himself and

Jocasta to take her own life, as both of them cannot bear to live and see through the moral shame of their

situation.

It is significant that oracles never reveal the whole but only a partial truth. Jocasta’s initial attitude

towards prophecies - as she recaps Lauis’ ‘true’ cause of death - is dismissive: “no human being has skill in

prophecy” l.709 and “Whatever gods intend to bring about / they themselves make known quite easily.” ll.

726-7. This is, ironically, reversed by ensuing events. Women in Sophocles’ Theban plays are strong

characters who are unable to significantly influence masculine, political affairs; Antigone, likewise, commits

suicide in an active defiance of Creon’s death sentence. Jocasta’s suicide symbolizes an acceptable apology

for her acts (albeit beyond her control) and her initial skepticism of prophetic wisdom. Her inability to kill

her infant son - despite his birth signifying incest and patricide to come - was her error or tragic flaw, as it

ultimately facilitated the prophecy’s fulfillment. Her suicide can be portrayed as a weakness, but I prefer to

see it as a strength in this scene, as she sacrifices herself to earn retribution for all. Her voice is not developed

to my satisfaction in the play, which is why I consider her a fertile character to explore.

Sophocles emphasized the conflict between humans under the omniscient, fatalist authority of the Gods.

This piece emphasizes the internal human conflict, and attempts to emulate his narrative style: the use of

simple, dramatic dialogue and a clear expression of action and emotion. It also adheres to conventions of

Greek drama. For instance, the scene fits in with the unity of time and action of the play by occurring

alongside Oedipus’ revelations upon the arrival of the Herdsman in the castle. Jocasta is introspective and

unaware of the audience, and a fourth wall is constructed. A sense of dramatic irony is evinced by the

inevitability of her actions . It is her character’s catastrophe: an outcome of the five-part tragedy (Aristotle).

In addition, intertextual references (elucidated in the footnotes) reinforce the original, intended audience’s

familiarity with Greek mythology and Gods. This reinstates the temporal and social context of the play: daily

actions were often enacted with the consideration of specific deities in mind, and these tragedies were a

strong reminder of the existence of an overruling, cosmic power. The style adheres to a dialogic blank verse;

the scansion is a pentameter infused with images to maintain as much of the original feeling as possible. The

use of a divulging monologue, rhetorical questions to reinforce her internal confusion, chiasma (reversed

syntactic phrasing), motifs (Jocasta’s calling out names in grief), and anaphora (repetition of a phrase in

successive clauses), appreciate Sophocles’ rhetorical, dramatic techniques.

Word Count: 620

Persons Represented

JOCASTA, the Queen, wife to Oedipus formerly married to Laius, the last King.

OEDIPUS, King of Thebes

MESSENGER

Scene, inside the Royal Palace at Thebes. Enter JOCASTA, stumbling, screaming as if in pain, her eyes darting, seemingly conversing with herself. She moves erratically, in rhythm with her words.

JOCASTA A Sisyphean stone, it falls clearly, 1

Devastatingly, irrevocably - Into place. We art broken at crossroads,

No clear path of redemption. Lauis! What Hath thou brought upon us, what shame is this? 2

A dream have we lived? I see it all now, For what it is, and always has been. Such

Febrility, my blood has felt, never. How can a mother, a wife, who hath seen

Much of the world ere, be prepared For such findings? I am no longer impressionable.

Why doth he persist with these questions - Illumination - tis’ not clarity.

Doth not the rate of evidence frighten Him? For all the eyes of Argos , he is 3

Blind. Blind! And how supposes he thatAn inferior lineage could perturb me?

In sooth, his true lineage Presents much greater, execrable problems.

Enter MESSENGER. JOCASTA turns to him.

MESSENGER My Queen, a visitor hath arrived -

Sisyphus was eternally condemned by the Gods to roll a boulder uphill; the boulder always rolled back down.1

According to lore, Lauis broke the laws of hospitality while staying at Elis, which cast a doom over him and his 2

descendants, hence the prophecy that he is doomed to die by the hands of his son.

Argos was a giant with one hundred eyes.3

JOCASTA Then, it is finished, now. Do not follow me; may no one come to watch her flounder thus.

JOCASTA moves to her chamber at front-right orchestra, where she looks upon her marriage bed.

JOCASTA Where I have defiled, and have been defiled. Oh! What cozened mine eyes? What mother weds, beds,

Her son? Oedipus, I, am sorry. A face I imagined I could never

Forget, yet did not recognise! That child of mine, his small lashes, his smooth skin, his

Mellifluous laughter: the epitome Of innocence and oblivion. How

Could I smother him, when I was wontTo kiss, his rubicund cheeks?4

MESSENGER moves to far back-left of orchestra - near Parodos - where he is only tentatively seen by the audience. He fearfully listens to JOCASTA’s lament echoing through the theatron.

Lauis! How art this condign ? Doth our 5

Ignorance grant us any favour? O, I see My children with such acuity. O,

my Antigone! My Ismene! O, Polyneices! Eteocles!

Forgive your mother, always your brother; Remember, you are well-bred at heart.

Close your minds and never act on a fear; Learn from my mistakes: never defy those

In greater power - they will scorn you for it. And if this forestalls further dealings oracular, Devious dealings - this pain is to be of merit.

An ineluctability . Us - but 6

Whence Thebes? How hath thou offended, Lauis? Doth I deserve this, Apollo? Where art the Berries for me? My actions were in plain 7

Probity ; tell me, what mother does not 8

Show sympathy to her child? O, ‘Tis Not as simple as the setting appears.

For all my exertions to eschew a Malevolent proposition, I was

Nescient : facilitating its success. 9

rubicund: reddish4

condign: deserved5

ineluctability: inevitability; cannot be avoided6

A suppliant to Apollo’s shrine wore berries in light of favourable news.7

probity: strong moral principle8

nescient: ignorant; unknowing9

For all efforts to remain principled, I am forever tainted, entangled

By this riddle that defeats any Sphinx’s Defense: ‘tis indecipherable - Lauis!

That treacherous spy at Hippocrenes ! 10

All of them forge pandemonium, With their versions of the truth. Such ugly

Birdsong: what forms the purpose of such augury, If never elucidating, specific?

Tragedy! Tragedy! Lies! Lies! Lauis! Events transcribing like a spinning reel,

A fate spun by the Moirae . I greet thou, 11

Atropos of death, if bitterly. They Admonished you Lauis, and by extension,

Thy wife, thy son. O, such is the fate of Mere mortals - royal blood, or otherwise.

Now, there is no sight left to be seen, No joy left to be enjoyed. May Cadmeans 12

Learn, and may they mourn. I loved Oedipus - But now I feel little, for I cannot decide

What thine love meant. When he unfastens His eyes, I do fear for him, and always will, but please spare my

witnessing of such misfortune. Oedipus, Lauis, and Thebes, Forgive your Queen. She battles an Arean 13

War within her - she cannot win.

May this depurate me from my crimes, 14

my breaching of divine, natural law. As Perseus killed Acrisius , 15

one cannot alter immutable fate. As Marsyas, the flutist, learned from the lyre , 16

Lord of Lyceia, you cannot be deceived; Yet what light is this? Show yourself, crow, and

Explain thy destruction to me!

OEDIPUS enters back-left on orchestra; he spots MESSENGER as JOCASTA is heard screaming.

Hippocrenes was the spring where Athena bathed. She refers to Tiresias, who spied on Athena and was blinded as 10

punishment. Feeling sorry later, Athena gave him the power to understand birdsong, which gave him the ability of foresight.

The Moirae, or ‘The Fates’, spun the thread of life. Atropos cut it.11

Cadmus was the Founder of Thebes.12

Ares, the God of War.13

depurate: purify14

A literary parallel in Greek mythology where, again, trying to prevent a prophecy results in its fulfillment.15

Marsyas was a gifted flutist and was compared to Apollo with his lyre, but was tricked and sentenced to death by the 16

God. Apollo was also known as the ‘Lord of Lyceia’ or God of Light, and often disguised himself as a crow.

OEDIPUS Out, out! Man, such torments thou have never known; And for thy sanity, thou will never! - Leave!

As this exchange occurs, JOCASTA hangs herself in chamber. OEDIPUS moves to front-right and takes Jocasta in his arms.

OEDIPUS Wretch of a woman, wretched, wretched woman!

Left me in this Deianirian robe! 17

I would die than suffer this pain. Once uxorious, now ashamed. How did I

Dare think I could escape with my cursed foot, Entertain that I had hope at all?

I am her son. I have born children by her. O, had I died, I might have eluded

Such wrenching pain - Her tender face may I not ever be

Blessed to look upon again. Darkness will attenuate the pity and shame that

Must brim every future gaze upon My frame. Each glance, a Promethean reminder 18

Of the calamity I have wrought I live, and suffer it; she knows not, Lifeless she art and lifeless eternal,

This vision pains me, I bid light away.

OEDIPUS gouges his eyes out with JOCASTA’s brooches, sobbing on his knees.

[Exit MESSENGER.

Word Count: 890

BIBLIOGRAPHY

Holcombe, C. John. "Sophocles 1: Antigone." Poetry Craft and Theory: Creation, Analysis and Improvement. 2007. Web. 28 Aug. 2011. <http://www.textetc.com/workshop/wt-sophocles-1.html>. Lahanas, Michael. "Greek Theatre." Web. 28 Aug. 2011. <http://www.mlahanas.de/Greeks/LX/GreekTheater.html>. Sophocles, and George Young. Oedipus Rex. New York: Dover Publications, 1991. Print. Wilkinson, Philip. "Classical Europe." Myths & Legends. New York: DK Pub., 2009. Print.

Deianira mistakingly killed her husband, Heracles, by giving him a shirt soaked in centaur blood.17

Prometheus stole fire from Zeus and gave it to mortals, and was punished by having his liver eaten out by an eagle 18

every day, as it grew back each night.