Introduction
This essay explores the character of Oedipus from Sophocles’ play *Oedipus Rex* as a tragic hero, evaluated through the lens of Aristotle’s conception of tragedy and the tragic hero as outlined in his seminal work, *Poetics*. Aristotle’s framework defines a tragic hero as a character of noble stature who experiences a reversal of fortune due to a tragic flaw, ultimately evoking pity and fear in the audience. The purpose of this essay is to assess whether Oedipus aligns with these criteria, examining his noble status, tragic flaw (hamartia), reversal of fortune (peripeteia), and the emotional impact on the audience. The analysis will consider key aspects of Aristotle’s theory while acknowledging potential limitations in applying a classical framework to a specific literary character. The essay will first outline Aristotle’s definition of a tragic hero, then evaluate Oedipus’ character in relation to these principles, and finally discuss the broader implications of this analysis for understanding tragedy in literature.
Aristotle’s Conception of the Tragic Hero
Aristotle, in his *Poetics*, provides a detailed framework for understanding tragedy and the role of the tragic hero. He argues that tragedy is an imitation of an action that is serious, complete, and of a certain magnitude, designed to evoke pity and fear, leading to a catharsis of these emotions (Aristotle, 1996). Central to this is the tragic hero, whom Aristotle describes as a person who is neither wholly virtuous nor wholly vicious, but someone of high status who falls from fortune to misfortune due to a tragic flaw or error in judgement, known as hamartia. This fall must not be due to vice or depravity but rather a mistake or flaw that is relatable to the audience.
Additionally, Aristotle introduces the concepts of peripeteia (a sudden reversal of fortune) and anagnorisis (the moment of recognition or discovery), which are pivotal to the tragic plot. The tragic hero’s journey should inspire pity because the suffering is undeserved in a moral sense, and fear because the audience recognises the shared human vulnerability to such flaws (Halliwell, 1998). With this framework established, the essay will now turn to Oedipus, examining whether his character and narrative arc align with these Aristotelian ideals.
Oedipus’ Noble Status and Relatability
Oedipus, as depicted in Sophocles’ *Oedipus Rex*, initially appears to embody the Aristotelian requirement of noble stature. As the King of Thebes, he holds a position of significant social and political importance, a status that Aristotle deems necessary for the tragic hero’s fall to be impactful. His nobility is further reinforced by his reputation as a wise and capable ruler who saved Thebes from the Sphinx by solving its riddle. However, Oedipus’ nobility is not merely external; his determination to uncover the truth behind the plague afflicting Thebes demonstrates a moral commitment to his people, aligning with Aristotle’s idea that the tragic hero should not be wholly vicious (Sophocles, 2006).
Yet, Oedipus is also relatable, a critical aspect of Aristotle’s theory. Despite his royal status, his flaws and struggles are human, reflecting the potential for error in all individuals. His quick temper and tendency towards hubris—excessive pride—make him a figure the audience can recognise as fallible. Indeed, this balance of nobility and imperfection positions Oedipus as a character whose downfall can evoke the necessary pity and fear, as the audience sees in him a reflection of their own vulnerabilities (Kitto, 1961).
Hamartia: Oedipus’ Tragic Flaw
Central to Aristotle’s tragic hero is the concept of hamartia, often interpreted as a tragic flaw or error in judgement. In Oedipus’ case, his hamartia can be identified as a combination of hubris and ignorance. His excessive pride is evident in his belief that he can outwit fate, having seemingly escaped the prophecy of killing his father and marrying his mother by leaving Corinth. Furthermore, his determination to uncover the truth, while admirable, blinds him to the warnings of others, such as Tiresias, who hint at the catastrophic consequences of his inquiry (Sophocles, 2006).
While some might argue that Oedipus’ actions are driven by fate rather than personal flaw, Aristotle’s framework suggests that hamartia is not about moral failing but rather a misstep that leads to suffering. Oedipus’ relentless pursuit of knowledge, though motivated by a desire to save Thebes, becomes the instrument of his downfall, fitting Aristotle’s notion of a tragic error. This interpretation is supported by scholars who note that Oedipus’ ignorance of his true parentage exacerbates his hubris, creating a tragic irony that aligns with Aristotelian principles (Halliwell, 1998).
Peripeteia and Anagnorisis in Oedipus’ Journey
Aristotle identifies peripeteia, the reversal of fortune, and anagnorisis, the moment of recognition, as crucial elements of tragic structure. Oedipus experiences a profound reversal from a revered king to a pariah when he discovers the truth about his origins and actions. His initial status as a solver of riddles and saviour of Thebes is overturned as he becomes the source of the city’s curse, having unknowingly killed his father, Laius, and married his mother, Jocasta (Sophocles, 2006).
The moment of anagnorisis occurs when Oedipus realises the full extent of his deeds, a revelation that coincides with his peripeteia. This discovery is not merely intellectual but deeply emotional, culminating in his self-blinding—a physical manifestation of his internal agony. According to Aristotle, this combination of reversal and recognition heightens the tragic effect, as the audience witnesses Oedipus’ transition from ignorance to knowledge, a transition that is both inevitable and devastating (Aristotle, 1996). Therefore, Oedipus’ narrative clearly mirrors the structural elements Aristotle deems essential to tragedy.
Evoking Pity and Fear
Aristotle argues that the purpose of tragedy is to evoke pity and fear, leading to catharsis. Oedipus’ suffering elicits pity because it is disproportionate to his intent; he does not act with malice but is ensnared by fate and his own flaws. His self-inflicted punishment—blinding himself—further intensifies this emotion, as it underscores his recognition of guilt and desire for atonement (Sophocles, 2006). At the same time, fear arises from the realisation that such a fate could befall anyone who, like Oedipus, is subject to human limitations and the unpredictability of life.
While Aristotle’s emphasis on personal flaw as the cause of downfall might seem at odds with the role of fate in Oedipus’ story, it is arguable that the interplay between fate and free will enhances the tragic effect. The audience fears not only the power of destiny but also the consequences of human error in the face of it, fulfilling Aristotle’s criteria for emotional impact (Kitto, 1961).
Conclusion
In conclusion, Oedipus largely embodies Aristotle’s conception of a tragic hero, demonstrating noble stature, a tragic flaw through his hubris and ignorance, a dramatic reversal of fortune, and the evocation of pity and fear. His character aligns with key Aristotelian principles, particularly in the structural elements of peripeteia and anagnorisis, which drive the narrative of *Oedipus Rex*. However, the role of fate in his downfall introduces a potential limitation to Aristotle’s emphasis on personal responsibility, suggesting that Sophocles’ tragedy might extend beyond the philosopher’s framework to explore broader metaphysical questions. This analysis underscores the enduring relevance of Aristotle’s theory in literary studies, while also highlighting its adaptability to complex narratives. Ultimately, examining Oedipus through this lens not only deepens our understanding of *Oedipus Rex* but also illuminates the timeless appeal of tragic heroes in evoking profound human emotions and reflections on the nature of suffering and destiny.
References
- Aristotle. (1996) Poetics. Translated by M. Heath. Penguin Classics.
- Halliwell, S. (1998) Aristotle’s Poetics. University of Chicago Press.
- Kitto, H. D. F. (1961) Greek Tragedy: A Literary Study. Routledge.
- Sophocles. (2006) Oedipus Rex. Translated by D. Grene. University of Chicago Press.
