Oedipus response essay

Although Oedipus seems to have traded his former pride and disdain for kindness, the scene that opens the play creates a puzzling contradiction. The characters are trespassing on holy ground that is described lovingly by Antigone. The trespass must be rectified with libation and with prayers, and it is. At the same time, it seems odd that a play dedicated to piety begins with trespass on holy ground. What seems clear is that this Oedipus is far more devout than he once was—when a prayer or libation is called for, he agrees to it at once. Yet, although Oedipus has his daughters perform the necessary rites, he does not really apologize for his trespass. Rather, he regards himself as someone who holds knowledge of the gods beyond that of the naïve citizens. This odd tension between piety and pride will not cease but increase as the play progresses.

R: Tra le migliaia di persone che possono beneficiare di un trapianto di midollo circa il 70% non ha un donatore compatibile fra i propri familiari. Questi pazienti hanno bisogno di trovare un donatore non familiare attraverso le banche dati. I requisiti per essere un donatore di midollo osseo sono pochi: avere un’età compresa tra i 18 anni e 55 e godere di buona salute generale. Per iscriversi alla banca dati, e cioè al Registro Italiano Donatori di Midollo Osseo è sufficiente recarsi al centro trasfusionale ospedaliero più vicino e sottoporsi ad un piccolo prelievo di sangue (qualsiasi informazione a questo riguardo può essere ottenuta telefonando all’Associazione Donatori Midollo Osseo – ADMO – Via Aldini 72, Milano. Tel. 02/39000855). Su questo sangue (pochi millilitri) vengono determinate le caratteristiche di gruppo e viene tipizzato l’HLA: i risultati confluiscono in un computer facente capo al Registro sopraddetto e possono in questo modo essere a disposizione di tutti i pazienti che sono alla ricerca di un donatore. Naturalmente la possibilità di essere prima o poi chiamati alla vera e propria donazione di midollo è molto piccola, ma, qualora ciò avvenga, ferma restando la libertà individuale di ritirare il proprio consenso, rappresenta un’esperienza ed un’occasione unica, che vale comunque la pena di vivere.

Creon is at his most dissembling in Oedipus at Colonus, where he once again needs something from Oedipus. His honey-tongued speeches to Oedipus and Theseus are made all the more ugly by his cowardly attempt to kidnap Antigone and Ismene. In Antigone, we at last see Creon comfortable in the place of power. Eteocles and Polynices, like their father, are dead, and Creon holds the same unquestioned supremacy that Oedipus once held. Of course, once Creon achieves the stability and power that he sought and Oedipus possessed, he begins to echo Oedipus’s mistakes. Creon denounces Tiresias, for example (1144–1180), obviously echoing Oedipus’s denunciation in Oedipus the King (366–507). And, of course, Creon’s penitent wailings in the final lines of Antigone echo those of Oedipus at the end of Oedipus the King. What can perhaps most be said most in favor of Creon is that in his final lines he also begins to sound like Antigone, waiting for whatever new disaster fate will bring him. He cries out that he is “nothing,” “no one,” but it is his suffering that makes him seem human in the end.

Oedipus response essay

oedipus response essay

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