Oedipus

- The protagonist of Oedipus the King and Oedipus at Colonus. Oedipus becomes king of Thebes before the action of Oedipus the King begins. He is renowned for his intelligence and his ability to solve riddles--he saved the city of Thebes and was made its king by solving the riddle of the Sphinx, the supernatural being that had held the city captive. Yet Oedipus is stubbornly blind to the truth about himself. His name's literal meaning ("swollen foot") is the clue to his identity--he was taken from the house of Laius as a baby and left in the mountains with his feet bound together. On his way to Thebes, he killed his biological father, not knowing who he was, and proceeded to marry Jocasta, his biological mother.

Oedipus is a man of swift action and great insight. At the opening of Oedipus the King, we see that these qualities make him an excellent ruler who anticipates his subjects' needs. When the citizens of Thebes beg him to do something about the plague, for example, Oedipus is one step ahead of them--he has already sent Creon to the oracle at Delphi for advice. But later, we see that Oedipus's habit of acting swiftly has a dangerous side. When he tells the story of killing the band of travelers who attempted to shove him off the three-way crossroads, Oedipus shows that he has the capacity to behave rashly.

At the beginning of Oedipus the King, Oedipus is hugely confident, and with good reason. He has saved Thebes from the curse of the Sphinx and become king virtually overnight. He proclaims his name proudly as though it were itself a healing charm: "Here I am myself-- / you all know me, the world knows my fame: / I am Oedipus" (7-9). By the end of this tragedy, however, Oedipus's name will have become a curse, so much so that, in Oedipus at Colonus, the Leader of the Chorus is terrified even to hear it and cries: "You, you're that man?" (238).

Oedipus's swiftness and confidence continue to the very end of Oedipus the King. We see him interrogate Creon, call for Tiresias, threaten to banish Tiresias and Creon, call for the servant who escaped the attack on Laius, call for the shepherd who brought him to Corinth, rush into the palace to stab out his own eyes, and then demand to be exiled. He is constantly in motion, seemingly trying to keep pace with his fate, even as it goes well beyond his reach. In Oedipus at Colonus, however, Oedipus seems to have begun to accept that much of his life is out of his control. He spends most of his time sitting rather than acting. Most poignant are lines 825-960, where Oedipus gropes blindly and helplessly as Creon takes his children from him. In order to get them back, Oedipus must rely wholly on Theseus.

Once he has given his trust to Theseus, Oedipus seems ready to find peace. At Colonus, he has at last forged a bond with someone, found a kind of home after many years of exile. The single most significant action in Oedipus at Colonus is Oedipus's deliberate move offstage to die. The final scene of the play has the haste and drive of the beginning of Oedipus the King, but this haste, for Oedipus at least, is toward peace rather than horror.

Jocasta - Oedipus's wife and mother, and Creon's sister. Jocasta appears only in the final scenes of Oedipus the King. In her first words, she attempts to make peace between Oedipus and Creon, pleading with Oedipus not to banish Creon. She is comforting to her husband and calmly tries to urge him to reject Tiresias's terrifying prophecies as false. Jocasta solves the riddle of Oedipus's identity before Oedipus does, and she expresses her love for her son and husband in her desire to protect him from this knowledge.

Antigone - Child of Oedipus and Jocasta, and therefore both Oedipus's daughter and his sister. Antigone appears briefly at the end of Oedipus the King, when she says goodbye to her father as Creon prepares to banish Oedipus. She appears at greater length in Oedipus at Colonus, leading and caring for her old, blind father in his exile. But Antigone comes into her own in Antigone. As that play's protagonist, she demonstrates a courage and clarity of sight unparalleled by any other character in the three Theban plays. Whereas other characters--Oedipus, Creon, Polynices--are reluctant to acknowledge the consequences of their actions, Antigone is unabashed in her conviction that she has done right Antigone is very much her father's daughter, and she begins her play with the same swift decisiveness with which Oedipus began his. Within the first fifty lines, she is planning to defy Creon's order and bury Polynices. Unlike her father, however, Antigone possesses a remarkable ability to remember the past. Whereas Oedipus defies Tiresias, the prophet who has helped him so many times, and whereas he seems almost to have forgotten his encounter with Laius at the three-way crossroads, Antigone begins her play by talking about the many griefs that her father handed down to his children. Because of her acute awareness of her own history, Antigone is much more dangerous than Oedipus, especially to Creon. Aware of the kind of fate her family has been allotted, Antigone feels she has nothing to lose. The thought of death at Creon's hands that so terrifies Ismene does not even faze Antigone, who looks forward to the glory of dying for her brother. Yet even in her expression of this noble sentiment, we see the way in which Antigone continues to be haunted by the perversion that has destroyed her family. Speaking about being killed for burying Polynices, she says that she will lie with the one she loves, loved by him, and it is difficult not to hear at least the hint of sexual overtones, as though the self-destructive impulses of the Oedipus family always tend toward the incestuous.

Antigone draws attention to the difference between divine law and human law. More than any other character in the three plays, she casts serious doubt on Creon's authority. When she points out that his edicts cannot override the will of the gods or the unshakable traditions of men, she places Creon's edict against Polynices' burial in a perspective that makes it seem shameful and ridiculous. Creon sees her words as merely a passionate, wild outburst, but he will ultimately be swayed by the words of Tiresias, which echo those of Antigone. It is important to note, however, that Antigone's motivation for burying Polynices is more complicated than simply reverence for the dead or for tradition. She says that she would never have taken upon herself the responsibility of defying the edict for the sake of a husband or children, for husbands and children can be replaced; brothers, once the parents are dead, cannot. In Antigone we see a woman so in need of familial connection that she is desperate to maintain the connections she has even in death. Eurydice

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