Bryan McDonald

7/11/2008

Tragedy: Family Dynamic and Cultural Ideals

            Naturally, tragedy brings about a certain element of disdain when considering certain reoccurring themes. Such disdain is especially evident with Oedipal related works. Readers sometimes find such works to be repulsive. However, Greek Tragedy, which is often Oedipal based, is widely considered the greatest era in Tragedy. Obviously, something drives readers to relish in normally taboo interactions. Perhaps the manner in which these events draw appeal. The character interactions change dramatically when the reader can consider the incestuous dynamic. In the circumstance that Oedipal conflicts have not been revealed, a greater reaction is achieved when these scenes are revisited.

            Aristotle’s  Poetics denotes a characteristic of Tragedy as something  where the circumstances strike us as terrible or pitiful. Most often in Tragedy the reader can find an instance where this in the case. As a primary example, and the first work discussed in the course, Oedipus Rex, presents this in several cases. However, I find the slaying of Oedipus’s father far more terrible than his incestuous actions with his mother (I would consider that more revolting than pitiful). Not because the meager events that led to Laius’s death, but the notion Oedipus was predetermined to do so. By no choice of his own, Oedipus was doomed to kill his father. Certainly some would argue that free will could alter this but hasn’t enough free will and precautionary measures already been exerted by his mother and father? After an eerie prophecy, his parents cast him out of the kingdom as only an infant. It is in fact quite terrible, that Oedipus did come these actions, while seemingly on his own, but in complete accord with prophecy. Elements such as this help tragedy flourish as a medium in literature. The enticing factor, for myself at least, is the notion of interpretation. Most all of these actions, the slain Laius, incest, eye-gouging and others, all occur in the text with little or no detail. We have come to recognize this as a lack of spectacle. When  these are read rather than performed, these terrible actions are left to be envisioned solely by the reader. Certainly one of tragedy’s  greatest factors encompasses the  imagination required to internally re-enact certain scenes. Just as though readers often enjoy thorough descriptions in novels, tragedy presents a primarily reader based vision of situations that are consider taboo. It is not just the taboo situations, such as in Desire Under the Elms with Anna and Eben, but the act of envisioning notions that are so often ignored.

            With this said there is a varying difference between the two previously mentioned works.  We see a slight transformation in the Oedipal conflict between Oedipus Rex and Desire Under the Elms. In each case, it is debatable whether such conflict is an individual or family issue. In one case Oedipus knows nothing of his natural family. Only that he is seemingly alone. Eben, on the other hand, is entirely conscious of his actions. One character falls blindly into prophecy, while the other strives to undermine his father and secure what he believes belongs to him, his father’s estate. Which becomes slightly uncomfortable when that estate comes to include his new mother. In Oedipus’s case it is difficult to say this is a family issue because he was completely in the dark. However, Eben’s circumstances is quite different.  Furthermore, some Oedipal variants can be seen by Peter and Simeon. Each of whom set off to find their own fortunes, or perhaps out do their father. Each of them even returns to show the town and Ephraim their new found wealth. While their actions may not be entirely Oedipal, the circumstances are certainly arguable.

            We can see varying aspects of the Oedipal Conflict arise in each work. Some are un fortunate while the other is certainly known. In each case one must consider the modern thoughts of the time. Certainly Sophocles was quite familiar with the notion of oracles. He most effectively entwines a terrible prophecy with cultural hierarchy. The manner in which Oedipus come to power is far more common to this time. An opening for the throne had been created and Oedipus had become Thebes’ hero. He was the likely candidate for the throne. Thus Sophocles was able to create such a tragic downfall for Oedipus. Whereas, The family dynamic In  Desire Under the Elms was more based on American development. The opening scenes display Peter and Simeon leaving to fulfill their dreams and become rich. While Eben planned the same. Eben’s case represents a sense of entitlement. Where as Oedipus seem to be more misfortune.

            In each play we see altering levels of Oedipal issues. Each seen to rely on their setting to fully develop (prophecy and American expansion). But each withstands tragic elements nonetheless. Each play draws to the circumstances of its time period especially in the aspects of the social and family dynamic. A retelling of the Oedipus Rex might struggle to be reproduced in a modern setting due to the inherent cultural elements of the time. However, Desire Under the Elms, might fare much better considering the similarities in family.