Career and reputation of ''Oedipus, a Tragedy''
''Oedipus, a Tragedy'' may today have an unintended comic effect, given the bloodthirsty ending of the drama. In past centuries, however, there was a wide range of views, ranging from enthusiasm to condemnation. "Celebratur Oedipus…" In 1700, the journal "The most understanding Judges wish they .e. Dryden/Leehad followed Sophocles yet closer, it had then been the best of our Modern Plays, as ‘tis of the Ancients: but as it is, they have destroyed the Character of Oedipus…It remains uncertain which parts of this play were written by Dryden and by Lee. According to ''The London Stage'', Dryden wrote the first two acts, Lee the last three.''The London Stage'', Vol. 1, p. 273. In his introduction to ''Oedipus, a Tragedy'' of 1808,
Mr Dryden has now jointly with Mr. Lee (who was in Pension with us to the last day of our Playing, & shall continue) Written a play call´d AEdipus, and given it to the Duke's Company, contrary to his said agreemt he contract of 1668 his promise llegedly made after they granted him a third day for All for Love and all gratitude to the great prejudice and almost undoing of the Company, They being the only Poets remaining to us.But this complaint went unheeded, and the scenic complexity of the play shows that Dryden and Lee originally intended it for the Duke's Theatre. In 1671, the Duke's Company moved to a new theatre at
Dryden's share of the third day's proceeds from Oedipus, which he had to divide with Lee, probably amounted to no more than 50 pound, but any payment was welcome under the circumstances.The amount of 50 pounds is considered to be a meagre wage here for a popular playwright. In comparison to the earnings of contemporary skilled workers and other professions, however, one might assume that Dryden received an appropriate if not overly generous share of money. The premiere and the following performances of this drama on stage were highly successful. The "bombastic violence of Oedipus", as Kinsley puts it, was a "scandalous success, with the Bettertons playing Oedipus and Jocasta."Kinsley 1971, p. 5.
This play was Admirably well Acted; especially the Parts of Oedipus and Jocasta: One by Mr Betterton, the other by Mrs Betterton; it took prodigiously being Acted 10 Days together.Dryden's '' All for Love'', by contrast, despite its high place in the estimation both of Dryden and of his modern critics, seems to have had much less general appeal. Published early in 1678, a few months after its first stage presentation, it was only twice reprinted in Dryden's lifetime. ''Oedipus, a Tragedy'', by contrast, reached six editions by 1701 and ten editions by 1734. The heroic drama by Dryden and Lee remained popular for a long period of time and was constantly performed on stage, almost every year between 1678 and 1710. After the premiere, it was restaged in the following years: 1686, 1692, 1696, 1698, 1702, 1703, and between 1705 and 1710 almost every year. The performance of Thursday 13, October 1692, is especially remarkable:
On Thursday last was acted the tragedy of Oedipus king of Thebes at the theater, where Sandford s Creonand Powell s Adrastusacting their parts together, the former by mistake of a sharp dagger for one that runs the blade into the handle, stab'd the other 3 inches deep: said the wound is mortal.The effect of this 'accident' on the audience attending the play is impossible to reconstruct. Such incidents might have increased the popularity of the play to a certain extent or might have satisfied the audience's cravings for sensation. There must have been a change in the reputation of the drama on stage in the late 18th and early 19th century. In his introduction to ''Oedipus, a Tragedy'', written in 1808, Scott considers the performance of the play to be unbearable for the audience about thirty years before, because it was considered to be too bloodthirsty.
It is certain, that, when the play was revived about thirty years ago, the audience were unable to support it to an end; the boxes being all emptied before the third act was concluded. Among all our English plays, there is none more determinedly bloody than Oedipus, in its progress and conclusion. The entrance of the unfortunate king, with his eyes torn from their sockets, is too disgusting for representation.
Concept and composition of ''Oedipus, a Tragedy''
The underlying concept for the play
'' Oedipus Rex'' was originally written byIn our Age, Corneille has attempted it, and it appears by his Preface, with great success: But a judicious Reader will easily observe, how much the Copy is inferiour to the Original.Dryden disapproves of the way Corneille has treated the subject, but not the subplot – a love story involving
…if he desir'd that Oedipus should be pitied, he shou'd have made him a better man. He forgot that Sophocles had taken care to shew him in his first entrance, a just, a merciful, a successful, a Religious Prince, and in short, a Father of his Country: instead of these, he has drawn him a suspicious, designing, more anxious of keeping the Theban Crown, than solicitous for the safety of his People: Hector'd by Theseus, contemn'd by Dirce, and scarce maintaining a second part in his own Tragedie…"Dryden criticises Seneca's adaptation of the drama for lacking any naturalness of emotion and blames the Latin author for using artificial language, and as a consequence the lack of effects on stage:
Seneca ��is always running after pompous expression, pointed sentences, and Philosophical notions, more proper for the Study than the Stage: The French-man follow’d a wrong scent; and the Roman was absolutely at cold Hunting.Dryden disapproves of the fact that Seneca has failed to introduce new aspects, except one: the scene when Lajus's ghost is called and appears on stage, which Dryden and Lee implement in their adaptation.
Seneca supply'd us with no new hint, but only a Relation which he makes of his Tiresias raising the Ghost of Lajus: which is here perform'd in view of the Audience…Sophocles's ''Oedipus'' is praised and considered "the most celebrated piece of all Antiquity" by Dryden. The Greek author, who was
not only of the greatest Wit, but one of the greatest Men in Athens, made it for the Stage at the Publick Cost, and that it had the reputation of being his Masterpiece, not only amongst the Seven of his which are still remaining, but of the greater Number which are perish'd.Since Sophocles is "admirable every where", Dryden and Lee claim to follow the Greek author as closely as they can. Dryden points out the compositional differences, saying:
…the Athenian Theater, (whether more perfect than ours is not now disputed) had a perfection differing from ours.Dryden summarises the distinctive features of
The conduct of our Stage is much more difficult, where we are oblig´d never to lose any considerable character which we have once presented. Custom likewise has obtain´d, that we must form an under-plot of second Persons, which must be depending on the first, and their by-walks must be like those in a Labyrinth, which all of ´em lead into the great Parterre: or like so many several lodging Chambers, which have their out-lets into the same Gallery.Dryden compares the subplot of ''Oedipus, a Tragedy'' with "by-walks" in a "Labyrinth" that lead into the "great Parterre". Architectural metaphors are generally applied by Dryden to designate parts of a play. In the construction of a play, the playwright is the "master-workman" who needs "many subordinate hands, many tools to his assistance", including "history, geography, or moral philosophy." The plot is the base of the building, the characters and their manners the sides of it. All parts must be fitted properly to the whole; every part is neatly tied in.
Composition of ''Oedipus, a Tragedy'' in comparison with Sophocles's ''Oedipus''
''Oedipus, a Tragedy'' was based on Sophocles's ''Oedipus'', but the original drama was crucially changed in several respects.The design of sub-plots and intrigues
Dryden and Lee add a subplot of secondary characters – a love story about Adrastus, prince ofSophocles presents Creon as a just character. His only intention is to seek the truth on behalf of the Thebans to free them from the disease. He does not intend de-throne Oedipus on his own behalf; the burden of being a king would be too demanding for him and he would be rather afraid of taking on all responsibility for the country alone.Creon. And if thy mind is darkened…? Oedip. Still obey! Creon. Not to a tyrant ruler. Oedip. On my country!http://www.netlibrary.com.p-serv2.bis.uni-oldenburg.de/nlreader.dll (15 December 2006). (Act I, p. 11)
In Dryden/Lee's adaptation, the main characters are designed differently. According to Brunkhorst, Oedipus is presented as the ideal ruler of a country. Right upon his introduction, Oedipus returns from a battle between Thebes andCreon. My mind, retaining reason, ne’er could act The villain’s part. I was not born to love such thoughts myself…. (Act I, p. 11)
Dryden and Lee present Creon as Oedipus's counterpart. He, as the villain, is deceitful, treacherous and scheming. He intends to depose Oedipus and become the only ruler of his country. To gain the throne, Creon does not hesitate to accuse his nieceAll that the hardest temper’d weather’d flesh, With fiercest humane Spirit inspir’d, can dare Or do, I dare; but, oh you Pow’rs, this was By infinite degrees too much for man. (Act II, Scene I) If not otherwise stated, the following quotations are taken from Oedipus, a Tragedy, 1769.
Adrastus, who genuinely loves Eurydice, joins in and tries to protect her, sayingO Beauty! ��I must accuse thee! ��The first of Lajus blood Gave him his Death. Is there a Prince before her? Then she is faultless. (Act II, p. 24)
Creon tries hard to drive a wedge between the young couple, Adrastus and Eurydice. If Adrastus accused her of murdering Lajus, he could escape death.Touch not Euridice, by all the Gods, As you would save your Thebes, but take my life (Act II, p. 24)
At the end of the fifth act, Creon's calculating and resentful character shows up again: If Eurydice is not willing to marry him, she has to die.Proclaim your innocence, Accuse the Princess (Act III, p. 35)
Such constant scheming and intriguing by Creon is missing in Sophocles's ''Oedipus''.Euridice shall dye, or be my Bride (Act V, p. 66)
Shift of compassion for the hero
With prince Adrastus, Dryden designs a far more positive hero than Oedipus, who is guilty of murder. The prince of Argos genuinely loves Eurydice and does not hesitate to accuse himself of killing Lajus to rescue her, even if he puts his own life at risk. Like Adrastus, Eurydice is presented with exclusively positive traits. Before marrying Creon, she would prefer to die. As a courageous woman, she is not even afraid of death.Not even death can divide the strong and genuine love of the young couple:Death only can be dreadful to the bad: To innocence, ‘tis like a bug-bear dress’d To fright’n Children; pull but off his Masque And he’ll appear a friend. (Act III, p. 32)
In act V, Creon eventually kills his niece before Adrastus’ eyes. Adrastus immediately stabs Creon, but he himself is killed by Creon's soldiers. Even his last words and thoughts are dedicated to Eurydice:For death shall ne’re divide us: death, what’s death! (Act III, p. 32)
The love story of the young couple ends tragically; but not even death can divide their genuine love for each other. Instead of feeling pity for Oedipus and Jocasta, who both commit suicide in the end, it is the fate of Adrastus and Eurydice that arouses compassion and sympathy.She’s gone ��They talk of Heroes, and Celestial Beauties, And wondrous pleasures in the other World; Let me but find her there, I ask no more. (Act V, p. 76)
Spectacular effects and the increase of interest
To "please an unsatiable Audience" Dryden and Lee make use of devices. In Dryden/Lee's adaptation, for instance, the scenic complexity is much greater than in Sophocles's ''Oedipus'': more settings are employed, such as the streets of Thebes (Act I, Scene Thebes), an open gallery, a royal chamber being supposed behind (Act II, Scene I) or a dark grove (Act III, Scene I). The plot of Sophocles's ''Oedipus'' only spans a few hours. Sophocles holds on to the Greek convention ofTo increase the tension, the climax of the drama is postponed in Dryden/Lee's adaptation. In Sophocles's ''Oedipus'', for instance, the seer Tiresias accuses Oedipus straight away as the murderer of Lajus, the former king of Thebes:Phœbus, God belov'd by men; At thy dawn, every Beast is rouz'd in his Den; At thy setting, all the Birds of thy absence complain, And we dye, all dye till the morning comes again, Phœbus, God belov'd by men! Idol of the Eastern Kings, Awful as the God who flings His Thunder round, and the Lightning wings; God of Songs, and Orphean strings, Who to this mortal bosom brings All harmonious heav'nly things! Thy drowzie Prophet to revive, Ten thousand thousand forms before him drive; With Chariots and Horses all o'fire awake him, Convulsions, and Furies, and Prophesies shake him: Let him tell it in groans, tho'he bend with the load, Tho'he burst with the weight of the terrible God. (Act II, p. 23)
In Dryden/Lee's play, this denunciation is postponed to the third act. The seer Tiresias doesn't know Oedipus is the murderer until he calls the ghost of Lajus (Act III). As Scott points out in his introduction, the first anathema of the prophet is levelled only against the unknown murderer: In Sophocles's ''Oedipus'', Jocasta hangs herself, and Oedipus, upon discovering her body, blinds himself with the brooches of her dress. Sophocles makes his Oedipus survive the discovery of his unintentional guilt, and "reserved him, in blindness and banishment for the subject of his second tragedy of Oedipus Coloneus. But there is more to it: in Greek, the words "truth" and "light" are covered by one term: "aletheia". Although Oedipus can see the surface of the world, he is not able to see the truth behind. The blind prophet Tiresias, in contrast, is able to see the truth. At the end of the play, Oedipus tears out his eyes, which are not necessary to see the truth. Dryden and Lee make their Oedipus tear out his eyes as well, but unlike Sophocles' Oedipus, he commits suicide. But it is not only Oedipus and Jocasta who die in the end:Tiresias. Thou art the accursed plague – spot of the land. (Act I, p. 7) Tiresias. I say that thou stand’st there a murderer. (Act I, p. 7) Tiresias. I say that thou, in vilest intercourse With those thou lovest best, dost blindly live … (Act I, p. 7)
Of all the persons of the drama, scarce one survives the fifth act. Oedipus dashes out his brains, Jocasta stabs herself, their children are strangled, Creon kills Eurydice, Adrastus kills Creon and the insurgents kill Adrastus; when we add to this, that the conspirators are hanged, the reader will perceive, that the play, which began with pestilence, concludes with a massacre.The following quotation, taken from the
Extensive and decorative poetic language, the audience's strong lust for stage action, visual effects, intensive conflicts and complex plots, all changed Greek tragedy in the Restoration era.Their .e. Dryden/ Leetreat is what your palates relish most, Charm! song! and show! a murder and a ghost!Epilogue to ''Oedipus, a Tragedy''.
References
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