Whatever you are, be a good one.

In the beginning of Sophocles’ play, Oedipus is portrayed as the ideal leader. He is exceptionally understanding and compassionate, telling the priest “my spirit groans for the city, for myself, for you” (66). While he deeply cares about the citizens’ well-beings, he remains a down-to-earth king, making sure that he himself—not a messenger—talks to the people about any concerns they have. Oedipus not only directly addresses the problem of the plague but also already has anticipated this issue. His impeccable foresight (possibly not in his own life, but in city affairs) ensured his speedy thinking: he has already sent Creon to bring the oracle back, in the hopes that the message will offer advice to stop the plague. Finally, Oedipus is courageous, committed, and possesses a strong sense of conviction. He adamantly promises the city a horrible punishment for the perpetrator and reaffirms his dedication to his people, pledging “I will do all that I can” (147). He will catch the murdered even if the killer is someone close to him. Initially, his positive qualities are repeatedly highlighted. Yet, as readers continue the play, they realize “Oedipus the King” is very much like many other Greek plays. Oedipus’s premature greatness is an indication of his imminent downfall.

Oedipus’s speedy thinking turns out to be his best quality and his worst quality. The King is quick to evaluate a situation, judge the conflict, and pollute the interaction with his demanding demeanor. Oedipus swiftly praises Teiresias as the only one who can guard or save the city from destruction. But a matter of fifty lines later, as soon as Tieresias cooperates less than liked, Oedipus accuses him of murdering Laios, calls him “pollution of this country,” and then vehemently brands Tieresias a traitor. His hot temper is evident when he charges his uncle/brother-in-law, Creon, with plotting to kill him and take over the throne. While Creon is calm, well-spoken, and composed, Oedipus continues to ask rhetorical questions as a way to “corner his victim.” At times, Oedipus is clearly delusional. When he feels attacked, he lashes back with haughty comments even when no threat is imminent. He automatically assumes any change in status-quo is a threat. As a great leader, Oedipus should be extremely comfortable adapting to any changes because being comfortable with change is having faith in himself that the citizens (and audience) will believe in their King no matter what. Moreover, Oedipus relies heavily on his temporary “highs,” his recurring belief that he is invincible and untouchable. Yet these highs are false; they are merely created when Oedipus “elevates” himself above other people, by jabbing them with cheap attempts at wit and inciting fear.

While most readers have lost faith in Oedipus by now, we pity him when we realize he only knows half the truth: he murdered Laios. He still has not discovered that his prophecy is yet to come true. Oedipus’s final realization of the truth, his affirmation of reality, his comeback, is why readers enjoy his character. While Oedipus comes full circle, readers also feel emotionally satisfied: although blind, Oedipus has seen the light. (517)

Music: Regina Spektor, “Oedipus”

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