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moon_bean77's review against another edition
Definitely the weakest of the Theban plays but I still enjoy it.
annaclaire's review against another edition
adventurous
emotional
fast-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
4.0
ed_moore's review against another edition
reflective
slow-paced
- Plot- or character-driven? Plot
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
3.25
“If here and now someone came up and threatened to take your life, your innocent life, would you pause to ask if he were your father - or deal with him out of hand?”
‘Oedipus at Colonus’ is set between ‘Oedipus Rex’ and ‘Antigone’, though chronologically was Sophocles’ final play. It follows Oedipus after his exile as he and Antigone arrive at Colonus near Athens and Oedipus curses Thebes and blesses Colonus if he is permitted to die in the city. It doesn’t follow the formula of a tragedy, hence the tag of the trilogy being ‘The Theban Plays’ as oppose to ‘Theban Tragedies’ and here I felt that ‘Oedipus at Colonus’ was very different in tone to the other two plays and its more distanced perspective made it as a standalone play much weaker. ‘Oedipus Rex’ and ‘Antigone’ both could exist outside of the trilogy, but ‘Oedipus at Colonus’ depends on the other two to have an impactful plot, it is solely a bridging device in a way.
That being said, Creon did really shine in ‘Oedipus at Colonus’. The loyal Creon of ‘Oedipus Rex’ becoming the tyrannical leader of ‘Antigone’ felt quote unusual, and Oedipus’ curse explains his character shift. His path to becoming the antagonist doesn’t really exist and he immediately changes to fulfil this role in ‘Colonus’ but he certainly fills it explosively. He completely dictated the story and Oedipus, despite being the eponymous character, is cast to the background. Even still, I don’t think Creon is particularly in the wrong!
coffeedog14's review against another edition
challenging
dark
emotional
hopeful
reflective
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.5
Can't believe Creon's had a face-heel turn! That bastard, I liked you last play man what the fuck!
Less... for lack a better word *action packed* then the last play, and I found the characters in general less engaging, but the play remains a classic for a good reason. It's ruminations on how much blame can be placed on an individual, in the face of the unknown and unavoidable, feels very much ahead of its time in many ways.
Less... for lack a better word *action packed* then the last play, and I found the characters in general less engaging, but the play remains a classic for a good reason. It's ruminations on how much blame can be placed on an individual, in the face of the unknown and unavoidable, feels very much ahead of its time in many ways.
linuskramshoej's review against another edition
2.0
Very different from the other two theban plays, and not as interesting. Not a lot of action or interesting moral dillemas. Maybe just read it for the curiosity of what happens in between the other plays.
xole's review against another edition
3.0
Look, I really like Mulroy’s translations, but this is such an opaque play. There are little hints of an interesting plot there (the start of Seven Against Thebes, basically), but it’s like Sophocles is trying to make a very different point. Oedipus just isn’t an interesting enough character to carry a whole play.
josiahdegraaf's review against another edition
3.0
Oedipus at Colonus is an interesting play. Its chronologically sandwiched between two of the greatest Greek tragedies (Oedipus Rex & Antigone)--but it was also the last play written in this Theban trio. Oedipus Rex & Antigone are packed-full of action--but on the outset, little happens in Oedipus at Colonus, leading it to be forgotten and much-less studied compared with its more interesting counterparts.
While I understand its relative lack of popularity, however, I was glad to have read this center play. As Oedipus rages against the gods, questions why he's guilty for actions he committed unwillingly, and grapples with the nature of human futility, I was moved. More than any of the other plays, whether Sophocles means to or not (probably unintentional on his part), the capriciousness of the Greek gods and their punishment of Oedipus can really be felt here. The agonies of an unjust moral system are clearly displayed. And the triumph of Oedipus at the play's end feels earned.
There is much less to discuss with this work as its counterparts. But as a Christian, out of the three Theban plays, this perhaps best shows me the nature of the world Christ entered into and the pressingness of mankind's need for a Savior.
Rating: 3.5 Stars (Good).
While I understand its relative lack of popularity, however, I was glad to have read this center play. As Oedipus rages against the gods, questions why he's guilty for actions he committed unwillingly, and grapples with the nature of human futility, I was moved. More than any of the other plays, whether Sophocles means to or not (probably unintentional on his part), the capriciousness of the Greek gods and their punishment of Oedipus can really be felt here. The agonies of an unjust moral system are clearly displayed. And the triumph of Oedipus at the play's end feels earned.
There is much less to discuss with this work as its counterparts. But as a Christian, out of the three Theban plays, this perhaps best shows me the nature of the world Christ entered into and the pressingness of mankind's need for a Savior.
Rating: 3.5 Stars (Good).
blueyorkie's review against another edition
4.0
It was read before the wise men of Athens by the old Sophocles himself, very old and whose children, these raptors, wanted to question his intellectual faculties to seize the management of his goods.
Superbly, the old playwright, by way of pleading, only read, it is said, his tragedy, Oedipus at Colonus, the last of his plays, which has as its subject the apotheosis of an exile. And a cursed Oedipus, who finally gains rest on the threshold of his life and regains lost grandeur and glory.
That alone would inspire respect, but respect for Oedipus at Colonus is not enough: you must also love this magnificent tragedy! And how strong are the reasons for loving him!
In no other tragedy is the Greek landscape, cities, sanctuaries and temples so intensely present.
Oedipus ran around the world, chased everywhere, after his incest and involuntary parricide. Only the little Antigone with a dark destiny accompanied him. She is his eyes, which he put out to punish himself; she is his stick of old age. And now they are both at the gates of Athens, a young city then governed by a young king, still unknown. His name is Theseus. In the Athens suburbs, there is a sanctuary, forbidden to any incursion by the fierce law of the Erynnies. No one would dare set foot there.
Not Oedipus: he enters. He knows that it is there that the gods, finally appeased, will carry him off and remove him far from the hateful or horrified gazes of men. He feels that it is there that he will eventually find peace, that of death, which is limitless.
The places are of exceptional strength: we see the sanctuary. We see through the eyes of the messenger the apotheosis of Oedipus in a tremendous clap of thunder.
The characters also have a seriousness, a strange aura: Oedipus, Antigone, and Theseus legendary beings, whose true mythical greatness is measured here by comparison with the too human smallness of an Ismene, a Polynice, or even of a Creon.
The third reason to love Oedipus at Colonus resides in a language overwhelming with strength, and purity, almost detached from all contingencies, ethereal and yet profound like Greek wisdom.
Oedipus at Colonus is a poetic and inspired song throughout almost no more rupture between episodes and stasima - the alternating action and choral singing phases of Greek tragedy.
A swan song to be read and reread. And for the Hellenists, in the text, so wonderful is the language.
Superbly, the old playwright, by way of pleading, only read, it is said, his tragedy, Oedipus at Colonus, the last of his plays, which has as its subject the apotheosis of an exile. And a cursed Oedipus, who finally gains rest on the threshold of his life and regains lost grandeur and glory.
That alone would inspire respect, but respect for Oedipus at Colonus is not enough: you must also love this magnificent tragedy! And how strong are the reasons for loving him!
In no other tragedy is the Greek landscape, cities, sanctuaries and temples so intensely present.
Oedipus ran around the world, chased everywhere, after his incest and involuntary parricide. Only the little Antigone with a dark destiny accompanied him. She is his eyes, which he put out to punish himself; she is his stick of old age. And now they are both at the gates of Athens, a young city then governed by a young king, still unknown. His name is Theseus. In the Athens suburbs, there is a sanctuary, forbidden to any incursion by the fierce law of the Erynnies. No one would dare set foot there.
Not Oedipus: he enters. He knows that it is there that the gods, finally appeased, will carry him off and remove him far from the hateful or horrified gazes of men. He feels that it is there that he will eventually find peace, that of death, which is limitless.
The places are of exceptional strength: we see the sanctuary. We see through the eyes of the messenger the apotheosis of Oedipus in a tremendous clap of thunder.
The characters also have a seriousness, a strange aura: Oedipus, Antigone, and Theseus legendary beings, whose true mythical greatness is measured here by comparison with the too human smallness of an Ismene, a Polynice, or even of a Creon.
The third reason to love Oedipus at Colonus resides in a language overwhelming with strength, and purity, almost detached from all contingencies, ethereal and yet profound like Greek wisdom.
Oedipus at Colonus is a poetic and inspired song throughout almost no more rupture between episodes and stasima - the alternating action and choral singing phases of Greek tragedy.
A swan song to be read and reread. And for the Hellenists, in the text, so wonderful is the language.