Oedipus at Colonus (translation)

As enchanting and vivid as Oidipous Tyrannos and I'm tempted to say I like it even better if only because it ends with a vision of peace, or at least of Oedipus finding peace while all around him slides into war. I was impressed with his little rationalizations over the years--he has learned the humility of the outcast, and yet he's still gone from seeing how his parricide at the crossroads was a result of hubris to telling himself it was self-defence so long he believes it. I liked how Creon's arc went from superficially principled at the start of the first play, organically, to bad dude by the end of this one. And the sweetness of the daughters that had barely known a time when their father wasn't a monster, that had just known no show more other way to love him, as compared to the sons who never got over losing dickhead dad to sick humiliation and turned into bastards themselves. There are a lot of great character arcs that emerge across the two plays that wouldn't be evident from this one alone--Theseus's being the only exception, although he's good too; I'm not sure quite how the play made him seem legit wise and not some instructive cardboard of the good hero king--and that's why it's such a shame that they're separate works, each less than the whole of which they make up the parts. The Aristotelian unities seem increasingly unmotivated, arbitrary, artificial. show less

A straightforward romp, the second in The Oedipus Cycle, detailing the journey-- both internal and external, that Oedipus makes. It was entertaining and there were many good passages and lines to behold. Nevertheless, it came off as a little basic but that might be part of its charm.

3 stars!

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.

It's hard (impossible) to write a review about a text so foreignly old, but after everyone telling me to skip this one, I was surprised how much I liked it. Having finished the "Theban Trilogy" now, I understand why people are less than enthusiastic about this one. Compared to Oedipus Rex and Antigone, this play is not so flashy; very little happens (even famously off stage), and ultimately we're left with a meditation on familial bonds, civic virtues, and redemption.

Oedipus at Colonus is a weird tragedy in that the climax of the play is not really tragic. I even hesitate to call this play a tragedy: yes, some machinations of fate are at play, and yes, Polynices' obstinacy to go to his death are sad, but the story here is of Oedipus and show more his fate to die in glory with the gods. The scene itself (as related to us) is interesting too: Oedipus is practically assumed as later Christians would call it, and I'm interested to read what scholars have to say about such a supernatural ending to such a earthy tradition.

Anyways, this play has so many beautiful choral songs/poetry and is generally quite introspective as to the physical beauty of life and the natural lifecycle of death. I finished it and honestly had to take a Greek theatre break for a few days, just too many feelings! show less

This is Sophocles' last play, performed only four years after his death, but written when he was already 90. Not a masterpiece, as it is much more convoluted than his others, with many repetitive and sometimes even confusing scenes. Yet, despite this, it remains compelling.
This is part of the Oedipus cycle, a sequel to the famous and, in my opinion, Sophocles' best play, *Oedipus Rex*. We find Oedipus at a sanctuary in Colonus, near Athens. He is still blind (by choice) and is accompanied by his daughter Antigone (yes, that is confusing of course, if you have read the play *Antigone*). He has been told that he will find peace there in Colonus, and he eventually succeeds, although that is preceded by a confrontation with his own sons and show more his former brother in law Creon. What stands out is that Oedipus here constantly accounts for his own behavior and fate, invariably describing himself as innocent: he bears no guilt for the dishonorable deeds he has committed. And given the end of the play, Sophocles seems to agree with him. The ‘good’ Oedipus thus contrasts with his wicked and treacherous brother-in-law Creon and his own sons Eteocles and Polynices.
Just as in Aeschyles’ Oresteia cycle (albeit about a different family), Sophocles’ message is clear: every curse, every succession of shameful acts must come to an end, and reconciliation is a process that makes a new beginning possible. Unlike Sophocles’ other late plays (Electra and Philoctetes), the historical context is indeed of importance here. More about this in my History account on Goodreads: https://www.goodreads.com/review/show/8580016883.
Disclaimer: I'm reading and reviewing all classic ancient Greek plays, more or less in chronological order. But I'm not giving a rating. How could I, given their age? I'll make an exception only when a play is exceptional and still strikes an emotional and/or intellectual chord. show less

3.5

"We long to have again the vanished past, in spite of all its pain."

Oedipus at Colonus begins with Oedipus and Antigone's arrival at Colonus, a sacred area outside of Athens. Oedipus has lived for years as a poor wandering blind beggar, his self-inflicted punishment for unknowingly killing his father and marrying his mother. He wishes for admission to Cololus, which leads to the tragedy's central philosophical debates on morality and fate. Since the Gods decreed Oedipus's actions and he did not know the identity of his biological parents, were his actions immoral? Furthermore, if he did not know that the man who attacked him on the road was his father and thought he was acting in self-defense, does that make him a monster?

These show more arguments are embedded cleverly in a multilayered plot which I appreciate more as I struggle to capture my feelings about the play. It is slower and more philosophical than the other Theban plays, Antigone and Oedipus Rex, and while I loved those plays, this did not resonate with me in quite the same way. I don't know why. Perhaps it was the pacing or that I don't believe in fate. However, I admire Sophocles's skill as a playwright and innovator in the emerging genre of tragedy. show less

Oedipus at Colonus

The final chapter of the Theban Plays opens with old, weathered Oedipus arriving just outside of glorious Athens. Alongside him is his faithful daughter Antigone, who has been his guiding eyes ever since he took his own years ago. They end their trip directly in front of a sacred forest, where the Furies are worshipped. This is the site of Oepidus' final resting place, according to the prophecy that was told to him. He has been searching for this very spot for many years.

Multiple characters come on the scene and this is where the audience witnesses the fierceness and cutting anger that stirs inside Oedipus' heart. He has a good amount of indignation pent up after so many years, and his words come in the form of daggers show more which strike and stab his own son Polynices and his brother-in-law/uncle Creon. He doesn't hold back.

I found this play exciting and enthralling. The monologues were great and full of energy. The ending itself was great, with one of the most powerful gods letting his presence known. I enjoyed Oedipus the King greatly, and Oedipus at Colonus is a close second. Antigone was okay, but I have to reread it and see how I feel afterwards. show less