Aristotle's Poetics (350 BC) was written the century following the composition of Oedipus Rex by Sophocles (428 BC). Despite their chronological separation, the two texts relate in an incisive way. In particular, Aristotle used Oedipus as the foundation for his theory of explanation. For Aristotle, a tragedy must have some characteristics that Oedipus Rex contains to differ from other written genres. His definition of tragedy has influenced tragic literature ever since. He states that “tragedy, therefore, is an imitation of an action that is serious, complete, and endowed with greatness; in an embellished language, each type of which is used separately in different parts; in the mode of action, and not narrated; and effecting through pity and fear (what we call) the katharsi of such emotions..." (Aristotle 521). Oedipus exemplifies these characteristics by encompassing a certain grandeur, illustrating a complete flow, presenting a complex tragic plot, and having a protagonist with a tragic flaw, or "hamartia", which leads to "katharsis". Say no to plagiarism Get a tailor-made essay on "Why Violent Video Games Should Not Be Banned"? example, is the "purpose for which tragedy exists" (Aristotle 522). The plot of Oedipus possesses a certain grandeur or “seriousness” due to the violation of two general taboos. It possesses universal meaning through the application of myths. the instability of one's identity, the recognition of the human condition and the role of destiny. The taboos violated by Oedipus are the cardinal sins of parricide and incest, and this work is the first to incorporate both as committed by the same person. . Furthermore, Sophocles uses myths in his play, particularly with the inclusion of the Sphinx and the prophet Apollo in the Oracle. Oedipus also addresses the issue of contingent identity, asking the audience whether a person should be guilty for reasons beyond their own actions. This, in turn, raises questions about the relationship between the human condition and destiny, about the idea that the actions taken by people, even if freely chosen, are only components of an end determined from the beginning. Furthermore, according to Aristotle, the plot of a tragedy organizes episodes or combinations of events narrated by the poet. The plot should have unity of action, or “completeness,” where all incidents happen similarly to a chain of cause and effect. In the work of Oedipus all the events happen together in a single episode by internal necessity, one after the other, and each action inevitably leads to the next without any external intervention. It is not surprising that Aristotle did not like Medea's scene of her escape from Corinth in her magic chariot because of the use of the machine. He argued: "Within the events of the plot itself... there should be nothing unreasonable, or, if there is, it should be kept out of the play itself, as done in Sophocles' Oedipus." In Oedipus, there are various parts of the plot that could be identified as unreasonable or mechanical, but they are kept out of the play, presented as if all irrational things had already been done and were unalterable. Sophocles does not explicitly address any questions that might lead the reader to realize that some irrational actions still occur within the plot, for example, he does not emphasize questions about why Oedipus agreed to marry a woman old enough to be his mother, as they didn't see that they looked alike or why Oedipus kills people, even though he knew it. his curse The sense of inevitability alone drives the plot. Complete flow also requires there to be a beginning, middle, and end of equalsimportance to the plot in which “…the sequence of events, according to the law of probability or. necessity, will admit the passage from good fortune to bad" (Aristotle 523). There should be a sequence of pitiful events until the end that are not episodic, but continuous. From the beginning the chain of events starts which all together will lead to the climax and, therefore, to the resolution and closure of the work. A tragedy must begin with the incentive moment; in Oedipus it is the plague of Thebes. As the priest implores Oedipus, “Thebes is dying. A plague on the fresh crops and rich pastures, the cattle sicken and die, and the women die in labor, the children are stillborn, and the plague, the fiery god of fever comes upon the city…” (Sophocles 393). When Oedipus learned of the alarming state of his city, he sent Creon to consult the Oracle of Delphi. The Oracle responds that Laius' murderer must be banished from Thebes: “The murder unleashes the storm of plague upon the city” (Sophocles 395). The Oracle's response is the second incident in the chain. Oedipus curses the murderer of Laius and undertakes the mission to find the murderer and banish him from the land, saying, “I will bring everything to light myself” (Sophocles 396). The fourth incident is the arrival of the blind prophet Tireseas to accuse Oedipus. This helps create irony in the play, particularly due to its relationship to the blindness that Oedipus suffers from now and will suffer physically later. It also leads to a quarrel between Creon and Oedipus, in which Oedipus' flaws are revealed to the audience. When Jocasta intervenes and tells the story of Laius' murder, she makes Oedipus suspicious, saying, "My God, my God, what are you going to do to me?" (Sophocles, 412). The peripeteia, another important element of the plot according to Aristotle, is the sixth episode. This is the reversal of the Messenger's intentions when he says, "Wonderful news for the house, my lady, and also for your husband" (Sophocles 417). He helps reveal that Polybus and Merope were not Oedipus' natural parents, saying, “Polybus was nothing to you, that's why, not in blood” (Sophocles 419). With this he provides the crucial information that will reveal that Oedipus is the son of Jocasta As Aristotle suggests, “The best form of recognition is that which is accompanied by a reversal, as in the example of Oedipus” (Aristotle 523). intentions of the Messenger and the revelation of the Shepherd together construct the entire story of Oedipus, leading to his recognition of his true identity. These two elements cause the combined climax of Oedipus, or the change of fortune from good to bad: from the to be an honored king, a good husband, to being an incestuous murderer of one's father. “You are my great example, you, your life, Oedipus man of misery” (Sophocles 424). gathered to finally reveal the final catastrophe: Jocasta's suicide, Oedipus' self-blinding, and finally the conclusion and resolution in which Creon pities Oedipus' fall. He tells him, with irony and anger: “Still the king, the master of all things? Not anymore: this is where your power ends. None of your power follows you through life” (Sophocles 433). Therefore, the play does not revolve around Oedipus; it is based instead on the development of the events that happen to him in the work. The character takes a backseat to the plot. However, Oedipus possesses the qualities of the perfect tragic hero, according to Aristotle's point of view. He says of the protagonist: “First of all, he must be good” (Aristotle 523). The character shouldn't be too evil, but not too good either. Thus Oedipus, with his qualities of leadership (shown by the people who turn to him in times of plague) and wisdom (his ability.