Aristotle considered Oedipus Tyrannus the supreme example of tragic drama and modeled his theory of tragedy on it. He mentions the play no fewer than eleven times in his De poetica (c. 334-323 b.c.e.; Poetics, 1705). Sigmund Freud in the twentieth century used the story to name the rivalry of male children with their fathers for the affection of their mothers, and Jean Cocteau adapted the tale to the modern stage in La Machine infernale (1934; The Infernal Machine, 1936). However, no matter what changes the Oedipus myth underwent in two and a half millennia, the finest expression of it remains this tragedy by Sophocles.
Brilliantly conceived and written, Oedipus Tyrannus is a drama of self-discovery. Sophocles achieves an amazing compression and force by limiting the dramatic action to the day on which Oedipus learns the true nature of his birth and his destiny. The fact that the audience knows the dark secret that Oedipus unwittingly slew his true father and married his mother does nothing to destroy the suspense. Oedipus’s search for the truth has all the tautness of a detective tale, and yet because audiences already know the truth they are aware of all the ironies in which Oedipus is enmeshed. That knowledge enables them to fear the final revelation at the same time that they pity the man whose past is gradually and relentlessly uncovered to him.
The plot is thoroughly integrated with the characterization of Oedipus, for it is he who impels the action forward in his concern for Thebes, his personal rashness, and his ignorance of his past. His flaws are a hot temper and impulsiveness, but without those traits his heroic course of self-discovery would never occur.
Fate for Sophocles is not something essentially external to human beings but something at once inherent in them and transcendent. Oracles and prophets in this play may show the will of the gods and indicate future events, but it is the individual who gives substance to the prophecies. Moreover, there is an element of freedom granted to human beings, an ability to choose, where the compulsions of character and the compulsions of the gods are powerless. It is in the way individuals meet the necessities of their destiny that freedom lies. They can succumb to fate, pleading extenuating circumstances, or they can shoulder the full responsibility for what they do. In the first case they are merely pitiful, but in the second they are tragic and take on a greatness of soul that nothing can conquer.
A crucial point in the play is that Oedipus is entirely unaware that he killed his father and wedded his mother. He himself is the cause of the plague on Thebes, and in vowing to find the murderer of Laius and exile him he unconsciously pronounces judgment on himself. Oedipus, the king and the hero who saved Thebes from the Sphinx, believes in his own innocence. He is angry and incredulous when the provoked Teiresias accuses him of the crime, so he jumps to the conclusion that Teiresias and Creon are conspirators against him. As plausible as that explanation may be, Oedipus maintains it with irrational vehemence, not even bothering to investigate it before he decides to have Creon put to death. Every act of his is performed rashly: his hot-tempered killing of Laius, his investigation of the murder, his violent blinding of himself, and his insistence on being exiled. He is a man of great pride and passion who is intent on serving Thebes, but he does not have tragic stature until the evidence of his guilt begins to accumulate.
Ironically, his past is revealed to him by people who wish him well and who want to reassure him. Each time a character tries to comfort him with information, the information serves to damn him more thoroughly. Jocasta, in proving how false oracles can be, first suggests to him that he unknowingly really did kill Laius, thus corroborating the oracles. The messenger from Corinth in reassuring Oedipus about his parentage brings his true parentage into question, but he says enough to convince Jocasta that Oedipus is her son. It is at this point, when he determines to complete the search for the truth, knowing that he killed Laius and knowing that the result of his investigation may be utterly damnable, that Oedipus’s true heroism starts to emerge. His rashness at this point is no longer a liability but becomes part of his integrity.
Learning the full truth of his dark destiny, his last act as king is to blind himself over the dead body of Jocasta, his wife and his mother. It is a terrible, agonizing moment, even in description, but in the depths of his pain Oedipus is magnificent. He does not submit passively to his woe or plead that he committed his foul acts in ignorance, though he could be justified in doing so. He blinds himself in a rage of penitence, accepting total responsibility for what he did and determined to take the punishment of exile as well. As piteous as he appears in the final scene with Creon, there is more public spirit and more strength in his fierce grief and his resolution of exile than in any other tragic hero in the history of the theater. Oedipus unravels his life to its utmost limits of agony and finds there an unsurpassed grandeur of soul.
In his Poetics, Aristotle outlined the ingredients necessary for a good tragedy, and based his formula on what he considered to be the perfect tragedy, Sophocles's Oedipus the King. According to Aristotle, a tragedy must be an imitation of life in the form of a serious story that is complete in itself; in other words, the story must be realistic and narrow in focus.
A good tragedy will evoke pity and fear in its viewers, causing the viewers to experience a feeling of catharsis. Catharsis, in Greek, means "purgation" or "purification"; running through the gamut of these strong emotions will leave viewers feeling elated, in the same way we often claim that crying might ultimately make you feel better.
Aristotle also outlined the characteristics of an ideal tragic hero. He must be "better than we are," a man who is superior to the average man in some way. In Oedipus's case, he is superior not only because of social standing, but also because he is smart: he is the only person who could solve the Sphinx's riddle. At the same time, a tragic hero must evoke both pity and fear, and Aristotle claims that the best way to do this is if he is imperfect. A character with a mixture of good and evil is more compelling that a character who is merely good. And Oedipus is far from perfect; although a clever man, he is blind to the truth and stubbornly refuses to believe Teiresias's warnings. Although he is a good father, he unwittingly fathered children in incest. A tragic hero suffers because of his hamartia, a Greek word that is often mistakenly translated as "tragic flaw" but really means "mistake". Oedipus' mistake - killing his father at the crossroads - is made unknowingly. Indeed, for him, there is no way of escaping his fate.
The focus on fate reveals another aspect of a tragedy as outlined by Aristotle: dramatic irony. Good tragedies are crammed with irony. The audience knows the outcome of the story already, but the hero does not, making his actions seem painfully ignorant in the face of what is to come. Whenever a character attempts to change fate, this is ironic to an audience who knows that the tragic outcome of the story - as they know it in the myth - cannot be avoided.