Fearing the Forms - Sophocles' Oedipus the King

Fearing the Forms - Sophocles' Oedipus the King is one of history's most renowned tragic plays, perhaps due to its myriad of underlying themes and relationships with common Greek traditions, values, and beliefs. Of these themes and Greek influences, the concept of forms, as described in Plato's "Allegory of the Cave," is indirectly referenced throughout the context of Oedipus the King. The tragic play touches base on many ideals; however, its dramatic course of action is primarily designed to have its audience fear true and superfluous knowledge when it is available, which can be tied over to the Theory of Forms that Plato describes in his "Allegory of the Cave."

The entire plot of Oedipus the King is ignited by Oedipus's hardheaded behavior with Teiresias, the blind prophet. Absolutely refusing to accept Teiresias's advice concerning the prophecy, Oedipus urges, and even threatens, the man for his knowledge; "You would provoke a stone! Tell us, you villain, tell us, and do not stand there quietly unmoved and balking at the issue" (Sophocles 124). Just like a young child would behave if a desired toy were dangling just out of reach, Oedipus is persistent in trying to grasp, or obtain, Teiresias's information. He is unable to turn around, accepting things in the steady state that they currently are and have been. The knowledge that he seeks can be viewed as a higher form in how it leads toward "true knowledge" and better understanding. The exposure to the existence of additional knowledge, or being aware that Teiresias has information that has yet to be shared, makes it difficult for Oedipus to turn down. Since Teiresias is withholding the information, it is just out of reach for Oedipus. Essentially, it is teasing and flaunting Oedipus. Ironically, once Teiresias does abide and answers his question, the world begins to turn upside down for Oedipus. The play continues in a similar manner where, Oedipus, not taking the hint that he himself is indeed Laius's murderer, continues to probe for additional details wherever he can, making use of any and all resources. His orders to "... send some one for the peasant to bring him here; do not neglect it," show Oedipus's urgency in acquiring more and more knowledge (Sophocles 147). He is fully aware that the knowledge he is pursuing is indeed available somewhere out there, whether it is from a messenger or a shepherd. Yet, with each piece of the puzzle that Oedipus manages to place together, he slowly reveals the truth about himself and validates the dreaded oracles that he is trying to flee. The following mayhem, "Darkness! Horror of darkness enfolding, resistless, unspeakable visitant sped by an ill win in haste! Madness and stabbing pain and memory of evil deeds..." only goes to show that going that extra mile, or putting in the extra effort may actually be harmful and detrimental (Sophocles 168). Through this violent course of action, the play is designed to encourage its audience to be content and satisfied with what they already have and know, as opposed to striving for that wonderful toy, like the child described earlier naturally would. Jocasta recaps this advice from the play with, "I beg you - do not hunt this out - I beg you, if you have any care for your own life" (Sophocles 157).

In "Allegory of the Cave," Plato goes in depth in describing his Theory of Forms and human nature regarding the theory. The Theory of Forms essentially states that everything that man knows in the world is actually an imperfect representation of something higher up, being more pure and perfect in nature, with the highest form being the Form of the Good. In order to achieve true understanding and knowledge, these higher forms must be identified until the ultimate Form of the Good is reached. In Plato's allegory, the prisoners are forced into living within the cave, entirely unaware of the outside world. In this cave, everything that they know of and observe is actually a lesser form of something else. Of course, the audience already knows what these lesser forms represent. The "shadows of one another, which the fire throws on the opposite wall of the cave," for instance, are lesser forms of physical objects found in the outside world (Plato). So when a prisoner is freed and allowed to explore beyond the cave, curiosity kicks in and he advances outside. Here he is introduced to higher forms of the shadows that he is used to seeing in the cave. Exposure to these higher forms literally and symbolically opens the world up for this individual. Once exposed to these new surroundings and their qualities, the individual finds it tremendously difficult and unfavorable returning back to the cave. As Socrates explains in the allegory, "you must not wonder that those who attain to this beatific vision are unwilling to descend to human affairs; for their souls are ever hastening into the upper world where they desire to dwell; which desire of theirs is very natural" (Plato). Looking back at the remaining prisoners, the freed man would feel bad for them, for they have not had the opportunity to share this life changing experience with him. In addition, if he were to actually return to the cave and his previous lifestyle inside of it, things would be wholly different for him, considering that he is now knowledgeable of the higher forms of what are found inside of the cave. This leads the character into a very similar situation that Oedipus partakes in Oedipus the King.

The situation and circumstances that both Oedipus and the prisoner from the cave experience are very alike. In both cases, once exposed to something new, the two characters cannot and will not live without them, even though they may not be required for survival. Regarding Plato's Theory of Forms, once a higher form is discovered, it is difficult, if not impossible, to look the other way and return to lesser forms. The quest for true knowledge and understanding lies in discovering the highest and ideal forms, which in turn lead to the Form of the Good. And if man were to turn down and neglect the finding of a higher form, reaching this state of true understanding is cut short and made impossible. In support of continuing this quest, both Oedipus and the freed prisoner reveal their desires to live with the higher forms, whether it is with acquiring more knowledge of who killed Laius or with discovering the source of all the shadows on the cave's wall. Both characters show much more inclination towards living amongst these higher forms, no matter the circumstances, than staying behind with the lesser forms as Sophocles' Oedipus the King urges its audience to do.

It is very interesting how what Sophocles' persists in his Oedipus the King is contradicts what is found in Plato's "Allegory of the Cave." The fear projected in Sophocles' tragedy advocates accepting the forms that one lives in harmony with, instead of pursuing higher forms that may bring discord amongst mankind. This is represented by Oedipus's refusal to turn away from the knowledge that Teiresias and the shepherd possess. However, Plato writes descriptively in his allegory about how the prisoner is not at ease when returning to the cave. After exposure to the higher forms in the outside world, returning proves to be tough and unsettling for the character. Although Oedipus the King encourages its audience to deny and fear any extraneous, higher forms, it is important to note that the characters of both works prefer the pursuit of higher forms and complete understanding. Even though the immediate change in lifestyle resulting from the acceptance of higher forms may seem unfavorable and hostile, turning back appears to provide even more dissatisfaction and discord.

Works Cited

Sophocles, Oedipus the King. C. 427 BCE. Greek Tragedies, v.1. eds. David Grene and

Richard Lattimore. Chicago: University of Chicago Press, 1960.

Plato, "Allegory of the Cave." The History Guide. 17 September 2009.

< http://www.historyguide.org/intellect/allegory.html>.