Jocasta In The Oedipus The King Quotes

#1. One of the truths about suicide is that it's hardly ever about the future. It's the past the suicide can't face, and although disgrace appears to be the exception, the one instance where suicide seems to be about the future, even in Oedipus, it's her past Jocasta can't accept, once it's come to light. #Quote by Charles D'Ambrosio

#2. It is the courage to make a clean breast of it in the face of every question that makes the philosopher. He must be like Sophocles' Oedipus, who, seeking enlightenment concerning his terrible fate, pursues his indefatigable inquiry even though he divines that appalling horror awaits him in the answer. But most of us carry with us the Jocasta in our hearts, who begs Oedipus, for God's sake, not to inquire further. #Quote by Arthur Schopenhauer

#3. What's the good of glory, magnificent renown, if in its flow it steams away to nothing? #Quote by Oedipus

#4. Time alone can bring the just man to light - the criminal you can spot in just one short day. #Quote by Sophocles

#5. For if there are no waving flags and marching songs at the barricades as Walter marches out with his little battalion, it is not because the battle lacks nobility. On the contrary, he has picked up in his way, still imperfect and wobbly in his small view of human destiny, what I believe Arthur Miller once called "the golden threat of history." He becomes, in spite of those who are too intrigued with despair and hatred of man to see it, King Oedipus refusing to tear out his eyes, but attacking the Oracle instead. He is that last Jewish patriot manning his rifle at Warsaw; he is that young girl who swam into sharks to save a friend a few weeks ago; he is Anne Frank, still believing in people; he is the nine small heroes of Little Rock; he is Michelangelo creating David and Beethoven bursting forth with the Ninth Symphony. He is all those things because he has finally reached out in his tiny moment and caught that sweet essence which is human dignity, and it shines like the old star-touched dream that it is in his eyes. #Quote by Lorraine Hansberry

#6. The myth of Oedipus . . . arouses powerful intellectual and emotional reactions in the adult-so much so, that it may provide a cathartic experience, as Aristotle taught all tragedy does. [A reader] may wonder why he is so deeply moved; and in responding to what he observes as his emotional reaction, ruminating about the mythical events and what these mean to him, a person may come to clarify his thoughts and feelings. With this, certain inner tensions which are the consequence of events long past may be relieved; previously unconscious material can then enter one's awareness and become accessible for conscious working through. This can happen if the observer is deeply moved emotionally by the myth, and at the sametime strongly motivated intellectually to understand it. #Quote by Bruno Bettelheim

#7. In a just cause the weak will beat the strong! #Quote by Sophocles

#8. As a rule, we don't like to feel to sad or lonely or depressed. So why do we like music (or books or movies) that evoke in us those same negative emotions? Why do we choose to experience in art the very feelings we avoid in real life?
Aristotle deals with a similar question in his analysis of tragedy. Tragedy, after all, is pretty gruesome. [ ... ] There's Sophocles's Oedipus, who blinds himself after learning that he has killed his father and slept with his mother. Why would anyone watch this stuff? Wouldn't it be sick to enjoy watching it? [ ... ] Tragedy's pleasure doesn't make us feel "good" in any straightforward sense. On the contrary, Aristotle says, the real goal of tragedy is to evoke pity and fear in the audience. Now, to speak of the pleasure of pity and fear is almost oxymoronic. But the point of bringing about these emotions is to achieve catharsis of them - a cleansing, a purification, a purging, or release. Catharsis is at the core of tragedy's appeal. #Quote by Brandon W. Forbes

#9. The basis of drama is ... is the struggle of the hero towards a specific goal at the end of which he realizes that what kept him from it was, in the lesser drama, civilization and, in the great drama, the discovery of something that he did not set out to discover but which can be seen retrospectively as inevitable. The example Aristotle uses, of course, is Oedipus. #Quote by David Mamet

#10. I don't know how to cure the source-itis except to tell you that I can discover a good many possible sources myself for Wise Blood but I am often embarrassed to find that I read the sources after I had written the book. I have been exposed to Wordsworth's "Intimation" ode but that is all I can say about it. I have one of those food-chopper brains that nothing comes out of the way it went in. The Oedipus business comes nearer home. Of course Haze Motes is not an Oedipus figure but there are the obvious resemblances. At the time I was writing the last of the book, I was living in Connecticut with the Robert Fitzgeralds. Robert Fitzgerald translated the Theban cycle with Dudley Fitts, and their translation of the Oedipus Rex had just come out and I was much taken with it. Do you know that translation? I am not an authority on such things but I think it must be the best, and it is certainly very beautiful. Anyway, all I can say is, I did a lot of thinking about Oedipus. #Quote by Flannery O'Connor

#11. To translate man back into nature, to become master over the many vain and overly enthusiastic interpretations and connotations that have so far been scrawled and painted over that eternal basic text of homo natura; to see to it that the human being henceforth stands before human beings as even today, hardened in the discipline of science, he stands before the rest of nature, with intrepid Oedipus eyes and sealed Odysseus ears, deaf to the siren songs of old metaphysical bird catchers who have been piping at him all too long, "you are more, you are higher, you are of a different origin" - that may be a strange and insane task, but it is a task - who would deny that? #Quote by Friedrich Nietzsche

#12. My husband, who's the greatest actor in the world, can do anything. Look at what he did in The Critic and Oedipus. In every role he gets-he did this in Richard the Third-there's nothing he can't do, nothing. Just nothing. #Quote by Vivien Leigh

#13. Even harder to admit is how depressed I was. As the social stigma of depression disappears, the aesthetic stigma increases. It's not just that depression has become fashionable to the point of banality. It's the sense that we live in a reductively binary culture: you're either healthy or you're sick, you either function or you don't. And if that flattening of the field of possibilities is precisely what's depressing you, you're inclined to resist participating in the flattening by calling yourself depressed. You decide that it's the world that's sick,, and that the resistance of refusing to function in such a world is healthy. You embrace what clinicians call "depressive realism." It's what the chorus in Oedipus Rex sings: "Alas, ye generations of men, how mere a shadow do I count your life! Where, where is the mortal who wins more of happiness than just the seeming, and, after the semblance, a falling away?" You are, after all, just protoplasm, and some day you'll be dead. The invitation to leave your depression behind, whether through medication or therapy or effort of will, seems like an invitation to turn your back on all your dark insights into the corruption and infantilism and selfdelusion of the brave new Me World. #Quote by Jonathan Franzen

#14. You, you'll see no more the pain I suffered, all the pain I caused! Too long you looked on the ones you never should have seen, blind to the ones you longed to see, to know! Blind from this hour on! Blind in the darkness-blind! #Quote by Sophocles

#15. Parnet: I want you to talk about desire. What is desire, exactly? Let's consider the question as simply as possible. When Anti-Oedipus...

Deleuze: It's not what they thought it was, in any case, not what they thought it was, even back then. Even, I mean, the most charming people who were... It was a big ambiguity, it was a big misunderstanding, or rather a little one, a little misunderstanding. I believe that we wanted to say something very simple. In fact, we had an enormous ambition, notably when one writes a book, we thought that we would say something new, specifically that one way or another, people who wrote before us didn't understand what desire meant. That is, in undertaking our task as philosophers, we were hoping to propose a new concept of desire. But, regarding concepts, people who don't do philosophy mustn't think that they are so abstract... On the contrary, they refer to things that are extremely simple, extremely concrete, we'll see this later... There are no philosophical concepts that do not refer to non-philosophical coordinates. It's very simple, very concrete. What we wanted to express was the simplest thing in the world. We wanted to say: up until now, you speak abstractly about desire because you extract an object that's presumed to be the object of your desire. So, one could say, I desire a woman, I desire to leave on a trip, I desire this, that. And we were saying something really very simple, simple, simple: You never desire someone or so #Quote by Gilles Deleuze

#16. The critical task of schizoanalysis, then, is to destroy the power of representation in all its many forms, including the Oedipus complex, the ego, religious and ethnic fanaticisms, patriotism, the debt to capital, and so on; the aim is to expunge belief from the unconscious altogether, to undo molar recoding as much as possible. #Quote by Eugene W. Holland

#17. I agree with Proust in this, he says, that books create their own silences in ways that friends rarely do. And the silence that grows palpable when one has finished a canto of Dante, he says, is quite different from the silence that grows palpable when one has reached the end of Oedipus at Colonus. The most terrible thing that has happened to people today, he says, is that they have grown frightened of silence. Instead of seeking it as a friend and as a source of renewal they now try in every way they can to shut it out ... the fear of silence is the fear of loneliness, he says, and the fear of loneliness is the fear of silence. People fear silence, he says, because they have lost the ability to trust the world to bring about renewal. Silence for them means only the recognition that they have been abandoned ... How can people find the strength to be happy if they are so terrified of silence? #Quote by Gabriel Josipovici

#18. The pain we inflict upon ourselves hurt most of all. #Quote by Sophocles

#19. Oedipus had to abandon his certainty, his clarity, and supposed insight in order to become aware of the dark ambiguity of the human condition. #Quote by Karen Armstrong

#20. The character and the play of Hamlet are central to any discussion of Shakespeare's work. Hamlet has been described as melancholic and neurotic, as having an Oedipus complex, as being a failure and indecisive, as well as being a hero, and a perfect Renaissance prince. These judgements serve perhaps only to show how many interpretations of one character may be put forward. 'To be or not to be' is the centre of Hamlet's questioning. Reasons not to go on living outnumber reasons for living. But he goes on living, until he completes his revenge for his father's murder, and becomes 'most royal', the true 'Prince of Denmark' (which is the play's subtitle), in many ways the perfection of Renaissance man.
Hamlet's progress is a 'struggle of becoming' - of coming to terms with life, and learning to accept it, with all its drawbacks and challenges. He discusses the problems he faces directly with the audience, in a series of seven soliloquies - of which 'To be or not to be' is the fourth and central one. These seven steps, from the zero-point of a desire not to live, to complete awareness and acceptance (as he says, 'the readiness is all'), give a structure to the play, making the progress all the more tragic, as Hamlet reaches his aim, the perfection of his life, only to die. #Quote by Ronald Carter

#21. What we were trying to do was take the notion of Greek tragedy, of fated and doomed people, and instead of these Olympian gods, indifferent, venal, selfish, hurling lightning bolts and hitting people in the ass for no reason - instead of those guys whipping it on Oedipus or Achilles, it's the postmodern institutions ... those are the indifferent gods. #Quote by David Simon

#22. OEDIPUS:
O, O, O, they will all come,
all come out clearly! Light of the sun, let me
look upon you no more after today!
I who first saw the light bred of a match
accursed, and accursed in my living
with them I lived with, cursed in my killing. #Quote by Sophocles

#23. Teaching English is (as professorial jobs go) unusually labor-intensive and draining. To do it well, you have to spend a lot of time coaching students individually on their writing and thinking. Strangely enough, I still had a lot of energy for this student-oriented part of the job. Rather, it was _books_ that no longer interested me, drama and fiction in particular. It was as though a priest, in midcareer, had come to doubt the reality of transubstantiation. I could still engage with poems and expository prose, but most fiction seemed the product of extremities I no longer wished to visit. So many years of Zen training had reiterated, 'Don't get lost in the drama of life,' and here I had to stand around in a classroom defending Oedipus. #Quote by Mary Rose O'Reilley

#24. The schizo knows how to leave: he has made departure into something as simple as being born or dying. But at the same time his journey is strangely stationary, in place. He does not speak of another world, he is not from another world: even when he is displacing himself in space, his is a journey in intensity, around the desiring-machine that is erected here and remains here. For here is the desert propagated by our world, and also the new earth, and the machine that hums, around which the schizos revolve, planets for a new sun. These men of desire - or do they not yet exist? - are like Zarathustra. They know incredible sufferings, vertigos, and sicknesses. They have their specters. They must reinvent each gesture. But such a man produces himself as a free man, irresponsible, solitary, and joyous, finally able to say and do something simple in his own name, without asking permission; a desire lacking nothing, a flux that overcomes barriers and codes, a name that no longer designates any ego whatever. He has simply ceased being afraid of becoming mad. He experiences and lives himself as the sublime sickness that will no longer affect him.. Here, what is, what would a psychiatrist be worth? #Quote by Deleuze Guattari

#25. The novelist is condemned to wander all his life. Homeless and blind like Oedipus he wanders until death. And so let us protect the novelist and adore him, with pity, honor, and love. #Quote by Roman Payne

#26. We have no idea any more what it means to feel guilty. The communists have the excuse that Stalin misled them, murdurers have the excuse that their mothers didn't love them. And suddenly you come out and say: there is no excuse. No one could be more innocent in his soul and conscience than Oedipus, and yet he punished himself when he saw what he had done. #Quote by Milan Kundera

#27. What creature goes on four feet in the morning, on two at noonday, on three in the evening?

Man. In childhood he creeps on hands and feet; in manhood he walks erect; in old age he helps himself with a staff. #Quote by Oedipus

#28. By the time Sami entered high school Mustafa had grudgingly accepted that the boy needed to know something of the patriarchs. For the sake of Sami's secular education he gulped back his discomfort. These Semitic myths, after all, were essential to the literary traditions Sami would study. So Mustafa delivered his interpretation of religious pre-history. He explained that, as with Oedipus or Achilles, there was psychopathic drama in the lives of the heroes, a drama in its essence no different from that of today's Speakers' Corner soapbox types, or of the schizophrenics following mysterious itineraries through the city's streets. The scriptural heroes heard the same internal mumblings and insinuations, but as they belonged to an epic age, with epic genres, these were granted mythic status. It was pre-psychological, pre-ironic. There was high seriousness everywhere, blowing out of the desert and rolling up from the sea. There was prophetic articulation of destiny. There was the terror of God's voice. #Quote by Robin Yassin-Kassab

#29. I keep coming back to it, over and over - adultery and cheating. It's the most interesting problem in the theater. How else do you get Oedipus? That's the first cheating in the theater. #Quote by Mike Nichols

#30. Someday you will murder your father and be with your mother, he said." Once I've spoken this, put this thought into concrete words, a hollow feeling grabs hold of me. And inside that hollow, my heart pounds out a vacant, metallic rhythm. Expression unchanged, Oshima gazes at me for a long time. "So he said that someday you would kill your father with your own hands, that you would sleep with your mother." I nod a few more times. "The same prophecy made about Oedipus. Though of course you knew that." I nod. "But that's not all. There's an extra ingredient he threw into the mix. I have a sister six years older than me, and my father said I would sleep with her, too." "Your father actually said this to you?" "Yeah. I was still in elementary school then, and didn't know what he meant by 'be with.' It was only a few years later that I caught on." Oshima doesn't say anything. "My father told me there was nothing I could do to escape this fate. That prophecy is like a timing device buried inside my genes, and nothing can ever change it. I will kill my father and be with my mother and sister. #Quote by Haruki Murakami

#31. The great discovery of psychoanalysis was that of the production of desire, of the production of the unconscious. But once Oedipus entered the picture, the discovery was soon buried beneath the new brand of idealism: a classical theater was substituted for the unconscious as a factory: representation was substituted for the units of production of the unconscious; and an unconscious that was capable of nothing but expressing itself – in myth, tragedy, dreams – was substituted for the productive unconscious #Quote by Gilles Deleuze

#32. The sexual wishes in regard to the mother become more intense and the father is perceived as an obstacle to the; this gives rise to the Oedipus complex. #Quote by Sigmund Freud

#33. so that it isn't upsetting to anybody. It's something we've always known about fairy tales – they talk about incest, the Oedipus complex, about psychotic mothers, like those of Snow White and Hansel and Gretel, who throw their children out. They tell things about life which children know instinctively, and the pleasure and relief lie in finding these things expressed in language that children can live with. You can't eradicate these feelings – they exist and they're a great source of creative inspiration. #Quote by Maurice Sendak

#34. We defend so cautiously against our egoically limited experiences, states Laing in The Politics of Experience, that it is not surprising to see people grow defensive and panic at the idea of experiencing ego-loss through the use of drugs or collective experiences. But there is nothing pathological about ego-loss, Laing adds; quite the contrary. Ego-loss is the experience of all mankind, "of the primal man, of Adam and perhaps even [a journey] further into the beings of animals, vegetables and minerals." No age, Laing concludes, has so lost touch with this healing process as has ours. Deleuze and Guattari's schizoanalytic approach serves to begin such a healing process. Its major task is to destroy the oedipalized and neuroticized individual dependencies through the forging of a collective subjectivity, a nonfascist subject - anti-Oedipus. Anti-Oedipus is an individual or a group that no longer functions in terms of beliefs and that comes to redeem mankind, as Nietzsche foresaw, not only from the ideals that weighed it down, "but also from that which was bound to grow out of it, the great nausea, the will to nothingness, nihilism; this bell-stroke of noon and of the great decision that liberates the will again and restores its goal to the earth and his hope to man; this Antichrist and antinihilist. . . He must come one day. - #Quote by Mark Seem

#35. The wisdom to recognize and halt follows the know-how to pollute past rescue. The treaty's signed, but the cancer ticks in your bones. Until I'd murdered my father and fornicated my mother I wasn't wise enough to see I was Oedipus. #Quote by John Barth

#36. Psychoanalytic investigation of the individual teaches with especial emphasis that god is in every case modelled after the father and that our personal relation to god is dependent upon our relation to our physical, fluctuating and changing with him, and that god at bottom is nothing but an exalted father. #Quote by Sigmund Freud

#37. In times of happiness, no point in shaking things up.
But in a time of crisis, the safest thing is change. #Quote by Seneca.

#38. of us is the Oedipus here? Which the Sphinx? It would seem to be a rendezvous of questions and notes of interrogation. And could it be believed that it at last seems to us as if the problem had never been propounded before, as if we were the first to discern it, get a sight of it, and RISK RAISING it? For there is risk in raising it, perhaps there is no greater risk. #Quote by Friedrich Nietzsche

#39. OEDIPUS:
Upon the murderer I invoke this curse-
whether he is one man and all unknown,
or one of many- may he wear out his life
in misery to miserable doom!
If with my knowledge he lives at my hearth
I pray that I myself may feel my curse.
On you I lay my charge to fulfill all this
for me, for the God, and for this land of ours destroyed and blighted, by the God forsaken. #Quote by Sophocles

#40. I was not interested in doing the plot of OEDIPUS in blackface. I did wonder, what would these people have been like if they hadn't been in that situation? ... One could look at Oedipus, or at my character Augustus, as a cynical schemer who did everything because he was hungry for power. But that's just too easy. I'm more interested in how humans can embody conflicting goals and emotions. #Quote by Rita Dove

#41. CHORUS:
You that live in my ancestral Thebes, behold this Oedipus,- him who knew the famous riddles and was a man most masterful; not a citizen who did not look with envy on his lot- see him now and see the breakers of misfortune swallow him!
Look upon that last day always. Count no mortal happy till he has passed the final limit of his life secure from pain. #Quote by Sophocles

#42. Psychoanalysts are bent on producing man abstractly, that is to say ideologically, for culture. It is Oedipus who produces man in this fashion and who gives a structure to the false movement of infinite progression and regression #Quote by Gilles Deleuze

#43. The pains we inflict upon ourselves hurt most most of all. #Quote by Sophocles

#44. Every time one can write a self-deluded song, you are way ahead of the game, way ahead. Self-delusion is the basis of nearly all the great scenes in all the great plays, from 'Oedipus' to 'Hamlet.' #Quote by Stephen Sondheim

#45. When Sir Arthur Conan Doyle conceived Sherlock Holmes, why didn't he give the famous consulting detective a few more quirks: a wooden leg, say, and an Oedipus complex? Well, Holmes didn't need many physical tics or personality disorders; the very concept of a consulting detective was still fresh and original in 1887. #Quote by Christopher Fowler

#46. I like violence because I like looking at it and I like understanding emotional and physical violence and how they work with one another ... It's operating in all these levels of hopefully - Oedipus is one of my favorite stories, that's like falling down a well when you read that - so that would be the hope, that each thing causes the next. #Quote by Kimberly Peirce

#47. The tragic fear and pity may be aroused by the Spectacle; but they may also be aroused by the very structure and incidents of the play - which is the better way and shows the better poet. The Plot in fact should be so framed that even without seeing the things take place, he who simply hears the account of them shall be filled with horror and pity at the incidents; which is just the effect that the mere recital of the story in Oedipus would have on one. To produce this same effect by means of the Spectacle is less artistic, and requires extraneous aid. #Quote by Aristotle.

#48. Truth was the last thing on my mind, and even if there was such a thing, I didn't want it in my house. Oedipus went looking for the truth and when he found it, it ruined him. It was a cruel horror of a joke. So much for the truth. I was gonna talk out of both sides of my mouth and what you heard depended on which side you were standing. If I ever did stumble on any truth, I was gonna sit on it and keep it down. #Quote by Bob Dylan

#49. Does the novel have to deepen the psychology of its heroes? Certainly the modern novel does, but the ancient legends did not do the same. Oedipus' psychology was deduced by Aeschylus or Freud, but the character is simply there, fixed in a pure and terribly disquieting state. #Quote by Umberto Eco