Oedipus Rex: Fate, Truth and Self-will/OEDIPUS REX : DESTIN, VERITE, ENTETEMENT
Bibliographic record
Abstract
Abstract: The myth of Sophocles's Oedipus Rex is revolved on the three interactive perspectives of fate, truth and self-will, making the play a most remarkable one in the fifth century Greece when all the plays focused on the manifestation of God's will under which man's behavior was undoubtedly directed. What gives the play its tragic intensity is not the horror it arouses of patricide or incest but the meaning of fate that God bestows to Oedipus in his endeavor of truth seeking. What's most important, it is the sentimental self-will of Oedipus that makes the play distinguished from other plays during the age of Sophocles' and makes him an outstanding figure in the fifth century Greek. Though Sophocles' plays could not detach themselves from the influence of religious requirement, namely, the divine will, a theme prevailing during his age, he endeavors to present a comparatively different approach of morality, a refusal to compromise of the hero's fate confined by god in literary works of the fifth century Greece. It seems that Sophocles employs the oracles not for the sake of worshipping the Gods, but rather, for the presentation of man's inner strength seeking truths about the conditions of life or about human character based on truth. Key words: fate, truth-seeking, self-will, oracle Resume: Le mystere d'Oedipus Rex de Sophocles reside dans les trois perspectives interactives : destin, verite et entetement, qui rendent ce drame l'un des plus remarquables du XVe siecle de la Grece ou toutes les pieces se consacraient a manifester la volonte de Dieu par laquelle le comportement de l'homme etait incontestablement guide. Ce qui donne a cette piece son intensite tragique, ce n'est pas la horreur de parricide ou d'inceste, mais le sens du destin que Dieu accorde a Oedipus dans sa recherche de verite. Ce qui est le plus important, c'est l'entetement sentimental d'Oedipus qui distingue cette piece des autre de l'epoque de Sophocles et le rend la plus celebre figure du XVe siecle de la Grece. Bien que les pieces de Sophocles ne puissent se detacher de l'influence de la demande religieuse, a savoir la volonte divine- un theme predominant de l'epoque, le dramaturge a cherche a presenter une approche relatively differente de la morale, un refus de faire le compromis sur le destin du heros determine par Dieu dans les ouvrages litteraires grecs du XVe siecle. Il semble que Sophocles emploie l'oracle non pour venerer Dieu, mais pour montrer la force interieure de l'homme dans la recherche de la verite sur les conditions de vie ou sur les caracteres humains bases sur la verite. Mots-Cles: destin, recherche de la verite, entetement, oracle PLAY OVERVIEW Some twelve years before the action of the play begins, Oedipus has been made King of Thebes ingratitude for his freeing the people from the pestilence brought on them by the presence of the riddling Sphinx. Since Laius, the former king, had shortly before been killed, Oedipus has been further honored by the hand of Queen Jocasta. Now another deadly pestilence is raging and the people have come to ask Oedipus to rescue them as before. The King has anticipated their need, however. Creon, Jocasta's brother, returns at the very moment from Apollo's oracle with the announcement that all will be well if Laius' murderer be found and cast from the city. In an effort to discover the murderer, Oedipus sends for the blind seer, Tiresias. Under protest the prophet names Oedipus himself as the criminal. Oedipus, outraged at the accusation, denounces it as a plot of Creon to gain the throne. Jocasta appears just in time to avoid a battle between the two men. Seers, she assured Oedipus, are not infallible. In proof, she cites the old prophecy that her son should kill his father and have children by his mother. She prevented its fulfillment, she confesses, by abandoning their infant son in the mountains. As for Laius, he had been killed by highwaymen years later at the junction of three roads on the route to Delphi. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.003 | 0.009 |
| Scholarly communication | 0.004 | 0.002 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.001 | 0.002 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".