text:
The best defense is a good offense
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All Harvester Products are war products... either for offense or defense. – United States Office for Emergency Management. War Production Board (c. 1942 – c. 1943.
"The best defense is a good offense" is an adage that has been applied to many fields of endeavor, including games and military combat. It is also known as the strategic offensive principle of war. Generally, the idea is that proactivity (a strong offensive action) instead of a passive attitude will preoccupy the opposition and ultimately hinder its ability to mount an opposing counterattack, leading to a strategic advantage.
Contents
[hide]
1 Military
2 Games
3 Business
4 See also
5 References
Military[edit]
George Washington wrote in 1799: "…make them believe, that offensive operations, often times, is the surest, if not the only (in some cases) means of defence".[1]
Mao Zedong opined that "the only real defense is active defense", meaning defense for the purpose of counter-attacking and taking the offensive.[2] Often success rests on destroying the enemy's ability to attack. This principle is paralleled in the writings of Machiavelli and Sun Tzu.[3]
Some martial arts emphasise attack over defense. Wing chun, for example, is a style of kung fu which uses the maxim: "The hand which strikes also blocks."
During World War I, Germany planned to attack France so as to quickly knock it out of the war, thereby reducing the Entente's numerical superiority and to free up German troops to head east and defeat Russia.
Games[edit]
In some board games, such as Risk, one's ability to build up armies depends on aggressively attacking so as to acquire territory; however, in Risk, luck in rolling the dice is the ultimate determining factor. Players who fail to do so, and concentrate instead on holding the line against enemy attack, will likely end up in a weak position. In-depth info argues that this adage does not always apply: "When the battle rages between two players one should put every ounce of power in the offense, but when several players are involved, the political element changes this dynamic."[4] In chess, one's ability to prevent enemy attacks often depends on maintaining the initiative – i.e., making a series of threats that the opponent must use his turns to parry, rather than launching his own attacks; thus, common tips used in conjunction with this adage are that the best way to upset your opponent’s plans is to become menacing and that the best way to stop an enemy threat to your own king is to attack his.
In sports such as football and basketball,[5] the adage is used to note that success can hinge on an effective offense that keeps the ball on the other team's side of the field, thus not only creating scoring opportunities but preventing the opposing team from scoring.
Business[edit]
The adage has also been applied in the intellectual property realm, in reference to patent trolls.[6]
See also[edit]
Preemptive war
Shock and awe
Deterrence theory
References[edit]
Jump up ^ https://founders.archives.gov/documents/Washington/06-04-02-0120
Jump up ^ The best defense is a good offense Archived July 8, 2008, at the Wayback Machine.
Jump up ^ The best defense is a good offense Archived May 28, 2009, at the Wayback Machine.
Jump up ^ "Risk! Strategy". Indepthinfo.com. Retrieved 2012-02-17.
Jump up ^ The best defense is a good offense
Jump up ^ "The Best Defense Is A Good Offense - Even In Patents". IP Thoughts. 2008-01-29. Retrieved 2012-02-17.
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_best_defense_is_a_good_offense&oldid=832118252"
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text:
Why'd You Come in Here Lookin' Like That
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"Why'd You Come in Here Lookin' Like That"
Single by Dolly Parton
from the album White Limozeen
B-side
"Wait 'Till I Get You Home"[1]
Released
May 6, 1989[2]
Genre
Country
Length
2:33
Label
Columbia
Songwriter(s)
Bob Carlisle and Randy Thomas
Producer(s)
Ricky Skaggs
Dolly Parton singles chronology
"Make Love Work"
(1988) Make Love Work1988 "Why'd You Come in Here Lookin' Like That"
(1989) Why'd You Come in Here Lookin' Like That1989 "Yellow Roses"
(1989) Yellow Roses1989
"Why'd You Come in Here Lookin' Like That" is a song written by Bob Carlisle and Randy Thomas, and recorded by American country music artist Dolly Parton. It was released in May 1989 as the first single from the album White Limozeen. The song was Parton's eighteenth number one on the country chart. The single went to number one for one week and spent a total of 20 weeks on the country chart.[1]
The song has also been recorded as a duet by Jill Johnson and Nina Persson, released on the 2007 Jill Johnson cover album Music Row,[3] which received much SR P4 airplay.
Contents
[hide]
1 Personnel
2 Chart performance
2.1 Year-end charts
3 References
4 External links
Personnel[edit]
Mark Casstevens, Steve Gibson, Albert Lee — guitar
Mike Brignardello — bass
Eddie Bayers — drums
Barry Beckett — piano
Jo-El Sonnier — Cajun accordion
Ricky Skaggs — acoustic guitar, mandolin, fiddle, triangle, harmony vocals
Curtis Young — harmony vocals[4]
Chart performance[edit]
Chart (1989)
Peak
position
Canada Country Tracks (RPM)[5] 1
US Hot Country Songs (Billboard)[6] 1
Year-end charts[edit]
Chart (1989)
Position
Canada Country Tracks (RPM)[7] 2
US Country Songs (Billboard)[8] 43
References[edit]
^ Jump up to: a b Whitburn, Joel (2008). Hot Country Songs 1944 to 2008. Record Research, Inc. pp. 315–317. ISBN 0-89820-177-2.
Jump up ^ "Singles Directory - Dolly Parton On-Line". Dollyon-line.webs.com. Retrieved 2012-03-15.
Jump up ^ Information at Svensk mediedatabas
Jump up ^ Dolly (Media notes). Dolly Parton. New York, New York: Sony Music Entertainmnent. 2009. p. 55. 88697 48086 2.
Jump up ^ "Top RPM Country Tracks: Issue 6395." RPM. Library and Archives Canada. August 7, 1989. Retrieved August 28, 2013.
Jump up ^ "Dolly Parton Chart History (Hot Country Songs)". Billboard.
Jump up ^ "RPM Top 100 Country Tracks of 1989". RPM. December 23, 1989. Retrieved August 28, 2013.
Jump up ^ "Best of 1989: Country Songs". Billboard. Prometheus Global Media. 1989. Retrieved August 28, 2013.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Cathy's Clown"
by Reba McEntire Billboard Hot Country Singles
number-one single
August 5, 1989 Succeeded by
"Timber, I'm Falling in Love"
by Patty Loveless
RPM Country Tracks
number-one single
August 7, 1989 Succeeded by
"Sunday in the South"
by Shenandoah
Preceded by
"Sunday in the South"
by Shenandoah RPM Country Tracks
number-one single
August 21, 1989 Succeeded by
"Timber, I'm Falling in Love"
by Patty Loveless
[hide]
v
t
e
Dolly Parton
Albums
Singles
Studio albums
Hello, I'm Dolly (1967)
Just Because I'm a Woman (1968)
In the Good Old Days (When Times Were Bad) (1969)
My Blue Ridge Mountain Boy (1969)
The Fairest of Them All (1970)
The Golden Streets of Glory (1971)
Joshua (1971)
Coat of Many Colors (1971)
Touch Your Woman (1972)
My Favorite Songwriter, Porter Wagoner (1972)
My Tennessee Mountain Home (1973)
Bubbling Over (1973)
Jolene (1974)
Love Is Like a Butterfly (1974)
The Bargain Store (1975)
Dolly (1975)
All I Can Do (1976)
New Harvest...First Gathering (1977)
Here You Come Again (1977)
Heartbreaker (1978)
Great Balls of Fire (1979)
Dolly, Dolly, Dolly (1980)
9 to 5 and Odd Jobs (1980)
Heartbreak Express (1982)
Burlap & Satin (1983)
The Great Pretender (1984)
Real Love (1985)
Rainbow (1987)
White Limozeen (1989)
Eagle When She Flies (1991)
Slow Dancing with the Moon (1993)
Something Special (1995)
Treasures (1996)
Hungry Again (1998)
The Grass Is Blue (1999)
Little Sparrow (2001)
Halos & Horns (2002)
For God and Country (2003)
Those Were The Days (2005)
Backwoods Barbie (2008)
Better Day (2011)
Blue Smoke (2014)
Pure & Simple (2016)
Compilations
As Long as I Love (1970)
The Best of Dolly Parton (1970)
Just the Way I Am (1972)
Mine (1973)
Best of Dolly Parton (1975)
Dolly Parton's Greatest Hits (1982)
Collector's Series (1985)
Think About Love (1986)
The Best There Is (1987)
Best of Dolly Parton, Vol. 3 (1987)
I Will Always Love You and Other Greatest Hits (1996)
Ultimate Dolly Parton (2003)
Singer, Songwriter & Legendary Performer (2006)
The Very Best of Dolly Parton (2007)
16 Biggest Hits (2007)
Playlist: The Very Best of Dolly Parton (2008)
Dolly (2009)
Exclusives
Precious Memories (1999)
Sha-Kon-O-Hey! Land of Blue Smoke (2009)
Collaborations
Just Between You And Me
Just the Two of Us
Always, Always
Porter Wayne and Dolly Rebecca
Once More
Two of a Kind
The Right Combination • Burning the Midnight Oil
Together Always
We Found It
Love & Music
Porter 'n' Dolly
Say Forever You'll Be Mine
Porter & Dolly
The Winning Hand
Trio
Honky Tonk Angels
Trio II
Songs
"Dumb Blonde"
"Mule Skinner Blues"
"Joshua"
"Coat of Many Colors"
"Touch Your Woman"
"My Tennessee Mountain Home"
"Jolene"
"I Will Always Love You"
"Love is Like a Butterfly
"The Bargain Store"
"The Seeker"
"We Used To"
"All I Can Do"
"Light of a Clear Blue Morning"
"Here You Come Again"
"Two Doors Down" / "It's All Wrong, But It's All Right"
"Heartbreaker"
"Baby I'm Burning"
"You're The Only One"
"Sweet Summer Lovin'"
"Starting Over Again"
"Old Flames Can't Hold a Candle to You"
"9 to 5"
"But You Know I Love You"
"The House of the Rising Sun"
"Single Women"
"Heartbreak Express"
"Hard Candy Christmas"
"Potential New Boyfriend"
"Save the Last Dance for Me"
"Tennessee Homesick Blues"
"Don't Call It Love"
"Real Love" (w/ Kenny Rogers)
"Think About Love"
"Tie Our Love (In a Double Knot)"
"We Had It All"
"The River Unbroken"
"Why'd You Come in Here Lookin' Like That"
"Yellow Roses"
"White Limozeen"
"Rockin' Years"
"Silver and Gold"
"Eagle When She Flies"
"Romeo"
"Little Sparrow"
"Better Get to Livin'"
"Together You and I"
Collaboration singles
"The Last Thing on My Mind"
"Please Don't Stop Loving Me"
"Say Forever You'll Be Mine"
"To Know Him Is to Love Him"
"Telling Me Lies"
"Those Memories of You"
"Wildflowers"
Guest singles
"Islands in the Stream" (w/ Kenny Rogers)
"Love Is Strange" (w/ Kenny Rogers)
"When I Get Where I'm Going" (w/ Brad Paisley)
Soundtracks
The Best Little Whorehouse in Texas
Rhinestone
Straight Talk
Live albums
A Real Live Dolly
Heartsongs: Live from Home
Live and Well
Live from London
An Evening With...Dolly Live!
Christmas albums
Once Upon a Christmas (w/ Kenny Rogers)
Home for Christmas
Children's albums
I Believe in You
Films
Hollywood to Dollywood
The Book Lady
For the Love of Dolly
Dolly Parton's Coat of Many Colors
Dolly Parton's Christmas of Many Colors: Circle of Love
Tours
Halos & Horns Tour
Hello, I'm Dolly Tour
The Vintage Tour
An Evening with Dolly Parton
Backwoods Barbie Tour
Better Day World Tour
Blue Smoke World Tour
Pure & Simple Tour
Theme parks
and attractions
Dollywood
Dollywood's Splash Country
Dolly Parton's Dixie Stampede
Related articles
Awards and nominations
Stella Parton
Rachel Dennison
Dollywood Foundation
Porter Wagoner and Dolly Parton discography
Just Because I'm a Woman: Songs of Dolly Parton
Book
Category
Retrieved from "https://en.wikipedia.org/w/index.php?title=Why%27d_You_Come_in_Here_Lookin%27_Like_That&oldid=824241292"
Categories:
1989 singles
Billboard Hot Country Songs number-one singles
Columbia Records singles
Jill Johnson songs
Dolly Parton songs
RPM Country Tracks number-one singles
Songs written by Bob Carlisle
1989 songs
Songs written by Randy Thomas (musician)
Song recordings produced by Ricky Skaggs
Hidden categories:
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text:
Zip-a-Dee-Doo-Dah
From Wikipedia, the free encyclopedia
This is the current revision of this page, as edited by Carptrash (talk | contribs) at 17:57, 30 July 2017 (→References: add category). The present address (URL) is a permanent link to this version.
Revision as of 17:57, 30 July 2017 by Carptrash (talk | contribs) (→References: add category)
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"Zip-a-Dee-Doo-Dah"
Song by James Baskett
Recorded
1946
Songwriter(s)
Composer: Allie Wrubel
Lyricist: Ray Gilbert
"Zip-a-Dee-Doo-Dah" is a song composed by Allie Wrubel with lyrics by Ray Gilbert from the Disney 1946 live action and animated movie Song of the South, sung by James Baskett.[1] For "Zip-a-Dee-Doo-Dah", the film won the Academy Award for Best Original Song[1] and was the second in a long line of Disney songs to win this award, after "When You Wish upon a Star" from Pinocchio (1940).[1] In 2004 it finished at number 47 in AFI's 100 Years...100 Songs survey of top tunes in American cinema.
For many years the song was part of an opening theme medley for the Wonderful World of Disney television program and it has often been used in other TV and video productions by the studio. It is one of many popular songs that features a bluebird ("Mr. Bluebird on my shoulder"), epitomized by the "Bluebird of Happiness," as a symbol of cheer.
The song is influenced by the chorus of the pre-Civil War folk song "Zip Coon", a "Turkey in the Straw" variation: "Zip a duden duden duden zip a duden day".[2] The term "Zip Coon" plays on a derogatory slang term for African Americans.[3]
Contents
[hide]
1 Bob B. Soxx & the Blue Jeans version
1.1 Track listings
1.2 Personnel
2 Johnny Mercer versions
3 References
Bob B. Soxx & the Blue Jeans version[edit]
"Zip-a-Dee-Doo-Dah"
Single by Bob B. Soxx & the Blue Jeans
from the album Zip-a-Dee-Doo-Dah
B-side
"Flip and Nitty"
Released
1962
Format
7"
Genre
Pop
Length
2:40
Label
Philles
Songwriter(s)
Allie Wrubel, Ray Gilbert
Producer(s)
Phil Spector
Bob B. Soxx & the Blue Jeans singles chronology
"Zip-a-Dee-Doo-Dah"
(1962) "Not Too Young to Get Married"
(1963)
"Zip-a-Dee-Doo-Dah"
(1962) "Not Too Young to Get Married"
(1963)
Bob B. Soxx & the Blue Jeans, a Phil Spector-produced American rhythm and blues trio from Los Angeles, recorded a cover version of "Zip-a-Dee-Doo-Dah" using the Wrecking Crew[4] in late 1962. According to the Beatles' George Harrison: "When Phil Spector was making 'Zip-A-Dee-Doo-Dah', the engineer who's set up the track overloaded the microphone on the guitar player and it became very distorted. Phil Spector said, 'Leave it like that, it's great.' Some years later everyone started to try to copy that sound and so they invented the fuzz box."[5] The song also marked the first time his Wall of Sound production formula was fully executed.[6]
Bob B. Soxx & the Blue Jeans took their version of the song to number 8 on the Billboard Hot 100 chart in 1963. Their song also peaked at number 45 in the UK Singles Chart the same year.[1] The song was included on the only album the group ever recorded, Zip-a-Dee-Doo-Dah, issued on the Philles Records label.
Track listings[edit]
"Zip-a-Dee-Doo-Dah" – 2:40
"Flp and Nitty" - 2:20
Personnel[edit]
[7][8]
Bobby Sheen – lead vocals
Darlene Love – background vocals
Fanita James – background vocals
Johnny Mercer versions[edit]
Johnny Mercer had a no. 8 hit with his rendition of the song in 1947.[9] As a result, Mercer had to correct listeners who mistakenly assumed that he wrote it.[10]
References[edit]
^ Jump up to: a b c d Brown, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 134. ISBN 1-904994-10-5.
Jump up ^ Emerson, Ken (1997). Doo-dah!: Stephen Foster and the Rise of American Popular Culture. New York: Simon & Schuster. p. 60. ISBN 978-0684810102.
Jump up ^ "Blackface!". black-face.com. Retrieved 24 December 2013.
Jump up ^ Hartman, Kent (2012). The Wrecking Crew: The Inside Story of Rock and Roll's Best-Kept Secret. Thomas Dunne. ISBN 031261974X.
Jump up ^ Runtagh, Jordan (April 13, 2015). "9 Beatles Songs That Clearly Influenced Heavy Metal". VH1.
Jump up ^ Buskin, Richard (April 2007). "CLASSIC TRACKS: The Ronettes 'Be My Baby'". Sound on Sound. Sound on Sound. Retrieved August 19, 2014.
Jump up ^ Clemente, John (2000). Girl Groups—Fabulous Females That Rocked The World. Iola, Wisc. Krause Publications. p. 27. ISBN 0-87341-816-6.
Jump up ^ Betrock, Alan (1982). Girl Groups The Story of a Sound (1st ed.). New York: Delilah Books. pgs. 120-122. ISBN 0-933328-25-7
Jump up ^ Johnny Mercer chart entries
Jump up ^ Gilliland, John (1994). Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s (audiobook). ISBN 978-1-55935-147-8. OCLC 31611854. Tape 3, side A.
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Oedipus Rex
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This article is about the play by Sophocles. For other uses, see Oedipus Rex (disambiguation).
Oedipus Rex
Louis Bouwmeester as Oedipus in a Dutch production of Oedipus Rex, c. 1896.
Written by
Sophocles
Chorus
Theban Elders
Characters
Oedipus
Priest
Creon
Tiresias
Jocasta
Messenger
Shepherd
Second Messenger
Mute
Daughters of Oedipus (Antigone and Ismene)
Date premiered
c. 429 BC
Place premiered
Theatre of Dionysus, Athens
Original language
Classical Greek
Series
Theban Plays
Genre
Tragedy
Setting
Thebes
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus (Ancient Greek: Οἰδίπους Τύραννος IPA: [oidípuːs týranːos]), or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC.[1] Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from another of Sophocles' plays, Oedipus at Colonus. In antiquity, the term “tyrant” referred to a ruler, but it did not necessarily have a negative connotation.[2][3][4]
Of his three Theban plays that have survived, and that deal with the story of Oedipus, Oedipus Rex was the second to be written. However, in terms of the chronology of events that the plays describe, it comes first, followed by Oedipus at Colonus and then Antigone.
Prior to the start of Oedipus Rex, Oedipus has become the king of Thebes while unwittingly fulfilling a prophecy that he would kill his father, Laius (the previous king), and marry his mother, Jocasta (whom Oedipus took as his queen after solving the riddle of the Sphinx). The action of Sophocles' play concerns Oedipus' search for the murderer of Laius in order to end a plague ravaging Thebes, unaware that the killer he is looking for is none other than himself. At the end of the play, after the truth finally comes to light, Jocasta hangs herself while Oedipus, horrified at his patricide and incest, proceeds to gouge out his own eyes in despair.
Oedipus Rex is regarded by many scholars as the masterpiece of ancient Greek tragedy. In his Poetics, Aristotle refers several times to the play in order to exemplify aspects of the genre.[5][6]
Contents
1 Background
2 Plot
3 Relationship with mythic tradition
4 Reception
5 Themes and motifs
5.1 Fate, free will, or tragic flaw
5.2 State control
5.3 Sight and blindness
6 Sigmund Freud
7 Adaptations
7.1 Film versions
7.2 TV/Radio versions
7.3 Parodies
8 See also
9 Notes
10 Translations
11 Additional references
12 External links
Background[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2016) (Learn how and when to remove this template message)
Painting by Jean-Auguste-Dominique Ingres depicting Oedipus after he solves the riddle of the Sphinx.[7] The Walters Art Museum.
Many parts or elements of the myth of Oedipus occur before the opening scene of the play, although some are alluded to in the text. Oedipus is the son of Laius and Jocasta, the king and queen of Thebes. The misfortunes of his house are the result of a curse laid upon his father for violating the sacred laws of hospitality. In his youth, Laius was the guest of Pelops, the king of Elis, and he became the tutor of Chrysippus, the king's youngest son, in chariot racing. Laius seduced or abducted and raped Chrysippus, who according to some versions, killed himself in shame. This murder cast a doom over Laius and all of his descendants (although many scholars regard Laius' transgressions against Chrysippus to be a late addition to the myth).
When his son is born, the king consults an oracle as to his fortune. To his horror, the oracle reveals that Laius "is doomed to perish by the hand of his own son". Laius binds the infant's feet together with a pin, and orders Jocasta to kill him. Unable to kill her own son, Jocasta orders a servant to slay the infant for her. The servant then exposes the infant on a mountaintop, where he is found and rescued by a shepherd (in some versions, the servant gives the infant to the shepherd). The shepherd names the child Oedipus, "swollen feet", as his feet had been tightly bound by Laius. The shepherd brings the infant to Corinth, and presents him to the childless king Polybus, who raises Oedipus as his own son.
As he grows to manhood, Oedipus hears a rumour that he is not truly the son of Polybus and his wife, Merope. He asks the Delphic Oracle who his parents really are. The Oracle seems to ignore this question, telling him instead that he is destined to "mate with [his] own mother, and shed/With [his] own hands the blood of [his] own sire". Desperate to avoid this terrible fate, Oedipus, who still believes that Polybus and Merope are his true parents, leaves Corinth for the city of Thebes.
On the road to Thebes, Oedipus encounters Laius and his retainers, and the two quarrel over whose chariot has the right of way. The Theban king moves to strike the insolent youth with his sceptre, but Oedipus, unaware that Laius is his true father, throws the old man down from his chariot, killing him. Thus, Laius is slain by his own son, and the prophecy that the king had sought to avoid by exposing Oedipus at birth is fulfilled.
Before arriving at Thebes, Oedipus encounters the Sphinx, a legendary beast with the head and breast of a woman, the body of a lioness, and the wings of an eagle. The Sphinx was sent to the road approaching Thebes as a punishment from the gods, and would strangle any traveler who failed to answer a certain riddle. The precise riddle asked by the Sphinx varied in early traditions, and is not stated in Oedipus Rex, as the event precedes the play; but the most widely-known version is, "what is the creature that walks on four legs in the morning, two legs at noon, and three in the evening?" Oedipus correctly guesses, "man", who crawls on all fours as an infant, walks upright in maturity, and leans on a stick in old age. Bested by the prince, the Sphinx throws herself from a cliff, thereby ending the curse.[8] Oedipus' reward for freeing Thebes from the Sphinx is its kingship, and the hand of the dowager queen, Jocasta; none then realize that Jocasta is Oedipus' true mother.[9] Thus, unknown to all of the characters, the prophecy has been fulfilled.
Plot[edit]
P. Oxy. 1369, a fragmentary papyrus copy of Oedipus Rex, 4th century BC.
Oedipus, King of Thebes, sends his brother-in-law, Creon, to ask advice of the oracle at Delphi, concerning a plague ravaging Thebes. Creon returns to report that the plague is the result of religious pollution, since the murderer of their former king, Laius, has never been caught. Oedipus vows to find the murderer and curses him for causing the plague.
Oedipus summons the blind prophet Tiresias for help. When Tiresias arrives he claims to know the answers to Oedipus's questions, but refuses to speak, instead telling him to abandon his search. Oedipus is enraged by Tiresias' refusal, and verbally accuses him of complicity in Laius' murder. Outraged, Tiresias tells the king that Oedipus himself is the murderer ("You yourself are the criminal you seek"). Oedipus cannot see how this could be, and concludes that the prophet must have been paid off by Creon in an attempt to undermine him. The two argue vehemently, as Oedipus mocks Tiresias' lack of sight, and Tiresias in turn tells Oedipus that he himself is blind. Eventually Tiresias leaves, muttering darkly that when the murderer is discovered he shall be a native citizen of Thebes, brother and father to his own children, and son and husband to his own mother.
Creon arrives to face Oedipus's accusations. The King demands that Creon be executed; however, the chorus persuades him to let Creon live. Jocasta enters and attempts to comfort Oedipus, telling him he should take no notice of prophets. As proof, she recounts an incident in which she and Laius received an oracle which never came true. The prophecy stated that Laius would be killed by his own son; however, Jocasta reassures Oedipus by her statement that Laius was killed by bandits at a crossroads on the way to Delphi.
The mention of this crossroads causes Oedipus to pause and ask for more details. He asks Jocasta what Laius looked like, and Oedipus suddenly becomes worried that Tiresias's accusations were true. Oedipus then sends for the one surviving witness of the attack to be brought to the palace from the fields where he now works as a shepherd.
Jocasta, confused, asks Oedipus what the matter is, and he tells her. Many years ago, at a banquet in Corinth, a man drunkenly accused Oedipus of not being his father's son. Oedipus went to Delphi and asked the oracle about his parentage. Instead of answers he was given a prophecy that he would one day murder his father and sleep with his mother. Upon hearing this he resolved to leave Corinth and never return. While traveling he came to the very crossroads where Laius was killed, and encountered a carriage which attempted to drive him off the road. An argument ensued and Oedipus killed the travelers, including a man who matches Jocasta's description of Laius. Oedipus has hope, however, because the story is that Laius was murdered by several robbers. If the shepherd confirms that Laius was attacked by many men, then Oedipus is in the clear.
A man arrives from Corinth with the message that Oedipus's father has died. Oedipus, to the surprise of the messenger, is made ecstatic by this news, for it proves one half of the prophecy false, for now he can never kill his father. However, he still fears that he may somehow commit incest with his mother. The messenger, eager to ease Oedipus's mind, tells him not to worry, because Merope was not in fact his real mother.
It emerges that this messenger was formerly a shepherd on Mount Cithaeron, and that he was given a baby, which the childless Polybus then adopted. The baby, he says, was given to him by another shepherd from the Laius household, who had been told to get rid of the child. Oedipus asks the chorus if anyone knows who this man was, or where he might be now. They respond that he is the same shepherd who was witness to the murder of Laius, and whom Oedipus had already sent for. Jocasta, who has by now realized the truth, desperately begs Oedipus to stop asking questions, but he refuses and Jocasta runs into the palace.
When the shepherd arrives Oedipus questions him, but he begs to be allowed to leave without answering further. However, Oedipus presses him, finally threatening him with torture or execution. It emerges that the child he gave away was Laius's own son, and that Jocasta had given the baby to the shepherd to secretly be exposed upon the mountainside. This was done in fear of the prophecy that Jocasta said had never come true: that the child would kill his father.
Everything is at last revealed, and Oedipus curses himself and fate before leaving the stage. The chorus laments how even a great man can be felled by fate, and following this, a servant exits the palace to speak of what has happened inside. When Jocasta enters the house, she runs to the palace bedroom and hangs herself there. Shortly afterward, Oedipus enters in a fury, calling on his servants to bring him a sword so that he might cut out his mother's womb. He then rages through the house, until he comes upon Jocasta's body. Giving a cry, Oedipus takes her down and removes the long gold pins that held her dress together, before plunging them into his own eyes in despair.
A blind Oedipus now exits the palace and begs to be exiled as soon as possible. Creon enters, saying that Oedipus shall be taken into the house until oracles can be consulted regarding what is best to be done. Oedipus's two daughters (and half-sisters), Antigone and Ismene, are sent out, and Oedipus laments their having been born to such a cursed family. He asks Creon to watch over them and Creon agrees, before sending Oedipus back into the palace.
On an empty stage the chorus repeat the common Greek maxim, that no man should be considered fortunate until he is dead.[10]
Relationship with mythic tradition[edit]
The two cities of Troy and Thebes were the major focus of Greek epic poetry. The events surrounding the Trojan War were chronicled in the Epic Cycle, of which much remains, and those about Thebes in the Theban Cycle, which have been lost. The Theban Cycle recounted the sequence of tragedies that befell the house of Laius, of which the story of Oedipus is a part.
Homer's Odyssey (XI.271ff.) contains the earliest account of the Oedipus myth when Odysseus encounters Jocasta (named Epicaste) in the underworld. Homer briefly summarises the story of Oedipus, including the incest, patricide, and Jocasta's subsequent suicide. However, in the Homeric version, Oedipus remains King of Thebes after the revelation and neither blinds himself, nor is sent into exile. In particular, it is said that the gods made the matter of his paternity known, whilst in Oedipus the King, Oedipus very much discovers the truth himself.[11]
In 467 BC, Sophocles's fellow tragedian Aeschylus won first prize at the City Dionysia with a trilogy about the House of Laius, comprising Laius, Oedipus and Seven against Thebes (the only play which survives). Since he did not write connected trilogies as Aeschylus did, Oedipus Rex focuses on the titular character while hinting at the larger myth obliquely, which was already known to the audience in Athens at the time.
Reception[edit]
Bénigne Gagneraux, The Blind Oedipus Commending his Children to the Gods
The trilogy containing Oedipus Rex took second prize in the City Dionysia at its original performance. Aeschylus's nephew Philocles took first prize at that competition.[12] However, in his Poetics, Aristotle considered Oedipus Rex to be the tragedy which best matched his prescription for how drama should be made.[13]
Many modern critics agree with Aristotle on the quality of Oedipus Rex, even if they don't always agree on the reasons. For example, Richard Claverhouse Jebb claimed that "The Oedipus Tyrannus is in one sense the masterpiece of Attic tragedy. No other shows an equal degree of art in the development of the plot; and this excellence depends on the powerful and subtle drawing of the characters."[14] Cedric Whitman noted that "the Oedipus Rex passes almost universally for the greatest extant Greek play..."[15] Whitman himself regarded the play as "the fullest expression of this conception of tragedy," that is the conception of tragedy as a "revelation of the evil lot of man," where a man may have "all the equipment for glory and honor" but still have "the greatest effort to do good" end in "the evil of an unbearable self for which one is not responsible.[16] Edith Hall referred to Oedipus the King as "this definitive tragedy" and notes that "the magisterial subtlety of Sophocles' characterization thus lend credibility to the breathtaking coincidences," and notes the irony that "Oedipus can only fulfill his exceptional god-ordained destiny because Oedipus is a preeminently capable and intelligent human being."[17] H. D. F. Kitto said about Oedipus Rex that "it is true to say that the perfection of its form implies a world order," although Kitto notes that whether or not that world order "is beneficent, Sophocles does not say."[18]
The science revolution attributed to Thales began gaining political force, and this play offered a warning to the new thinkers. Kitto interprets the play as Sophocles' retort to the sophists, by dramatizing a situation in which humans face undeserved suffering through no fault of their own, but despite the apparent randomness of the events, the fact that they have been prophesied by the gods implies that the events are not random, despite the reasons being beyond human comprehension.[19] Through the play, according to Kitto, Sophocles declares "that it is wrong, in the face of the incomprehensible and unmoral, to deny the moral laws and accept chaos. What is right is to recognize facts and not delude ourselves. The universe is a unity; if, sometimes, we can see neither rhyme nor reason in it we should not suppose it is random. There is so much that we cannot know and cannot control that we should not think and behave as if we do know and can control.[19]
Themes and motifs[edit]
Fate, free will, or tragic flaw[edit]
Fate is a theme that often occurs in Greek writing, tragedies in particular. The idea that attempting to avoid an oracle is the very thing which brings it about is a common motif in many Greek myths, and similarities to Oedipus can for example be seen in the myth of the birth of Perseus.
Two oracles in particular dominate the plot of Oedipus Rex. In lines 711 to 714, Jocasta relates the prophecy that was told to Laius before the birth of Oedipus. Namely:
(The oracle) told him
that it was his fate that he should die a victim
at the hands of his own son, a son to be born
of Laius and me.
The oracle told to Laius tells only of the patricide; the incest is missing. Prompted by Jocasta's recollection, Oedipus reveals the prophecy which caused him to leave Corinth (791-93):
that I was fated to lie with my mother,
and show to daylight an accursed breed
which men would not endure, and I was doomed
to be murderer of the father that begot me.
The implication of Laius's oracle is ambiguous. One interpretation considers that the presentation of Laius's oracle in this play differs from that found in Aeschylus's Oedipus trilogy produced in 467 BC. Helaine Smith argues:
Sophocles had the option of making the oracle to Laius conditional (if Laius has a son, that son will kill him) or unconditional (Laius will have a son who will kill him). Both Aeschylus and Euripides write plays in which the oracle is conditional; Sophocles ... chooses to make Laius's oracle unconditional and thus removes culpability for his sins from Oedipus, for he could not have done other than what he did, no matter what action he took.[20][21]
This interpretation is supported by Jocasta's repetition of the oracle at lines 854–55: "Loxias declared that the king should be killed by/ his own son." In the Greek, Jocasta uses the verb chrênai: "to be fated, necessary." This iteration of the oracle seems to suggest that it was unconditional and inevitable. Other scholars have nonetheless argued that Sophocles follows tradition in making Laius's oracle conditional, and thus avoidable. They point to Jocasta's initial disclosure of the oracle at lines 711–14. In the Greek, the oracle cautions: hôs auton hexoi moira pros paidos thanein/ hostis genoit emou te kakeinou para. The two verbs in boldface indicate what is called a "future more vivid" condition: if a child is born to Laius, his fate to be killed by that child will overtake him.[22]
Whatever the meaning of Laius's oracle, the one delivered to Oedipus is clearly unconditional. Given our modern conception of fate and fatalism, readers of the play have a tendency to view Oedipus as a mere puppet controlled by greater forces, a man crushed by the gods and fate for no good reason. This, however, is not an entirely accurate reading. While it is a mythological truism that oracles exist to be fulfilled, oracles do not cause the events that lead up to the outcome. In his landmark essay "On Misunderstanding the Oedipus Rex",[23] E.R. Dodds draws a comparison with Jesus's prophecy at the Last Supper that Peter would deny him three times. Jesus knows that Peter will do this, but readers would in no way suggest that Peter was a puppet of fate being forced to deny Christ. Free will and predestination are by no means mutually exclusive, and such is the case with Oedipus.
The oracle delivered to Oedipus what is often called a "self-fulfilling prophecy", in that the prophecy itself sets in motion events that conclude with its own fulfilment.[24] This, however, is not to say that Oedipus is a victim of fate and has no free will. The oracle inspires a series of specific choices, freely made by Oedipus, which lead him to kill his father and marry his mother. Oedipus chooses not to return to Corinth after hearing the oracle, just as he chooses to head toward Thebes, to kill Laius, to marry and to take Jocasta specifically as his bride; in response to the plague at Thebes, he chooses to send Creon to the Oracle for advice and then to follow that advice, initiating the investigation into Laius's murder. None of these choices are predetermined.
Oedipus and Antigone, by Charles Jalabert.
Another characteristic of oracles in myth is that they are almost always misunderstood by those who hear them; hence Oedipus's misunderstanding the significance of the Delphic Oracle. He visits Delphi to find out who his real parents are and assumes that the Oracle refuses to answer that question, offering instead an unrelated prophecy which forecasts patricide and incest. Oedipus's assumption is incorrect, the Oracle does, in a way, answer his question:
"On closer analysis the oracle contains essential information which Oedipus seems to neglect." The wording of the Oracle: I was doomed to be murderer of the father that begot me refers to Oedipus' real, biological father. Likewise the mother with polluted children is defined as the biological one. The wording of the drunken guest on the other hand: you are not your father's son defines Polybus as only a foster father to Oedipus. The two wordings support each other and point to the "two set of parents" alternative. Thus the question of two set of parents, biological and foster, is raised. Oedipus's reaction to the Oracle is irrational: he states he did not get any answer and he flees in a direction away from Corinth, showing that he firmly believed at the time that Polybus and Merope are his real parents.
"The scene with the drunken guest constitutes the end of Oedipus' childhood. … he can no longer ignore a feeling of uncertainty about his parentage. However, after consulting the Oracle this uncertainty disappears, strangely enough, and is replaced by a totally unjustified certainty that he is the son of Merope and Polybus. We have said that this irrational behaviour - his hamartia in Aristotle's sense - is due to the repression of a whole series of thoughts in his consciousness, in fact everything that referred to his earlier doubts about his parentage.[25]
State control[edit]
The exploration of this theme in Oedipus Rex is paralleled by the examination of the conflict between the individual and the state in Antigone. The dilemma that Oedipus faces here is similar to that of the tyrannical Creon: each man has, as king, made a decision that his subjects question or disobey; each king also misconstrues both his own role as a sovereign and the role of the rebel. When informed by the blind prophet Tiresias that religious forces are against him, each king claims that the priest has been corrupted. It is here, however, that their similarities come to an end: while Creon, seeing the havoc he has wreaked, tries to amend his mistakes, Oedipus refuses to listen to anyone.[26]
Sight and blindness[edit]
Literal and metaphorical references to eyesight appear throughout Oedipus Rex. Clear vision serves as a metaphor for insight and knowledge, but the clear-eyed Oedipus is blind to the truth about his origins and inadvertent crimes. The prophet Tiresias, on the other hand, although literally blind, "sees" the truth and relays what is revealed to him. "Though Oedipus' future is predicted by the gods, even after being warned by Tiresias, he cannot see the truth or reality beforehand because his excessive pride has blinded his vision…"[27] Only after Oedipus has physically blinded himself does he gain a limited prophetic ability, as seen in Oedipus at Colonus. It is deliberately ironic that the "seer" can "see" better than Oedipus, despite being blind. In one line (Oedipus the king, 469), Tiresias says:
"So, you mock my blindness? Let me tell you this. You [Oedipus] with your precious eyes, you're blind to the corruption of your life ..." (Robert Fagles 1984)
Sigmund Freud[edit]
A Greek amphora depicting Oedipus and the Sphinx, circa 450 BC.
Sigmund Freud in Interpretation of Dreams wrote a notable passage regarding of the destiny of Oedipus as well as the Oedipus complex. He analyzes why this play, Oedipus Rex, written in Ancient Greece, is so effective even to a modern audience. Freud says,
His destiny moves us only because it might have been ours — because the oracle laid the same curse upon us before our birth as upon him. It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. Our dreams convince us that this is so.”[28]
In the same book, Freud indicates, however, that the “primordial urges and fears” that are his concern are not found primarily in the play by Sophocles, but exist in the myth the play is based on; he refers to the play as a “further modification of the legend”, one that originates in a “misconceived secondary revision of the material, which has sought to exploit it for theological purposes.”[29][30][31]
Adaptations[edit]
Film versions[edit]
The play has been filmed several times, twice in English.
The 1957 film version, directed by Tyrone Guthrie, starred Douglas Campbell as Oedipus and had the cast performing the entire play in masks, as in ancient Greek theatre.
The second English language film version, directed by Philip Saville and released in 1968, was filmed in Greece. This one showed the actors' faces and boasted an all-star cast, including Christopher Plummer as Oedipus, Lilli Palmer as Jocasta, Orson Welles as Tiresias, Richard Johnson as Creon, Roger Livesey as the Shepherd, and Donald Sutherland as the Leading Member of the Chorus. Sutherland's voice, however, was dubbed by another actor. The film went a step further than the play, however, by actually showing, in flashback, the murder of Laius (Friedrich Ledebur). It also showed Oedipus and Jocasta in bed together, making love. Made in 1968, this film was not seen in Europe and the U.S. until the 1970s and 1980s after legal release and distribution rights were granted to video and TV.
In 1967 Pier Paolo Pasolini directed Edipo Re, a modern interpretation of the play. Toshio Matsumoto's 1969 film, Funeral Parade of Roses, is a loose adaptation of the play and an important work of the Japanese New Wave. In Colombia, writer Gabriel García Márquez adapted the story in Edipo Alcalde, bringing it to the real Colombian situation.
TV/Radio versions[edit]
Michael Pennington starred as Oedipus with Claire Bloom as Jocasta, Sir John Gielgud as Tiresias and John Shrapnel as Creon in Don Taylor's 1986 translation/adaptation of the play, which formed part of the BBC's The Theban Plays trilogy.
In 1977, CBS Radio Mystery Theater broadcast a version of the story called "So Shall Ye Reap", set in what was then the US Territory of New Mexico in 1851.
Other television Oedipus's include Christopher Plummer (1957), Ian Holm (1972) and Patrick Stewart (1977).
In 2017, BBC Radio 3 broadcast a production of Anthony Burgess' translation of the play with Christopher Eccleston as Oedipus and Fiona Shaw as Tiresias/Second Elder. John Shrapnel, who starred as Creon in the 1986 BBC television version, played The First Elder.
Parodies[edit]
Chrysanthos Mentis Bostantzoglou makes a parody of this tragedy in his comedy Medea (1993).[32]
In episode ten of the second season of 'CNNNN', an Australian satirical television program made by The Chaser, a short animation in the style of a Disney movie trailer, complete with jaunty music provided by Andrew Hansen, parodies Oedipus Rex. [33] Apart from being advertised as "Fun for the whole family", the parody is also mentioned at other times during that same episode, such as in a satirical advertisement in which orphans are offered a free "Oedipus Rex ashes urn" as a promotional offer after losing a relative.[34]
See also[edit]
Incest
Lille Stesichorus, a papyrus fragment of an alternative version by the lyric poet Stesichorus
Oedipus
Oedipus complex
Patricide
Notes[edit]
Jump up ^ Although Sophocles won second prize with the group of plays that included Oedipus Rex, its date of production is uncertain. The prominence of the Theban plague at the play's opening suggests to many scholars a reference to the plague that devastated Athens in 430 BC, and hence a production date shortly thereafter. See, for example, Knox, Bernard (1956). "The Date of the Oedipus Tyrannus of Sophocles". American Journal of Philology. 77 (2): 133–147. JSTOR 292475.
Jump up ^ Bridgewater, William, ed. "tyrant". The Columbia Encyclopedia. Columbia University Press. (1963) p. 2188
Jump up ^ Lloyd-Jones, Hugh. Introduction and trans. Sophocles: Ajax, Electra, Oedipus Tyrannus. By Sophocles. Loeb Classical Library ser. vol. 20. Harvard University Press. ISBN 978-0674995574.
Jump up ^ Mulroy, David. trans. “Introduction”. Sophocles, Oedipus Rex. Univ of Wisconsin Press, (2011) ISBN 9780299282530. p. xxviii
Jump up ^ Aristotle: Poetics. Edited and translated by St. Halliwell, (Loeb Classical Library), Harvard 1995
Jump up ^ Belfiore, Elizabeth (1992). Tragic Pleasures: Aristotle on Plot and Emotion. Princeton. p. 176.
Jump up ^ "Oedipus and the Sphinx". The Walters Art Museum.
Jump up ^ Ahl, Frederick. Two Faces of Oedipus: Sophocles' Oedipus Tyrannus and Seneca's Oedipus. Cornell University Press, 2008. page 1. ISBN 9780801473975.
Jump up ^ Johnston, Ian. "Background Notes", Vancouver Island University
Jump up ^ Herodotus, in his Histories (Book 1.32), attributes this maxim to the 6th-century Athenian statesman Solon.
Jump up ^ Dawe, R.D. ed. 2006 Sophocles: Oedipus Rex, revised edition. Cambridge : Cambridge University Press. p.1
Jump up ^ Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. p. 1. ISBN 978-0-313-33268-5.
Jump up ^ Thomas, J.E. & Osborne, E. (2004). Oedipus Rex: Literary Touchstone Edition. Prestwick House Inc. p. 69. ISBN 978-1-58049-593-6.
Jump up ^ Jebb, R.C. The Oedipus Tyrannus. p. v. ISBN 978-1-4460-3178-0.
Jump up ^ Whitman, C. (1951). Sophocles. Harvard University Press. p. 123.
Jump up ^ Whitman, C. (1951). Sophocles. Harvard University Press. p. 143.
Jump up ^ Hall, E. (1994). "Introduction". Sophocles: Antigone, Oedipus the King, Electra. Oxford University Press. pp. xix–xxii. ISBN 0-19-282922-X.
Jump up ^ Kitto, H.D.F (1966). Greek Tragedy. Routledge. p. 144. ISBN 0-415-05896-1.
^ Jump up to: a b Kitto, H.D.F (1966). Poiesis. University of California Press. pp. 236–242.
Jump up ^ Smith, Helaine (2005). Masterpieces of Classic Greek Drama. Greenwood. p. 82. ISBN 978-0-313-33268-5.
Jump up ^ See Dodds 1966; Mastronarde 1994, 19; Gregory 2005, 323.
Jump up ^ Thus Sir Richard Jebb in his commentary. Cf. Jeffrey Rusten's 1990 commentary.
Jump up ^ Greece & Rome, 2nd Ser., Vol. 13, No. 1 (Apr., 1966), pp. 37–49
Jump up ^ Strictly speaking, this is inaccurate: Oedipus himself sets these events in motion when he decides to investigate his parentage against the advice of Polybus and Merope.
Jump up ^ Brunner M. "King Oedipus Retried" Rosenberger & Krausz, London, 2001. ISBN 0-9536219-1-X
Jump up ^ Sophocles. Sophocles I: Oedipus the King, Oedipus at Colonus, Antigone. 2nd ed. Grene, David and Lattimore, Richard, eds. Chicago: University of Chicago, 1991.[clarification needed]
Jump up ^ Ziaul Haque, Md. & Kabir Chowdhury, Fahmida. "The Concept of Blindness in Sophocles' King Oedipus and Arthur Miller's Death of a Salesman", "Archived copy". Archived from the original on 2014-05-25. Retrieved 2015-04-01. , International Journal of Applied Linguistics & English Literature, vol. 2, no. 3; 2013, p. 118, Retrieved on April 01, 2015.
Jump up ^ Freud, Sigmund. The Interpretation of Dreams. Basic Books. 978-0465019779 (2010) page 279-280
Jump up ^ Freud, Sigmund. The Interpretation of Dreams. Basic Books. 978-0465019779 (2010) page 247
Jump up ^ Fagles, Robert, “Introduction”. Sophocles. The Three Theban Plays. Penguin Classics (1984) ISBN 978-0140444254. page 132
Jump up ^ Dodds, E. R. “On Misunderstanding the Oedipus Rex”. The Ancient Concept of Progress. Oxford Press. (1973) ISBN 978-0198143772. page 70
Jump up ^ Kaggelaris, N. (2016), "Sophocles' Oedipus in Mentis Bostantzoglou's Medea" [in Greek] in Mastrapas, A. N. - Stergioulis, M. M. (eds.) Seminar 42: Sophocles the great classic of tragedy , Athens: Koralli, pp. 74- 81 [1]
Jump up ^ The Chaser Archive (2011-10-13), CNNNN - Season 2 Episode 10, retrieved 2018-02-14
Jump up ^ The Chaser Archive (2011-10-13), CNNNN - Season 2 Episode 10, retrieved 2018-02-14
Translations[edit]
Thomas Francklin, 1759 – verse
Edward H. Plumptre, 1865 – verse: full text at Wikisource, rev. edition of 1878
Richard C. Jebb, 1904 – prose: full text at Wikisource
Gilbert Murray, 1911 – verse
Francis Storr, 1912 – verse: full text
W. B. Yeats, 1928 – mixed prose and verse
David Grene, 1942 (revised ed. 1991) – verse
E. F. Watling, 1947 – verse
Dudley Fitts and Robert Fitzgerald, 1949 – verse
F. L. Lucas, 1954 — verse
Theodore Howard Banks, 1956 – verse
Albert Cook, 1957 – verse
Bernard Knox, 1959 – prose
H. D. F. Kitto, 1962 – verse
Anthony Burgess, 1972 - prose and verse
Stephen Berg and Diskin Clay – verse
Robert Bagg, 1982 (revised ed. 2004) – verse
Sophocles (1984) The Three Theban Plays: Antigone; Oedipus the King; Oedipus at Colonus, Translated by Robert Fagles. Penguin classics. ISBN 9781101042694
Don Taylor, 1986 - prose
Nick Bartel, 1999 – verse: abridged text
Kenneth McLeish, 2001 - Verse
Luci Berkowitz and Theodore F. Brunner, 1970 – prose
Ian Johnston, 2004 – verse: full text
George Theodoridis, 2005 – prose: full text
J. E. Thomas, 2006 - verse
David Mulroy, 2011 – verse
Rachel Pollack and David Vine, 2011 - verse
Additional references[edit]
Brunner, M. "King Oedipus Retried" Rosenberger & Krausz, London, 2001
Foster, C. Thomas. "How to Read Literature Like a Professor" HarperCollins, New York, 2003
External links[edit]
Wikisource has original text related to this article:
Oedipus Rex
Greek Wikisource has original text related to this article:
Οἰδίπους Τύραννος
Wikimedia Commons has media related to Oedipus.
Aristotle's Poetics: Notes on Sophocles' Oedipus, cached version of the original
Background on Drama, Generally, and Applications to Sophocles' Play
Study Guide for Sophocles' Oedipus the King
[permanent dead link] Oedipus Rex - Annotated text and analysis
Full text English translation of Oedipus the King by Ian Johnston, in verse
Oedipus the King Book Notes from Literapedia
Oedipus the King from Project Gutenberg
Original Ancient Greek text from The Perseus Project
Oedipus Rex public domain audiobook at LibriVox
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PlayStation Controller
From Wikipedia, the free encyclopedia
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PlayStation Controller

The original PlayStation Controller
Developer
Sony Computer Entertainment
Manufacturer
Sony
Type
Video game controller
Generation
Fifth generation era
Retail availability
December 3, 1994
Discontinued
Circa 1997-1998[citation needed]
Connectivity
Controller port
Successor
Dual Analog
The PlayStation Controller is the first gamepad released by Sony Computer Entertainment for its PlayStation video game console. The original version (model SCPH-1010) was released alongside the PlayStation on December 3, 1994.[1]
Design[edit]
Based on the basic button configuration established with Nintendo's Super NES Controller, the PlayStation Controller added a second pair of shoulder buttons for the middle fingers. Intended to update the gamepad for navigating 3D environments such as the ones PlayStation was designed to generate, the concept behind featuring shoulder buttons for both the index and middle fingers was to implement two-way directional depth controls using the two sets of buttons. To compensate for the less stable grip from shifting the middle fingers' placement to the shoulders, grip handles were added to the controller.[2]
Using the simple geometric shapes of a green triangle, a red circle, a blue cross, and a pink square ( , , , ) to label its action buttons rather than traditionally used letters or numbers, the PlayStation Controller established a trademark which would be incorporated heavily into the PlayStation brand. In an interview with Teiyu Goto, designer of the original PlayStation Controller, he explained what the symbols mean: The circle and cross represent "yes" and "no," respectively; the triangle symbolizes a point of view and the square is equated to a sheet of paper there to be used to access menus.[3] The order of the shapes also coincides with the order children are able to draw them from ages 3 to 6 years, moving clockwise, starting with the circle and ending with the triangle.
The North American model of the PlayStation controller is roughly 10% larger than the Japanese model, to account for the fact the average person in the region has significantly larger hands than the average Japanese person.[4]
The PlayStation 2 controller is backward-compatible with the original PlayStation controller.
History[edit]
On April 2, 1996, Sony released a revised version of the PlayStation Controller (model SCPH-1080), featuring a longer cord with a ferrite bead.[1] After briefly selling the Dual Analog Controller in 1997, Sony began phasing out the PlayStation Controller later that year with the introduction of the DualShock controller, which would become the new standard controller for the PlayStation.[5]
References[edit]
^ Jump up to: a b Maru-Chang. "SCPH". MiragePalace. Retrieved 2010-06-30. It's the second type of controller for PlayStation. The cable became long, and the noise filter was added. Other functions are the same as SCPH-1010. April 2, 1996 for ¥2500.
Jump up ^ "An interview with Ken Kutaragi", Next Generation, Burlingame, California: Imagine Publishing, 1 (6), p. 53, June 1995, ISSN 1078-9693
Jump up ^ All About the PlayStation 1's Design, May 2010
Jump up ^ "A Tale of Sega's Two Saturn Controllers". Electronic Gaming Monthly. Ziff Davis (83): 16. June 1996.
Jump up ^ "History of PlayStation 1998". PlayStation Museum. Retrieved 2010-06-30. A new model of the PlayStation game console went on sale in Japan in November 1997. The new DualShock controller, which is supplied as a standard peripheral, can generate two types of vibrations and allow improved control of the game, adding a new dimension to the realism of video gaming.
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Wikimedia Commons has media related to PlayStation Controller.
Retrieved from "https://en.wikipedia.org/w/index.php?title=PlayStation_Controller&oldid=821761948"
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