1) The document is a creative writing piece that adds an additional scene to Sophocles' play Oedipus Rex. It is a dramatic monologue exploring the character of Jocasta following her realization of the incest and discussing her fate. 2) In the scene, Jocasta laments her tragic fate and role in fulfilling the prophecy, despite her attempts to avoid it. She references Greek mythology while contemplating how she cannot escape or change her inevitable downfall. 3) The scene aims to emulate Sophocles' style through its use of simple dialogue, expression of emotion, and adherence to Greek dramatic conventions like the unity of time. It explores Jocasta's internal conflict and strengthen

1. South Island School Anahita Sharma Centre: 003258
IB English A1 HIGHER LEVEL
May 2012 Exam Session
World Literature Assignment 2
Word Count: 1510
TITLE New scene in Oedipus Rex: an exploration of Jocasta’s
character in the context of the Greek tragedy
Candidate Session Number: 003258-138

2. Statement of Intent
This creative task is based on Sir George Young’s translation of Oedipus Rex, originally written in Greek
by Sophocles. It is an additional scene in which Jocasta, following her horrific epiphany, comes to terms with
her - and Oedipus’ - fate. In the play, however, details of Jocasta’s suicide, which is offstage, are recounted
by a witnessing Messenger. This scene explores her potential character through a dramatic monologue, and
her significance to the drama’s context.
Her voice is extrapolated from the few attributes ascribed to her in earlier scenes. Jocasta is conveyed as
an intelligent and peace-loving Queen who is the second character to foresee the outcome of unfolding
events after Teiresias. She attempts to suppress mutiny, “You foolish men, why are you arguing / in such a
silly way? With our land so sick, are you not ashamed to start a private fight?” ll. 633-5. This quality re-
emerges as she attempts to protect Oedipus from reality. The truth prompt Oedipus to blind himself and
Jocasta to take her own life, as both of them cannot bear to live and see through the moral shame of their
situation.
It is significant that oracles never reveal the whole but only a partial truth. Jocasta’s initial attitude
towards prophecies - as she recaps Lauis’ ‘true’ cause of death - is dismissive: “no human being has skill in
prophecy” l.709 and “Whatever gods intend to bring about / they themselves make known quite easily.” ll.
726-7. This is, ironically, reversed by ensuing events. Women in Sophocles’ Theban plays are strong
characters who are unable to significantly influence masculine, political affairs; Antigone, likewise, commits
suicide in an active defiance of Creon’s death sentence. Jocasta’s suicide symbolizes an acceptable apology
for her acts (albeit beyond her control) and her initial skepticism of prophetic wisdom. Her inability to kill
her infant son - despite his birth signifying incest and patricide to come - was her error or tragic flaw, as it
ultimately facilitated the prophecy’s fulfillment. Her suicide can be portrayed as a weakness, but I prefer to
see it as a strength in this scene, as she sacrifices herself to earn retribution for all. Her voice is not developed
to my satisfaction in the play, which is why I consider her a fertile character to explore.
Sophocles emphasized the conflict between humans under the omniscient, fatalist authority of the Gods.
This piece emphasizes the internal human conflict, and attempts to emulate his narrative style: the use of
simple, dramatic dialogue and a clear expression of action and emotion. It also adheres to conventions of
Greek drama. For instance, the scene fits in with the unity of time and action of the play by occurring
alongside Oedipus’ revelations upon the arrival of the Herdsman in the castle. Jocasta is introspective and
unaware of the audience, and a fourth wall is constructed. A sense of dramatic irony is evinced by the
inevitability of her actions . It is her character’s catastrophe: an outcome of the five-part tragedy (Aristotle).
In addition, intertextual references (elucidated in the footnotes) reinforce the original, intended audience’s
familiarity with Greek mythology and Gods. This reinstates the temporal and social context of the play: daily
actions were often enacted with the consideration of specific deities in mind, and these tragedies were a
strong reminder of the existence of an overruling, cosmic power. The style adheres to a dialogic blank verse;

3. the scansion is a pentameter infused with images to maintain as much of the original feeling as possible. The
use of a divulging monologue, rhetorical questions to reinforce her internal confusion, chiasma (reversed
syntactic phrasing), motifs (Jocasta’s calling out names in grief), and anaphora (repetition of a phrase in
successive clauses), appreciate Sophocles’ rhetorical, dramatic techniques.
Word Count: 620
Persons Represented
JOCASTA, the Queen, wife to Oedipus formerly married to Laius,
the last King.
OEDIPUS, King of Thebes
MESSENGER
Scene, inside the Royal Palace at Thebes. Enter JOCASTA,
stumbling, screaming as if in pain, her eyes darting, seemingly
conversing with herself. She moves erratically, in rhythm with her
words.
JOCASTA A Sisyphean stone, it falls clearly, 1
Devastatingly, irrevocably -
Into place. We art broken at crossroads,
No clear path of redemption. Lauis! What
Hath thou brought upon us, what shame is this? 2
A dream have we lived? I see it all now,
For what it is, and always has been. Such
Febrility, my blood has felt, never.
How can a mother, a wife, who hath seen
Much of the world ere, be prepared
For such findings? I am no longer impressionable.
Why doth he persist with these questions -
Illumination - tis’ not clarity.
Doth not the rate of evidence frighten
Him? For all the eyes of Argos , he is 3
Blind. Blind! And how supposes he that
An inferior lineage could perturb me?
In sooth, his true lineage
Presents much greater, execrable problems.
Enter MESSENGER. JOCASTA turns to him.
MESSENGER My Queen, a visitor hath arrived -
Sisyphus was eternally condemned by the Gods to roll a boulder uphill; the boulder always rolled back down.1
According to lore, Lauis broke the laws of hospitality while staying at Elis, which cast a doom over him and his2
descendants, hence the prophecy that he is doomed to die by the hands of his son.
Argos was a giant with one hundred eyes.3

4. JOCASTA Then, it is finished, now. Do not follow
me; may no one come to watch her flounder thus.
JOCASTA moves to her chamber at front-right orchestra, where
she looks upon her marriage bed.
JOCASTA Where I have defiled, and have been defiled.
Oh! What cozened mine eyes? What mother weds, beds,
Her son? Oedipus, I, am sorry.
A face I imagined I could never
Forget, yet did not recognise! That child
of mine, his small lashes, his smooth skin, his
Mellifluous laughter: the epitome
Of innocence and oblivion. How
Could I smother him, when I was wont
To kiss, his rubicund cheeks?4
MESSENGER moves to far back-left of orchestra - near Parodos -
where he is only tentatively seen by the audience. He fearfully
listens to JOCASTA’s lament echoing through the theatron.
Lauis! How art this condign ? Doth our 5
Ignorance grant us any favour? O, I see
My children with such acuity. O,
my Antigone! My Ismene!
O, Polyneices! Eteocles!
Forgive your mother, always your brother;
Remember, you are well-bred at heart.
Close your minds and never act on a fear;
Learn from my mistakes: never defy those
In greater power - they will scorn you for it.
And if this forestalls further dealings oracular,
Devious dealings - this pain is to be of merit.
An ineluctability . Us - but 6
Whence Thebes? How hath thou offended, Lauis?
Doth I deserve this, Apollo? Where art the
Berries for me? My actions were in plain 7
Probity ; tell me, what mother does not 8
Show sympathy to her child? O, ‘Tis
Not as simple as the setting appears.
For all my exertions to eschew a
Malevolent proposition, I was
Nescient : facilitating its success. 9
rubicund: reddish4
condign: deserved5
ineluctability: inevitability; cannot be avoided6
A suppliant to Apollo’s shrine wore berries in light of favourable news.7
probity: strong moral principle8
nescient: ignorant; unknowing9

5. For all efforts to remain principled,
I am forever tainted, entangled
By this riddle that defeats any Sphinx’s
Defense: ‘tis indecipherable - Lauis!
That treacherous spy at Hippocrenes ! 10
All of them forge pandemonium,
With their versions of the truth. Such ugly
Birdsong: what forms the purpose of such augury,
If never elucidating, specific?
Tragedy! Tragedy! Lies! Lies! Lauis!
Events transcribing like a spinning reel,
A fate spun by the Moirae . I greet thou, 11
Atropos of death, if bitterly. They
Admonished you Lauis, and by extension,
Thy wife, thy son. O, such is the fate of
Mere mortals - royal blood, or otherwise.
Now, there is no sight left to be seen,
No joy left to be enjoyed. May Cadmeans 12
Learn, and may they mourn. I loved Oedipus -
But now I feel little, for I cannot decide
What thine love meant. When he unfastens
His eyes, I do fear for him, and always will, but please spare my
witnessing of such misfortune. Oedipus, Lauis, and Thebes,
Forgive your Queen. She battles an Arean 13
War within her - she cannot win.
May this depurate me from my crimes, 14
my breaching of divine, natural law.
As Perseus killed Acrisius , 15
one cannot alter immutable fate.
As Marsyas, the flutist, learned from the lyre , 16
Lord of Lyceia, you cannot be deceived;
Yet what light is this? Show yourself, crow, and
Explain thy destruction to me!
OEDIPUS enters back-left on orchestra; he spots MESSENGER
as JOCASTA is heard screaming.
Hippocrenes was the spring where Athena bathed. She refers to Tiresias, who spied on Athena and was blinded as10
punishment. Feeling sorry later, Athena gave him the power to understand birdsong, which gave him the ability of
foresight.
The Moirae, or ‘The Fates’, spun the thread of life. Atropos cut it.11
Cadmus was the Founder of Thebes.12
Ares, the God of War.13
depurate: purify14
A literary parallel in Greek mythology where, again, trying to prevent a prophecy results in its fulfillment.15
Marsyas was a gifted flutist and was compared to Apollo with his lyre, but was tricked and sentenced to death by the16
God. Apollo was also known as the ‘Lord of Lyceia’ or God of Light, and often disguised himself as a crow.

6. OEDIPUS Out, out! Man, such torments thou have never known;
And for thy sanity, thou will never! - Leave!
As this exchange occurs, JOCASTA hangs herself in chamber.
OEDIPUS moves to front-right and takes Jocasta in his arms.
OEDIPUS Wretch of a woman, wretched, wretched woman!
Left me in this Deianirian robe! 17
I would die than suffer this pain.
Once uxorious, now ashamed. How did I
Dare think I could escape with my cursed foot,
Entertain that I had hope at all?
I am her son. I have born children by her.
O, had I died, I might have eluded
Such wrenching pain -
Her tender face may I not ever be
Blessed to look upon again. Darkness will
attenuate the pity and shame that
Must brim every future gaze upon
My frame. Each glance, a Promethean reminder 18
Of the calamity I have wrought
I live, and suffer it; she knows not,
Lifeless she art and lifeless eternal,
This vision pains me, I bid light away.
OEDIPUS gouges his eyes out with JOCASTA’s brooches,
sobbing on his knees.
[Exit MESSENGER.
Word Count: 890
BIBLIOGRAPHY
Holcombe, C. John. "Sophocles 1: Antigone." Poetry Craft and Theory: Creation, Analysis and
Improvement. 2007. Web. 28 Aug. 2011. <http://www.textetc.com/workshop/wt-sophocles-1.html>.
Lahanas, Michael. "Greek Theatre." Web. 28 Aug. 2011. <http://www.mlahanas.de/Greeks/LX/
GreekTheater.html>.
Sophocles, and George Young. Oedipus Rex. New York: Dover Publications, 1991. Print.
Wilkinson, Philip. "Classical Europe." Myths & Legends. New York: DK Pub., 2009. Print.
Deianira mistakingly killed her husband, Heracles, by giving him a shirt soaked in centaur blood.17
Prometheus stole fire from Zeus and gave it to mortals, and was punished by having his liver eaten out by an eagle18
every day, as it grew back each night.