what is the main point of the play called oedipus the king?
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The play is "Oedipus Rex". It is the source for the condition of the same name, the Oedipus Complex. It focuses on jealousy of a father, (the king by his son in the play) and his romantic (sexual) love for his mother.
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It is sarcastic. In the eyes of the Romans, Caesar is perfect. In his own eyes he sees himself as a God. He is not satisfied with power, but always wants more, leading to one of the themes of the play: Greed is insatiable.
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There are two plays named Prometheus Unbound. Both are concerned with the torments of the Greek mythological figure Prometheus and his suffering at the hands of Zeus.\n\nThe first Prometheus Unbound was a sequel to Prometheus Bound, traditionally attributed to Aeschylus. It depicted the release of Prometheus from his torments by Heracles. Unfortunately, it, and a third play, Prometheus Pyrphoros, are lost. Certain fragments have survived, however, and from these we can glean a general cast: Prometheus, a chorus of Titans and Hercules. In the appendix of James Scully and C. John Herington's translation of Prometheus Bound (Oxford University Press, 1975) it is hypothesized that the cast also included Earth and/or Sky, as part of an elemental cycle across the entire trilogy.\n\nThe second Prometheus Unbound is a four-act play by Percy Bysshe Shelley first published in 1820. It is inspired by Aechylus's Prometheus Bound and concerns the final release from captivity of Prometheus.
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Is it Oedipus? Or Agamemnon? Not sure.
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Here's an analysis of it, and also a modern day English version.  I hope it helps.\n\nI like Shakespeare's work, but I understand how anyone can have difficulty with it.
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Well since Shakespere has a play out there called Henry V how about:\n\nTo Manipulate or Not to Manipulate, That is the question...
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Prologue\n\nArguably Shakespeare's most famous play begins with a Prologue which establishes that this play will be a tragedy and that the children of two feuding families, Romeo of the Montague family and Juliet of the Capulet family, will both love and die in the course of this play...\n\nAct I.\n\nSampson and Gregory, servants to the Capulets and Abraham and Balthasar, servants to the Montague family start a street fight, which is joined by Benvolio (Montague) and Tybalt (Capulet). Escalus, the Prince of Verona who angrily learns of this fight, declares a death penalty for further feuding between the two families. Romeo we learn is lovesick; Rosaline, the object of his affections will not requite (return) his love. His friend Benvolio tells Romeo to look at other girls...\n\nMeanwhile Capulet is keen for Paris to marry his daughter Juliet and plans a party to be held later that night. Romeo and friends decide to turn up uninvited, Romeo hoping to see Rosaline, whom he still pines for...\n\nLady Capulet discusses the idea of marriage to Paris with Juliet. Juliet keeps her options open. The Nurse wishes Juliet every possible happiness...\n\nMeanwhile Mercutio attempts to cheer a lovesick Romeo up, telling him to be rough with love if need be.\n\nAt the Capulet's party, Romeo who is disguised by a masque (mask), falls in love with Juliet on sight. Capulet stops Tybalt from attacking Romeo at his party, telling him there will be other opportunities. Both Romeo and Juliet learn that they are each enemies of the other's family... A Prologue sung by a choir dramatizes the conflict both Romeo and Juliet feel between their love for one another and their loyalty to their respective families.\n\nAct II.\n\nIgnoring the danger, Romeo scales the Capulet's wall to be near Juliet, the woman he cannot forget... Unnoticed in Juliet's orchard, Romeo learns of Juliet's love for him. After declaring their feelings for each other, the two decide to marry. Juliet will send Romeo a messenger in the morning to make plans for their wedding...\n\nThe very next day, we meet Romeo's friend, Friar Laurence. He wonders how Romeo can forget Rosaline so quickly but agrees to marry the two since he hopes this marriage it will end the long running Montague / Capulet feud...\n\nRomeo catches up with his friends Mercutio and Benvolio. Juliet's messenger, the Nurse, arrives and the wedding is set for later that day. The Nurse brings Romeo "cords" or ropes which will allow Romeo to climb into Juliet's bedchamber as her husband later that night... Act II ends with Romeo and Juliet's marriage.\n\nAct III.\n\nBenvolio and Mercutio (both Montagues) meet Tybalt (Capulet). Tybalt attempts to provoke Romeo into fighting. Mercutio fights Tybalt and is killed. Romeo then kills Tybalt. Escalus, the Prince of Verona banishes Romeo from Verona threatening death should he ever return. Juliet learns of Romeo killing Tybalt and despite being torn between her loyalty for her family and Romeo, mourns her husband Romeo's banishment.\n\nRomeo learns of the banishment order, realizing he will not be able to see Juliet again. Friar Laurence suggests Romeo go to Juliet's bed chamber to comfort his wife... Capulet, who does not know of Romeo and Juliet's marriage, decides that the marriage of Juliet to Paris must now proceed, bidding his wife to make Juliet aware of Paris' love for her. The day of the marriage has been decided; it will be Thursday.\n\nWe learn that Romeo has spent the night with his Juliet. Juliet who is now already secretly married to Romeo, learns that she is to marry Paris. She tries to fight her father's wishes, failing to dissuade him. Juliet decides to commit suicide if all else fails...\n\nAct IV.\n\nParis reveals that the wedding will occur on Thursday. Juliet is cold to Paris. Friar Laurence tells Juliet to take a potion simulating death, allowing Romeo to take her away, unopposed to Mantu
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A play written for the movie screen. It contains all the basics of a standard play and takes into account the differences between stage and screen.
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Polonius is a character from William Shakespeare's Hamlet. The character is best known for uttering the immortal words: "To thine own self be true.", as well a few other phrases still in use today.\n\nFather of Ophelia and Laertes, and adjunct to King Claudius, he is described as a windbag by some and a rambler of wisdom by others. It has also been suggested that he only acts like a "foolish prating knave" in order to keep his position and popularity safe and to keep anyone from discovering his plots for social advancement.\n\nPolonius is fearful that Hamlet's relationship with his daughter will hurt his reputation with the king and instructs Ophelia to "lock herself from [Hamlet's] resort." He later develops the belief that Ophelia's rejections of Hamlet's affections has caused the prince to lose his wits. He tests his theory with spying and interrogations.\n\nIn his last attempt to spy on Hamlet, Polonius hides himself in the curtains of Gertrude's room. Hamlet deals roughly with his mother, causing her to cry for help. Polonius repeats the request for help and is heard by Hamlet, who thinks Polonius is his uncle. Hamlet stabs the figure behind the curtains, mistakingly killing Polonius.\n\nThe death of Polonius causes Claudius to fear for his life, Ophelia to become genuinely mad and Laertes to seek his revenge.
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Fair and foul. To the Weird Sisters what is ugly is beautiful, and what is beautiful is ugly: "Fair is foul and foul is fair." Throughout the play, fair appearances hide foul realities. \n\nEquivocation. This theme is closely related to the "Fair and Foul" theme, because to equivocate is to lie by saying something that sounds fair, but which has a hidden, foul meaning. \n\nNature and the Unnatural.In Macbeth the word "nature" usually refers to human nature, and one might say that the whole play is about Macbeth's unnaturalness. He kills his king, his friend, and a woman and her children. In the end he is destroyed when nature itself appears to become unnatural: trees walk and Macbeth has to fight a man not of woman born. \n\nBlood. In the second scene of the play, the report of Macbeth's heroic victory is delivered by a "bloody man." Thereafter, we see and hear of much more blood. \nHands. We associate hands with many different kinds of experiences. We "walk hand-in-hand," are "caught red-handed," "give a helping hand," have a "hand on the throttle," fear someone's "heavy hand," and say that "the left hand doesn't know what the right hand is doing." In Macbeth all of these senses of the word "hand" come into play, and Macbeth and Lady Macbeth both have scenes in which they are transfixed by the sight of blood on their hands. \n\nSight, Light, Darkness, and Blindness. Much of Macbeth takes place in the dark, and both Macbeth and Lady Macbeth seem to believe that the dark can hide their crimes, perhaps even from themselves. \n\nManhood. In different ways, the play repeatedly asks what it means to be a man. \n\nBabies and children. Shakespeare doesn't often portray children, but there's one in this play, and there are repeated references to babies and children. \nSleep. We often say that we need to "sleep on" a problem, but what do you do when you murder sleep, as Macbeth does? \nBirds. There are many birds in the play, most of them of ill omen. \n\nKingship. Duncan is a true king, gracious and kindly; Macbeth is an usurping tyrant, false and murderous. \nHeaven and Hell. In Macbeth both of these places seem very close to earth.
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The two main families, Montagues and Capulets, are the leading powers in the area. In the feudal system, in very basic terms, there is a strong class structure in which the leading classes control the land and therefore the lives of all the workers (also known as peasants or serfs). That's a very basic way of describing it, I'm sure any history professor would put it a better way. In the play, their desire to control their offspring (Romeo and Juliet) could be linked to their usual capability to control the people around them.\n\nI wouldn't quote me on this in an essay, I'm just thinking off the top of my head - could be a useful starting point.
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Sorry, but this question does not make sense. \n\nA thesis is a statement or an argument that you want to make about something. It sounds like your teacher wants you to make an argument about conflicts in King Lear.\n\nDid you read the play? There are quite a few of them. Look at Lear's relationship with his daughters, for one. He is not getting along with two of them, Goneril and Reagan; and the one who truly loves him, Cordelia, is the one he casts out.
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Medea is a Greek tragedy by Euripides of Athens, first performed in 431 BC.  Despite its later fame, it won last place in that year's theatre festival.\n\nMedea is a sorceress whose husband, Jason, puts her aside to marry the daughter of the local king.  In revenge, she gives a poisoned garment to the princess as a wedding gift that bursts into flames the moment it is worn, killing Jason's bride to be and her father, the king.  She then murders her two son's by Jason in front of their father's eyes before escaping on a chariot pulled by two dragons.\n\nThe play is considered one of the greatest plays of the ancient world, and although the staging seems a little static by modern standards, it is still moving to see Medea wrestle with being a scorned woman in a man's world.  A good performance requires a director with true vision and an actress with both power and subtlety.
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There are a lot of ways.  One of the major ones I think of involve the "Deus Ex Machina."  Literally "the god in the machine," the ancient Greek playwrights were good at painting themselves into a corner and suddenly they would send down a god, often in a machine of some kind, to "save the day."\n\nSome Medieval and Elizabethan writers took this concept and modified it and when THEY got painted into a corner, they would use the "god" of their time: the king, usually, or some other royal figure.\n\nNowadays, to use a "Deus ex Machina" is considered almost pathetic because if you write a good play, you should never have to "save the day" using a God or a King (or any randomly-inserted character at the end of the story) to bail you out.\n\nThat's one way drama has changed.  Another is the "elitism" that has accompanied drama late in the last century and in this one.  In the Greek and Roman times, as well as Shakespeare's day, just anyone went to the theatre.  Now, people go to plays if their parents also went to plays and schools feel obligated to drag kids because otherwise they will not go at all.\n\nAnother way is the split between the "mega musical" experience (think Andrew Lloyd Webber) and the traditional drama.  The latter nowadays usually have as few sets, characters, and costumes as possible because, quite frankly, it's expensive to put on a show and we aren't patient with reusing the same set, actors, and costumes over and over again the way they would have been in, say, Shakespeare's day.  The only time we can financially support such a "big" effort now is to mount a big musical (where tickets are pricey).\n\nI'm not sure exactly what you're looking for, but those are a few I can think of off the top of my head.
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Heres a short synopsis of the play:\nA bizarre and witty account of marital breakdown\nKenneth is a man with a weakness for fatty foods and skinny women. His mid-life crisis forces him to favour the latter, so he trades in Hilary - his stoic wife of twenty years - for the younger, prettier, slimmer (and more culinary-challenged) Laura. However, he quickly regrets his rash decision and finds himself torn between the delights of Laura's bedroom and Hilary's kitchen. The three eventually meet for a 'let's all be grown-ups' meal round at Hilary's, where Kenneth discovers he can no longer have his cake and eat it, as the women regain control... This play sounds bizarre and is, but it also says a lot about human weakness, loyalty, and the consequences of selfishness. It's also extremely funny, with such classic lines as "go and have deep throat sex and leave me here in my sparkling kitchen!"\n\nand a review:\nOn entering the theatre we were confronted with a setting which in it's Spartan simplicity suggested we were about to witness a Grecian Tragedy, which I suppose in a way we were. \n\nKenneth and Hilary were married for nineteen years. Nineteen years in which Hilary in her spick and span kitchen has prepared, cooked and served gargantuan meals for Kenneth who, to put it mildly, has a healthy appetite. \n\nThen Kenneth meets Laura who seems to represent all the things he thinks he has been missing. They embark on an affair, which quickly descends into a vortex of lies and deceit. Laura is young, sexy and finds Kenneth sexy. There are however a couple of problems – Laura is a bit of a slut and she is a hopeless cook. So Kenneth starts slipping back to Hilary for a little culinary consolation. \n\nWe first meet the three participants at Hilary's house to which she has invited Kenneth and Laura (now three years married) for an anniversary dinner. A dinner which Hilary with murderous and vengeful thoughts has prepared and is in the process of cooking very carefully indeed. \n\n  \nRay Newton & Loretta Freeman  \nSo a play about appetites or more correctly a play about hungry people. From the ageing Teddy Boy glutton Kenneth's constant cry of "I'm STARVING!!" through Hilary's loving, almost lascivious preparation of food and hunger for revenge to Laura who is on a diet anyway and so presumably always hungry not least for (as she elegantly phrases it) nookie. \n\nThere is pain and hurt here and sympathy is not confined to "The Wronged Wife". \n\nAs someone once said, "Every villain has his point of view" so Kenneth and Laura reveal during the progress of the play their own particular needs. \n\nThe play, delivered in a series of flashbacks stemming from the anniversary dinner at the beginning to the climactic last scene when Hilary serves the first course. "Mmmmm, fish for starters, fabulous! Fabulous!!!" Grunts Kenneth and proceeds to wolf not only his own portion but Laura's as well and inevitably starts to choke. \n\nThe play then veers into very black farce as the two budding Borgias from suburbia coolly watch as Kenneth writhes his last over the table and then calmly over a drink or two discuss the disposing of the body. Of course, HH \n\nHilary the cook has the answer! "Turn on the oven, 400 degrees F." she suggests, "We'll have to eat him, flush him down the loo".
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I'm not sure I understand your question exactly, but if you are asking who has control over who, in the entire play, then you're asking the million dollar question. Scholars have argued this many different ways for a long time, but essentially, the if there is one true master of control it has to be Iago, who after getting passed up for a military promotion over the Moor Othello, Iago befriends Othello and skillfully, bit by bit convinces him that his pretty wife, Desdemona, who happens to be white, is cheating on him. Conflicted, Othello ends up killing her only to later realize what Iago was doing to him. \n\nIago is one Shakepeare's greatest villian, a dispicable characther that controls all the action in Othello.  So does that answer your question?
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Polyneices and Eteocles, two brothers leading opposite sides in Thebes' civil war, have both been killed in battle. Creon, new ruler of Thebes, has declared that Eteocles will be honored and Polyneices disgraced. The rebel brother's body will not be sanctified by holy rites, and it will lay unburied to be the food of carrion animals. Antigone and Ismene are the sisters of the dead brothers, and they are now the last children of the ill-fated Oedipus. In the opening of the play, Antigone brings Ismene outside the city gates late at night for a secret meeting: Antigone wants to bury Polyneices' body, in defiance of Creon's edict. Ismene refuses to help her, fearing the death penalty, and she is unable to dissuade Antigone from going to do the deed by herself.\n\nCreon enters, along with the Chorus of Theban elders. He seeks their support in the days to come, and in particular their support for his edict regarding Polyneices' body. The Chorus pledges their support. A Sentry enters, reporting fearfully that the body has been buried. A furious Creon orders the Sentry to find the culprit or face death himself. The Sentry leaves, but after a short absence he returns, bringing Antigone with him. Creon questions her, and she does not deny what she has done. She argues unflinchingly with Creon about the morality of the edict and the morality of what she has done. Creon grows angrier, and, thinking Ismene must have helped her, summons the girl. Ismene tries to confess falsely to the crime, seeking to die with her sister, but Antigone will have none of it. Creon orders that the two women be temporarily locked up inside.\n\nHaemon, Creon's son and Antigone's fiancé, enters to pledge allegiance of his father. He initially seems willing to obey Creon. But when Haemon tries gently to persuade his father to spare Antigone, the discussion deteriorates and the two men are soon bitterly insulting each other. Haemon leaves, vowing to never see Creon again.\n\nCreon decides to spare Ismene but to imprison Antigone in a cave. She is brought out of the house, and she bewails her fate and defends her actions one last time. She is taken away, with the Chorus expressing great sorrow because of what is going to happen to her.\n\nTeiresias, the blind prophet, enters. He warns Creon that the gods side with Antigone. Creon accuses Teiresias of being corrupt, and Teiresias responds that because of Creon's mistakes, he will lose one child for the crimes of leaving Polyneices unburied and putting Antigone into the earth. All of Greece will despise him, and the sacrificial offerings of Thebes will not be accepted by the gods.\n\nThe Chorus, terrified, asks Creon to take their advice. He assents, and they tell him that he should bury Polyneices and free Antigone. Creon, shaken, agrees to do it. He leaves with a retinue of men to help him right his previous mistakes. The Chorus delivers a choral ode on/to the god Dionysis, and then a Messenger enters. He tells them that Haemon has killed himself. Eurydice, Creon's wife and Haemon's mother, enters and asks the Messenger to tell her everything. The Messenger reports that Haemon and Antigone have both taken their own lives. Eurydice disappears into the palace.\n\nCreon enters, carrying Haemon's body. He understands that his own actions have caused these events. A Second Messenger arrives to tell Creon and the Chorus that Eurydice has killed herself. With her last breath, she cursed her husband. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his child and his wife. The Chorus closes by saying that the gods punish the proud, but punishment brings wisdom. \n\n\nSee this for a summary and analysis:\n\nhttp://www.gradesaver.com/classicnotes/titles/antigone/