Abstract
Ofall the monsters in The Infernal Machine the last to be marked as such not by the gods but by men, is Oedipus. From the first line of the play’s prologue, spoken by the unseen Voice which serves at once as chorus and narrator, it is made clear that the gods had assigned him a role long before he was born:
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the voice: … He will kill his father. He will wed his mother.
As the Voice explains, Oedipus abandons Polybus and Merope, who raised him as their own child, as soon as he learns the oracle prediction: “The fear of parricide and incest propels him towards his destiny.” Soon enough Oedipus kills an old man by a blow that, in Cocteau’s version, was intended for the man’s servant. Oedipus meets the Sphinx, “the monster that poses a riddle and kills those who cannot answer it,” stays alive, and finds himself, as the Voice declares, engaged in “a monstrous wedding.”2 Later on, the gods’ messengers on earth brand him a monster:
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anubis: A long time ago, Jocasta and Laius had a child. Since the oracle had foretold that this child would be a scourge …
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sphinx: A scourge!
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anubis: A monster, a filthy beast …
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sphinx: Faster! Faster!
Oedipus begins to see clearly only when he is blind.
—Cocteau, Maalesh1
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Notes
Cocteau, Maalesh. Journal d’une tournée théâtrale (Paris: Gallimard, 1949), 179.
Lewis W. Leadbeater, “In Defense of Cocteau: Another View of La Machine Infernale,” Classical and Modern Literature 10, no. 2 (Winter 1990): 124.
David Williams, Deformed Discourse: The Function of the Monster in Medieval Thought and Literature (Exeter: University of Exeter Press, 1996), 251.
Mireille Brémond, “Mais où sont passés les monstres? Réflexion sur le Sphinx de J. Cocteau et le Minotaure de M. Yourcenar.” Bulletin de la Société Internationale d’Etudes Yourcenariennes, no. 19 (December 1998): 63.
See, for instance, Marina Warner, Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self (Oxford University Press, 2002), 165.
Louis Jouvet, Le Comédien désincarné (Paris: Flammarion, 1954), 51.
Susan Sontag, AIDS and Its Metaphors (New York: Farrar, Straus and Giroux, 1989), 45.
Barbara Fass Leavy, To Blight with Plague: Studies in a Literary Theme (New York: New York University Press, 1992), 4. See also Ahl, 275–276, Note 1.
See, for example, René Girard, Oedipus Unbound: Selected Writings on Rivalry and Desire (Stanford: Stanford University Press, 2004), 43–44.
Colin Jones, “Plague and Its Metaphors in Early Modern France.” Representations 53 (Winter 1996): 112.
René Girard, “To Double Business Bound”: Essays on Literature, Mimesis, and Anthropology (Baltimore: Johns Hopkins University Press, 1978), 139.
Sander L. Gilman, Disease and Representation: Images of Illness from Madness to AIDS (Ithaca: Cornell University Press, 1988), 155.
For a discussion of the monster as a recurrent motif in the Oedipus myth, see René Girard, Violence and the Sacred, trans. Patrick Gregory (Baltimore: Johns Hopkins University Press, 1989), 251–252.
Susan Rubin Suleiman. Subversive Intent: Gender, Politics, and the Avant-Garde (Cambridge, MA: Harvard University Press, 1990), 149–174.
Lydia Crowson, “Myth in Jean Cocteau’s Theater: Art as Revenge,” Research Studies 42, no. 3 (September 1974): 140. See also Leadbeater, 117; Serge Linares, Jean Cocteau: le grave et l’aigu (Seyssel: Champ Vallon, 1999), 139.
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© 2008 Irene Eynat-Confino
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Eynat-Confino, I. (2008). Oedipus. In: On the Uses of the Fantastic in Modern Theatre. Palgrave Studies Theatre and Performance History. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230616967_5
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