Elements of tragedy in Oedipus RexThe primary interest is not the tragic subject of the text, but rather the way in which the plot develops. The plot proceeds as if the reader is "peeling an onion." The story of King Oedipus is well known. An enraged Oedipus unknowingly kills his father (Laiusq, king of Thebes) and supplants him as monarch and as husband to his mother (Queen Jocasta). As each successive "onion layer" is peeled, Oedipus is brought one step closer to realizing the true nature of his actions. Foretold in prophecy and initiated by his wrath, Oedipus' fall is realized as all the facts gradually come to light. This "enlightenment" begins with the revelations of a blind prophet named Tiresias. Although blind, Tiresias can "see" the truth. He argues with Oedipus "...you have sight and do not see... yes, you are ignorant...."(Sophocles, 15). Understandably, Oedipus is enraged by the prophet's accusations and fatally insists on investigating the murder of King Laius. In Aristotle's Poetics, it is stated that a tragedy must be complete - have a beginning, a middle, and an end. Of equal importance "...the succession of events, according to the law of probability or necessity, will admit of a change from bad luck to good or from good luck to bad." (Aristotle, 15). The impetus for the fall of Oedipus, "known by name far and wide" (Sophocles, 1), is his anger. Enraged, he killed King Laius and hastily pursued his own downfall in anger. From the aforementioned recriminations of Tiresias to the conflict with his brother-in-law Creon (his bad mood manifested itself again - "Temperas like yours are very painful to bear,....(Sophocles, 25); through the revealing exchanges with his wife /mother Jocasta and her slave (whose pity saved the child Oedipus), the harmful intuition grows in a logical sequence, meanwhile fueled by Oedipal anger, realizing the atrocious nature of his actions, Oedipus blinds himself in a fit of anger and remorse - now, like Tiresias, he can see an age in which popular entertainment is apparently driven by the maxim "more is better" (see the body count in any popular "action thriller") and by "special effects" dominate,