Sophocles
497–406 BC · Ancient Greek
Knowledge can be sought and yet destroy the seeker; the truth of what one is may lie hidden until disclosure undoes the knower.
Before knowledge became a matter for analytic treatment at the hands of Plato and Aristotle, it had already been set out by the tragedians as a problem of human life. The clearest instance is the of Sophocles, where the movement of the play from beginning to end is the movement from ignorance to recognition, and that movement is the hero's ruin. The oracle has declared what Oedipus will do and what he already has done; the action of the drama is the account of how he comes to see it. At each step he insists on pursuing the inquiry, over the warnings first of Tiresias and then of Jocasta, and each step brings him nearer to the knowledge that will destroy him.
What Sophocles places before us is not a theory of knowledge but a condition in which knowledge is desired and feared at once. Oedipus is king because he has solved a riddle, and he assumes that questions rightly put will always yield their answers. That confidence, which is the ground of his authority and the assumption of his later pursuit, turns out to be the very instrument of his undoing. The knowledge he obtains is not a knowledge of causes in the scientific sense but a recognition, or anagnorisis, in which the facts already present to others become present at last to himself. The distinction between knowing and acknowledging, which later writers will treat in other forms, is here set out in a shape that admits of no softening.
The play thus raises questions that occupy the whole subsequent tradition. Whether ignorance can itself be a kind of happiness, whether the soul is made for a truth which it cannot bear, whether there is a kind of knowledge that only suffering will give: these questions are implicit in the Sophoclean treatment and reappear in many forms. The connection between such recognition and the workings of Fate is discussed under that head; the bearing of tragic discovery on the emotions of pity and fear is considered under Emotion and under Poetry.
"Alas, how terrible is wisdom when it brings no profit to the man that's wise."
"O light, may I now look on thee for the last time."
Plato in the proposes a different relation between knowledge and life, one in which the ascent from appearance to reality issues not in ruin but in the vision of the Good. His account of the philosopher's journey out of the Cave can be read, on at least one point, as an answer to what the tragedians had dramatized: where Sophoclean knowledge destroys, Platonic knowledge is meant to save. Whether the consolation will hold, and whether the philosophic life can do what the tragic hero could not, is a question the tradition returns to in Ecclesiastes, in Pascal, and in the moderns who place a limit on what reason may attain.
Key work: Oedipus the King