The Tragedy of Anouilh and the Oedipus Rex There are many definitions for the genres of "tragedy" and "melodrama". Similar to the distinction between fruits and vegetables, most can distinguish them but have difficulty describing why. However, some definitions require a deeper look at the work, such as the interpretation provided by Anouilh's film version of “Antigone.” Whether or not Sophocles' “Oedipus Rex” is a tragedy or a melodrama has been debated since the teachings of Aristotle, and strong arguments have been made for both sides. “Tragedy,” as defined by Anouilh, takes a realistic form, putting a new twist on an old definition that requires taking a different perspective on the work. Although on a superficial level “Oedipus Rex” is a tragedy, its details point it in the direction of a melodrama. The first and most obvious problem encountered when trying to insert “Oedipus Rex” into the description of Anouilh's tragedy concerns the way in which the tragedy unfolds. a game. The spring is loaded. It will unravel on its own. This is what is appropriate in tragedy. The slightest twist of the wrist will do the job…. The rest is automatic. You don't have to lift a finger. The machine is in perfect order; it has been oiled since the beginning of time and flows without friction (“Antigone” by Anouilh). Once the tragedy begins to unfold, it never ceases to continue to grow until the final point of the play. In “Oedipus Rex” this is not seen. Rather, Oedipus himself operates the machine, pulling every lever and pressing every button himself. Although “the god's plan is clear, [and] all his oracles are clear… (Sophocles 76),” it is Oedipus himself who must hasten his destiny. The gods also seem to hurry Oedipus along his journey, catalyzing the actions that lead to Oedipus's final revelations and self-mutilation. “Friends, it was Apollo, spirit of Apollo. He made this evil bear fruit (Sophocles 73).” Oedipus recognizes that the gods, particularly Apollo, had accompanied him, leaving him little else but to explore his origins and ultimately go mad. Oedipus isn't put in a machine of fate and chewed around. Oedipus is subject to his own curiosity and the play of his gods. According to Anouilh, a tragedy must be very clean, while a melodrama is sloppy in nature. The tragedy is clean; it is restful; it is flawless.