Was the greatest play of the classical era about a disabled person?

“Nor is that other point to be passed over, that the Sphinx was subdued by a lame man with club feet …” - Sir Francis Bacon, referring to Oedipous (“Swollen Foot”) and the Sphinx.

Oidipous Tyrannos (Oedipus Rex) can reasonably be translated, from Bacon’s perspective, as Clubfoot the Ruler. It then joins such dramas as The Hunchback of Notre Dame and Beauty and the Beast, in which a titular character may be expected to wrestle with their disability in the plot.

Disabled people, as we know, are often treated badly. Oidipous’ parents arranged to have him “exposed,” to die.

A disabled Prince so mistreated might, in royal wrath, take gruesome retribution on those who wronged him. In Sophocles’ tragedy, Oidipous kills his father and entangles his mother in incest.

Aristotle’s pioneering work of literary criticism, The Poetics, treats Oidipous as Everyman, arguing that we undergo his extreme experiences vicariously, as “fear and pity.” We return to our everyday lives purged, a “catharsis” in which our spirits are temporarily uplifted out of their dreary banality.

In this disability tale, things are made better; that which was lost is found.

Sadly, two millennia of mainstream lit crit fail to deal with the great moral fact of the play: Oidipous’ parents tried to kill him when he was a helpless baby.

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A dramatization of this theme, This is the Son of Kings, was published in this blog in 2013.