Oedipus King of Thebes

If I have turned aside from Euripides for a moment and attempted a translation of the great stage masterpiece of Sophocles, my excuse must be the fascination of this play, which has thrown its spell on me as on many other translators. Yet I may plead also that as a rule every diligent student of these great works can add something to the discoveries of his predecessors, and I think I have been able to bring out a few new points in the old and much-studied Oedipus, chiefly points connected with the dramatic technique and the religious atmosphere.Mythologists tell us that Oedipus was originally a daemon haunting Mount Kithairon, and Jocasta a form of that Earth-Mother who, as Aeschylus puts it, "bringeth all things to being, and when she hath reared them receiveth again their seed into her body" (Choephori, 127: cf. Crusius, Beiträge z. Gr. Myth, 21). That stage of the story lies very far behind the consciousness of Sophocles. But there does cling about both his hero and his heroine a

While Thebes was under the rule of Laïus and Jocasta there appeared a strange and monstrous creature, "the riddling Sphinx," "the She-Wolf of the woven song," who in some unexplained way sang riddles of death and slew the people of Thebes. Laïus went to ask aid of the oracle of Delphi, but was slain mysteriously on the road. Soon afterwards there came to Thebes a young Prince of Corinth, Oedipus, who had left his home and was wandering. He faced the Sphinx and read her riddle, whereupon she flung herself from her rock and died. The throne being vacant was offered to Oedipus, and with it the hand of the Queen, Jocasta.Some ten or twelve years afterwards a pestilence has fallen on Thebes. At this point the play begins.The date of the first production of the play is not known, but was probably about the year 425 B.C.

P. 4, l. 21: Dry Ash of Ismênus.]—Divination by burnt offerings was practised at an altar of Apollo by the river Ismenus in Thebes.Observe how many traits Oedipus retains of the primitive king, who was at once chief and medicine-man and god. The Priest thinks it necessary to state explicitly that he does not regard Oedipus as a god, but he is clearly not quite like other men. And it seems as if Oedipus himself realised in this scene that the oracle from Delphi might well demand the king's life. Cf. p. 6, "what deed of mine, what bitter task, May save my city"; p. 7, "any fear for mine own death." This thought, present probably in more minds than his, greatly increases the tension of the scene. Cf. Anthropology and the Classics, pp. 74-79.]P. 7, l. 87, Message of joy.]—Creon says this for the sake of the omen. The first words uttered at such a crisis would be ominous and tend to fulfil themselves.]Pp. 13-16, ll. 216-275. The long cursing speech of Oedipus.]—Observe that this speec