[109] ἀρωγός, El. 454. ῶσιν οἱ γᾶς κάτω κείμενοι. παλίρρυτον γὰρ αἷμα ὑπεξαιροῦσι τῶν κτανόντων οἱ πάλαι θανόντες, El. 1419 f. “The dead man brings death to the living,” Nauck on Tr. 1163.
[110] frr. 753, 805.
[111] OC. 1049 ff., 680; fr. 736.
[112] Oedipus does not die but vanishes (is seen no more, 1649); the depths of the earth open and receive him: 1661 f., 1681. What is meant is translation without death as in the case of Amphiaraos, etc. The poet only hints at the miracle in intentionally vague words—but they cannot refer to anything but translation. ὤλετο 1656, and ἔθανε are therefore only inaccurate expressions to describe his departure (see also above, chap. iii, [n. 2]). The Messenger of 1583 f. refuses, however, to give a distinct answer to the question of the Chorus ὄλωλε γὰρ δύστηνος; he will only hint that Oedipus has indeed ὄλωλε (1580), but has not simply died—he has instead been translated out of earthly life. The corrupt ὡς λελοιπότα κεῖνον τὸν ἀεὶ (this was already what the Alexandrians read) βίοτον ἐξεπίστασο may not therefore be altered simply into τὸν αἰνόν, τὸν ἄβιον βίοτον. It may perhaps have originally been something like τὸν ἔνθα, τὸν ἐν γῇ, τὸν ἀνδρῶν βίοτον (cf. Medea to her children ἐς ἄλλο σχῆμ’ ἀποστάντες βίου, E., Med. 1039. A dead woman ὑποκεχώρηκε αἰφνίδιον τοῦ καθ’ ἡμᾶς βίου. Ins. from Amorgos, BCH. 1891, p. 576, ll. 9–10).
[113] A distinct act of precaution against disbelief in such a miracle: OC. 1665 f. (cf. ἔρρει δὲ τὰ θεῖα, OT. 906 ff.; which refers esp. to the belief in the Oracle of Loxias, a matter of great importance to Soph.).
[114] The innocence of Oedipus and the fact that the awful crimes committed by him have been done in ignorance and against his will θεῶν ἀγόντων, is stressed in order that his elevation to the position of Heros may not seem to be an honour done to a guilt-stained criminal. But the poet does not attribute positive virtues to him even in OC.—far less in fact than in OT.
[115] One has only to read the play without preconceived ideas to see that this passionate and savage old man, pitilessly heaping dreadful curses on his sons, gloating vindictively over the coming misfortunes [456] of his own country, is quite ignorant of the “deep peace from the gods” or the “illumination of the pious sufferer” which conventional literary interpretation has been anxious to ascribe to him. The poet is not one to gloss over the harsh realities of life with trite phrases of vapid consolation, and he has clearly perceived that the usual effect of unhappiness and misery upon men is not to “illuminate” but to enfeeble and vulgarize them. His Oedipus is pious (he was that from the beginning in OT. as well), but he is made savage, ἠγρίωται, exactly like Philoktetes in his misery (Ph. 1321).
[116] Humanitarianism of Athens and her king: 562 ff., 1125 ff.
[117] It is emphasized over and over again that the settlement of Oedipus on Attic soil is meant to bring about the salvation of the Athenians and the discomfiture of the Thebans (Apollo’s oracle has thus decreed it): 92 f., 287 f., 402, 409 ff., 576 ff., 621 ff. The whereabouts of the valuable possession must therefore be kept secret (as frequently with the graves of Heroes: see above, chap. iv, [n. 38]); 1520 ff. This elevation of Oedipus to be the σωτήρ of Attica (459 f.) is evidently what makes the interest and importance for the poet of the whole mystery which he relates.
[118] νῦν γὰρ θεοί σ’ ὀρθοῦσι, πρόσθε δ’ ὤλλυσαν, 394. The gods now feel ὤραν τινά for Oedipus, 386. After many πήματα πάλιν σφε δαίμων δίκαιος αὔξοι (ἄν), 1565 f. It is, in fact, an act of kindness after a long period of ill-usage; there is a reversal of fortune, but there is no reward or indemnification given in recognition of a just claim. It is all grace.