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 speech is broken into several divisions, Oedipus at each point expecting an answer and receiving none. Thus it is not mere declamation; it involves action and reaction between a speaker and a crowd.—Every reader will notice how full it is of "tragic irony." Almost every paragraph carries with it some sinister meaning of which the speaker is unconscious. Cf. such phrases as "if he tread my hearth," "had but his issue been more fortunate," "as I would for mine own father," and of course the whole situation.
[P. 25, l. 437,] Who were they?]—This momentary doubt of Oedipus, who of course regarded himself as the son of Polybus, King of Corinth, is explained later (p. 46, l. 780).
[Pp. 29 ff.] The Creon scene.]—The only part of the play which could possibly be said to flag. Creon's defence, p. 34, "from probabilities," as the rhetoricians would have called it, seems less interesting to us than it probably did to the poet's contemporaries. It is remarkably like Hippolytus's defence (pp. 52 f. of my translation), and probably one was suggested by the other. We cannot be sure which was the earlier play.
The scene serves at least to quicken the pace of the drama, to bring out the impetuous and somewhat tyrannical nature of Oedipus, and to prepare the magnificent entrance of Jocasta.
[P. 36, l. 630], Thebes is my country.]—It must be remembered that to the Chorus Creon is a real Theban, Oedipus a stranger from Corinth.
[P. 41,] Conversation of Oedipus and Jocasta.]—The technique of this wonderful scene, an intimate self-revealing conversation between husband and wife about the past, forming the pivot of the play, will remind a modern reader of Ibsen.
[P. 42, l. 718.]]—Observe that Jocasta does not tell the whole truth. It was she herself who gave the child to be killed (p. 70, l. 1173).
[P. 42, l. 730,] Crossing of Three Ways.]—Cross roads always had dark associations. This particular spot was well known to tradition and is still pointed out. "A bare isolated hillock of grey stone stands at the point where our road from Daulia meets the road to Delphi and a third road that stretches to the south.... The road runs up a frowning pass between Parnassus on the right hand and the spurs of the Helicon range on the left. Away to the south a wild and desolate valley opens, running up among the waste places of Helicon, a scene of inexpressible grandeur and desolation" (Jebb, abridged).