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Many Greek tragedies have mysteriously evaded the controlling influence of time; they are read today with as much admiration and emotion as they would have inspired in their first audiences.
To find ours, let us step back once more and examine Sophokles’ use of words. At a glance we notice a great deal of words related to sight in Oidipous Tyrannos . Roughly twice as many appear to us here than in the Antigone. The number picks up once more where Oidipous makes his final appearance in Oidipous at Kolonos. We can draw little more from this than that seeing and Oidipous are connected, fundamentally connected.
These mimes were centered around themes of murder and adultery: the amount of indecency was incredible. In a warped sense of Realism, emperors could command a real sex act to take place on stage.
Apollo actively intervenes in the fulfilment of Oedipus’ destiny through oracles and immanently in the onstage action. Rather than to punish him for any offence, the god’s purpose appears to be to impress upon Oedipus his existential insignificance. In the context of an ordered but absurd universe, Sophocles emphasises the paradox of the moral greatness of a man whose ‘official’ existential value is less than zero.
In this paper I would like to suggest a metrical interpretation of the parodos of the Theban girls in Aeschylus’ Seven against Thebes. I shall begin with the metrical part, then I should like to take a closer look at the semantic impact of this interpretation and, instead of a conclusion, show how this proposal would fit into the whole context of the play.