Greek Tragedy Quotes

Come back. Even as a shadow, even as a dream.

Of all creatures that can feel and think, we women are the worst treated things alive

The greatest tragedies were written by the Greeks and Shakespeare...neither knew chocolate.

In Greek tragedy, they fall from great heights. In noir, they fall from the curb.

I'd three times sooner go to war than suffer childbirth once.

[A]s Agatha Swanburne once said, 'To be kept waiting is unfortunate, but to be kept waiting with nothing interesting to read is a tragedy of Greek proportions.

Those around you can have their novellas, sweet, their short stories of cliché and coincidence, occasionally spiced up with tricks of the quirky, the achingly mundane, the grotesque. A few will even cook up Greek tragedy, those born into misery, destined to die in misery. But you, my bride of quietness, you will craft nothing less than epic with your life. Out of all of them, your story will be the one to last.

It's human; we all put self interest first.

I gave them hope, and so turned away their eyes from death

Modern romance, like Greek tragedy, celebrates the mystery of dismemberment, which is life in time. The happy ending is justly scorned as a misrepresentation; for the world, as we know it, as we have seen it, yields but one ending: death, disintegration, dismemberment, and the crucifixion of our heart with the passing of the forms that we have loved.

Listen, Kafka. What you’re experiencing now is the motif of many Greek tragedies. Man doesn’t choose fate. Fate chooses man. That’s the basic worldview of Greek drama. And the sense of tragedy—according to Aristotle—comes, ironically enough, not from the protagonist’s weak points but from his good qualities. Do you know what I’m getting at? People are drawn deeper into tragedy not by their defects but by their virtues. Sophocles’ Oedipus Rex being a great example. Oedipus is drawn into tragedy not because of laziness or stupidity, but because of his courage and honesty. So an inevitable irony results.

I ask this one thing: let me go mad in my own way.

Mortal fate is hard. You'd best get used to it.

When he endures nothing but endless miseries-- What pleasure is there in living the day after day, Edging slowly back and forth toward death? Anyone who warms their heart with the glow Of flickering hope is worth nothing at all. The noble man should either live with honor or die with honor. That's all there is to be said.

PROMETHEUS: 'Oh, it is easy for the one who stands outside the prison-wall of pain to exhort and teach the one who suffers

The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.

Yes it will be a grace if I die. To exist is pain. Life is no desire of mine anymore.

The wisest men follow their own direction And listen to no prophet guiding them. None but the fools believe in oracles, Forsaking their own judgment.

Better a humble heart, a lowly life. Untouched by greatness let me live - and live. Not too little, not too much: there safety lies.

Who can stop grief's avalanche once it starts to roll.

ORESTES: Never shall I see you again. ELECTRA: Nor I see myself in your eyes. ORESTES: This, the last time I'll talk with you ever. ELECTRA: O my homeland, goodbye. Goodbye to you, women of home. ORESTES: Most loyal of sisters, do you leave now? ELECTRA: I leave with tears blurring all that I see.

Old loves are dropped when new ones come

In childbirth grief begins.

Yes, blood for blood, his bitter loan came due. He paid with death.

Not from Hades' black and universal lake can you lift him. Not by groaning, not by prayers. Yet you run yourself out in a grief with no cure, no time-limit, no measure. It is a knot no one can untie. Why are you so in love with things unbearable?

You don't know what your life is, nor what you're doing, nor who you are.

Tragedy is born of myth, not morality. Prometheus and Icarus are tragic heroes. Yet none of the myths in which they appear has anything to do with moral dilemmas. Nor have the greatest Greek tragedies. If Euripides is the most tragic of the Greek playwrights, it is not because he deals with moral conflicts but because he understood that reason cannot be the guide of life.

I am at the end. I exist no more.

Not too little, not too much: there safety lies.

courage is the gift of character

In some ways grief anonymizes as powerfully as a Greek tragedy mask.

Of most dreadful suffering, I am the cause.

He loves power. A terrible love.

I have a pullout couch, and I could sleep in the living room. You can have the bedroom." "I'm sorry. No." Mel put her hand on his chest, her eyes sparkling. "I have to draw the line there. I should at least get sex out of this deal or this really would be a tragedy.

Receive the god into your kingdom pour libations, cover your head with ivy, join the dance!

TEIRESIAS: Alas, how terrible is wisdom when it brings no profit to the man that's wise! This I knew well, but had forgotten it, else I would not have come here.

AGAMEMNON: Oh immovable law of heaven! Oh my anguish, my relentless fate! CLYTEMNESTRA: Yours? Mine. Hers. No relenting for any of us.

I am Cassandra—she who, without asking, understood it all and still came to her fate, I, Cassandra, full of visions, who sees her own death without turning away, and hears in the night the day that follows.

No mortal ever knows happiness and good fortune all the way to the end. Each one is born with his bitterness waiting for him.

There was a word for this moment in Greek tragedy: anagnorisis—recognition—the moment the hero finally sees the truth and understands his fate—and how it’s always been there, the whole time, in front of him. Mariana used to wonder what that moment felt like. Now she knew.

I wish you joy. To spend life's fleeting days mid joy that never meets an evil hour is to be blessed beyond compare.

You should care about things in a way that makes it a possibility that tragedy will happen to you.

Ten thousand men possess ten thousand hopes. A few bear fruit in happiness; the others go awry. But he who garners day by day the good life, he is happiest.

Because she—you hear her—she's calling, and is always going to call, and it's better both of us die by the dagger without anyone seeing us, Orestes, and die a fit death.

If the hero dies, they call it a Greek tragedy, but when the heroine dies, it's a romance. Now I only want stories where girls are the heroes, and our fates are neither written in the stars nor held in the palm of a man's hand, but are entirely our own.

We are all women you assure me? Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia …’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. ‘Chloe liked Olivia,’ I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done so! As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalized, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends. There is an attempt at it in Diana of the Crossways. They are confidantes, of course, in Racine and the Greek tragedies. They are now and then mothers and daughters. But almost without exception they are shown in their relation to men.

Oppenheimer’s warnings were ignored—and ultimately, he was silenced. Like that rebellious Greek god Prometheus—who stole fire from Zeus and bestowed it upon humankind, Oppenheimer gave us atomic fire. But then, when he tried to control it, when he sought to make us aware of its terrible dangers, the powers-that-be, like Zeus, rose up in anger to punish him.

Sparks recently went on record as saying he is a greater novelist than Cormac McCarthy. This is true in the same sense that I am a better novelist than William Shakespeare. Sparks also said his novels are like Greek Tragedies. This may actually be true. I can't check it out because, tragically, no really bad Greek tragedies have survived.

In this sense the Dionysian man resembles Hamlet: both have once looked truly into the essence of things, they have gained knowledge, and nausea inhibits action; for their action could not change anything in the eternal nature of things; they feel it to be ridiculous or humiliating that they should be asked to set right a world that is out of joint. Knowledge kills action; action requires the veils of illusion: that is the doctrine of Hamlet, not that cheap wisdom of Jack the Dreamer who reflects too much and, as it were, from an excess of possibilities does not get around to action. Not reflection, no--true knowledge, an insight into the horrible truth, outweighs any motive for action, both in Hamlet and in the Dionysian man. Now no comfort avails any more; longing transcends a world after death, even the gods; existence is negated along with its glittering reflection in the gods or in an immortal beyond. Conscious of the truth he has once seen, man now sees everywhere only the horror or absurdity of existence; now he understands what is symbolic in Ophelia's fate; now he understands the wisdom of the sylvan god, Silenus: he is nauseated. Here, when the danger to his will is greatest, art approaches as a saving sorceress, expert at healing. She alone knows how to turn these nauseous thoughts about the horror or absurdity of existence into notions with which one can live: these are the sublime as the artistic taming of the horrible, and the comic as the artistic discharge of the nausea of absurdity. The satyr chorus of the dithyramb is the saving deed of Greek art; faced with the intermediary world of these Dionysian companions, the feelings described here exhausted themselves.

You are young and young your rule and you think that the tower in which you live is free from sorrow: from it have I not seen two tyrants thrown? The third, who now is king, I shall yet live to see him fall, of all three most suddenly, most dishonored.

But when a god sends harm, no man can sidestep it, no matter how strong he may be.

Orestes beloved. as you die you destroy me. You have torn away the part of my mind where hope was .

This is Electra. Brilliant no more.

To be kept waiting is unfortunate, but to be kept waiting with nothing interesting to read is a tragedy of Greek proportions" -Agatha Swanburne

Hurry, come hold me, though I am dead. Shed tears on my body as on my grave.

By dread things I am compelled. I know that. I see the trap closing. I know what I am. But while life is in me I will not stop this violence. No. Oh my friends who is there to comfort me? Who understands? Leave me be, let me go, do not soothe me. This is a knot no one can untie. There will be no rest, there is no retrieval. No number exists for griefs like these.

the essence of tragedy is time, or rather the lack of it. There is no problem in any Greek tragedy that could not have been solved if there had been enough time, but there is never enough. Decisions, choices have to be made in a moment, there is no time to think and weigh the consequences; and, since even tragic heroes are fallible—especially fallible, perhaps—the decisions are wrong. It is easy for us to see what should have been done, but would we have been able to see in time? That is the question that you should always ask in reading any Greek tragedy.

TEIRESIAS: You have your eyes but see not where you are in sin, nor where you live, nor whom you live with. Do you know who your parents are? Unknowing you are enemy to kith and kin in death, beneath the earth, and in this life.

Margaret realized the chaotic nature of our daily life, and its difference from the orderly sequence that has been fabricated by historians. Actual life is full of false clues and sign-posts that lead nowhere. With infinite effort we nerve ourselves for a crisis that never comes. The most successful career must show a waste of strength that might have removed mountains, and the most unsuccessful is no that of a man who is taken unprepared, but of him who has prepared and is never taken. On a tragedy of that kind our national morality is duly silent. It assumes that preparation against danger is in itself a good, and that men, like nations, are the better for staggering through life fully armed. The tragedy of preparedness has scarcely been handled, save by the Greeks. Life is indeed dangerous, but not in the way morality would have us believe. It is indeed unmanageable, but the essence of it is not a battle. It is unmanageable because it is a romance, and its essence is romantic beauty.

To a terrible place which men’s ears             may not hear of, nor their eyes see it.

whose sons would cling bold to the craggy heights of war

Prometheus: Yes, I stopped mortals from foreseeing their doom. Chorus: What cure did you discover for that sickness? Prometheus: I sowed in them blind hopes.

We'll buy back our own harm with what is most dear to us.

What greater sorrow than being forced to leave behind my native earth?

I live in a place of tears.

O Zeus! Why have you given us clear signs to tell True gold from counterfeit; but when we need to know Bad men from good, the flesh bears no revealing mark?

When it's good, it's the best and most beautiful thing I've ever experienced. So good, that it makes me feel bad for people who haven't had the honor. But when it's bad, it's bad, Nikki. A goddamn Greek tragedy. It's horrific. And really fucking scary. He scares me. But those good times...I'll take the bad just so I can have the good. Because the good is outstanding. So, if you must know, I'm going with the flow and taking it as it comes.

What cannot be borne in reality, becomes a source of pleasure when it is transposed into the visual and somatic fiction of the dramatic spectacle.

You gave birth to your own death.

The hounds snap fierce at your heels. Turn toward Athens. I hear them pelting hard on you, I see black flesh and snake-hands coiling round a fruit of agonizing pain.

In fact, however, Nietzsche’s very first book, The Birth, constitutes a declaration of independence from Schopenhauer: while Nietzsche admires him for honestly facing up to the terrors of existence, Nietzsche himself celebrates Greek tragedy as a superior alternative to Schopenhauer’s “Buddhistic negation of the will.” From tragedy Nietzsche learns that one can affirm life as sublime, beautiful, and joyous in spite of all suffering and cruelty.

CHORUS: You that live in my ancestral Thebes, behold this Oedipus,- him who knew the famous riddles and was a man most masterful; not a citizen who did not look with envy on his lot- see him now and see the breakers of misfortune swallow him! Look upon that last day always. Count no mortal happy till he has passed the final limit of his life secure from pain.

annihilation. “Money flows toward short term gain,” writes the geologist David Archer, “and toward the over-exploitation of unregulated common resources. These tendencies are like the invisible hand of fate, guiding the hero in a Greek tragedy toward his inevitable doom.” This is indeed the essence of humanity’s present derangement.

But when a god             strikes harm, a worse man often foils his better.

JOCASTA: So clear in this case were the oracles, so clear and false. Give them no heed, I say; what God discovers need of, easily he shows to us himself.

black evil is outlined clearest to our eyes by the blaze of virtue

Tragedy cannot take place around a type. Suffering is the most individualizing thing on earth.

He has the thousand-yard stare.

We would have to think the gods had no minds, to pray for murderers.

Again, again your mind has changed course with the wind. For you think now of godly things ignored when you worked dreadful deeds on your brother against his will.

But most critically, sweet, never try to change the narrative structure of someone else’s story, though you will certainly be tempted to, as you watch those poor souls in school, in life, heading unwittingly down dangerous tangents, fatal digressions from which they will unlikely be able to emerge. Resist the temptation. Spend your energies on your story. Reworking it. Making it better. Increasing the scale, the depth of content, the universal themes. And I don’t care what those themes are – they’re yours to uncover and stand behind – so long as, at the very least, there is courage. Guts. Mut, in German. Those around you can have their novellas, sweet, their short stories of cliché and coincidence, occasionally spiced up with tricks of the quirky, the achingly mundane, the grotesque. A few will even cook up Greek tragedy, those born into misery, destined to die in misery. But you, my bride of quietness, you will craft nothing less than epic with your life. Out of all of them, your story will be the one to last.

His copy was full of lofty echoes: Greek Tragedy; Damocle's sword; manna from heaven; the myth of Sisyphus; the last of the Mohicans; hydra-headed and Circe-voiced; experiments with truth; discovery of India; biblical resonance; the lessons of Vedanta; the centre does not hold; the road not taken; the mimic men; for whom the bell tolls; a hundred visions and revisions; the power and the glory; the heart of the matter; the heart of darkness; the agony and the ecstasy; sands of time; riddle of the Sphinx; test of tantalus; murmurs of mortality; Falstaffian figure; Dickensian darkness; ...

Oh where is the noble face of modesty, or the strength of virtue, now that blasphemy is in power and men have put justice behind them, and there is no law but lawlessness, and none join in fear of the gods?

permitting the continuance and expansion of slavery as the price to pay for nationhood. This decision meant that tragedy was also built into the American founding, and the only question we can ask is whether it was a Greek tragedy, meaning inevitable and unavoidable, or a Shakespearean tragedy, meaning that it could have gone the other way, and the failure was a function of the racial prejudices the founders harbored in their heads and hearts.10

I had grown accustomed to my station here. Enduring it as if lost in a dream. But today, my eyes have been opened. Today, I awake. Too long have I suffered adversity. Pain from the actions of those entrusted with protecting me. Forging on, my past shall not define me, even as I stand afeard a resurgence of my true vulnerabilities. The time has come at last to abandon this isle. To depart, never to return. Fare thee well, O home. Wait for my return no longer. Onward I must proceed with strength in each footfall Evermore haunted with the memories of the man I used to be. For my old home is now behind me. Faith is my new home.

If only the herdsman had not brought him up with the flocks, not reared him, Paris, Alexander, to watch his flock by the clear springs where the nymphs rise, and the rich pastures starred with roses and hyacinths for the goddesses to gather.

OEDIPUS: O, O, O, they will all come, all come out clearly! Light of the sun, let me look upon you no more after today! I who first saw the light bred of a match accursed, and accursed in my living with them I lived with, cursed in my killing.

There is an ancient story that King Midas hunted in the forest a long time for the wise Silenus, the companion of Dionysus, without capturing him. When Silenus at last fell into his hands, the king asked what was the best and most desirable of all things for man. Fixed and immovable, the demigod said not a word, till at last, urged by the king, he gave a shrill laugh and broke out into these words: ‘Oh, wretched ephemeral race, children of chance and misery, why do you compel me to tell you what it would be most expedient for you not to hear? What is best of all is utterly beyond your reach: not to be born, not to be, to be nothing. But the second best for you is—to die soon.

None but a fool or an infant could forget a father gone so far and cold. No. Lament is a pattern cut and fitted around my mind—like the bird who calls Itys! Itys! endlessly, bird of grief, angel of Zeus. O heartdragging Niobe, I count you a god: buried in rock yet always you weep.

That depends,” Oshima says. “Sometimes it is. But irony deepens a person, helps them mature. It’s the entrance to salvation on a higher plane, to a place where you can find a more universal kind of hope. That’s why people enjoy reading Greek tragedies even now, why they’re considered prototypical classics. I’m repeating myself, but everything in life is metaphor. People don’t usually kill their father and sleep with their mother, right? In other words, we accept irony through a device called metaphor. And through that we grow and become deeper human beings.

OEDIPUS: Upon the murderer I invoke this curse- whether he is one man and all unknown, or one of many- may he wear out his life in misery to miserable doom! If with my knowledge he lives at my hearth I pray that I myself may feel my curse. On you I lay my charge to fulfill all this for me, for the God, and for this land of ours destroyed and blighted, by the God forsaken.

Well,the hell with you." She natched up her purse. "The hell with both of you." "We love you, Margo." That stopped her.She whirled back to glare at Kate. "That's a lousy thing to say.Bitch." When Kate grinned,she tried to grin back.Instead she dropped her purse back behind the counter and burst into tears. "Oh,shit." Shocked,Kate leaped forward to gather her close. "Oh,hell.Oh, shit.Lock the door,Laura.I'm sorry, Margo.I'm sorry.Bad plan.I thought you'd just get mad and go tearing off to fix his butt.What did the bastard do to you,honey?I'll fix his butt for you." "He dumped me." Thoroughly ashamed, she sobbed wretchedly on Kate's shoulder. "He hates me.I wish he were dead.I wish I had slept with Claudio." "Wait.Whoa." Firmly, Kate drew he back,while Laura brought over a cup of tea. "Who's Claudio and when didn't you sleep with him?" "He's a friend,just a friend.And I never slept with him." The tears were so hot it felt as though her eyes were on fire. "Especially not when Josh found us in the bedroom." "Uh-oh." Kate rolled her eyes at Laura. "Is it a French farce or a Greek tragedy?You be the judge." "Shut up,Kate.Come on Margo.Let's sit down.This time you tell us everything.

As you set out on your journey to Ithaca, pray that your journey be a long one, filled with adventure, filled with discovery. Laestrygonians and Cyclopes, the angry Poseidon--do not fear them: you'll never find such things on your way unless your sight is set high, unless a rare excitement stirs your spirit and your body. The Laestrygonians and Cyclopes, the savage Poseidon--you won't meet them so long as you do not admit them to your soul, as long as your soul does not set them before you. Pray that your road is a long one. May there be many summer mornings when with what pleasure, with what joy, you enter harbors never seen before. May you stop at Phoenician stations of trade to buy fine things, mother of pearl and coral, amber and ebony, and voluptuous perfumes of every kind-- buy as many voluptuous perfumes as you can. And may you go to many Egyptian cities to learn and learn from those who know. Always keep Ithaca in your mind. You are destined to arrive there. But don't hurry your journey at all. Far better if it takes many years, and if you are old when you anchor at the island, rich with all you have gained on the way, not expecting that Ithaca will give you wealth. Ithaca has given you a beautiful journey. Without her you would never have set out. She has no more left to give you. And if you find her poor, Ithaca has not mocked you. As wise as you have become, so filled with experience, you will have understood what these Ithacas signify.

Fate has always been the realm of the gods, though even the gods are subject to it. In ancient Greek mythology, the Three Sisters of Fate spin out a person's destiny within three nights of their birth. Imagine your newborn child in his nursery. It's dark and soft and warm, somewhere between two and four a.m., one of those hours that belong exclusively to the newly born or the dying. The first sister - Clotho - appears next to you. She's a maiden, young and smooth. In her hands she holds a spindle, and on it she spins the thrads of your child's life. Next to her is Lachesis, older and more matronly than her sister. In her hands, she holds the rod used to mesure the thread of life. The length and destiny of your child's life is in her hands. Finally we have Atropos - old, haggardly. Inevitable. In her hands she holds the terrible shears she'll use to cut the thread of your child's life. She determines the time and manner of his or her death. Imagine the awesome and awful sight of these three sisters pressed together, presiding over his crib, dermining his future. In modern times, the sisters have largely disappeared from the collective consiousness, but the idea of Fate hasn't. Why do we still believe? Does itmake tragedy more bearable to believe that we ourselves had no hand in it, that we couldn't have prevented it? It was always ever thus. Things happen for a reason, says Natasha's mother. What she means is Fate has a Reason and, though you may not know it, there's a certain comfort in knowing that there's a Plan.

«Perché quella piccola voce ostinata nella nostra testa ci tormenta così?» disse , guardandoci. «Forse perché ci ricorda che siamo vivi, che siamo mortali, che abbiamo anime autonome - che, dopotutto, siamo troppo pavidi per cedere, ma che pure ci procurano un grave malessere? È una cosa terribile imparare da bambini che si è un essere separato dal resto del mondo, che niente e nessuno soffre i nostri medesimi solori di scottature alla lingua o di sbucciature alle ginocchia: che ognuno è solo con i propri acciacchi e le proprie pene, Ancor più terribile, invecchiando, scoprire che nessuna persona - non importa quanto vicina - potrà mai capirci davvero. I nostri io sono ciò che ci rende più infelici, ed è per questo che bramiamo perderli, non credere?»

The satyr, as the Dionysiac chorist, dwells in a reality sanctioned by myth and ritual. That tragedy should begin with him, that the Dionysiac wisdom of tragedy should speak through him, is as puzzling a phenomenon as, more generally, the origin of tragedy from the chorus. Perhaps we can gain a starting point for this inquiry by claiming that the satyr, that fictive nature sprite, stands to cultured man in the same relation as Dionysian music does to civilization. Richard Wagner has said of the latter that it is absorbed by music as lamplight by daylight. In the same manner, I believe, the cultured Greek felt himself absorbed into the satyr chorus, and in the next development of Greek tragedy state and society, in fact everything that separates man from man, gave way before an overwhelming sense of unity that led back into the heart of nature. This metaphysical solace (which, I wish to say at once, all true tragedy sends us away) that, despite every phenomenal change, life is at bottom indestructibly joyful and powerful, was expressed most concretely in the chorus of satyrs, nature beings who dwell behind all civilization and preserve their identity through every change of generations and historical movement. With this chorus the profound Greek, so uniquely susceptible to the subtlest and deepest suffering, who had penetrated the destructive agencies of both nature and history, solaced himself. Though he had been in danger of craving a Buddhistic denial of the will, he was saved through art, and through art life reclaimed him.

TEIRESIAS: I tell you, king, this man, this murderer (whom you have long declared you are in search of, indicting him in threatening proclamation as murderer of Laius)- he is here. In name he is a stranger among citizens but soon he will be shown to be a citizen true native Theban, and he'll have no joy of the discovery: blindness for sight and beggary for riches his exchange, he shall go journeying to a foreign country tapping his way before him with a stick. He shall be proved father and brother both to his own children in his house; to her that gave him birth, a son and husband both; a fellow sower in his father's bed with that same father that he murdered. Go within, reckon that out, and if you find me mistaken, say I have no skill in prophecy.

We long for experiences “of profound connection with others,” he writes, “of deep understanding of natural phenomena, of love, of being profoundly moved by music or tragedy, or doing something new and innovative.” Just as important, we long for esteem and pride, “a self that happiness is a fitting response to.” Implicit in Nozick’s experiment is the idea that happiness should be a by-product, not a goal. Many of the ancient Greeks believed the same. To Aristotle, eudaimonia (roughly translated as “flourishing”) meant doing something productive. Happiness could only be achieved through exploiting our strengths and our potential. To be happy, one must do, not just feel.

Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.

Aside from the encounter with the Sphinx, there is little in Oedipus to connect him to the common run of Greek heroic figures. He strikes us today as a modern tragic hero and political animal; it is hard to picture him shaking hands with Heracles or joining the crew of the Argo. many scholars and thinkers, most notably Friedrich Nietzsche in his book The Birth of Tragedy, have seen in Oedipus a character who works out on stage the tension in Athenians (and all of us) between the reasoning, mathematically literate citizen and the transgressive blood criminal; between the thinking and the instinctual being; between the superego and the id; between the Apollonian and the Dionysian impulses that contend within us. Oedipus is a detective who employs all the fields of enquiry of which the Athenians were so proud -- logic, numbers, rhetoric, order and discovery -- only to reveal a truth that is disordered, shameful, transgressive and bestial.