PREFACE
There is not much philosophy in the Oedipus. There is not, in comparison with other Greek plays, much pure poetry. What there is, is drama; drama of amazing grandeur and power. In respect of plot no Greek play comes near it. It contains no doubt a few points of unsophisticated technique such as can be found in all ancient and nearly all modern drama; for instance, the supposition that Oedipus has never inquired into the death of his predecessor on the throne. But such flaws are external, not essential. On the whole, I can only say that the work of translation has made me feel even more strongly than before the extraordinary grip and reality of the dialogue, the deftness of the construction, and, except perhaps for a slight drop in the Creon scene, the unbroken crescendo of tragedy from the opening to the close.
Where plot-interest is as strong as it is in the Oedipus, character-interest is apt to be comparatively weak. Yet in this play every character is interesting, vital, and distinct. Oedipus himself is selected by Aristotle as the most effective kind of tragic hero, because, first, he has been great and glorious, and secondly he has not been “pre-eminently virtuous or just.” This is true in its way. Oedipus is too passionate to be just; but he is at least noble in his impetuosity, his devotion, and his absolute truthfulness. It is important to realise that at the beginning of the play he is prepared for an oracle commanding him to die for his people (pp. 6, 7). And he never thinks of refusing that “task” any more than he tries to elude the doom that actually comes, or to conceal
viii
