Jon Hesk
The action of Oedipus at Colonus begins with the arrival of Oedipus and his daughter Antigone at (what they guess to be) a sacred grove. They sit down to rest on a rock within its boundaries (1–20). This frail, destitute, and blind old man has clearly been relying on the support of his daughter for some time (22). We later learn that he was exiled from Thebes many years ago and has been wandering from place to place ever since. Antigone has never left his side. Initially, father and daughter seem to know only that the city they can see in the distance is Athens (24–27). They (and perhaps the audience) are kept in suspense as to their precise location. Then, a local man arrives on the scene to tell them that they must leave the ground they are treading on (36–37), for the grove is sacred to the Eumenides and the entire area belongs to Poseidon (39–40, 53–55). He gestures to a statue—probably visible on- stage—of the horseman-hero who founded this town and gave it his name. (58–63). The man describes Colonus as the ‘bulwark of Athens’ (58). On hearing all this, Oedipus refuses to move. He declares his status as a suppliant and demands that Attica’s king (Theseus) be sent for (38–80). Theseus will receive a great bene t in return for small assistance (72– 74). While the man goes of to fetch the local elders, Oedipus reveals that the grove has momentous signi cance for him. The same oracle which predicted the ‘evils’ of parricide and incest for him also revealed that it was his destiny to end his ‘long-sufering life’ once he had reached a seat in a sanctuary of the Eumenides (84–110). As he prays to these divinities, Oedipus reveals that his death will bring advantage to those who have received him into their territory but will visit ruin upon those who sent him into exile (93–94). The Chorus of Colonan elders now arrive with their entrance song (par- odos). They insist that he move from sacred ground (117–169). Antigone painstakingly guides Oedipus to sit on another rock just outside the sanc- tuary (170–206). This distinctive combination of dialogue and stage action emphasizes the old man’s heavy reliance upon his daughter for advice and physical support. But it also shows that Oedipus’ appointed end will not 168 jon hesk come about easily or immediately.1 Almost as soon as has he sat down exactly where the oracle dictates, he is forced to move from that hallowed location. The Chorus now learn Oedipus’ identity as he reluctantly yields to their questioning (207–224). They are shocked and horri ed to have this notorious parricide and incest in their midst and they demand that he leave (226–236). Antigone makes a moving lyric appeal: they must show pity and recognize that Oedipus’ actions were unwitting and inescapable (237–254). Oedipus argues for his moral innocence and appeals to Athens’ reputation for compassion (258–291). The Chorus concede that they feel pity and they allow Oedipus to wait for Theseus (292–309). Antigone’s sister Ismene arrives from Thebes. Father and daughters em- brace and exchange tender words (327–334). Oedipus expresses his extreme anger at his two sons (Eteocles and Polyneices) for not supporting him. His contrasting appreciation of the manner in which Antigone and Ismene have put his interests before theirs is marked (337–360). Ismene reports that Oedipus’ sons are no longer content for Creon to rule Thebes and are quarrelling over the throne (361–420). Eteocles has driven his older brother into exile. Polyneices has acquired an alliance with Argos and plans to take control of the Theban throne by force of arms. Furthermore, the Delphic oracle has pronounced that Oedipus will one day be sought by the Theban people ‘in death and in life for their preservation’s sake’ (390). In order to succeed in the coming war, Eteocles and Creon must settle Oedipus close to them and show due care and reverence to his tomb when he dies. Ismene warns that Creon will soon be on his way to persuade Oedipus away from Athens. Creon wants to control Oedipus’ movements and give due oferings to Oedipus’ tomb without incurring the pollution of having this parricide on Theban soil (402, 407). As with Philoctetes and Ajax, the question of who gets to control the protagonist’s physical body is of central importance.2 When he learns that his sons were aware of these new oracles, Oedipus is furious. He curses his sons in the strongest terms and refuses to assist either of them (421–460). They did nothing to prevent his unwanted exile and in preference to their father, they chose ‘thrones and sceptres and to be ruler over the land’ (448–449). He calls upon the Chorus to aid the Eumenides in giving him protection in return for acquiring him as Athens’ saviour (459– 460). On the advice of the Chorus, Oedipus agrees to make ritual atonement to the Eumenides for trespassing upon their sacred ground. These rites
1 See Budelmann (2000b). 2 Hall (2010) 324.