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Tiresias: The Ancient Mediterranean Religions Source Database



10414
Sophocles, Oedipus The King, 897-923


nanNo longer will I go reverently to the earth’s central and inviolate shrine, no more to Abae’s temple or to Olympia


nanNo longer will I go reverently to the earth’s central and inviolate shrine, no more to Abae’s temple or to Olympia


nanNo longer will I go reverently to the earth’s central and inviolate shrine, no more to Abae’s temple or to Olympia


nanWhy dance I still and lead the sacred choir? No more I'll seek earth's central oracle, Or Abae's hallowed cell, Nor to Olympia bring My votive offering. If before all God's truth be not bade plain. O Zeus, reveal thy might, King, if thou'rt named aright Omnipotent, all-seeing, as of old; For Laius is forgot; His weird, men heed it not; Apollo is forsook and faith grows cold. [Enter JOCASTA.] JOCASTA: My lords, ye look amazed to see your queen With wreaths and gifts of incense in her hands. I had a mind to visit the high shrines, For Oidipus is overwrought, alarmed With terrors manifold. He will not use His past experience, like a man of sense, To judge the present need, but lends an ear


nanif these oracles do not fit the outcome, so that all mortals shall point at them with their fingers.


nanif these oracles do not fit the outcome, so that all mortals shall point at them with their fingers.


nanif these oracles do not fit the outcome, so that all mortals shall point at them with their fingers.


nanif these oracles do not fit the outcome, so that all mortals shall point at them with their fingers.


nanif these oracles do not fit the outcome, so that all mortals shall point at them with their fingers.


nanNo, King—if this you are rightly called—Zeus all ruling, may it not escape you and your deathless power! The old prophecies concerning Laius are fading; already men give them no value, and nowhere is Apollo glorified with honors;


nanNo, King—if this you are rightly called—Zeus all ruling, may it not escape you and your deathless power! The old prophecies concerning Laius are fading; already men give them no value, and nowhere is Apollo glorified with honors;


nanNo, King—if this you are rightly called—Zeus all ruling, may it not escape you and your deathless power! The old prophecies concerning Laius are fading; already men give them no value, and nowhere is Apollo glorified with honors;


nanNo, King—if this you are rightly called—Zeus all ruling, may it not escape you and your deathless power! The old prophecies concerning Laius are fading; already men give them no value, and nowhere is Apollo glorified with honors;


nanNo, King—if this you are rightly called—Zeus all ruling, may it not escape you and your deathless power! The old prophecies concerning Laius are fading; already men give them no value, and nowhere is Apollo glorified with honors;


nanthe worship of the gods is perishing. Iocasta


nanPrinces of the land, I am planning to visit the shrines of the gods, with this wreathed branch and these gifts of incense in my hands. For Oedipus excites his soul excessively with all sorts of grief


nanPrinces of the land, I am planning to visit the shrines of the gods, with this wreathed branch and these gifts of incense in my hands. For Oedipus excites his soul excessively with all sorts of grief


nanPrinces of the land, I am planning to visit the shrines of the gods, with this wreathed branch and these gifts of incense in my hands. For Oedipus excites his soul excessively with all sorts of grief


nanPrinces of the land, I am planning to visit the shrines of the gods, with this wreathed branch and these gifts of incense in my hands. For Oedipus excites his soul excessively with all sorts of grief


nanas he does not judge the new things from the old, like a man of sense, but is under the control of the speaker, if he speaks of frightful things. Since, then, I can do no good by counsel, to you, Lycean Apollo—for you are nearest—


nanas he does not judge the new things from the old, like a man of sense, but is under the control of the speaker, if he speaks of frightful things. Since, then, I can do no good by counsel, to you, Lycean Apollo—for you are nearest—


nanas he does not judge the new things from the old, like a man of sense, but is under the control of the speaker, if he speaks of frightful things. Since, then, I can do no good by counsel, to you, Lycean Apollo—for you are nearest—


nanas he does not judge the new things from the old, like a man of sense, but is under the control of the speaker, if he speaks of frightful things. Since, then, I can do no good by counsel, to you, Lycean Apollo—for you are nearest—


nanas he does not judge the new things from the old, like a man of sense, but is under the control of the speaker, if he speaks of frightful things. Since, then, I can do no good by counsel, to you, Lycean Apollo—for you are nearest—


nanTo any croaker if he augurs ill. Since then my counsels naught avail, I turn To thee, our present help in time of trouble, Apollo, Lord Lycean, and to thee My prayers and supplications here I bring. Lighten us, lord, and cleanse us from this curse! For now we all are cowed like mariners Who see their helmsman dumbstruck in the storm. [Enter Corinthian MESSENGER.] MESSENGER: My masters, tell me where the palace is Of Oidipus; or better, where's the king. CHORUS: Here is the palace and he bides within; This is his queen the mother of his children. MESSENGER: All happiness attend her and the house, Blessed is her husband and her marriage-bed. JOCASTA: My greetings to thee, stranger; thy fair words Deserve a like response. But tell me why Thou comest — what thy need or what thy news. MESSENGER: Good for thy consort and the royal house. JOCASTA: What may it be? Whose messenger art thou?


nanI have come as a suppliant with these symbols of prayer, that you may find us some escape from uncleanliness. For now we are all afraid, like those who see fear in the helmsman of their ship. Enter a messenger. Messenger


nanI have come as a suppliant with these symbols of prayer, that you may find us some escape from uncleanliness. For now we are all afraid, like those who see fear in the helmsman of their ship. Enter a messenger. Messenger


nanI have come as a suppliant with these symbols of prayer, that you may find us some escape from uncleanliness. For now we are all afraid, like those who see fear in the helmsman of their ship. Enter a messenger. Messenger


nanI have come as a suppliant with these symbols of prayer, that you may find us some escape from uncleanliness. For now we are all afraid, like those who see fear in the helmsman of their ship. Enter a messenger. Messenger


Intertexts (texts cited often on the same page as the searched text):

7 results
1. Euripides, Bacchae, 156-162, 155 (5th cent. BCE - 5th cent. BCE)

155. μέλπετε τὸν Διόνυσον 155. ing of Dionysus, beneath the heavy beat of drums, celebrating in delight the god of delight with Phrygian shouts and cries
2. Sophocles, Antigone, 800, 988, 799 (5th cent. BCE - 5th cent. BCE)

3. Sophocles, Electra, 1064-1065, 1251-1252, 1063 (5th cent. BCE - 5th cent. BCE)

4. Sophocles, Oedipus At Colonus, 1449-1450, 1448 (5th cent. BCE - 5th cent. BCE)

5. Sophocles, Oedipus The King, 1012-1013, 1016-1020, 1032, 1036, 1068, 1071-1072, 110-111, 1193-1195, 1207-1210, 1213, 1223-1296, 1329-1332, 14, 144-147, 1473, 148-149, 15, 150-159, 16, 160-169, 17, 170-179, 18, 180-199, 2, 200-215, 280-281, 288-289, 325, 328-329, 339-341, 362, 366-367, 372-373, 379, 408-409, 412-425, 438, 444, 463-530, 676-677, 681-682, 711-725, 786-793, 863-869, 87, 870-879, 88, 880-896, 898-923, 928, 953, 964-972, 976, 1 (5th cent. BCE - 5th cent. BCE)

6. Sophocles, Philoctetes, 50-53, 106 (5th cent. BCE - 5th cent. BCE)

7. Sophocles, Women of Trachis, 217-221, 216 (5th cent. BCE - 5th cent. BCE)

216. and to the nymphs her neighbors! I am uplifted, I will not spurn the flute—O you master of my heart! Behold, his ivy stirs me! Euoe!


Subjects of this text:

subject book bibliographic info
actors Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
antigone (sophocles), and oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
apollo Markantonatos, Brill's Companion to Sophocles (2012) 438
characters, of oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
characters, tragic/mythical, hercules/heracles Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
characters, tragic/mythical, jocasta Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
characters, tragic/mythical, laius Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
characters, tragic/mythical, peleus Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
characters, tragic/mythical, thetis Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
chorostatas (kho-), self-reference, choral Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
chorus, antigone, flexible Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
chorus, antigone, in danger and safe Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
chorus, antigone, oedipus tyrannus Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
chorus, antigone, part of 'the large group'" Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
cognitive linguistics Peels, Hosios: A Semantic Study of Greek Piety (2016) 50
council, royal Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
delphi Markantonatos, Brill's Companion to Sophocles (2012) 438
dithyramb/dithyrambic choruses/contests Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
episodes, of oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 511
euripides, and the chorus Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
fear, of oedipus Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 511
groups, and individuals Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
groups, threatened and safe Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
hosios (and cognates), in context of rituals of worship Peels, Hosios: A Semantic Study of Greek Piety (2016) 50
jocasta' Markantonatos, Brill's Companion to Sophocles (2012) 438
new comedy, new music Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
oedipus Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506, 511
oedipus rex, chorus Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
oedipus rex as turannos, tiresias Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506, 511
perspective Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
phrynis Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
polis Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225
prayer Peels, Hosios: A Semantic Study of Greek Piety (2016) 50
prophetic language Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
reciprocity Peels, Hosios: A Semantic Study of Greek Piety (2016) 50
self-consciousness, in tragedy, choral self-reference Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
sentences, ambiguous or elliptic Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
setting, of oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
socrates Peels, Hosios: A Semantic Study of Greek Piety (2016) 50
sophoclean language, ambiguous, elliptic or vague Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
sophoclean language, clarity Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
sophoclean language, creates trust in something that is there Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
sophoclean language, evokes situations Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
sophoclean unlike gorgianic, unpredictable yet clear Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 57
space, and oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506
spectators, text uncertain Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222
stasima, of oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 511
structure, of oedipus the king (sophocles) Jouanna, Sophocles: A Study of His Theater in Its Political and Social Context (2018) 506, 511
timotheus of miletus Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 257
turannos Budelmann, The Language of Sophocles: Communality, Communication, and Involvement (1999) 222, 223, 224, 225