The theatre of Apollo : divine justice and Sophocles' Oedipus the king

Literary critics have consistently marginalized the role of Apollo in Sophocles' Oedipus the King: some declare him to be inscrutable, others ignore him, and still others deny his existence altogether. In defiance of this long-standing critical consensus, Drew Griffith offers a new interpretation of the play by arguing that Apollo brings about Oedipus' downfall as just punishment for his hubris. By imaginatively recreating the play's original staging and debunking the interpretations of various critics, including Aristotle, Ulrich von Wilamowitz-Moellendorff, E.R. Dodds, Frederick Ahl, and John Peradotto, Griffith shows that Apollo is a constant, powerful presence throughout the play. He contends that although we can sympathize with Oedipus because of his sufferings, he is still morally responsible for murdering his father and sleeping with his mother. Apollo is therefore not indifferent and his actions are not unjust. Griffith focuses on Apollo's commandment "know thyself," a commandment Oedipus belatedly and tragically fulfils, to stress both the need for self-understanding in the study of ancient literature and the usefulness of ancient literature in achieving self-understanding. Contents Preface Introduction 1 Poem as Fact: The Historical Method in Literary Criticism 2 Stage Directions for Sophocles' Oedipus the King 3 Oedipus Pharmakos? Alleged Scapegoating in the Play 4 Asserting Eternal Providence: The Question of Guilt 5 The Authority of Prophecy: Theodicy in the play 6 Reading the Name of Oedipus and Other Riddles 7 The Humiliation of Oedipus 8 Conclusion Appendix A: The Date of the Play Appendix B: The Scene of the Crime Appendix C: The Meaning of υφειρπε γαρ πολυ (786) Notes Abbreviations Bibliography Index A B C D E F G H I J K L M N O P Q R S T V W Y Z