uiry into the murder, and orders the
people to be summoned. The suppliants arise from the altar, and a
solemn chorus of the senators of Thebes (in one of the most splendid
lyrics of Sophocles) chant the terrors of the plague--"that unarmed
Mars"--and implore the protection of the divine averters of
destruction. Oedipus then, addressing the chorus, demands their aid
to discover the murderer, whom he solemnly excommunicates, and dooms,
deprived of aid and intercourse, to waste slowly out a miserable
existence; nay, if the assassin should have sought refuge in the royal
halls, there too shall the vengeance be wreaked and the curse fall.

"For I," continued Oedipus,

"I, who the sceptre which he wielded wield;
I, who have mounted to his marriage bed;
I, in whose children (had he issue known)
His would have claimed a common brotherhood;
Now that the evil fate bath fallen o'er him--
I am the heir of that dead king's revenge,
Not less than if these lips had hailed him 'father!'"

A few more sentences introduce to us the old soothsayer Tiresias--for
whom, at the instigation of Creon, Oedipus had sent. The seer answers
the adjuration of the king with a thrilling and ominous burst--

"Wo--wo!--how fearful is the gift of wisdom,
When to the wise it bears no blessing!--wo!"

The haughty spirit of Oedipus breaks forth at the gloomy and obscure
warnings of the prophet. His remonstrances grow into threats. In his
blindness he even accuses Tiresias himself of the murder of Laius--and
out speaks the terrible diviner:

"Ay--is it so? Abide then by thy curse
And solemn edict--never from this day
Hold human commune with these men or me;
Lo, where thou standest--lo, the land's polluter!"

A dialogue of great dramatic power ensues. Oedipus accuses Tiresias
of abetting his kinsman, Creon, by whom he had been persuaded to send
for the soothsayer, in a plot against his throne--and the seer, who
explains nothing and threatens all things, departs with a dim and
fearful prophecy.

After a song from the chorus, in which are imbodied the doubt, the
trouble, the terror which the audience may begin to feel--and here it
may be observed, that with Sophocles the chorus always carries on, not
the physical, but the moral, progress of the drama [345]--Creon
enters, informed of the suspicion against himself which Oedipus had
expressed. Oedipus, whose whole spirit is disturbed b