Athens: Its Rise and Fall, Complete

“Predictions of the gods, where are ye now?
Lest by the son’s doomed hand the sire should fall,
The son became a wanderer on the earth,
Lo, not the son, but Nature, gives the blow!”

Oedipus, summoned to the messenger, learns the news of his supposed father’s death! It is a dread and tragic thought, but the pious Oedipus is glad that his father is no more, since he himself is thus saved from parricide; yet the other part of the prediction haunts him. His mother!—she yet lives. He reveals to the messenger the prophecy and his terror. To cheer him, the messenger now informs him that he is not the son of Merope and Polybus. A babe had been found in the entangled forest-dells of Cithaeron by a herdsman and slave of Laius —he had given the infant to another—that other, the messenger who now tells the tale. Transferred to the care of Polybus and Merope, the babe became to them as a son, for they were childless. Jocasta hears—stunned and speechless—till Oedipus, yet unconscious of the horrors still to come, turns to demand of her if she knew the herdsman who had found the child. Then she gasps wildly out—

“Whom speaks he of?  Be silent—heed it not—
Blot it out from thy memory!—it is evil!
Oedipus.  It cannot be—the clew is here; and I
Will trace it through that labyrinth—my birth.
Jocasta.  By all the gods I warn thee; for the sake
Of thine own life beware; it is enough
For me to hear and madden!”

Oedipus (suspecting only that the pride of his queen revolts from the thought of her husband’s birth being proved base and servile) replies,

“Nay, nay, cheer thee!
Were I through three descents threefold a slave,
My shame would not touch thee.
Jocasta.                 I do implore thee,
This once obey me—this once.
Oedipus              I will not!
To truth I grope my way.
Jocasta.        And yet what love
Speaks in my voice!  Thine ignorance is thy bliss.
Oedipus.  A bliss that tortures!
Jocasta.                         Miserable man!
Oh couldst thou never learn the thing thou art!
Oedipus.  Will no one quicken this slow herdsman’s steps
The unquestioned birthright of a royal name
Let this proud queen possess!
Jocasta.                    Wo! wo! thou wretch!
Wo! my last word!—words are no more for me!”

With this Jocasta rushes from the scene. Still Oedipus misconstrues her warning; he ascribes her fears to the royalty of her spirit. For himself, Fortune was his mother, and had blessed him; nor could the accident of birth destroy his inheritance from nature. The chorus give way to their hopes! their wise, their glorious Oedipus might have been born a Theban! The herdsman enters: like Tiresias, he is loath to speak. The fiery king extorts his secret. Oedipus is the son of Laius and Jocasta—at his birth the terrible prophecies of the Pythian induced his own mother to expose him on the mountains—the compassion of the herdsman saved him—saved him to become the bridegroom of his mother, the assassin of his sire. The astonishing art with which, from step to step, the audience and the victim are led to the climax of the discovery, is productive of an interest of pathos and of terror which is not equalled by the greatest masterpieces of the modern stage 347 (#x28_x_28_i106), and possesses that species of anxious excitement which is wholly unparalleled in the ancient. The discovery is a true catastrophe—the physical denouement is but an adjunct to the moral one. Jocasta, on quitting the scene, had passed straight to the bridal-chamber, and there, by the couch from which had sprung a double and accursed progeny, perished by her own hands. Meanwhile, the predestined parricide, bursting into the chamber, beheld, as the last object on earth, the corpse of his wife and mother! Once more Oedipus reappears, barred for ever from the light of day. In the fury of his remorse, he “had smote the balls of his own eyes,” and the wise baffler of the sphinx, Oedipus, the haughty, the insolent, the illustrious, is a forlorn and despairing outcast. But amid all the horror of the concluding scene, a beautiful and softening light breaks forth. Blind, powerless, excommunicated, Creon, whom Oedipus accused of murder, has now become his judge and his master. The great spirit, crushed beneath its intolerable woes, is humbled to the dust; and the “wisest of mankind” implores but two favours—to be thrust from the land an exile, and once more to embrace his children. Even in translation the exquisite tenderness of this passage cannot altogether fail of its effect.

“For my fate, let it pass!  My children, Creon!
My sons—nay, they the bitter wants of life
May master—they are MEN?—my girls—my darlings—
Why, never sat I at my household board
Without their blessed looks—our very bread
We brake together; thou’lt be kind to them
For my sake, Creon—and (oh, latest prayer!)
Let me but touch them—feel them with these hands,
And pour such sorrow as may speak farewell
O’er ills that must be theirs!  By thy pure line—
For thin is pure—do this, sweet prince.  Methinks
I should not miss these eyes, could I but touch them.
What shall I say to move thee?
Sobs!  And do I,
Oh do I hear my sweet ones?  Hast thou sent,
In mercy sent, my children to my arms?
Speak—speak—I do not dream!
Creon.                       They are thy children;
I would not shut thee from the dear delight
In the old time they gave thee.
Oedipus.                       Blessings on thee
For this one mercy mayst thou find above
A kinder God than I have.  Ye—where are ye?
My children—come!—nearer and nearer yet,” etc.

The pathos of this scene is continued to the end; and the very last words Oedipus utters as his children cling to him, implore that they at least may not be torn away.

It is in this concluding scene that the art of the play is consummated; the horrors of the catastrophe, which, if a last impression, would have left behind a too painful and gloomy feeling, are softened down by this beautiful resort to the tenderest and holiest sources of emotion. And the pathos is rendered doubly effective, not only from the immediate contrast of the terror that preceded it, but from the masterly skill with which all display of the softer features in the character of Oedipus is reserved to the close. In the breaking up of the strong mind and the daring spirit, when empire, honour, name, are all annihilated, the heart is seen, as it were, surviving the wrecks around it, and clinging for support to the affections.

VII. In the “Oedipus at Coloneus,” the blind king is presented to us, after the lapse of years, a wanderer over the earth, unconsciously taking his refuge in the grove of the furies 348 (#x28_x_28_i109)—“the awful goddesses, daughters of Earth and Darkness.” His young daughter, Antigone, one of the most lovely creations of poetry, is his companion and guide; he is afterward joined by his other daughter, Ismene, whose weak and selfish character is drawn in strong contrast to the heroism and devotion of Antigone. The ancient prophecies that foretold his woes had foretold also his release. His last shelter and resting-place were to be obtained from the dread deities, and a sign of thunder, or earthquake, or lightning was to announce his parting hour. Learning the spot to which his steps had been guided, Oedipus solemnly feels that his doom approaches: thus, at the very opening of the poem, he stands before us on the verge of a mysterious grave.

The sufferings which have bowed the parricide to a premature old age 349 (#x28_x_28_i139) have not crushed his spirit; the softness and self-humiliation which were the first results of his awful affliction are passed away. He is grown once more vehement and passionate, from the sense of wrong; remorse still visits him, but is alternated with the yet more human feeling of resentment at the unjust severity of his doom 350 (#x28_x_28_i143). His sons, who, “by a word,” might have saved him from the expulsion, penury, and wanderings he has undergone, had deserted his cause—had looked with indifferent eyes on his awful woes—had joined with Creon to expel him from the Theban land. They are the Goneril and Regan of the classic Lear, as Antigone is the Cordelia on whom he leans—a Cordelia he has never thrust from him. “When,” says Oedipus, in stern bitterness of soul,

“When my soul boiled within me—when ‘to die’
Was all my prayer—and death was sweetness, yea,
Had they but stoned me like a dog, I’d blessed them;
Then no man rose against me—but when time
Brought its slow comfort—when my wounds were scarred—
All my griefs mellow’d, and remorse itself
Judged my self-penance mightier than my sins,
Thebes thrust me from her breast, and they, my sons,
My blood, mine offspring, from their father shrunk:
A word of theirs had saved me—one small word—
They said it not—and lo! the wandering beggar!”

In the mean while, during the exile of Oedipus, strife had broken out between the brothers: Eteocles, here represented as the younger, drove out Polynices, and seized the throne; Polynices takes refuge at Argos, where he prepares war against the usurper: an oracle declares that success shall be with that party which Oedipus joins, and a mysterious blessing is pronounced on the land which contains his bones. Thus, the possession of this wild tool of fate—raised up in age to a dread and ghastly consequence—becomes the argument of the play, as his death must become the catastrophe. It is the deep and fierce revenge of Oedipus that makes the passion of the whole. According to a sublime conception, we see before us the physical Oedipus in the lowest state of destitution and misery—in rags, blindness, beggary, utter and abject impotence. But in the moral, Oedipus is all the majesty of a power still royal. The oracle has invested one, so fallen and so wretched in himself, with the power of a god—the power to confer victory on the cause he adopts, prosperity on the land that becomes his tomb. With all the revenge of age, all the grand malignity of hatred, he clings to this shadow and relic of a sceptre. Creon, aware of the oracle, comes to recall him to Thebes. The treacherous kinsman humbles himself before his victim—he is the suppliant of the beggar, who defies and spurns him. Creon avenges himself by seizing on Antigone and Ismene. Nothing can be more dramatically effective than the scene in which these last props of his age are torn from the desolate old man. They are ultimately restored to him by Theseus, whose amiable and lofty character is painted with all the partial glow of colouring which an Athenian poet would naturally lavish on the Athenian Alfred. We are next introduced to Polynices. He, like Creon, has sought Oedipus with the selfish motive of recovering his throne by means of an ally to whom the oracle promises victory. But there is in Polynices the appearance of a true penitence, and a mingled gentleness and majesty in his bearing which interests us in his fate despite his faults, and which were possibly intended by Sophocles to give a new interest to the plot of the “Antigone,” composed and exhibited long before. Oedipus is persuaded by the benevolence of Theseus, and the sweet intercession of Antigone, to admit his son. After a chant from the chorus on the ills of old age 351 (#x28_x_28_i146), Polynices enters. He is struck with the wasted and miserable appearance of the old man, and bitterly reproaches his own desertion.

“But since,” he says, with almost a Christian sentiment—
“Since o’er each deed, upon the Olympian throne,
Mercy sits joint presider with great Jove,
Let her, oh father, also take her stand
Within thy soul—and judge me!  The past sins
Yet have their cure—ah, would they had recall!
Why are you voiceless?  Speak to me, my father?
Turn not away—will you not answer me?” etc.

Oedipus retains his silence in spite of the prayers of his beloved Antigone, and Polynices proceeds to narrate the wrongs he has undergone from Eteocles, and, warming with a young warrior’s ardour, paints the array that he has mustered on his behalf—promises to restore Oedipus to his palace—and, alluding to the oracle, throws himself on his father’s pardon.

Then, at last, outspeaks Oedipus, and from reproach bursts into curses.

“And now you weep; you wept not at these woes
Until you wept your own.  But I—I weep not.