Tuesday, May 22, 2012


Tne Axe in the Body of the Apple Tree.


OEDIPUS REX REWRITTEN
A play based on Sophocles’ “Oedipus Rex”

© Eso A. B., 2012


1 Prologue

The event, the story (by way of speech, body movement, sound, and spectacle) takes place before the castle of Thebes. The “castle” may be no more than a ranch of an farmer-baron.  To the right of the stage, a high-standing three-legged cauldron serves as the altar. A priest murmurs silent prayers. To the left of stage sits Queen Ismene. Next to her stands a young man. The queen is old and frail. She is facing a group of  citizens (the Chorus) of Thebes.

Chorus (its members hold their palms up in a gesture of receiving):

Dearest Queen, Ismene,
we wait to hear you tell the story.


Tell us what ails
As  the summer solstice nears,
we gather every year
to hear you tell us why,
why we should see it rise in the morning?
We are anxious to hear why

tomorrow the Sun should bring us new hope.

Queen Ismene:

Dear ones, the story will speak for itself.
I will tell it, of course, as I always have.
The story bears repeating.
It tells what we must do to remain Thebans,

Its priests and priestesses,
without pretensions or hubris.
The story is not a story easy to listen to.
As it comes to mind,
tears spring to my eyes

—as if they were struck
by a sandy hand.

Chorus:

On the landscape of time,
Thebes once unfolded like a fern
Unfurls in spring after a long winter.
Its rebirth moved us all to sing in jubilation.

The pain and hardship of winter had ended.
However, Alas!
The fern ceased unfurling.
Sap was cut off from it.
Queen Ismene, tell us what happened.
You were there. You saw. You know.

Queen Ismene (points to a young man among the listeners):
We must not look only to the past.

We must also take care for the future.
Look, here is Prince Dion, 

my sister's Antigone's and Haeomon's son.
Tomorrow he begins his turn
as guardian of
Thebes.
After the sun rises , it is he
whose blood is destined to become the balm
that heals our city.

Chorus:

Prince Dion, may you live to tell the story
as well as your guardian, the Queen.


Queen Ismene:
The story begins with my mother’s,
Queen Iocasta's love
for her son, my father, Oedipus.
The story is witness

to our forebears’ bitter learning
and the wisdom it brought us.
I was too young then to understand the events fully,

but they caught me as a stone
thrown in my face.
Indeed, I was not yet born
when the story began.
Even so, my nanny, Iananna, was there.


Through your parents, dear citizens,

you know the story also.
It is imprinted in every Thebans' bone marrow.
The story tells what we must do
to remain Thebans.


(To be continued.)
Thebes.

Wednesday, May 16, 2012

FROM FORESTS AND SAFETY TO CHILD SACRIFICE

A stone with a history, so I hear tell, but no one has written it down yet..


[The story of Oedipus is part of evolutionary history. The following is a blog that tries to explain some of it. If you have read my 'Rewrite' or are just coming to it, the blog may help you to understand some of the heretofore unmentioned connections. I suspect that my 'Rewrite' should alctually be called 'Rewrite 1', because it opens the plot to other variations than mine alone.]

“A(s) a number of observers have pointed out”, so points out professor Robin Fox, author of “The Red Lamp of Incest” (U. of Notre Dame, 1983), “the multi-male system characterizes the primates of the forest, the woodland, and the tree savanna, while in the dessert the  one-male system prevails.”

Professor Fox continues: “The transition from the Miocene to the Pliocene was a change from forest to dessert, eventually. Our hominid ancestors went through this transition. Therefore, they would have made a one-male group adaptation on the lines of the Hamadryas, etc., in order to survive. Here, then, is the origin of the human tendency to form polygynous families.”

Professor Fox however cautions that “we cannot simply read off our ancestral experience from the present-day organization of the dessert primates.

“For a start, it is not all that clear that our ancestors were wholly confined to the desert in the way one-male group species are today…. They may well, with their developing bipedalism, have ranged through whole series of environments, adapting to none in particular, but developing a generalized ability to a wide range of niches.”

As I pointed out in my previous blog From Forests to Democracy to Paganka Kleptocracy, the present concensus of the public, which accepts  deforestation (of what forests are left), probably has its origin in the prejudice that princes, barons, and boyars instilled against forest dwellers in preference of diminishing the people of their day as descendants of peasants. The motive for fixing such a perspective, was and remains the ease with which forests are turned into a commodity, which eventually turns into commoditized money.

Whether we harp back to the epochs of Miocene and Pliocene, the forest environment safe-guarded its inhabitants from exploiting the human tendency to exchange presents from turning into one way tax collection as in our time, deforestation, and one-male harems—though the latter contributed (through periodic in-breeding) significantly toward the development of the human brain, the organ that distinguishes homo sapiens sapiens from other evolutionary developments. The likely reason why the one-male group contributed to the development of the brain was the need of the one-male association with female with child to practice equilibration. Equilibration facilitated the development of fantasy in the former, which served to delay one’s sexual responses in spite of testosterone surges, and helped more aggressive females to move themselves and their sons to the center of the male dominated social hierarchy. Equilibration contributed significantly to brain development not only for the participants, but also made a contribution to the brain development of homo sapiens as a whole.

The one-male group sexual practices were open to occasional episodes of incest, specifically, father to daughter incest. Conversely, the developing brain created a progeny that objected to the practice, hence such wide-spread incest taboos in our day. While the incest taboo aims to prevent sexual exploitation of the group by a group autocrat, it necessarily supports the happenstance that one’s sexual partner is one who consents to it.

The one-male paradise system came to an end, when the phenomenon of a large brain had spread to the entire human species and rule-governed mating was introduced.

Interestingly, this was a time when the development of the hominid multi-male sexual habits, generated in a forest habitat came to life again. As much as the phenomenon argues in support of the view that any adaptation to any environment is never wholly lost, it is also an argument that the attempt by neo-capitalists to turn corporations into individuals and hence into virtual human beings is a phenomenon of the brain (primarily among lawyers and politicians) not to be equated with the development of new set of frontal lobes, but, more accurately, with the outgrowth of a canker on the bark.

At this point the story has to take another ‘quantum leap’ and remind the reader that the females of our species did not accept the one-male groupie without some profound resentment. This resentment is manifest in one of the most profound plays of ‘ancient’ times, the Greek playwright’s Sophocles famous tragedy “Oedipus Rex” or “Oedipus the King”. Indeed, the play is so profound and insightful; it has remained pretty much a puzzle to this day.
 
Evidence of human presence. I heve moved the story of Oedipus a little bit closer.


The basic plot of Oedipus Rex reflects the time, when the brain of the human being had become so large that its owner could no longer accept the constricted one-male government; nor could one-male contain and control the rebels (mostly younger males). In order to exert control, the one-male group system resorted to creating a particularly impressive charismatic event by superceding a more or less ordinary charismatic event like, for example, awe creating incest and respect inducing violence like  hitting and biting, by nthing it with human sacrifice.

Indeed, human sacrifice (whether of enemy prisoners in the field or on temple platform) proved such an effective charismatic (scary) event that it spread throughout human society and remained in effect for thousands of years, even to our day). “Oedipus Rex” by Sophocles is a feminine retort to the one-male king wishing to create charisma by sacrificing his newborn son, Oedipus. Oedipus’s mother Iocaste, snatches her son from the arms of the child-sacrificing priest, Tiresias, and has him carried to the neighboring kingdom of Corinth, where her sister Meirope is queen without children of her own.

In due course, the priest Tiresias accepts Iocasta’s response by agreeing that child-sacrifice is an abomination; however, he demands that the abominable event is substituted or exchanged by the charisma of human self-sacrifice.

The one-male king, Laius, is outraged by this turn of events and goes off to buy a wagon full of children, who in ancient times were sometimes raised especially for sacrificial purposes. It is at this time that Iocaste arranges her son Oedipus to meet with Laius. It ensues that Oedipus, having escaped being sacrificed himself, now kills his father.

The good deed of Oedipus however requires that Oedipus agree to sacrifice himself. While we are not told the time as to when Oedipus needs to sacrifice himself, the fact that the rule of a one-man king is losing charisma becomes increasingly obvious, manifesting itself as “the plague of Thebes”. Fortunately or unfortunately [it depends on whether you believe that God (one-male) or Man (multiple-males in agreement with females) rules] Oedipus refuses to see himself as having an obligation to Tiresias’ agreement to exchange the sacrifice of children to self-sacrifice for the sake of engendering a society that goes beyond the one-male rule and may become as complex and plague riddled as ours is today.

The interpretation of Sophocles’ play becomes apparent in my rewrite of Sophocles’ work, re “Oedipus Rex Rewritten”, which presents the play not as a play about mother-son incest, but as a political play demanding a radical revision of government, the governments of our day including, which are all—in one way or another—manifesting the one-man groupie and one-man opportunist as a ‘democrat’ syndrome, though it be little more than make-believe and he, therefore, but a democrat no more than virtual.

The story is not a pretty one.


Thursday, March 8, 2012

King Oedipus = King John (in Latvian)

PRESS RELEASE                                  April 4, 2012

Latvian author makes significant contribution to world literature!

Latvian-American author, Eso A.B., announces a positive reception to his work "Oedipus the King Rewritten" by three well known Riga theatre personalities and critics. The link to the tragedy is at http://oedipusrexrewritten.blogspot.com/ for scholars and critics to peruse and confirm claims. All rights reserved.

Andrejs Žagars, director of the Latvian National Opera writes: "the play's interpretation [of Sophocles' tragedy]  is without doubt significant and reflects on the political situation in contemporary society."

Writes Evita Mamaja, literary advisor to the Riga's Dailes Theatre: "Your idea is truly interesting.... We are presently rehearsing for our next season Sophocles' tragedy "Antigone"... and we will definitely take your interpretation into consideration,..."

Line Ovchinnikova, communications manager, of the Riga Russian Theatre writes: "...my definite impression is that this is wonderful reading stuff, and I have enjoyed every page... I find the topic and your attitude really fascinating...."

Author of the text of "Oedipus Rex Rewritten", Eso A.B., was born in Latvia, and is a Latvian and American citizen. The author returned to Latvia after the collapse of the Soviet Union, and has been living in Latvia for the past 17 years.

Reflects Eso A.B.: "The seed for my 'rewrite' was sown at Robert Lowell’s poetry seminars at Boston University in the latter half of the 1950s. Lowell, an American poet, called me a 'real surrealist' and had my first poem published at Boston University’s literary magazine “The Tatler".

"I reacted to Lowell’s description of my merits skeptically and turned to 'real mythology', i.e., to English poet and writer Robert Graves and his famous study of mythology "The White Goddess". This is when the idea was born--that old myths and stories may be reinterpreted and given relevance for our times.

"My 'rewrite' of 'Oedipus Rex' centers on the idea of the need for self-sacrifice to achieve political stability in a city-state like Thebes or for that matter in any country anytime. Oedipus—through a number of contrivances of his mother Iocaste—avoided such a sacrifice, and Thebes subsequently experienced a systems collapse. The ‘classical’ version (also known as the Freudian version) of the tragedy is a censored and proto-Pop version of the story; mine is of the plot behind this version, of the yet undetected story. “Oedipus Rex Rewritten” demystifies this near 2500 year old tragedy and makes it as politically relevant today as it was meant to be originally.

 “Since I subscribe to the ideas of Anatoly Fomenko, the Russian mathematician and chronologist-historian, it may be that ‘Oedipus Rex Rewritten’ reflects the times of the ‘Great Schism’ (+1054) and not –459. The self-sacrifice practiced by many priests of the Russian Orthodox Church, notably Metropolitan St. Joseph of Petrograd (executed 1937), opposing the Bolsheviks bears extraordinary resemblance to the sacrifice demanded of, but shirked by Oedipus."

Contact person:
Inguna Daniela 

--------------------------------------- 

For additional ideas about the theology of 
 "Oedipus Rex Rewritten",

see http://mywealthvirus.blogspot.com/ blogs 28 and 29.

Sunday, February 12, 2012


The Altar to A Dead Apple Tree.

OEDIPUS REX REWRITTEN & Reimagined


 A play based on Sophocles’ “Oedipus Rex”


© Eso A. B., 2012


(Title in Latvian: "Ķēniņš Jānis in Riga.") / King John in Riga




SYNOPSIS OF EVENTS:

Prologue: Queen Ismene and Dion, son of Antigone. Ismene addresses a group of citizens of Thebes in preparation to the ritual performance of the Story of Thebes, and before she and Dion ascend Mt. Citheron.

 Act 1: A plague has struck Thebes. A smell of burnt feathers fills the air. No one knows whence the plague came and how to cure it. King Oedipus addresses the disturbed citizens of Thebes in his capacity as their King and as savior-hero of the children of Thebes, whom he once saved from an ancient ritual in which they were sacrificed to the Sphinx. The act ends with the suggestion that in return for stopping the sacrifice of children to the Sphinx, Oedipus and the citizens of Thebes make a pledge to the Temple priest Tiresias to offer themselves as self-sacrifices to the Sphinx to replace (to save) the children.

Act 2: Prince Creon returns from the Temple to the Sun with the news and revelation that the plague that plagues Thebes is a consequence of the murder of former King Laius. The murderer must be found before the plague will end. Soon after Creon, on the stage arrives Tiresias, once the high priest of the Temple to the Sphinx. Tiresias tells King Oedipus that in return for tellingl the story of what ails Thebes, the King must promise him his life in payment. Needless to say, the King is outraged. Tiresias then allows that the entire family of the King lives a life of miscegenation, all in it in one way or another wishing to inherit the King’s power. For example: Polyneicis, the son of Oedipus, is sleeping with his sister Ismene, Antigone is sleeping with Prince Creon’s son Haemon, etc. In the background, the myth of a self-devouring Serpent is told.


Act 3: As in Act 2; various attempts to find the cause of the plague. Verbal sparring between Oedipus and Creon. Tiresias reveals that at the time of Oedipus’s birth, his mother prevented him from being exposed for a night to the elements on Mt. Citheron. The exposure to the elements would have provided proof to the citizenry of whether the Gods judged the babe worthy lof becoming Thebe’s king. The King accuses Tiresias and Creon in plotting against him.


Act 4: The arrival of a messenger from Corinth with news that King Polybus, the presumed father of Oedipus, has died. The messenger also tells King Oedipus that the people of Corinth want him as their King as well. Oedipus's kingdom has doubled in size. Oedipus is exstatic, then remembers that he fled from Corinth because of a prophecy that he would sleep with his mother and kill his father. The messenger reveals that Oedipus was only a stepson and has no reason to fear the prophesy. At this time, Oedipus discovers that the goatherd who brought him from Thebes to Corinth is still alive. He asks his guards to find the goatherd and bring him before him.

Act 5: Interrogation of the goatherd, John. John is reluctant to reveal all that he knows and King Oedipus applies torture to make him talk. He soon discovers that his mother is Queen Iocaste. As the dialogue between John and Oedipus continues, at the back of the stage appears a blodied Tiresias. He is dying, but still manages to crawl forward. Did perhaps Queen Iocaste order his assassination?


Act 6: Before dying Tiresias reveals sensational details about the Oedipus' family. He tells that a) while his father was a king, his mother Queen Iocaste and stepmother Queen Merope of Corinth both used to be whores; that b) both sisters plotted the murder of King Laius to enable Oedipus to become king of Thebes. Disguised as a witch, it was Queen Iocaste herself, who told her son the prophecy that he would kill his father and marry his mother, because she wished for him to flee from Corinth. Where else would Oedipus flee to if not Thebes? The tragedy comes to an end, when on the stage rushes old nanny Iananna with news that the entire clan of the royal family is in one way or another killing itself. A list of the dead shows that the plague has, in fact, killed more than fourteen of the clan and its servants.

Wednesday, December 29, 2010

THIS IS NOT ONLY A FAMOUS TRAGEDY. ITS "REWRITE" EXPOSES ITS CENSURE AND HOW MOST GOVERNMENTS TODAY DESERVE UTTER CONTEMPT AND ARE WORTHY OF BEING JUNKED WITH NO REGRET !!!!.

The following blogspots center on a variety of subjects, which I have initiated. http://esoschronicles.blogspot.com/ Not-Violence main subject
http://melnaysjanis.blogspot.com/ Temple of Janis (John) site
http://the-not-voter.blogspot.com/ Arguments for systems change
http://the4thawakening.blogspot.com/ Sacrificial crisis in Latvia
http://oedipusrexrewritten.blogspot.com/ Oedipus Rex Rewritten
http://mywealthvirus.blogspot.com/ Book, "What Did Lot's Wife Turn to See?"


The Saw-Cross at the Temple to Johns
OEDIPUS REX REWRITTEN and reimagined
A play based on Sophocles’ “Oedipus Rex”

© Eso A. B., 2010


Introduction

Originally the title of my interpretation and rewrite of Oedipus Rex was named Tiresias’ Revenge. I have herewith renamed it Oedipus Rex Rewritten in hopes that it will generate a more clicks on the internet and gain it more attention. The play remains of course not only a great Greek tragedy, but--over and above that--of great relevance and political importance to our days.

The style of Oedipus Rex Rewritten may seem archaic, however, my rewrite is not meant to present a new play in a contemporary setting, but to present an old play with its plot untangled and rearranged from a riddling and oversimplified text. Indeed, the old and orthodox version of the play may be perceived as the text of a riddle, because its oversimplification suggests as much. It is, thus, many years ago that the play presented itself to me as in need of deciphering. The riddle within the riddle, or the riddle presented by a smug Sphinx, is our clue that the play is a puzzle throughout.

Why did Sophocles write a play that has to be rewritten (unriddled or deconstructed) by those who discover its hidden meaning? He must have had his reasons.

One cause for hiding the true plot may be that the  original version faced censorship and repression. This could have happened for a number of reasons. One reason may have been a change of religion, i.e., a new and aggressive religion was coming to power and its predecessor needed to be moved out of its way or repressed. A believer in the traditional orthodoxy or arch-religion (as I look at the matter) needed to relay the old belief forward and into the future by hiding the truth deep in the hold of a story-play rewritten so as to serve (as unobtrusively as possible) the new powers.

If change in religious orientation is the reason why Sophocles rewrote the play in the manner he did, my unriddling of the riddle solves a major problem: why the simplistic riddle of the Sphinx--one even a child should be able to solve--is presented to the audience as nigh insolvable. Surely, it ought not be difficult to find the answer to “who first walks on fours, then on two, then on three legs”. The plot, when rewritten to resemble the original, also reintroduces a long missing and denied segment of religious and political history.

I first suspected and then discovered the "rewritten" version of Sophocles' plot about fifty years ago. After years of effort—small and large changes and additions—I arrived at the present version. Some changes may occur even as I transfer the play from the previous site (blogs 41 through 47) to this blogspot. More changes may be added in the future as new resolutions to the story's internal tensions are discovered. Even this copy is slightly different from the one that I printed a month ago.

* * *

I have added to the play's "rewritten" acts a "Prologue" in which the main character is Queen Ismene. The reader may remember that Oedipus Rex ends with only one seeming survivor of Oedipus’ family—the King’s youngest daughter--Ismene. Though Ismene survives, she quickly disappears from view. Her disappearance, causes me to think of Ismene as Lot's wife, she who turned to look back, and then turned into a pillar of salt. 

Could it be that Ismene is the real storyteller, the one who knows what actually happened?

Another reason for the repression of the story may be because its Freudian Pop surface represses the imagination all too well, because it knows that the other versions of the story leads to under the floorboards that cover the floor of a whorehouse. What lies ahead, is a peek at what is hidden.

Last but not least, I appreciate Rene Girard’s concepts of “sacrificial crisis”,  “generative violence”, and scapegoating--subjects of a number of his books. Though I have my disagreements. I maintain that the charisma of self-sacrifice (unlike sacrifice that looks to find a victim) is  essential,  and presupposes social order in order for reality not to become lost in  the virtual. In an age of etherized interest, I find the professor's contributions significant. I discuss my personal orientation at length at http://mywealthvirus.blogspot.com/.

It is interesting that at a time, when Greece is on the verge of losing its sovereignty and solidarity to foreign banks, the loss may be attributed to the failure of the Greek people to appreciate the social need for manifest self-cacrifice. I misspeak, however, because a 77-year-old Greek pharmacist has just died by his own hand protesting the wanton disabling of the country by its leadership. Perhaps in the future, our perspective of our community will be seen through the eyes of 77 year old Dimitris Christoulas , who has "my own house", rather than be forced by government to abandon it, while the ex-president of another poor country drives home from the theatre in a Lexus.

Oedipus--1 Prologue

Tne Axe in the Body of the Apple Tree.

OEDIPUS REX REWRITTEN
A play based on Sophocles’ “Oedipus Rex”

© Eso A. B., 2012


1 Prologue

The event, the story (by way of speech, body movement, sound, and spectacle) takes place before the castle of Thebes. The “castle” may be no more than a ranch of an farmer-baron.  To the right of the stage, a high-standing three-legged cauldron serves as the altar. A priest murmurs silent prayers. To the left of stage sits Queen Ismene. Next to her stands a young man. The queen is old and frail. She is facing a group of  citizens (the Chorus) of Thebes.

Chorus (its members hold their palms up in a gesture of receiving):

Dearest Queen, Ismene,
we wait to hear you tell the story.


Tell us what ails
As  the summer solstice nears,
we gather every year
to hear you tell us why,
why we should see it rise in the morning?
We are anxious to hear why

tomorrow the Sun should yet bring us new hope.

Queen Ismene:

Dear ones, the story will speak for itself.
I will tell it, of course, as I always have.
The story bears repeating.
It tells what we must do to remain Thebans,

Its priests and priestesses,
without pretensions or hubris.
The story is not a story easy to listen to.
As it comes to mind,
tears spring to my eyes

—as if they were struck
by a sandy hand.

Chorus:

On the landscape of time,
Thebes once unfolded like a fern
Unfurls in spring after a long winter.
Its rebirth moved us all to sing in jubilation.

The pain and hardship of winter had ended.
However, Alas!
The fern ceased unfurling.
Sap was cut off from it.
Queen Ismene, tell us what happened.
You were there. You saw. You know.

Queen Ismene (points to a young man among the listeners):
We must not look only to the past.

We must also take care for the future.
Look, here is Prince Dion, 

my sister's Antigone's and Haeomon's son.
Tomorrow he begins his turn
as guardian of
Thebes.
After the sun rises , it is he
whose blood is destined to become the balm
that heals our city.

Chorus:

Prince Dion, may you live to tell the story
as well as your guardian, the Queen.


Queen Ismene:
The story begins with my mother’s,
Queen Iocasta's love
for her son, my father, Oedipus.
The story is witness

to our forebears’ bitter learning
and the wisdom it brought us.
I was too young then to understand the events fully,

but they caught me as a stone
thrown in my face.
Indeed, I was not yet born
when the story began.
Even so, my nanny, Iananna, was there.


Through your parents, dear citizens,

you know the story also.
It is imprinted in every Thebans' bone marrow.
The story tells what we must do
to remain Thebans.


(To be continued.)
Thebes.

Oedipus--Act 1

The Snow Covered Red Roof
OEDIPUS REX REWRITTEN and reimagined
A play based on Sophocles’ “Oedipus Rex”

© Eso A. B., 2012


2 Act One

(King Oedipus comes to the  stage through the castle gate. He approaches the altar, the priest, his daughter Ismene, and all  who are gathered around.)

King Oedipus:

My children, my sons and my daughters,
citizens of
Thebes,
why have you come
to listen to a priest mumble

words no one knows the meaning of?
What is depressing you?
I come to hear what ails you.

(The king turns to the priest.)

You, with the white long shirt

—I don’t know your name—
You have aired air long enough.
Speak to me

for those who are not
used to addressing a king.
What do they fear? What do they need?

Priest:

O King of Thebes, King Oedipus!
You see us young and old, Thebans all,

bent around the altar,
looking at our bread, cheese, and fruit offerings,
waiting for one or all Gods to come.
We are waiting for Them to reach for butter and honey.
But no Gods come, and we cannot wait longer.
There are murmurings, King Oedipus,
that the God are asking for blood,

Perhaps that of our children—as of old.

We are stunned and shocked,

we can do no more than sit and wait.
We wait for the air to move.
Incense rises, but it does not curl
as when a spirit is present.
Despair has got the better of us.

The air smells of burnt feathers.

King Oedipus, do not belittle our prayers.
Our prayers speak our fears.
King Oedipus, call the Gods;

call on great-grandfather Cadmus;
raise your hands to the Sun.
Many years ago you came and brought us better days.

You freed us from the Sphinx and temple,
where we took our babes and prayed
We walked with our babes for miles
of mountain roads and streets of Thebes
to exhaust them, our pain, and our tears.

Because you came
our children no longer swing their arms
and believe themselves winging it across the abyss.
Because of you, there is no longer need for us to trust 

the Sphinx’s promise that vultures
with faces like angels and blue wings
will raise them smiling from the dead.

King Oedipus, though you saved our children then,
we have lost our will again.

No one has a smile on their face.
This is why we ask you to speak
and use the powers that saved us before.
Do not hold back your healing hands and endearing words.
Do not allow anyone to say
you promised us light,
yet we continue under a shadow.

King Oedipus:

Children, I delight in your hope.
No one feels as badly as I over this turn of events.
I know every one of you is suffering.
However, I suffer more.
I suffer my own misfortunes
and the misfortunes of all
Thebes.
I, too, have children.

I have given this matter much thought.

I believe that I have discovered where

the answer is to be found.
I have sent Prince Creon,

brother of Queen Iocasta,
to visit the holy sites and consult

the daughters of the Sun,
the priestesses. Let them throw acorns
struck from oaks by lightning
and read in the lay

what we must do to save Thebes.

Priest:
The guard tower signals.
Prince Creon has returned.

King Oedipus:

May it be with good news.

Priest:

The news ia good.
Look, Prince Creon carries
a green wreath in hand.

King Oedipus:

We will soon know the news.
Here he is.
Greetings, Prince!

(Enter Prince Creon.)

Prince Creon:

Hail, King Oedipus.
I have a message for you.
Let us go into the castle,

where I can dust my sandals,
rest my feet and tell.

King Oedipus:

Speak to everyone’s ears now, here.
We are all anxious to hear the news

Is there anything we need fear?

Prince Creon:

The Sun requests deeds not words.
Her revelation may move some
to rash conclusions,
but others to rash deeds.

King Oedipus:

What revelations, what deeds?
What am I to conclude?

Prince Creon:

Do you truly wish me to tell before everyone?

King Oedipus:

Tell what you know.
What did the Daughters of the Sun tell you.
All
Thebes suffers with one pain.
Come, tell, tell.


Prince Creon (reluctantly):

Very well. Remember though
that what you hear is not of my saying,
but told by the Daughters of the Sun
on behalf of the Sun.
With their ears cleaned by tongues of holy snakes,

and foreheads shining forth stars
from fast running forest streams
gentled by the Sun from far above,
the maids told me what the Sun told.

It said:    Go weed
the weed before it sinks its root
to depths beyond undigging,

to worlds before our own.

King Oedipus:

How clever! What a poem!
What weeds are you talking about?
Harvest time is near upon us.
Weeding time is past.

Prince Creon:

The weed, King Oedipus, is a man.
We must find and remove from our midst a man.
The Sun did not reveal his name,
because it is for us to discover it.
The man must be discovered and removed,
else
Thebes will be in debt to a murderer.

King Oedipus:

A murderer? Who?

Prince Creon:
King Oedipus, before you received
the reins of Thebes,
we were with King Laius.
He was son of King Cadmus,

the founder of Thebes.
It was he who smashed the teeth of the Dragon.

King Oedipus:

Yes. I know of this king.
But I never met King Laius though.

Prince Creon:

Laius’ murderer must be found.

King Oedipus:

Where are we to look for him?
Have you seen his footprints?
Where are his footprints?

Prince Creon:

We must look in our own land.
We must look behind words, at deeds.

King Oedipus:

Did King Laius die in the castle?
I am told that he died, while traveling,

in another land.

Prince Creon:

The king had an appointment
with certain men bringing him secrets
from a neighboring kingdom.
The king never returned.
All his bodyguards but one

were killed.

King Oedipus:
Secret meetings carry risks.
What said the survivor?
Did he say who did it?

Creon Prince:

The man gave us no clear answer.
He said he saw our king buried
and could lead us to his grave.
Unfortunately, he was poisoned
before we could give King Laius honors.

King Oedipus:

That means that the murderers
have friend and enemies among us.
Did the poisoned man have a wife?
We need some other clue.

Prince Creon:

The man had no wife.
He left no descendants.
He worked as a hand at the king’s stable

And left no other inheritance than the clay dork,
he screwed the kitchen maids with.

King Oedipus:

What other details do you know?

Prince Creon:

We followed the murderers’ tracks,
Alas! The horses’ hooves were sheathed in rags

and left no marks.

King Oedipus:

I am grateful to the Sun
for Her advice.
I am thankful to you, Creon,

for the news. My children,
take your garlands and
call a meeting of the Council of Elders.
Tell them I want us to meet.


The men who killed King Laius are a threat to all.
I will do everything I can

to discover one and all.

Priest:

Rise, Thebans.
Our prayers have been heard.
King Oedipus will save us once more.

(Exit King Oedipus et al. Only the chorus remains.)

Strophe:

Goddess of Hope!
Tell us the words writ on the golden cupola

over the sylvan well in a forest deep.
Let their magic guard
Thebes.
Help us our disbelief and deaf ears!


O Healing Sun, our hearts are uneasy.
It is well we no longer
have to sacrifice children.
(We did not know how to rid ourselves

of the curse to kill.)
King Oedipus released us!

He did us a service once.
He will do so again.

Antistrophe:

It was said when the Sphinx died: that
men and women will have to sacrifice themselves

in place of their children.
Remember what King Cadmus said?
“Only then will death heal and rise.”

Strophe:

“I cannot do alone what we must all
do together to bring Thebes about.
I give you my life.
Perhaps you will think back upon me.

The charisma of sacrifice will unite us.
Let us have a history worth blessing.”

Antistrophe:

Ha! Spare us!
Our children today roam foreign lands.
They delight  losing themselves in crowds.
They have no responsibilities,
and act with a boldness that asks
no accounting of itself.
They have no need of a past or future.

Strophe:

Burnt feathers are our incense.
We summon we know not who.
Our teeth chatter like the beaks of storks.
We fear the other side of the moon
is crisscrossed by blood.


(To be continued.)
We thank you, King Oedipus.
Yes, look! Look there!
for the Gods to accept them.