Chapter One of this thesis explores the identity of the Eumenides, the resident deities in Sophocles' Oedipus at Colonus. By examining the language and contents of two important ritual acts in the play, it is proven that their title is euphemistic; these goddesses are the transformed Erinyes of Aeschylus. / Oedipus and his sinfulness is the focus of Chapter Two. Although he has committed the heinous crimes of incest and parricide, Oedipus seems to be exempt from the Erinyes' hounding. By reviewing the charges laid against him, it is revealed that Oedipus is a morally innocent man. / The final chapter deals with Oedipus' apotheosis and the role played by the Eumenides. By examining the play's dramatic action, it is demonstrated that Oedipus, a man of innate heroic nature, is deserving of heroization. But to reach his exalted end, the championship of the Eumenides is required.

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Although Sophocles, according to tradition, died before the Oedipus Coloneus, his last work, was performed, there is no reason to believe that his intention in composing the play was fundamentally different from his life-long practice, that is to create a drama to be presented before a contemporary audience, and to win the prize in the contest for tragic poets at the Festival of Dionysus in Athens. In Part I of this study I have attempted to describe the manner in which Sophocles constructed his drama. I have divided the play into twenty manageable sections and devoted a chapter to each. Within each chapter each line, group of lines and, finally, each section, has been examined with a view to determining how it contributes to the process of changing the situation at the beginning of the drama, where Oedipus, a tired and wretched beggar, arrives in Colonus, to the situation at its end, when his life is over. At every stage the requirements of the dramatic circumstances, the demands of the plot, the constraints of the medium and the artistic effects for which the playwright aimed have been examined. The discussion takes the form of a commentary in that each point, regardless of its nature, has been dealt with as it arises in the text of the play. The reader will find himself confronted in turn/ as Sophocles must have been, with considerations of the reactions of the audience, theatrical effects, plot progression and so forth. Textual difficulties have been discussed only when their resolution is crucial for determining the contribution of a certain passage to the construction of the play. From this discussion a view of the play as an experience shared by the playwright and his audience emerges. The original audience was able to appreciate this play without the aid of a commentary. Therefore, no interpretation of a line, passage or scene which could not have been readily understood during performance can be correct. Further, the original audience was treated to aural and visual effects of which our text, with its complete lack of stage directions, bears only indirect traces. I have tried to determine what these effects may have been. It is hoped that the resulting observations will enable the reader better to understand the play, as the first spectators must have done - not primarily as an abstract treatise with a significant message for our times, but as a crowd-pleasing performance, complete in itself. In Part II of this study I have examined the question of the distribution of the roles in the Oedipus Coloneus among the limited number of actors which the playwright was allowed. I have first reviewed various suggestions for the distribution of the roles among three speaking actors. Every known scheme, however, has serious drawbacks which would have marred the quality of the performance of the play. I have therefore proceeded to examine various schemes wherein the roles are distributed among four actors. None of these, however, fully accounts for the complex system of entrances and exits and the occasional awkward silences. These phenomena can be explained only if Sophocles knew, when he wrote his play, how many actors were to be allocated to him and who they were to be. I have shown that this is a reasonable possibility. According to the distribution of the roles here proposed, Sophocles wrote his play to suit the specific talents of four speaking actors, and also employed a mute. The idiosyncracies of the Oedipus Coloneus are thus adequately explained. / Arts, Faculty of / Classical, Near Eastern and Religious Studies, Department of / Graduate

Euripides’ Phoenissae is a challenging work that is often overlooked by scholars of Greek drama. This study analyzes how the concept of autochthony occupies a central thematic concern of the play. On the one hand, autochthony unites humans to soil, political claims to myths, and present to past. On the other hand, autochthony was often invoked to exclude foreigners, women and exiles from political life at Athens. We observe a similar dichotomy in the Phoenissae. Autochthony unites the episode action–the story of the fraternal conflict—with the very different subject matter of the choral odes, which treat the founding myths of Thebes. By focalizing the lyric material through the perspective of marginalized female voices (Antigone and the chorus), Euripides is able to problematize the myths and rhetoric associated with autochthony. At the same time, Antigone’s departure with her father at the play’s close offers a transformation of autochthonous power into a positive religious entity. I suggest that a careful examination of the many facets of autochthony can inform our understanding of the Phoenissae with respect to dramatic structure, apparent Euripidean innovations, character motivation, stage direction and audience reception. / text