'Yes,' you say,
on considering the character of the Greek drama, 'generally it might; in
forty-nine cases suppose out of fifty: but what shall be done in the
fiftieth, where some dreadful discovery or _anagnorisis_ (_i.e._
recognition of identity) takes place within the compass of a single line
or two; as, for instance, in the Oedipus Tyrannus, at the moment when
Oedipus by a final question of his own, extorts his first fatal discovery,
viz. that he had been himself unconsciously the murderer of Laius?' True,
he has no reason as yet to suspect that Laius was his own father; which
discovery, when made further on, will draw with it another still more
dreadful, viz. that by this parricide he had opened his road to a throne,
and to a marriage with his father's widow, who was also his own natural
mother. He does not yet know the worst: and to have killed an arrogant
prince, would not in those days have seemed a very deep offence: but then
he believes that the pestilence had been sent as a secret vengeance for
this assassination, which is thus invested with a mysterious character of
horror. Just at this point, Jocasta, his mother and his wife, says, [8] on
witnessing the sudden revulsion of feeling in his face, 'I shudder, oh
king, when looking on thy countenance.' Now, in what way could this
passing spasm of horror be reconciled with the unchanging expression in
the marble-looking mask? This, and similar cases to this, must surely be
felt to argue a defect in the scenic apparatus.
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