PATHOS

(align:"=><=")[//πάθος// (pathos): noun. "pain, suffering, death or misfortune, calamity, disaster, passionate feeling." ] The interactive narrative begins with an expository sequence that sets the scene and establishes the major characters. //To Laius, King of Thebes, an oracle foretold that the child born to him by his queen Jocasta would slay his father and wed his mother. So when in time a son was born, the infant was left to die on Mount Cithaeron. But a shepherd found the babe and tended him, and delivered him to another shepherd who took him to his master, the King of Corinth. Being childless, King Polybus adopted the boy to raise as his own, and so the child grew up believing he was indeed the King's son...// The user clicks on the link, which is indicated through highlighted text, to move forward in the story. //[[Enter OEDIPUS.]]//

There are three possible routes through the story. Each route takes the form of a type of branching structure narrative. In a branching structure, the user progresses along a main storyline that regularly diverges into two or more possible paths forward. These decision points require the user to choose how they want the story to proceed. Route 1 follows a standard branching structure. It gives the user extensive freedom and agency over the plot, and positions them to embody the protagonist, resulting in a more intimate narrative experience. Here, the story begins with Oedipus as a [[Prince of Corinth]]. Route 2 follows a string of pearls structure. It relies upon feeding the user the illusion of choice, when in reality their influence is limited. Their diversions from the main storyline are temporary and narrative content remains generally fixed. Here, the story begins with Oedipus as the [[King of Thebes]]. Route 3 follows a branch-and-bottleneck structure, which can be described as a combination of Routes 1 and 2. Branches appear in higher volume and frequency, which allows for a wider variety of possible narrative experiences, even if they will eventually loop back to the main storyline. Here, the story begins with Oedipus as a [[King of Thebes]].

Route 1 follows a standard branching structure and is designed so that the user navigates the story as the protagonist from a first-person point of view. In this style of interactive narrative, the user is given extensive agency and influence over how the plot unfolds. Regardless of the choices made by the user or the variation of the story that they experience, it is important that these Aristotelian principles are still fulfilled: the protagonist's //hamartia//, the discovery of the consequences of their action, the reversal in fortune that follows, their fall from grace, and the moment of //katharsis// at the end. Adapting a pre-existing story like //Oedipus the King// to a standard branching structure requires taking creative liberties to expand the story beyond what is written in the original text. Faux-choice constructs, or decision points that are designed to provide the user with the illusion of choice, are implemented in order to maintain narrative cohesion and prevent the story from growing out of control. //You are Oedipus, Prince of Corinth, son to its King Polybus and its Queen Merope. As the sole heir to the throne, you were raised with love and care, and never wanted for anything. However, for as long as you can remember, the adoration of your parents was always met with a strange sense of discomfort. And as time passes, your comfortable life, and your secure future, begin to feel like empty obligations rather than gifts to cherish. One day, at a banquet, a guest flown with wine shouts "Thou art not true son of thy sire!"// This passage presents the first conflict in the story: the implication that Oedipus is not the biological son of his parents. The user may already know this if they remember the expository sequence in the very first passage that explains the prophecy and Oedipus' true origins, but Oedipus himself is unaware. In this scenario, the user and the protagonist have conflicting information, but the user is currently positioned to act as the protagonist. Despite being more informed than the protagonist, the user is limited in the options provided to them by the story system. It is crucial that Oedipus embark on a search for the truth; a journey of self-discovery which will bring him what he desires, but also destroy everything he knows. As a result, this passage provides the user with only one way forward into the story, which symbolizes the influence that they possess: the story cannot progress without their input, but the trajectory of this progression is still under the system's control. //It bothers you, but when you seek out your parents the next day, they avoid the subject and continue to insist that you are indeed their son. You are suspicious of how defensive they are. You want to find out the truth, and so you secretly depart for the cliffs of Delphi, where the [[Oracle resides]].//

Route 2 and Route 3 share the same starting passage. //Armed with his blazing torch, the God of Plague has descended upon the city of Thebes. The people, led by a Priest, beseech their king to bring an end to their suffering. In response, King Oedipus has sent his brother-in-law Creon to the Oracle of Delphi in search of a divine revelation that will guide him in solving the crisis. When Creon returns, he claims the Oracle told him that the reason behind the plague was that the murderer of the last king, Laius, continues to live freely within the walls of Thebes. The Oracle said that until the criminal has been captured and punished for his crimes, the plague will continue. // With this information, the user is now presented with a decision point. //Oedipus vows to find the culprit. He begins his search by...// //[[Conducting his own investigation.]]// (Route 2) //[[Consulting those around him.]]// (Route 3)

Choosing Teiresias, the old seer, brings in a character who Oedipus is less cose to compared to his brother-in-law and can therefore receive a more objective perspective from. The path with Teiresias allows for the user to gain deeper insight into the protagonist, their flaws, and their thoughts. In Aristotelian tragedy, //hamartia// is defined as the protagonist's fatal flaw or mistake that eventually leads to his downfall. Therefore, //hamartia// can manifest as anything from a personality trait to an act of violence, but the //hamartia// must be purposefully done by the protagonist. //Oedipus summons the blind prophet Teiresias. He demands the old man reveal the mysterious culprit. However, Teiresias appears to evade the question most desperately. "Alas, alas, what misery to be wise when wisdom profits nothing! This old lore I had forgotten." Teiresias turns to leave. "Halt!" Oedipus calls out to him, bewildered. "What ails thee? Why this melancholy mood?" "Let me go home," Teiresias pleads. "Prevent me not. It is best if thou bears thy burden and I mine." Oedipus is angered by Teiresias' enigmatic ramblings. A part of Oedipus wonders if the old seer is not taking him seriously because he is not a Theban born and bred. He is, after all, originally a prince of Corinth, who only came upon the throne of Thebes by chance many years ago.// With the frustration of the protagonist explicitly stated, the user now must make an informed decision at this next decision point on how to act on these emotions and proceed. //How does Oedipus respond? [[Oedipus composes himself and attempts to persuade the prophet to speak.]] [[Oedipus threatens the prophet to speak or he will be punished.]] //

In Aristotelian tragedy, //hamartia// is defined as the protagonist's fatal flaw or mistake that eventually leads to his downfall. Therefore, //hamartia// can manifest as anything from a personality trait to an act of violence, but the //hamartia// must be purposefully done by the protagonist. Choosing Creon is choosing a path in which Oedipus' //hamartia// may take two different forms: a more literal mistake in the form of an act of violence, or a combination of misguided deeds and his own personality flaws. //Oedipus questions his brother-in-law Creon as to what caused Laius' death. Creon tells him that Laius set off for Delphi with a small company of men to visit the Oracle. However, he was murdered outside the Theban city walls by an unknown thief. Oedipus asks Creon why nothing was done about the murder, and Creon responds at the time a great Sphinx was terrorizing Thebes, and so the incident was pushed aside. Oedipus remembers this well, for he was the traveler who defeated the Sphinx and freed the city. As a reward, he won the hand of the recently widowed Queen Jocasta, took the throne, and built a family. Creon pointedly emphasizes the fact that Oedipus' arrival closely coincided with Laius' death; implying that it may have been Oedipus himself who murdered the former king. Creon adds that the Oracle said the murderer still lives within the walls of Thebes, which further proves his claim. Oedipus is unsettled and taken aback by his brother-in-law's words. He has tried to treat him well out of consideration for his wife Jocasta, but in truth, Oedipus has always harbored a secret distrust for Creon. Before Oedipus took the throne, it was Creon who fulfilled Laius' role as ruler in the days after his untimely death, and Oedipus has always wondered if Creon felt as though Oedipus, an outsider, had stolen power from him.// With this additional information surrounding Oedipus' view of Creon, the user is now given two possible routes: one in which Oedipus is influenced by his suspicions and leaps to a drastic conclusion, and one in which Oedipus maintains his composure and seeks the opinion of another. //How does he proceed? [[Accuse Creon of treason.]] [[Summon Jocasta for her perspective.]] //

If the user chooses to act on Oedipus' anger, the scene escalates. Oedipus' role transforms from a righteous ruler intent on saving his people to an entitled, impatient man wielding his authority as a weapon. This develops the fatal flaw of pride as part of Oedipus' //hamartia//. //"For shame!" Oedipus raged. "No true-born Theban patriot would thus withhold the word of prophecy. Wouldst thou betray us and destroy the State?" "I will not vex myself for thee," Teiresias replied stubbornly. "Monster!" Oedipus exclaimed. "Will nothing loose thy tongue?" "Thou blam'st my mood and seest not thine own." Teiresias said. "Come what will, I remain mute. My voice will ne'er reveal my miseries -- or thine." Oedipus interpreted this statement to be the old man implying that it was Oedipus himself who killed Laius. Teiresias alludes to the strange coincidence of Oedipus' arrival to Thebes and Laius' murder: the former king was killed at a crossroads just weeks before Oedipus defeated the Sphinx. Oedipus cannot believe the old man is accusing him with such a far-fetched story.// The user is only given one way forward into the story. //But before the situation can escalate, an unexpected visitor interrupts their argument. A Messenger from Corinth, the city of Oedipus' birth has come to the palace. He claims that Oedipus' father, [[King Polybus, has died]].//

Route 3 is a variation of a story that is similarly designed to Route 2. The narrative is designed so that the user is operating under the illusion of choice, and this is accomplished through the use of a branch-and-bottleneck structure: the user is presented with decision points consisting of multiple options that eventually all converge back into the main storyline. In this structure, the user is positioned as an orchestrator of the story, and they control the protagonist from a distance. //Armed with his blazing torch, the God of Plague has descended upon the city of Thebes. The people, led by a Priest, beseech their king to bring an end to their suffering. In response, Oedipus has sent his brother-in-law Creon to the Oracle of Delphi in search of a divine revelation that will guide him in solving the crisis. When Creon returns, he claims the Oracle told him that the reason behind the plague was that the murderer of the last king, Laius, continues to live freely within the walls of Thebes. The Oracle said that until the criminal has been captured and punished for his crimes, the plague will continue Oedipus vows to find the criminal and punish him in order to save his people. He decides to seek testimony from two men who were most informed of the incident.// With this information, the user is presented with their first major decision point. //Who does he consult first? [[Creon, brother to Oedipus' wife Jocasta]] [[Teiresias, seer who comprehends all]]//

Route 2 is a variation of the story that is structured so that the user operates under the illusion of choice. The main storyline presents the user with decision points like in a standard branching narrative, but the options here only lead to brief diversions from the main storyline that have little to no effect on narrative content. The user will always return back to the main storyline. This type of structure is referred to as string of pearls. //Oedipus begins an investigation into the cause of Laius' death. He consults his wife and mother of their four children Jocasta, and asks her what happened on the day her first husband Laius died. She tells him that he was departing Thebes for Delphi, where he wished to speak to an Oracle. However, he never returned. During this time, a great Sphinx was terrorizing Thebes, and so their ruler's death had to be pushed aside. Oedipus remembers the Sphinx, for he was the traveler who came across it guarding the Theban gate and [[defeated it.]]// This highlighted phrase indicates to the user that this is a link to a new part of the story. The user has no way of knowing whether this will continue the main storyline or simply branch away from it. This is why the string of pearls structure is often used for side quests in video games. In the context of this project, these side branches provide the user with a deeper understanding of the protagonist. //Oedipus asks [[Jocasta]] to tell him more about what happened to Laius on that fateful day.//

The user will now discover that choosing the previous link has led them back in time to before Oedipus became king of Thebes. This flashback provides the user with deeper insight into the protagonist and builds towards their eventual //hamartia//. //Many years before he would sit upon the throne of Thebes, Oedipus was once a prince of the distant city of Corinth. His happy life as the heir to the throne and beloved son to King Polybus and Queen Merope came to a sudden end when he received a dire prophecy. "You shall defile your mother's bed, and raise up seed too loathsome to behold. You will slay the father from whose seed your grew." Terrified, Oedipus departed in the night, believing that abandoning his family and home would protect them. For months he walked endlessly, hoping that distance would ward off the revelation of the gods. Eventually, he came to a crossroads, where [[the path split into three]]. // The first passage in this diversion from the main storyline provides the user with only one choice forwards.

//Oedipus flees the scene down a random path, and wanders for many more weeks, until he finds himself at the gates of Thebes. Here an imposing Sphinx stands guard. The monster, with the head of a woman, body of a lion, and wings of a bird has prevented people from leaving or entering for so long that the city is on the verge of starving. Many have been killed by the Sphinx herself. The Sphinx challenged all passerby to solve her riddle. Oedipus, who believed he was capable of surpassing all those who failed, agreed to her challenge. "What walks on four feet in the morning, two in the afternoon, and three at night?" "Man," Oedipus replied. "As an infant, he crawls on all fours. As an adult he walks on two legs. In his old age, he uses a walking stick." The Sphinx, mortified by his success, was caught off guard and Oedipus leapt at the chance to strike her down. The city of Thebes celebrated their new savior, and he was offered the hand of the recently widowed Queen Jocasta. Accepting would mean becoming the new ruler of Thebes.// This is a pivotal point in Oedipus' story. His pride, aggression, and cowardice have carried him this far. Now, he is presented with the fateful decision as to whether he should bring his lonely travels to an end in Thebes and start a family, or continue running from his fate. //Having lived as a prince for most of his life, he believes it is only right he return to the path of royalty. Oedipus accepts the offer, and so he becomes the King of Thebes and weds [[Jocasta]].// The user once again is given no choice in how to proceed in the story. This link brings them back to the main storyline. The same link was also present in the very first decision point passage. If the user chose not to pursue this branch, then they would be led directly to the "Jocasta" passage.

This passage is a direct continuation of the main storyline. Regardless of whether the user has come here from the passage that directly preceeded this one or the flashback to how Oedipus came to Thebes, this is where the plot builds to its climax. //Jocasta tells Oedipus that Laius was murdered by a band of thieves on the road. Only one man, a Slave, survived the encounter. Oedipus tells her that during his travels, he, too, fell into conflict with strangers near Thebes and killed several out of self-defense. Jocasta asks why he was traveling alone, and Oedipus explains that he left home after receiving the prophecy that he would wed his mother and slay his father. His journey was long and difficult, and so when he was harrassed by the other travelers, they came to blows easily.// The consequences of the protagonist's //hamartia// will now begin to unfold, which leads to the pivotal moment of discovery. The user is now given two links to choose from. Both options appear to be direct continuations of the plot. //Oedipus, wary of how Laius' death coincided with his arrival to Thebes, goes in search of [[the Slave]] who traveled with Laius and escaped with his life. While he is away, a [[Messenger from Corinth]] arrives, and is received by Jocasta.//

//Oedipus brings forth the Slave, who is the sole survivor of Laius' party. Before he can ask the Slave to begin his testimony, Jocasta draws Oedipus' attention to the Messenger, who informs him of Polybus' death. "The Oracle was wrong, for my father is now dead within his grave, and not at mine own hand." Oedipus said. "Then let it weigh no more upon thy soul," Jocasta agreed.// The reveal of Polybus' death cultivates a sense of false security in the user, and further affirms it if they come from the passage in which the Messenger of Corinth's arrival is written with more detail. It appears as though the prophecy has not come to pass, and Oedipus was successful in avoiding his fate. //Oedipus, however, cannot rest easy, for Merope, his mother, still lives. When the Messenger enquires as to why he is so fearful of his mother's survival, Oedipus explains the prophecy to him. The Messenger asks Oedipus to return to Corinth to take the throne. "Nay, I will ne'er go near my parents more." Oedipus replied. "My son," the Messenger said. "If thy parents is why thou dreadest to return, thou should know thy fears are baseless, since thy parents are [[naught of the same blood]]."// The user may only continue with the one link provided, symbolizing how the events that unfold from here on out are completely out of their control.

This brief branch does not alter the narrative content of the main storyline and instead provides more insight into the prophecy that has acted as a motivator for the majority of Oedipus' actions thus far. //A Messenger from Corinth arrives with shocking news: King Polybus of Corinth, Oedipus' father, suddenly fell ill and passed away. As a result, the people are now calling for their prince to return and take the throne. Jocasta, remembering the prophecy Oedipus told her of, is relieved. Oedipus has not killed his father, for Polybus succumbed to sickness.// The Messenger appears to confirm that Oedipus' prophecy has not come to pass. This lulls the user into a false sense of security. //Jocasta eagerly calls upon Oedipus to tell him of the news. He returns, bringing with him [[the Slave]] who knows the truth of Laius' death.//

This passage marks the beginning of the final act of the story. //Oedipus, offended by the Messenger's claim, demanded he explain. "What reason had he then to call me son, if we were not of the same blood?" "Know that he took thee from my hands as a gift," the Messenger replied. "As a childless man, he warmed to thee, who was but a babe found in the grasses of Mount Cithaeron. Found by a Theban shepherd you were, and given to me, and thus given to Polybus." Oedipus was stunned. "And is this shepherd still living for me to see him?" "His fellow-countrymen should best know that," the Messenger replied. "For he was most loyal to King Laius." Oedipus turned to Jocasta. "Madam, dost thou know the man?" Jocasta, however, was suddenly reluctant to speak. "What matter? Let it be. 'Tis for thy sake, I advise thee, [[let it be]]." "I grow impatient of this advice." Oedipus waved her off. "Bring me [[the Theban Shepherd]]!"// The user is presented with two choices. The first appears to be one that will avert the tragedy that is soon to unfold, whereas the second appears to hurtle straight towards it.

Every branch in a string of pearls structure will eventually lead back to the main storyline. Even if the user attempts to stop the story from unfolding the way is seems to be going, it will only lead them back to the inevitable. This branch is yet another flashback in the protagonist's life, but from the very beginning. //Many years before Oedipus, Prince of Corinth would depart his home in the hopes of escaping a prophecy, a son was born to the rulers of Thebes, hundreds of miles away. The birth of a healthy heir should have been met with celebration, but instead his arrival was clouded in the shadow of a prophecy once given to his parents, King Laius and Queen Jocasta. The boy born to them would one day grow into a man who would commit atrocities and bring great suffering to all those around him, and he would first begin by slaying his own parents. And so when the babe was brought into the world and it was determined it was indeed a son, Jocasta herself gave the boy to a loyal shepherd, ordering him to leave it in the mountains to [[die]].//

//The Shepherd, who heeded every command given to him, obediently carried the infant to Mount Cithaeron, where he regularly tended to his sheep. He intended abandon him in the wilderness, but the Shepherd had a kind heart, and he took pity on the child. When the Shepherd came across another man herding his own flock, he beseeched the man to take the child with him, and carry him far away from Thebes, so the prophecy would never come to pass. This man, who was a citizen of Corinth and servant to its childless ruler Polybus, agreed. And so the Corinthian Shepherd and [[the Theban Shepherd]] parted ways, ignorant to the tragedy they had set in motion.// This branch concludes with Oedipus being brought to Corinth as an infant. His journey from his true birthplace of Thebes to his adoptive parents Polybus and Merope is objectively a happy one: an unwanted child is sentenced to death, but is saved by a good samaritan, and given to a new loving home. However, the good intentions of those involved, even Jocasta, who discarded her own flesh and blood in the hopes of saving herself and her husband, is what eventually leads to the tragedy that occurs in the main storyline. This follows the Aristotelian theme of destruction brought about by good intentions. Like Jocasta, Oedipus cast away his own family to protect them. But it is this choice that leads him to his real family, and sets his tragedy in motion.

This passage is the climax of the story and is a direct continuation of the main storyline. The threads that have been woven from previous branches and passages are now coming together. //Upon her husband's harsh dismissal, Jocasta exclaimed: "O woe is thee, poor wretch! With that last word I leave thee, henceforth silent evermore." With her exit, Oedipus repeated his demand that the Theban Shepherd be found. To his surprise, the old Slave who he found in the search for Laius' murderer suddenly stepped forward. Oedipus had forgotten his presence due to the revelations brought about by the arrival of the Messenger from Corinth. "Stranger, I address thee first, wast thou once of Laius' house?" Oedipus asked. "I was, sir." The Slave confirmed. "The best part of my life I tended sheep in the Cithaeron alps." "Then thou must know this man?" Oedipus gestured to the Messenger. "'Tis long ago, but yes." The Shepherd confirmed. "Thou must then remember giving me a child to rear as my foster-son." Said the Messenger. "I did," the Shepherd confirmed, growing uneasy. "Why dost thou ask this question? What of that?" "The ruler that stands before thee is that child." The Messenger stated. The Shepherd grew pale. Oedipus leapt at the opportunity. "From whom? What house did the child come from?" "Forbear for God's sake, master, ask no more." The Slave pleaded. "Thou shalt die unless you answer and speak the truth." Oedipus raged. "From what house was the child abandoned?" "Laius' own." The Slave fell upon the ground, as if begging for forgiveness. "The child was Laius' own, and it was his wife Jocasta who gave me [[their son]] to leave to die."// In the final sequence of the story, the user is only provided with one link. They have lost their agency and influence in the plot. From here on out, there is no option but to go forwards and witness how Oedipus' story comes to an end.

//"Jocasta, its own mother, wished it dead?" Oedipus asked. "The lady feared a prophecy," the Slave confessed. "'Twas told that he would slay his sire." "Then why didst thou give the child to this Messenger here?" Oedipus demanded. "Through pity, master, for the babe." The Slave said. "I thought he'd take it to the country from where he came. But the prophecy was preserved for the worst of woes. God pity thee! Thou wast to misery born."// In Aristotelian tragedy, there are three pivotal plot points: the //hamartia//, the discovery, and the reversal of fortune. The //hamartia// of Oedipus has been conveyed through previous branches and passages such as the flashback to his deadly encounter with Laius. The discovery of Oedipus' birth occurs here in this passage, and with this information the characters and the user can now come to the conclusion that Oedipus did indeed fulfill the prophecy: he killed his father, married his mother, and had children with her. The protagonist's discovery of his origins and his misdeeds triggers his downfall. With his own hands Oedipus built a life for himself in which he was a powerful, respected ruler and loving husband and father, and with those same hands he has destroyed it all. //Oedipus is brought to his knees. "Ah me, all brought to pass, all true! O light, may I behold thee nevermore! I stand a wretch, in birth, in wedlock cursed, a parricide, incestuously, [[triply cursed]]!"//

This passage details the direct aftermath of the discovery and the reversal in fortune: the downfall of the protagonist. //"A sword!" Oedipus cried, "Where is the wife, no wife, the teeming womb that bore a double harvest of me and mine?" In a frenzy, Oedipus ran to their bedchambers and crashed against the bolted doors, only to find Jocasta hanging there, with a noose twined around her neck. With a maddened roar he loosed the cord, tore the golden brooches from her queenly robes, and raised them high, only to bring them down upon his very eyes. "No more shall ye behold such sights of woe, deeds I have suffered and myself have wrought, henceforth quenched in darkness shall ye see those ye ne'er should have seen; now blind to those whom when I saw, I vainly yearned to know."// The protagonist's fall from grace is further cemented with this violent, sorrowful act. Oedipus acknowledges the hand he has played in his own demise and the ruination of those he loved most. The user's understanding of the protagonist's //hamartia// differs depending on the path they took through the narrative. If the user progressed solely down the main storyline, then Oedipus' //hamartia// appears to be his foolish attempt to evade fate and his decision to kill the stranger on the road. If the user chose to pursue some of the branches away from the main storyline, then they learn more about Oedipus' past and view his //hamartia// as a multifaceted representation of his personality flaws and an accumulation of his choices. User interaction with the plot is limited to creating small variations in the story they witness based on the links they are drawn to and decide to click on. However, despite not being able to make dramatic changes in narrative content, it is still possible for the user to experience several variations of the plot that differ in both chronological approach and content based on the branches they read. //Thy fall, O Oedipus, thy piteous fall! O heavy hand of fate! Whose tale more sad than thine, whose lot more dire? O Oedipus, discrowned head; Thy cradle was thy marriage bed.// Now, the user is led to the final moment of the story, where //[[katharsis]]//, or the purging of negative emotions, takes place.

//"What ails thee? Why this melancholy mood?" Oedipus gestured towards Teiresias humbly. "Withhold not, I beseech you, for we are all thy suppliants."// By choosing to not act on Oedipus' anger, the user has chosen a path in which Oedipus refrains from taking the role of an entitled king and instead acts as a patient ruler. However, unbeknownst to the ruler, this noble approach still amounts to nothing. //"Aye, for ye are all witless, but my voice will ne'er reveal my miseries -- or thine." Teiresias said mysteriously. "What then, thou knowest, and yet willst not speak! Wouldst thou betray us and destroy the State?" Oedipus exclaimed. "I will not vex myself for thee," Teiresias insisted. Oedipus lost his composure once again. "Monster! How insolently dost thou flout the State!" He is now convinced that the old man does not recognize his authority as king. To make matters worse, Teiresias begins to allude to the strange coincidence of Oedipus' arrival to Thebes and Laius' murder: the former king was killed at a crossroads just weeks before Oedipus defeated the Sphinx. Oedipus cannot believe the old man is accusing him with such a far-fetched story.// With his anger resurfacing, Oedipus' appearance as a benevolent ruler melts away, and the fatal flaw of "pride" begins to develop as part of his //hamartia//. However, before the situation can escalate further, an unexpected visitor intervenes. //A Messenger from Corinth, the city of Oedipus' birth has arrived at the palace. He claims that Oedipus' father, [[King Polybus, has died]].//

Choosing to immediately accuse Creon of treason makes Oedipus' //hamartia// into a more multifaceted affair that combines elements of both his personality and past misdeeds. //Oedipus understands that many doubt his legitimacy to the throne. He arrived in Thebes after traveling aimlessly for a long while, having fled his home of Corinth after receiving a prophecy that foretold he would slay his father and wed his mother. Out of fear for the safety of his parents, and the horrors that may await him in the future, Oedipus left, only to eventually come across the city of Thebes. When he arrived a great Sphinx was terrorizing the land, and upon defeating it, he was awarded with the hand of the recently widowed Queen Jocasta. Oedipus' insecurity surrounding his position as ruler of Thebes now rears its ugly head. "Didst thou detect in me some touch of cowardice or witlessness that made thee undertake this enterprise?" Oedipus demanded. "You, the serpent stealing on me in the dark, the filcher of my crown." "I have no natural craving for the name of king," Creon responded. "If thou doubt my words, go to the Oracle of Delphi, condemn me not without appeal. Thou wilt learn in time the truth." "What truth?" Oedipus asked. "That you are the man responsible for Laius' murder." Creon said. Oedipus, outraged by this claim, demanded Creon explain himself further. Creon goes ont to explain that Laius was murdered by thieves at a crossroads. Oedipus himself once told him that on his travels, he fell into an altercation with other travels, and took a life. Creon is adamant that this is no coincidence. Oedipus believes him to be lying through his teeth.// The user may view this claim as an affirmation of Oedipus' suspicions surrounding Creon. However, it could also sow a seed in the user's mind concerning the prophecy that was mentioned in the very first passage. //Their raised voices were suddenly interrupted by the arrival of an unexpected visitor. A Messenger from Corinth, the city of Oedipus' birth, has come to the palace. He claims that Oedipus' father, [[King Polybus, has died]].//

If the user chooses to summon Jocasta for her perspective, it simplifies the nature of the //hamartia// committed by Oedipus in the past; events which will be revealed further along in the narrative. //Oedipus summons his wife and Creon's brother Jocasta. "What provoked the quarrel?" Jocasta asks. "He points me out as Laius' murderer," Oedipus replies. "He is too cunning to commit to the charge himself, and instead makes the Oracle his mouthpiece." "Believe not the words of the Oracle." Jocasta says. "Once the Oracle decreed Laius would be slain by a son of his own flesh and blood, yet he was struck down by a stranger on the road, where three paths met outside the Theban walls." Oedipus is stunned. The detail of exactly where Laius met his end has not been made clear to him until now. "Where three paths met outside the Theban walls? Why, that is where I was harassed by fellow travelers before arriving at the gate, and defeating the Sphinx that lurked there." Oedipus also realizes the prophecy Jocasta speaks of closely resembles the same prophecy decreed to his father, Polybus, many years ago. The very same prophecy that drove Oedipus to leave his home of Corinth, and eventually wander his way to Thebes.// But before the scene can escalate, an unexpected visitor arrives. The user is not given a choice in how to proceed forward with the story, as there is only one link available to click. //A Messenger from Corinth, the city of Oedipus' birth has come to the palace. He claims that Oedipus' father, [[King Polybus, has died]].//

In //Poetics// by Aristotle, the philosopher writes that a tragedy should evoke feelings of pity and fear in its audience. He outlines several key components that are necessary to deliver a succesful tragedy: a protagonist who is neither overly virtuous nor overly evil, their fatal flaw or mistake, the discovery of their misdeeds, the misfortune that follows as a result, and the catharsis experienced at the end of the story. Using the principles of Aristotelian tragedy as a framework, this project seeks to explore how emotion manifests within a tragic interactive narrative. To provide context and examples for how these elements are fulfilled within the interactive narrative, adapted excerpts from F. Storr's 1912 translation of //Oedipus the King//(text-style:"superscript")[1] have been incorporated alongside meta analysis. The narrative excerpts are written in italics, whilst the meta analysis is in plain text. Begin //[[Pathos]].// (text-style:"superscript")[1] For a more detailed citation, please see the Bibliography in the report.

All previous passages lead to this bottleneck passage, where the plot reaches a climax with the arrival of the Messenger from Corinth. //The Messenger informs the people gathered that King Polybus of Corinth, Oedipus' father, has died of illness. He has come to ask Oedipus to return to take the throne. Oedipus naturally declines, as he states he will never return to Corinth again after having received a dire prophecy in his youth: it was foretold that he would slay his father and marry his mother. To escape his fate, Oedipus abandoned his home and his parents and wandered aimlessly for months, until he found himself at the gates of Thebes.// It is important that it is made clear that Oedipus left Corinth in an attempt to escape his fate. To the Ancient Greeks, trying to change one's fate was akin to challenging the heavens, and symbolized excessive hubris. Hubris has now become part of Oedipus' //hamartia//. //"Dost thou not know thy fears are baseless?" The Messenger interrupted. "Polybus was not to thee in blood." "Was not Polybus my sire?" Oedipus asked, confused. "What reason had he then to call me son?" "Know that he took me from my very hands as a gift," the Messenger replied. "A childless man till then, he warmed to thee." Oedipus, shocked, asks the Messenger for further clarification. The Messenger explains that many years ago he was traveling the Cithaeron alps when he came across a shepherd from Thebes carrying an infant. The Theban Shepherd asked him to take the child far away and raise him as his own. The Messenger thus brought the infant to the childless King Polybus and Queen Merope, who adopted the child. Oedipus asks if this Theban Shepherd still lives. Creon leaps at the opportunity and confirms that he does, adding that he knows of a servant to the royal house who once herded sheep on the Cithaeron Alps. Oedipus asks Jocasta if she can find the man, who would have served the house during her youth. Jocasta is suddenly reluctant to tell. "I pray thee, do not do this."// The user is presented with another decision point, and another explicit statement of the protagonist's current emotional state. //Oedipus is suspicious of his wife's plea, and her visible unease. How does he respond? [[Dismiss her and order the Shepherd be found.]] [[Question her further.]]//

//Oedipus has had enough of people challenging him. He dismisses Jocasta, who exits in distress, and demands the Shepherd be brought forth. "Much I fear from this dead calm will burst a storm of woes," Creon warned. "Let the storm burst." Oedipus replied. "My fixed resolve still holds. I rank myself as Fortune's favorite child, for she is who led me to the gates of Thebes, she helped me defeat the Sphinx, and she gave me Jocasta's hand in marriage and the throne." "How sure you are." Creon said. "Nothing can make me other than what I am." Oedipus stated.// This display of confidence alludes to the hubris at the center of Oedipus' personality and his //hamartia//. It was previously developed in past passages that discussed his past and his belief that he could escape his fate. The irony in Oedipus' statement is that he is indeed correct, but not in the way he thinks. The sense of anticipation and dread that has been building up to the eventual reveal finally arrives. //The Shepherd, an old man, was finally found and brought to the palace. Oedipus asked the Corinthian Messenger if that was the shepherd he remembered, and the Messenger confirmed it was. The Shepherd, however, claimed not to recognize the Messenger. How does Oedipus proceed? [[The Shepherd must be the wrong man. Let him go.]] [[Question the Shepherd and Messenger further.]]//

This passage provides further insight into Oedipus' thought process and emotions. It further develops pride as part of his //hamartia//, and demonstrates how Oedipus is a character who is strongly swayed by his emotions. //Oedipus decides to give Jocasta one more chance. He questions her further. "Madam, dost thou know the man the Messenger speaks of?" He asked. "Who is the man? What matter? Let it be. Waste of thought to weigh his idle words." Jocasta said. Her evasiveness only increases Oedipus' suspicion. Oedipus believes that Jocasta may be ashamed of the possibility that he is actually lowborn rather than a Corinthian prince. Ignoring her protests, he orders the Shepherd be brought to the palace. But when the Shepherd arrives, he refuses to speak, out of respect for his old master Laius. This is the last straw for Oedipus, who can no longer tolerate being scorned by those around him. Although it was in a different city, he was still raised as a prince, and he cannot forgive those who fail to give him the respect he deserves.// Similarly to the previous passage, the user is once again provided with the illusion of a choice in how Oedipus proceeds with the scenario. One option gives the protagonist another chance to practice humility and act sensibly, whilst another has the protagonist fall deeper into a pit of entitlement and paranoia. The user does not know that both choices will eventually lead to the same passage. Attempting to redeem or further villainize Oedipus will change nothing, but it does result in the last act of his story taking a subtly different shape. //What does Oedipus do to make the Shepherd speak? [[Threaten the Shepherd with imprisonment.]] [[Turn to the Messenger and hope he can mediate.]]//

This route continues with the variation of the story in which the protagonist, influenced by his entitled upbringing and paranoia over his strangely won throne, continues to antagonize those around him during a moment of conflict instead of putting his own grievances aside. This fulfills the Aristotelian principle of a protagonist who is fundamentally flawed, as all humans are. //"Old man, look up and answer all I ask thee." Oedipus commanded. "Was thou once of Laius' house?" "I was," the Shepherd responded. "Didst thou bring an infant of Thebes to the alps of Cithaeron, and leave it to perish there?" Oedipus asked. The Shepherd refused to respond. "If thou lacks the grace to speak, I'll loose thy tongue!" Oedipus warned. Still the Shepherd remained silent. "Arrest the villain!" Oedipus ordered. "Seize and pinion him!" "If I tell the truth, I am doubly lost!" The Shepherd finally exclaimed. "Forbear for God's sake, ask no more." "I will ask." Oedipus said. "And I must hear. From whose house was the infant?" "Laius' house," the Shepherd finally answered, despairing. "The infant was [[Laius' own]], given to me by Jocasta."//

This passage continues with a variation of the story in which the protagonist, despite his paranoia and entitled nature, attempts to reason with those around him during a time of conflict. This fulfills the Aristotelian principle of a protagonist who is flawed but virtuous, and mostly means well. //"Corinthian Messenger, is this the shepherd you speak of?" Oedipus asked. "This is he," the Messenger confirmed. "Shepherd, didst thou frequent the alps of Cithaeron?" "'Tis long ago, but what you say is true." The Shepherd said. "Well, thou must remember giving me a child to rear as my foster-son." The Messenger said. The Shepherd suddenly grew wary. "Why dost thou ask this question? What of that?" "Old friend, the king that stands before you was that child." The Messenger gestured at Oedipus. The Shepherd's shock was clear, and the man grew pale. "What house did the child come from?" Oedipus asked. "Forbear for God's sake, ask no more!" The Shepherd cried. "I must hear." Oedipus ignored his distress. "What house did the child come from? Answer truthfully or I will strike thee down!" "Laius' house!" The Shepherd finally exclaimed. "The child came from Laius' house. It was [[Laius' own]], given to me by Jocasta." // The user is only given one link forward into the final sequence of the story.

//"Jocasta, its own mother, wished it dead?" Oedipus asked, shocked. "The lady feared a prophecy," the Shepherd confessed. "'Twas told that he would slay his sire and mother both." "Then why didst thou give the child to this Messenger here?" Oedipus demanded. "Through pity, master, for the babe." The Shepherd said. "I thought he'd take it far away, to the country from where he came. But the prophecy was preserved for the worst of woes. God pity thee! Thou wast to misery born."// In Aristotelian tragedy, there are three key plot points: the //hamartia//, the discovery, and the reversal of fortune. The //hamartia// of Oedipus has been conveyed through previous branches and passages that demonstrate his personality flaws and allude to past violence inflicted upon others. The discovery of Oedipus' birth occurs here in this passage, and with this information the characters and the user can now come to the conclusion that Oedipus did indeed fulfill the prophecy: he killed his father, married his mother, and had children with her. The protagonist's discovery of his origins and his misdeeds triggers his downfall. With his own hands Oedipus built a life for himself in which he was a powerful, respected ruler and loving husband and father, and with those same hands he has destroyed it all. //Oedipus fell to his knees. "Ah me, all brought to pass, all true! O light, may I behold thee nevermore! I stand a wretch, in birth, in wedlock cursed, a parricide, incestuously, triply [[cursed]]!"// Now that the discovery has occurred and the protagonist's good fortune has been reversed, the user is given only one way forward into the Oedipus' tragic fall from grace.

This passage is an example of a faux-choice construct at work in an interactive narrative. Faux-choice constructs provide the user with the illusion of choice, when in reality the branch they have chosen likely leads right back to the main storyline. If Oedipus really were to let the Shepherd go, then his story would end right there. But despite the user's efforts, the tragedy that ensues is inevitable, and there is no escape from the events that unfold from here. This symbolizes Oedipus' own attempts to avoid his fate, and how his efforts to run actually led him straight to where his tragedy would play out. //Oedipus made to dismiss the Shepherd, however he was stopped by the Messenger. "I will revive his blunted memories," said the Messenger. "Surely he can recall what time together both we drove our flocks on the Cithaeron range. For three long summers I was his companion, then in winter time I led mine home to Corinth, and he his to Thebes and Laius' lands." "'Tis long ago, but all thou say is true." The old Shepherd agreed. "Well, then thou must remember giving this man here an infant to spirit away." Oedipus said. The Shepherd suddenly grew wary. "Why dost thou ask this question? What of it?" "The man who stands before thee was that child." Oedipus said. "A plague upon thee! Hold thy wanton tongue!" The Shepherd exclaimed in disbelief. "It cannot be, it cannot be!" Oedipus is alarmed by his reaction. It is clear that the infant was never meant to survive. He cannot comprehend why someone would wish death upon a child. "From where came the child? Was it thine, or given to thee?" "Laius' house," the Shepherd answered, despairing. "The infant was [[Laius' own]], given to me by Jocasta."//

This passage leads to the bottleneck passage, where all previous passages converge. Although the user may believe that this choice has resulted in a different ending, the nature of this type of branching structure is the user's influence over the plot is actually very limited. They are only able to experience variations of a predetermined story. //Oedipus, understanding the Shepherd was clearly advanced in age, asked the Messenger to speak to converse with him in the hopes of reviving his memory. However, when the Messenger began to tell the Shepherd of the infant he once gave to him, the old Shepherd grew distressed. "For mercy's sake, abuse not an old man!" The Shepherd declared. "Speak no more of this matter." "Old man, rebuke him not." Oedipus said. "Answer what he asks about the child." "Forbear for God's sake, ask no more." The Shepherd pleaded. His panic has made Oedipus more alarmed. Oedipus imagined that perhaps his distress was due to guilt. "Was the infant thine?" "I had it from another, 'twas not mine." The Shepherd confessed. "From which Theban house did it come from then?" Oedipus pressed. He was met with silence, and his impatience grew. He resorted to using a threat. "If I must question thee again, thou'rt lost." "Laius' house," the Shepherd finally answered, despairing. "The infant was [[Laius' own]], given to me by Jocasta."//

//"A sword!" Oedipus cried, "Where is the wife, no wife, the teeming womb that bore a double harvest of me and mine?" In a frenzy, Oedipus ran to their bedchambers and crashed against the bolted doors, only to find Jocasta hanging there, a running noose twined around her neck. After having learned the revelation brought about by the Shepherd from a servant, she hung herself. With a maddened roar Oedipus loosed the cord, tore the golden brooches from her queenly robes, and raised them high, only to bring them down upon his very eyes. "No more shall ye behold such sights of woe, deeds I have suffered and myself have wrought, henceforth quenched in darkness shall ye see those ye ne'er should have seen; now blind to those whom when I saw, I vainly yearned to know."// The protagonist's fall from grace is further cemented with this violent, sorrowful act. Oedipus acknowledges the hand he has played in his own demise and the ruination of those he loved most. (align:"=><=")[//Thy fall, O Oedipus, thy piteous fall! O heavy hand of fate! Whose tale more sad than thine, whose lot more dire? O Oedipus, discrowned head; Thy cradle was thy marriage bed.//] The user's understanding of the protagonist's //hamartia// differs depending on the path they took through the narrative. In some variations of the story experienced by the user, Oedipus' //hamartia// is a result of hubris, paranoia, and entitlement. In others, Oedipus' //hamartia// is his initial act of running away from Corinth, slaying the stranger he encountered on the path, and assuming the throne of Thebes. User interaction with the plot is limited to creating small variations in the story they witness based on the links they are drawn to and decide to click on. However, despite not being able to make dramatic changes in narrative content, the user is still able to experience a new story every time due to the multiple possible routes. The lack of influence over narrative content also lends itself to the Aristotelian theme of inevitability. Now, the user is led to the [[final passage]], where Oedipus' story ends in a moment of //katharsis// for the audience.

In Aristotelian tragedy, //hamartia// is the fatal flaw and/or mistake made by the protagonist. //Hamartia// should be something acted upon purposefully, such as a character giving in to their greed, or inflicting violence upon another. The protagonist is often unaware of the scope of the consequences of their actions, which contributes to the devastation they experience later in the plot. In this route, creative liberties have been taken to alter the original source material to suit the branching narrative's structure. Oedipus' //hamartia// now stems from the foolish choice of beseeching the gods for their guidance only to ignore it in the end. Making the choice to actively seek out the truth, then rejecting it upon receiving it, demonstrates Oedipus' excessive hubris. It also ties back to the fact that he rejected the doting reassurances of Polybus and Merope concerning his birth. This path further develops Oedipus' character as a stubborn, prideful young man. //You dismiss the Oracle's prophecy as nonsense. You were already suspicious of your parent's denial of the rumors of your birth, and you decide to take this as a sign that you are indeed not their flesh and blood. You are upset by the idea of Polybus and Merope having lied to you for your whole life, but you still accept them as your family. You begin the journey back to Corinth. However, you are unused to traveling unaccompanied by servants, and you soon find yourself lost at a crossroads. The road splits into three, and you have no idea which to take to return home. Whilst you deliberate over which path to choose, a wealthy nobleman in a chariot pulls up behind you, and impatiently berates you to get out of the way. How do you respond? [[Explain your situation and ask him for help.]] [[Confront the nobleman.]]//

The previous passage did not give the user any other options in how to proceed in the story. Now that the user has entered the story, the mutual feedback loop between the system and the user truly begins. This first major decision point concerns the prophecy that Oedipus receives and how he reacts to his fate. //After a long and lonely journey, you finally arrive at Delphi, where the Oracle resides. You beseech her to become a mouthpiece for the gods and tell you the truth of your birth. But instead, what you receive is a dire prophecy, filled with woe and grief. "You shall defile your mother's bed, and raise up seed too loathsome to behold. You will slay the father from whose seed your grew."// It is important to note that in Greek mythology, attempting to escape or avoid one's fate was interpreted as a form of hubris. This is because the concept of a mere mortal trying to defy the will of destiny or the heavens was not only disrespectful, but arrogant and foolish. Therefore, hubris is a contributing factor to Oedipus' //hamartia// in the story. The exact nature of his //hamartia//, and how it manifests, is determined by the following two links. //You are horrified by this revelation. What will you do now? [[Do not return to Corinth and abandon your family. You can escape your fate.]] [[Disregard the Oracle. If the rumors of your birth are true, all should be fine.]]//

This passage is part of a faux-choice construct. Faux-choice constructs provide the user with the illusion of agency, when in reality whatever choice they made will not diverge into a completely separate branch, but rather lead back to the main storyline. In a standard branching narrative, faux-choice constructs are integral to controlling the branches from multiplying out of control, and helps to keep the story cohesive. Confronting the nobleman is a possible path in which pride as a component of Oedipus' //hamartia// is further developed. In this passage, the user's choice to provoke the nobleman is symbolic of acting on Oedipus' anger and thus being overly influenced by his own emotions. Out of all the other paths available in the standard branching narrative, this route is the most similar to the original text. //You challenge the nobleman and his entitlement to the road. He believes you to be a commoner, and is outraged by your impudence. He orders the driver of the chariot to strike you. You have never been hit before, but you manage to evade the blow, and wrestle the staff out of the driver's hands. The staff is now in your hands. The nobleman continues to shout obscenities at both you and the driver, who failed to carry out his order properly. Your anger grows for both yourself and the driver, who appears used to his master's tirades.// Oedipus' anger grows, but there is a distinct righteousness to it. This fulfills the Aristotelian principle of a tragic protagonist being someone who is fundamentally flawed yet undeniably good at heart. //What do you do? [[Reveal your identity and demand he apologizes.]] [[Strike the nobleman. He needs to be taught a lesson.]]//

The user's attempt at avoiding conflict fails as the situation continues to escalate. The nobleman's antagonism provokes Oedipus' strong sense of pride, and the user is thus presented with two options as to how Oedipus copes with the experience of being disrespected for the first time in his life. //You turn to the nobleman and explain that you are lost and trying to find your way back to the city of Corinth. You hope that he will recognize you are both of the same class, and he will take pity on you and guide you in the right direction. The nobleman scoffs. Due to your shabby appearance, he thinks that he is well above you, and you are undeserving of even a moment of his attention. He tells you to find your own way home, or better yet, perish somewhere out of his sight. You are appalled by his response. How do you respond? [[Reveal your identity and demand he apologizes.]] [[Strike the nobleman. He needs to be taught a lesson.]]//

Aristotle believed that the ultimate goal for a tragedy should be inspiring //katharsis// within the audience at the end of the plot. //Katharsis// has many definitions, but it is most commonly interpreted as meaning "purification" or "purgation." Aristotle refers to it in a strictly aesthetic manner and applies it in the context of emotions evoked by a fictional story. In tragedy, //katharsis// occurs in the final act, where the protagonist is now left to deal with the destruction they have caused. How the protagonist conducts themselves in the aftermath, and what they do with their grief and guilt, determines the exact nature of the //katharsis// experienced by the audience, and what kind of outlet they are given to expel the negative emotions they have been building throughout the story. //Oedipus laments his past foolishness and pride, and despairs over how he failed to perish on the alps of Cithaeron as a baby. Now that he has blinded himself with his own hands, he beseeches the gods to punish him accordingly. "Apollo it was that brought these ills to pass, but the right hand that dealt the blow was mine, none other. O, I adjure you, slay me straight, or cast me down to the depths of the ocean out of sight." However, his wish is not granted. Creon brings forth Oedipus' two daughters, Antigone and Ismene, and asks what should be done wih them. Oedipus decides to exile himself with his daughters as his guides to the very mountain where his story began. "Let me be a dweller on the hills of Cithaeron, my tomb predestined for me by my sire and mother, while they lived. May I die slain as they thought to slay me. I myself must bear the load of guilt that none but I can share." With these final words, Oedipus departed the city of Thebes that he once ruled, shrouded in darkness and led forth by the very product of his misdeeds. Exit OEDIPUS.// //Katharsis// is facilitated through the way that Oedipus faces the consequences of his actions. Although he does beg to escape reality through death, he eventually acknowledges that a more deserving end for him is exile. The strange dignity that he exhibits with this decision should demonstrate to the audience that in spite of all the horrors, it is possible for people to act nobly, and accept the weight of their actions. With this realization, the audience may now release all the negative emotions that they have been accumulating throughout the story.

Aristotle believed that the ultimate goal for a tragedy should be eventually inspiring //katharsis// within the audience at the end of the plot. //Katharsis// has many definitions, but it is most commonly interpreted as meaning "purification" or "purgation." Aristotle refers to it in a strictly aesthetic manner and applies it in the context of emotions evoked by a fictional story. In tragedy, //katharsis// occurs in the final act, where the protagonist is now left to deal with the destruction they have caused. How the protagonist conducts themselves in the aftermath, and what they do with their grief and guilt, determines the exact nature of the //katharsis// experienced by the audience, and what kind of outlet they are given to expel the negative emotions they have been accumulating throughout the story. //Oedipus laments his past foolishness and pride, and despairs over how he failed to perish on the alps of Cithaeron as an infant. Now that he has blinded himself with his own hands, he beseeches the gods to punish him accordingly. "Apollo it was that brought these ills to pass, but the right hand that dealt the blow was mine, none other. O, I adjure you, slay me straight, or cast me down to the depths of the ocean out of sight." However, his wish is not granted. Creon brings forth Oedipus' two daughters, Antigone and Ismene, and asks what should be done wih them. Oedipus decides to exile himself with his daughters as his guides to the very mountain where his story began. "Let me be a dweller on the hills of Cithaeron, my tomb predestined for me by my sire and mother, while they lived. May I die slain as they thought to slay me. I myself must bear the load of guilt that none but I can share." With these final words, Oedipus departed the city of Thebes that he once ruled, shrouded in darkness and led forth by the very product of his misdeeds. Exit OEDIPUS.// //Katharsis// is facilitated through Oedipus' choice to face the consequences of his actions, and "bear the load of guilt that none but I can share." His initial pleas to escape reality through death are not granted by the gods, and Creon makes no move to execute him for his crimes. The ending that Oedipus has created for himself exhibits a strange dignity; in spite of all the harm he has caused to himself and others, he is still able to hold his head high and accept the weight of what he has done. With this realization, the audience may now release all the negative emotions that they have been accumulating throughout the story.

If the user chooses to strike the nobleman, this purposeful act of aggression towards a stranger, driven by pride and impulsiveness, contributes to the protagonist's //hamartia// and their eventual downfall. //Impulsively, you wield the staff and strike the nobleman once in the side, hoping to scare him off. The nobleman, however, draws a dagger. Fearing for your life, and acting impulsively, you strike the nobleman again, before he can use the blade. But you wield the staff with more force than intended, and it catches the nobleman on the side of his head, toppling him from the chariot. The driver flees the scene. The nobleman tries to get to his feet. Without thinking, you strike the nobleman again. Before you can see how much damage has been done, you cast the staff aside and run away. Fueled by adrenaline, you run and run, until you finally come across the gates to the city of Thebes. You find your way inside, hoping to ask someone for help to find a way back to Corinth. However, upon arrival, you hear strange news: a great Sphinx has landed in this city's palace, and is keeping its queen captive. No one has been able to defeat the Sphinx until now. There are also rumors that the mortal who defeats it may be granted a wish. You wish to challenge the Sphinx. But why? [[By saving the queen and the city, you can redeem yourself.]] [[You have nothing to lose. You hope the wish can help you fix everything.]]//

This route has the user act on Oedipus' strong sense of pride. However, when the situation takes a turn towards physical violence, the stakes change. The user is once again made to choose how the situation evolves. Their choice will lead them further down one of two paths: a path in which Oedipus' //hamartia// is composed of foolishness, hubris, and a petty desire to spite a stranger, or a path in which Oedipus' //hamartia// is something that comes from his pride and the act of purposefully harming a stranger. The former makes Oedipus into more of an immature, brash young man, whereas the latter has a slightly more insidious tone. //You reveal your true identity and demand he apologizes for his disrespect. The nobleman does not believe you are royalty, and to punish you for your impudence, orders his driver to strike you with a staff. You just barely manage to dodge the blow, and grab the end of the staff. You wrestle it free from the driver, and the nobleman begins to shout obscenities at both you and his servant for not carrying out his orders. You pity the driver, and begin to hate the nobleman even more. The staff is still in your hands. What do you do? [[Damage the chariot.]] [[Strike the nobleman.]]//

Choosing to damage the chariot rather than strike the nobleman leads the user down a path in which Oedipus is portrayed as an impulsive, foolish young man. Aggression and poor judgement become major elements of Oedipus' //hamartia//. //You bring the staff down on the side of the chariot, meaning to damage it in a way that would require costly repairs. However, you underestimate your reach, and end up striking the nobleman on the arm. Enraged, the nobleman leaps down from the chariot to fight you. You are similar in size, but you are younger and stronger, and you have soon overpowered the nobleman. He begins to curse you, and fearing retribution for your assault, you steal a horse from the chariot and flee. The driver is nowhere to be seen. You gallop down a random path, and by some miralce, arrive back in Corinth. Your parents are furious at your disappearance and demand to know where you went. You make up a lie, even if the guilt and terror at your actions is eating away at you. Life continues as usual for you, and you nearly forget about what occurred, until you learn that Laius, King of Thebes, has gone missing. The timing of his disappearance is uncomfortably close to your encounter with the stranger on the road.// The link that the user clicks here determines the nature in which Oedipus' //hamartia// further develops. Ignoring the unsettling coincidence is a form of denial born from cowardice; a selfish impulse to preserve what little innocence and peace he has left. Making inquiries appears to be the more virtuous route, but it will lead the user down a path with its own moral challenges. //What do you do? [[Ignore it. What you don't know can't hurt you.]] [[Make inquiries. Find out who the nobleman really was.]]//

If the user chooses to strike the nobleman, they are taking a darker route through the story. However, Oedipus' instant regret over his impulsive action demonstrates that he is neither evil by nature or without a conscious. He made a terrible decision, and will now suffer the consequences for it. //You strike the nobleman in the head with all your might. The nobleman topples off the chariot, and the driver immediately flees the scene. You realize what you have done and cast the staff aside, afraid of your own actions. Without thinking, you free one of the horses from the chariot, mount it, and take off down a random path. By some miracle, you find your way back to Corinth. Your parents, worried sick by your disappearance, demand to know what happened and where you went. You make up a lie, even if the guilt and terror at your actions is eating away at you. Several weeks later, you hear a peculiar rumor: Jocasta, the recently widowed Queen of Thebes, is searching for a new husband. She claims that she will only consider those who can solve a riddle she has created. Many have already failed to win the hand of the beautiful and intelligent woman. Intrigued, you ask to see the riddle for yourself, and after some deliberation, you believe you have solved it. You send your response in a letter, and you receive a swift reply from Queen Jocasta, who would like to meet the man that can match her in wit//. The introduction of Jocasta provides an opportunity for Oedipus to leave Corinth and start anew. //What do you do? [[Accept the invitation.]] [[Decline the invitation.]]//

If the user accepts the invitation, they go down a path in which Oedipus leaves his home of Corinth for Thebes, where he hopes to be freed of his past misdeeds and start anew. //Despite your parents' protests, you accept the invitation. You travel to the distant city of Thebes. It is beautiful and much larger than Corinth, and you begin to like the idea of becoming king of such a place. Queen Jocasta is an elegant, intelligent woman. In the absence of her husband, she has been ruling Thebes with the assistance of her brother, Creon. There are no children currently in the royal family, so your marriage would come with little political challenges. You are eager to leave Corinth behind, and you quickly accept Jocasta's offer. You send word back to Corinth that you will not be returning. After marrying Jocasta, you are soon blessed with two sons and two daughters. Years pass, and you nearly forget the events of your youth. However, your peaceful life is soon interrupted. A plague arrives, and the royal seer Teiresias claims it is because the murderer of Laius continues to roam freely, and within the very walls of Thebes. You vow to find the murderer and punish him. Where do you start? [[Question Teresias further.]] [[Question Jocasta.]]//

This passage is part of a faux-choice construct. It is integral to the story that Oedipus marries Jocasta, his mother. Despite the user's attempt to avoid this relationship from manifesting, the story system will still lead them down that route. //You decline the invitation out of respect for your parents. It would be irresponsible of you to abandon your duties as their heir. However, several weeks past, and a delegation from Thebes arrives in Corinth to discuss trade. Queen Jocasta has come in the hopes of convincing you to return to Thebes with them. You admire her elegance and intelligence, and you eventually agree to the union. Part of you is relieved to be leaving Corinth. After the scandal at the banquet and your disastrous trip to Delphi, you have felt even more distant than usual from Polybus and Merope. After marrying Jocasta, you are soon blessed with two sons and two daughters. Years pass, and you begin to forget the events of your youth. However, your happy life does not last for long. A plague arrives, and the royal seer Teiresias claims it is because the murderer of Laius continues to roam freely, and within the very walls of Thebes. You vow to find the murderer and punish him. Where do you start? [[Question Teresias further.]] [[Question Jocasta.]]//

Choosing denial contributes to the element of cowardice in Oedipus' //hamartia//. It also //You choose to ignore the rumors. Pursuing it further may reveal a horrible truth to you. Many months past, and you have nearly forgotten the matter until a delegation from the city of Thebes arrives. They are here to discuss trade and other uninteresting matters, but you are immediately taken by Jocasta, the missing King Laius' wife and sister to Creon, the man acting as ruler in Laius' absence. Enough time has passed that the man has been presumed dead. Jocasta is graceful and intelligent, and you begin to pursue her with the intention of marriage. At first, Jocasta is hesitant, but she soon opens up to you, and you learn that her marriage with Laius had broken down long ago due to the early death of their child. With his disappearance she feels freed, but her position in Thebes is now unsteady. You offer to marry her and become the new ruler of Thebes. You promise to share power with her and Creon. Jocasta readily accepts, and you are relieved, for you believe that in Thebes, you can start anew and forget your past misdeeds. Years pass, and the two of you build a family together. Beloved by the Theban people and surrounded by your children, you feel truly content. However, your peace does not last for long, as a plague suddenly strikes Thebes. The royal seer Teiresias claims he received a vision in which he was told that the plague is an act of retribution from the heavens, who are angry that Laius' disappearance was never solved. Your people beg you to save them. You vow to solve the mystery of Laius' disappearance. Where do you begin? [[Consult Creon.]] [[Consult Teiresias.]]//

Choosing to make enquiries around the nobleman is not necessarily a more virtuous approach compared to ignoring the rumors, but it demonstrates that Oedipus is willing to assume a certain level of accountability for something he could possibly be responsible for. //Acting carefully so your parents do not notice, you begin ordering servants to seek more information surrounding the disappearance of King Laius of Thebes. It is said that Laius, embarking on a journey to Delphi with a small company of servants, reached the Oracle but never returned to Thebes. After hearing this, you are relieved, for the nobleman you encountered was accompanied by only one driver. Your conscience can now rest easy. Coincidentally, your father offers to send you to Thebes as the leader of a delegation to discuss trade. You leap at the opportunity, and your arrival to the city is met with a somber banquet. Queen Jocasta, Laius' wife, is beautiful and intelligent, and you learn that she has been ruling the city alongside her brother Creon in her husband's absence. Whilst there, they receive news that a rotting corpse has been discovered wearing royal Theban robes. With Laius confirmed dead, Creon begins searching for a new husband for Jocasta. Jocasta, who has taken a liking to you, asks if you would be willing to enter into a political union. Eager to start a new life far from Corinth, you readily agree. Years pass, and as your family grows, you are content as the ruler of Thebes. However, your peaceful life does not last for long. A plague arrives, and the royal seer Teiresias claims it is because the murderer of Laius continues to roam freely, and within the very walls of Thebes. You vow to find the murderer and punish him. Where do you start? [[Question Teresias further.]] [[Question Jocasta.]]//

Choosing to save the queen in order to redeem oneself takes the user down a variation of the narrative in which the personality flaws of hubris and selfishness contribute to Oedipus' //hamartia// is hubris and selfishness. Although his choice here is still driven by a sense of righteousness, he is largely acting out of concern for himself. //You believe that if you save the queen of Thebes, then you will have balanced the scales and redeemed yourself from what you did to the nobleman. You venture towards the palace steps, where the Sphinx resides. You boldly state that you wish to solve its riddle. The Sphinx is impressed by your boldness. "What walks on four feet in the morning, two in the afternoon, and three at night?" "Man," you reply. "As an infant, he crawls on all fours. As an adult he walks on two legs. In his old age, he uses a walking stick." The Sphinx is stunned. You are the first human to outwit it. The Sphinx, mortified by its defeat, promptly flies away. Thebes celebrates you as their savior, and as a reward, you are offered the hand of the recently widowed Queen Jocasta. You accept, for you feel you have adequately redeemed yourself, and you hope in your new life you can dedicate yourself to doing good things. Years pass, and your family grows. You adore your children and wife. But just as you are beginning to forget your tumultuous youth, a plague strikes Thebes. The royal seer Teiresias claims it is because of how the former king, Laius, died. You vow to resolve the issue and appease the heavens. Where do you start? [[Speak to Jocasta, your wife and Laius' widow.]] [[Speak to Teiresias, the royal seer.]]//

This variation of the narrative is one in which Oedipus manifests into a more reckless character driven by despair and regret. He is desperate to rectify his past misdeeds, and he is willing to risk his life in order to do so. However, he also would sees no loss in the Sphinx slaying him, as he still wishes to run from his act of violence instead of facing it. //You know there is no possibility of you returning to Corinth now. You have no purpose or place in the world. If you secure the wish, then you can perhaps give yourself a second chance at life. You make your way into Thebes and arrive at the royal palace, where the Sphinx is prowling along the front steps. You state that you accept the challenge to solve its riddle. "What walks on four feet in the morning, two in the afternoon, and three at night?" "Man," you reply. "As an infant, he crawls on all fours. As an adult he walks on two legs. In his old age, he uses a walking stick." The Sphinx is stunned. You are the first human to outwit it. The Sphinx, mortified by its defeat, promptly flies away. Thebes celebrates you as their savior, and as a reward, you are offered the hand of the recently widowed Queen Jocasta. It feels like a miracle, and you are sure this must be the heavens giving you a second chance at life. You accept the proposal and begin anew in Thebes. Years pass, and your family grows. You adore your children and wife, and you are still celebrated by Thebes as their hero-turned-king. However, just as you are beginning to forget the events of your youth, a plague strikes the city. According to the royal seer Teiresias, the cause of the plague is the former king Laius' unjust death. You vow to resolve the conflict and save the city. Where do you begin your investigation? [[Ask Teiresias for more information about Laius' death.]] [[Ask Jocasta for more information about Laius' death.]]// The choices available to the user are provided in a neutral manner, which allows them to make a more objective decision.

Now that the narrative has developed Oedipus' personality flaws and accomplished the slaying of Laius by Oedipus' hand and Oedipus' marriage to Jocasta, the //hamartia// of the story is complete. This passage marks the beginning of the climax in this variation of the plot. //It is common knowledge that Laius was killed whilst traveling. You recently learned that his murder took place at a crossroads, which unsettles you, as that resembles the violent encounter of your youth. But still you question Teiresias further on the matter of Laius' death in search of more details, hoping that you will learn something that will ease your conscience. However, the eccentric old man remains difficult as always, speaking in riddles that give nothing away. It is clear to you that he is implying he knows the identity of the murderer, but he refuses to tell. You grow frustrated and accuse him of disrespecting your authority as king. Teiresias, as if he had been waiting for you to lose your temper, finally speaks his clearest sentence yet. "Thou art the man, the accursed polluter of this land." You are enraged by his words, but also terrified as well. Desperate to save face, you have the guards drag him away, but before he leaves, Teiresias must have the last word. "Thou hast eyes, yet sees not in what misery thou hast fallen. [[This day shall be thy birthday, and thy grave]]."// Oedipus' guilt and regret begin to rear their ugly heads again, foreshadowing the chaos that is to come. The fact that Teiresias specifically refers to Oedipus' "eyes" not seeing the truth references his earlier act of running away from what he did to the nobleman on the road. This confirms cowardice as a major element of Oedipus' //hamartia//, which ties in to the next part of the story. From here on out, the user is provided with only one link to click on. This symbolizes the protagonist's loss of control over the rest of their story. Because the //hamartia// has already been committed in the past, and the reveal will soon occur, what follows afterwards is simply the consequences of their actions coming to fruition. Nothing and no one can change that.

Now that the narrative has developed Oedipus' personality flaws and covered Oedipus killing Laius (unbeknownst to him) and Oedipus' marriage to Jocasta, the //hamartia// of the story is complete. This passage marks the beginning of the climax in this variation of the plot, where Oedipus' misdeeds will be discovered. //It is common knowledge that Laius was killed whilst traveling. You recently learned that his murder took place at a crossroads, which unsettles you, as that resembles the violent encounter of your youth. But you still question Jocasta about Laius' trip before he died in search of more details. She tells you that he departed from Thebes with a small company of servants to travel to Delphi and consult the Oracle. You are relieved, for the nobleman you encountered on the road was accompanied only by a driver. Your conversation is suddenly interrupted by the arrival of an unexpected visitor. A Messenger from Corinth has come to tell you that your father Polybus has succumbed to an illness, and Corinth requests that you return to take his place on the throne. You refuse, because the matter of the plague in Thebes has still not been sorted, and you will not leave your family behind during such a conflict. You confide in Jocasta that you also are reluctant to return due to the prophecy you received many years ago in your youth. Jocasta assures you that not all prophecies are to be believed, as you have both just heard that Polybus died not at your hand, but bad luck. You consider going to Corinth briefly to console your mother, but part of you is still afraid to return. The Messenger, who overhears your conversation, is curious as to why you are still afraid. You mention the prophecy to him, playing it off as nonsense, but the Messenger's response sends a cold shock through your body. "Dost thou not know thy fears are baseless?" The Messenger said. "[[Polybus was not to thee in blood]]. I know, because he took you as an infant from my very hands as a gift. A childless man till then, he warmed to thee." // With the reveal of Oedipus not being the biological son of Polybus and Merope, the user is provided with only one path forward into the climax of the plot.

Now that the narrative has developed Oedipus' personality flaws and accomplished the slaying of Laius by Oedipus' hand and Oedipus' marriage to Jocasta, the //hamartia// of the story is complete. This passage marks the beginning of the climax in this variation of the plot. //You consult Creon as to the specifics of Laius' disappearance. Creon tells you that Laius departed with a small group of servants to the Oracle at Delphi. However, he never returned. Upon hearing this, you are instantly filled with relief. The nobleman you encountered was traveling with only the driver, so it cannot have been Laius. However, your conversation is interrupted by the arrival of an unexpected visitor. A Messenger from Corinth has come to tell you that your father Polybus has succumbed to an illness, and Corinth requests that you return to take his place on the throne. You refuse, because the matter of the plague in Thebes has not been sorted, and you will not leave your family behind. You confide in Creon that you also are reluctant to return due to the prophecy you received many years ago in your youth. Creon assures you that not all prophecies are to be believed, as you have both just heard that Polybus died not at your hand, but bad luck. You consider going to Corinth briefly to console your mother Merope, but part of you is still afraid to return. The Messenger, who overhears your conversation, is curious as to why you are still afraid. You mention the prophecy to him, playing it off as nonsense, but the Messenger's response sends a cold shock through your body. "Dost thou not know thy fears are baseless?" The Messenger said. "[[Polybus was not to thee in blood]]. I know, because he took you as an infant from my very hands as a gift. A childless man till then, he warmed to thee."// With the reveal that Oedipus is not the biological son of Polybus and Merope, the user is provided with only one path forward into the climax of the plot. This symbolizes the protagonist's loss of control over the rest of their story. Because the //hamartia// has already been committed in the past, and the reveal will soon occur, what follows afterwards is simply the consequences of their actions coming to fruition. Nothing and no one can change that.

Now that the narrative has developed Oedipus' personality flaws and accomplished the slaying of Laius by Oedipus' hand and Oedipus' marriage to Jocasta, the //hamartia// of the story is complete. This passage marks the beginning of the climax in this variation of the plot. //You consult Teiresias, hoping the seer will be able to provide more insight into the disappearance. To your surprise, and dread, the old man suddenly claims that he knows Laius to be dead, and he knows the identity of his killer as well. Nothing is certain yet, but you still become wary. You continue to question the seer, hoping he will confirm that your fears are unfounded and you are not the one responsible for Laius' death. However, Teiresias' enigmatic ramblings wear your patience thin, and you accuse the old man of wasting your time. As if waiting for your composure to break, the seer finally speaks his mind. "Thou art the man, the accursed polluter of this land." You are enraged by his words, but also terrified as well. You have the guards drag him away, but before he leaves, Teiresias says one last thing. "Thou hast eyes, yet sees not in what misery thou hast fallen. [[This day shall be thy birthday, and thy grave]]." // Oedipus' guilt and regret begin to rear their ugly heads again, foreshadowing the chaos that is to come. The fact that Teiresias specifically refers to Oedipus' "eyes" not seeing the truth references his earlier act of running away from what he did to the nobleman on the road. This confirms cowardice as a major element of Oedipus' //hamartia//, which ties in to the next part of the story. From here on out, the user is provided with only one link to click on. This symbolizes the protagonist's loss of control over the rest of their story. Because the //hamartia// has already been committed in the past, and the reveal will soon occur, what follows afterwards is simply the consequences of their actions coming to fruition. Nothing and no one can change that.

This passage represents the climax of the plot. With the introduction of the Shepherd, all the running that Oedipus has done in aversion of the truth and the consequences of his actions now leads him to the tragic reveal of his //hamartia//. //The Messenger's revelation sends ripples through the room. You are painfully reminded of the drunkard from the banquet in Corinth many years ago. You demand the Messenger explain further. The Messenger claims that he was once a shepherd who frequently traversed the alps of Cithaeron. One day, he came across another shepherd coming from the opposite direction, who was carrying an abandoned infant in his arms. The shepherd beseeched him to take the infant and raise it as his own, and the Messenger accepted, believing the infant would make a suitable gift to Polybus and Merope, who had struggled to conceive for many years. You ask the Messenger if the shepherd ever told him where he had come from. The Messenger says his memory is foggy, but he believes it must have been this very city of Thebes. The Messenger adds that the shepherd was clearly employed by a noble house due to the size of his flock and quality of clothing. Suddenly, Jocasta interrupts, and tells you to not pursue the matter any further. She says it will bring no good. You are suspicious of her sudden aversion to the topic. You order Creon to summon all shepherds of a relevant age employed by noble houses to the palace. You ask the Messenger to peer closely at their faces and see if he recognizes one of them. The Messenger spots the man immediately: an old shepherd who has been working for the palace since Laius first took to the throne. The moment the Messenger confirms this Shepherd is indeed the same from the past, the Shepherd stares at you and exclaims that he knows your face. The Messenger interjects, saying it must be because he remembers you from when you were an infant. But the Shepherd says that he [[knows your face from a crossroads]], many years ago, when a vagrant attacked him and his master Laius.// The user is given no choice but to click the one link available to them in order to progress forward in the story. From here on out, the user will only ever be provided with one link, symbolizing the protagonist's loss of control over the final act. Because the //hamartia// has already occurred in the past, and the reveal has just happened in the present timeline, what follows next in the plot cannot be stopped or changed by anyone.

This passage confirms Oedipus' identity as the son of Laius and Jocasta, and the man who struck Laius down all those years ago. //Jocasta and Creon accuse the Shepherd of treason for accusing you of such a thing, but you demand the Shepherd provide more details around the event. The Shepherd confesses that during the fateful trip Laius took, the other servants they traveled with were sent to nearby towns on errands. They were meant to all reunite at the crossroads before returning to Thebes. The Shepherd, as Laius' chariot driver, was the only man with him that day. But after fleeing the scene of the crime and returning to Thebes, he took up work as a shepherd in a minor noble household out of guilt. Servants such as himself were never paid very close attention to by the royals of the palace, and so he was able to hide himself well. However, the Shepherd now wishes to redeem himself for his past mistake. He claims with the utmost confidence that you are the man who struck down Laius. The Messenger from Corinth, confused, explains to the Shepherd that you are the infant who the Shepherd once gave to him on the alps of Cithaeron. The Shepherd suddenly falls to his knees in despair. He proclaims that the infant he brought to Cithaeron was none other than the son of Laius and Jocasta, a cursed child whose birth brought a prophecy that he would one day slay both his parents once grown. "Ordered I was to leave the babe to die, but through pity for the child I gave it to another to take far away from here. If thou art what this Messenger says, then God pity thee! [[Thou wast to misery born]]."//

This passage marks the climax of the story, where Oedipus is revealed to not be the biological son of Polybus and Merope. This calls back to the prophecy he received in his youth, and plants the seed of dread that his terribe fate has somehow still come to be. //Teiresias' removal causes a stir in the palace. Jocasta enters, requiring your presence. You are deeply upset and wish to be alone, but she comes with a Messenger from Corinth. He delivers dire news: your father Polybus has passed away, and Thebes needs you to return to take his place on the throne. You are desperate to know how Polybus died. The Messenger says it was but an illness; a stroke of bad luck. You are relieved. You did not kill him with your own hands, so the prophecy the Oracle spoke of has not been fulfilled. Despite this, you are still anxious to return when your mother Merope still lives, and you are unwilling to leave behind your wife and children. The Messenger questions why you are anxious. You explain the prophecy, dismissing it as nonsense. However, the Messenger goes on to say something that strikes fear into your heart. "Dost thou not know thy fears are baseless?" The Messenger said. "Polybus was not to thee in blood. I know, because he took you as an infant from my very hands as a gift. A childless man till then, he warmed to thee." Already reeling from your encounter with Teiresias, you have no idea what to make of this information. The Messenger goes on to explain that many years ago, when he worked as a shepherd in the alps of Cithaeron, he came across an infant abandoned in the grass, with its ankles pierced by a nail so it would not crawl. He rescued the child and brought it to Polybus and Merope, who had struggled to conceive an heir for many years, and so they raised you as their own. Jocasta, who hears all of this, begs you not to pursue the matter further. She beseeches you to focus on finding the man who killed Laius instead. You are suspicious of her behavior and begin to think she must be ashamed of the fact your royal bloodline may be just a formality. You begin to argue with her, and eventually [[she leaves in tears]].//

This passage finally reveals Oedipus' true parentage: he is the son of Laius and Jocasta. With this horrifying information, the user has not choice but to continue forward, and see what Oedipus will do in response. //Creon enters, and demands to know what has made his sister so upset. You explain what the Messenger has revealed to you: Polybus' death from illness, and your unknown parentage. When Creon hears that the Messenger told you he found you as an infant on the Cithaeron alps, his face pales. He asks how the infant was abandoned, and the Messenger repeats the same description to him that he gave to you: the infant had a nail driven through his ankles so he would not crawl. Creon's reaction makes you doubly suspicious of both him and Jocasta. You believe that they are hiding something from you. You demand that he reveals all that he knows. Creon is reluctant, but your anger grows, and you threaten to have him jailed alongside Teiresias if he does not comply. Creon finally admits that he was the one who abandoned a newborn child in the wilderness. You are baffled by this reveal as Creon has never been married. You assume it must have been a bastard born out of wedlock, but Creon continues to say the child was not his own. When you ask whose it is, he gives you one final warning, claiming you will regret hearing the truth. Your temper gets the better of you. "As your king, you will reveal all that you know to me, lest you desire I strike you down here for treason." "The child was not mine own, but my sister's." Creon finally says. "The child was born to Jocasta and Laius. You are Laius' own, Oedipus. [[You are Laius' own]]."//

Oedipus' //hamartia// has now been discovered: he caused the death of his biological father Laius, and he not only wed his biological mother Jocasta but had children with her as well. His actions, driven by emotions and his own personality flaws, have built to this horrifying reveal. Now comes the reversal in fortune, where Oedipus' happy life in Thebes comes to a bloody end. //Reeling from this news, you run through the palace in search of Jocasta. You find the doors to your shared chambers barred. You throw yourself against the doors over and over, until they finally give way, and you fall to your knees at the sight that awaits you. Jocasta, having realized your true identity, has hung herself in despair. You stagger towards her lifeless corpse, at a loss. You stand there in shock, your heart pounding in your chest, then without thinking, your hands begin to act of their own accord. They pull the golden brooches from her royal robes, and drive them into your eyes. "All brought to pass, all true!" You cry. "[[O light, may I behold thee nevermore! I stand a wretch, in birth, in wedlock cursed, a parricide, incestuously, triply cursed.]]"//

The discovery of Oedipus' //hamartia// has revealed that he not only fulfilled the prophecy, but did so of his own volition. He caused the death of his biological father, and he not only wed his biological mother, but had children with her. After the discovery comes the reversal in fortune, where Oedipus' happy life in Thebes comes to a tragic end. //Jocasta, screaming in horror at this revelation, begins to call out to her dead husband Laius. Frozen in place, you watch numbly as she takes a dagger from a nearby guard, and drives it into her very chest. It is only when her blood spills across the marble floor do you manage to move, and you throw yourself to the ground beside her body. Your hands act of their own accord, and you tear the golden brooches from her royal robes, piercing them into your own eyes. [["All brought to pass, all true! O light, may I behold thee nevermore! I stand a wretch, in birth, in wedlock cursed, a parricide, incestuously, triply cursed."]]//

This passage finishes the protagonist's fall from grace and leads into the moment of //katharsis// that should occur at the end of an Aristotelian tragedy. //Katharsis// is where the audience's negative emotions, which have been steadily building throughout the climax and its aftermath, are now able to be released with the story's conclusion. In //Poetics//, Aristotle specifies that these negative emotions should be pity and fear cultivated in the audience due to their identification with the protagonist and his plight. //Your world is now shrouded in darkness, but your eyes cannot forget the horrors that you have witnessed. Horrors done to you and to others by your own hands. Creon, mourning the loss of his sister, has become the acting ruler of Thebes. He pities you and your monstrous children, and tells you that as your kin, he will give you a say in how you are dealt with. You beg him to execute you for your crimes, but Creon rejects the idea immediately. He claims that it is the heavens who decide who lives and who dies, not a mere man such as himself. You ask Creon to exile you into solitude on Mount Cithaeron, where you were meant to perish. Because you have robbed yourself of your sight, you request that your two daughters be sent with you as your guides. You fear for their futures as young girls with a bloodied family tree, but you believe their two older brothers will be able to fend for themselves under their uncle's watchful eye. Creon agrees to grant your wish. As you depart the gates of Thebes, where you once entered full of hope many years ago, only one thought lingers in your mind. "I myself must bear the load of guilt that none but I can share." Exit OEDIPUS.// Oedipus initially begs for death as a way to escape the reality of the consequences of his actions, but he eventually realizes that he must face the aftermath of the destruction he caused head-on. With this resolve, he also asks to keep his daughters by him, as this is another way of him taking responsibility for what he has done. This accountability and maturity starkly contrasts with the prideful young man he was at the beginning of the story. His choice to go into exile, and live out the rest of his days in solitude and reflection, demonstrates his growth as a character and ability to still conduct himself with dignity despite the horrors he has experienced. This is how the audience is able to release the negative emotions they have been accumulating throughout the story in a moment of //katharsis//.

This passage finishes the protagonist's fall from grace and leads into the moment of //katharsis// that should occur at the end of an Aristotelian tragedy. //Katharsis// is where the audience's negative emotions, which have been steadily building throughout the climax and its aftermath, are now able to be released with the story's conclusion. //Your world is now shrouded in darkness, but your eyes cannot forget the horrors that you have witnessed. Horrors done to you and to others by your own hands. Creon, mourning the loss of his sister, has become the acting ruler of Thebes. He attempts to have you executed for your crimes, and you welcome the verdict. But the old seer Teiresias intervenes. He pities you and your monstrous children, who were born to a wretched, foolish father. He tells you that heavens will not slay you now, for that would be too generous of an end. You are ashamed, but you understand he is right. You ask Creon to exile you to Mount Cithaeron, where you were meant to perish as an infant all those years ago. Because you have robbed yourself of your sight, you request that your children be sent with you as your guides. Creon agrees to grant your wish. As you depart the gates of Thebes, where you once entered full of hope many years ago, only one thought lingers in your mind. "I myself must bear the load of guilt that none but I can share." Exit OEDIPUS.// Oedipus initially begs for death as a way to escape the reality of the consequences of his actions, but he eventually realizes that he must face the aftermath of the destruction he caused head-on. With this resolve, he also asks to keep his children by him, as this is another way of taking responsibility for what he has done. This accountability and maturity starkly contrasts with the prideful young man he was at the beginning of the story. His choice to go into exile, and live out the rest of his days in solitude and reflection, demonstrates his growth as a character and ability to still conduct himself with dignity despite the horrors he has experienced. This is how the audience is able to release the negative emotions they have been accumulating throughout the story in a moment of //katharsis//.

This passage represents the build up to the climax of the plot, where Oedipus' //hamartia// will be discovered. But before that can happen, key plot points in the story must occur: Teiresias appears to imply that he knows something devastating about Oedipus, and Oedipus learns that he is not the biological son of Polybus and Merope. These pieces of information allude to the idea that the prophecy somehow may have still been fulfilled, but as to how that happened, the user must read on. //You ask Teiresias, the royal seer, to tell you anything he may know about Laius' death. It is common knowledge that Laius, who had set off for the Oracle at Delphi with a small group of servants, was attacked by a group of bandits and killed. One servant survived, however his whereabouts are difficult to discern, as he now dwells in the alps of Cithaeron as a lonely shepherd. In the hopes of a straightforward resolution, you ask Teiresias if he can use his divine powers to identify the culprits. Teiresias, however, continues to speak enigmatically. The old, blind man has always been eccentric, but his rambling is grating on you during this time of conflict. He asks you to let him return home. You accuse him of purposefully complicating your investigation. You begin to think you may have to find the reclusive Shepherd after all. "My voice will ne'er reveal my miseries -- or thine." Teiresias says. You lose your temper and accuse him of disrespecting your authority as the king. Teiresias continues to evade answering your questions, and you are about to have him jailed when Jocasta enters with an unexpected guest. A Messenger from Corinth has arrived bearing grave news: your father Polybus has succumbed to an illness, and your mother Merope wishes you to return and inherit the throne. Already weary from your failed conversation with Teiresias, you reject the proposal. You say that because of a prophecy you received in your youth, you will never return home to Corinth again. Upon hearing this, the Messenger tells you not to worry, for you were never the flesh and blood of Polybus and Merope in the first place. He would know, as he brought you to them when you were infant with his own hands. You are stunned by this revelation. You wish for more details on the origins of your birth, but you also know time is running out, and you should begin the search for the servant now.// The wording here is meant to put pressure on the user-as-Oedipus. It indicates that the next choice they make is not to be taken lightly. The user is forced to decide between giving into their curiosity and asking the Messenger for more details, or taking a more pragmatic route and pursuing the shepherd. //What do you do? [[Summon the shepherd. It is the fastest way to reveal the truth.]] [[Ask the Messenger for more details.]] //

This passage represents the build up to the climax of the plot, where Oedipus' //hamartia// will be discovered. But before that can happen, key plot points in the story must occur: Jocasta provides more details on Laius' death, Oedipus is subsequently unsettled by the coincidence in timing between the murder and his arrival to Thebes, and a Messenger arrives bearing news that Polybus is dead. These pieces of information create a sense of conflict. If Polybus has died not at Oedipus' hand, then the prophecy may have been averted. But if the nobleman Oedipus fought really was Laius, then the prophecy may have been fulfilled. The user can only find out by continuing forward in the story. //You wish to speak to Jocasta, your wife and Laius' widow, about the circumstances surrounding his death. It is common knowledge that before he died, Laius set off for Delphi with a small company of servants. Somewhere during their journey they were attacked, and Laius was killed. Only one man survived, a soft-spoken servant, who was so traumatized by the event that he retreated to the alps to spend the rest of his life in solitude as a shepherd. Although Jocasta is relcutant to speak of the matter, she confirms that the timing of the event happened shortly before your arrival to Thebes. You are unsettled by this coincidence in timing. You feel that the right thing to do is summon the shepherd Jocasta speaks of and receive his testimony. However, you are afraid of what the shepherd may reveal. But before you can make a decision, a Messenger from Corinth arrives bearing grave news: your father Polybus suddenly fell ill and died, and your mother Merope asks you return to Corinth to take the throne. You are overwhelmed by this sudden onslaught of information. What do you do? [[Summon the shepherd. It is the fastest way to reveal the truth.]] [[Ask the Messenger for more details.]]//

This passage represents the build up to the climax of the plot, where Oedipus' //hamartia// will be discovered. //You ask Jocasta for more information on her former husband's death. Jocasta is reluctant to discuss it, but you encourage her to for the sake of Thebes. It is common knowledge that Laius, having set off for Delphi with a small group of servants, never reached his destination. They were attacked by thieves on the road, and the criminals were never identified. You ask if any of the servants survived. Jocasta tells you there was indeed one servant who escaped, however he was so traumatized from the event that he no longer works for the palace, and has retreated into the mountains as a reclusive Shepherd. You send for the Shepherd and request that he give his testimony on the matter. However, when he arrives, he is accompanied by another visitor. A Messenger has come from Corinth, claiming that your father Polybus has died, and your mother Merope wishes you to return and take the throne. You tell the Messenger you will never return home, and explain the prophecy. The Messenger then tells you that there is no need to avoid Corinth, or your mother. "Dost thou not know thy fears are baseless?" The Messenger said. "Polybus was not to thee in blood. I know, because he took you as an infant from my very hands as a gift. A childless man till then, he warmed to thee." The Messenger goes on to point out the scars that mark your ankle. He says it is proof you are the infant, as whoever abandoned you had pinned your legs together in the hopes you would not crawl and instead perish in the wild. You are shocked by this revelation. Before you can react, Jocasta pointedly reminds you that the more pressing matter is questioning the Shepherd. Who do you speak to first? [[Ask the Messenger for more details.]] [[Ask the Shepherd to recount Laius' death.]]//

This passage represents the build up to the climax of the plot, where the consequences of Oedipus' //hamartia// of pride and violence will fall into place, the the truth of his birth will be discovered. //You ask the royal seer Teiresias to give you more information about Laius' death. It is common knowledge that Laius, having set off for Delphi with a small group of servants, never reached his destination. They were attacked by thieves on the road, and the criminals were never identified, but one servant of Laius' did survive the attack. He has however since retreated to the alps of Cithaeron, where he lives a remote life herding sheep, and would be difficult to find. You hope Teiresias will be straightforward and save you the trouble. "Withhold not, I adjure thee, if thou know'st. We are all they suppliants." You hope appealing to the eccentric old man will make him more cooperative. But Teiresias continues to ramble enigmatically, until he eventually beseeches you to send him home. He claims that it will only bring you great harm if you continue to pursue this matter further. It is clear that he knows the culprit, but will not disclose their identity to you. You claim that as the man who defeated the Sphinx and saved Thebes, you deserve more respect. Teiresias calls you a foolish, prideful man, and you have him removed from your sight. Upon his exit, Jocasta arrives with a Messenger from Corinth bearing grave news: your father Polybus has succumbed to an illness, and your mother Merope wishes you to return home. You say that you will never go near Corinth again out of fear of the prophecy delivered in your youth. The Messenger, after hearing the prophecy, appears confused. He tells you there is no need to fear such nonsense, for you were never the flesh and blood of Polybus and Merope to begin with. You are shocked by this revelation. What do you do? [[Ask the Messenger for more details.]] [[Send for the Shepherd.]] //

This passage confirms Oedipus' identity as not being the biological son of Polybus and Merope. At the end, it is revealed that not only was Oedipus actually a child of Thebes, but he was born to Laius and Jocasta. //You continue prod the Messenger for questions surrounding the origins of your birth. The Messenger tells you that many years ago, he was once a shepherd who herded flocks for the royal family of Corinth. One day on the alps of Cithaeron, he was approached by another shepherd carrying an infant, who requested he take the infant far away and raise it as his own. The Messenger, who knew Polybus and Merope had been struggling to conceive, brought the infant to the couple, who eagerly accepted you. You realize the rumors at the banquet of your youth were true. The Messenger tells you that the scars on your ankles are from when you were abandoned in the alps, as your parents had driven a nail through her ankles to prevent you from crawling. Suddenly, the doors open. The Shepherd, having learned of the plague and your search for information on Laius' murder, has come down from his mountain to speak his truth. He has overheard the Messenger's words, and walks towards you as if possessed, asking to see the scars on your ankles to confirm it you are indeed the child he once abandoned. When he sees them, he grows pale, and Jocasta begins to tremble. You are confused by their reaction. Jocasta suddenly begs you not to pursue the matter further, but you are so unsettled that you dismiss her outright, and she leaves in tears. You turn back to the Shepherd and order him to explain. "O, the child I took to the mountains and gave away," the Shepherd despaired. "Would that I had died that day!" Nothing can prepare you for the words that come next. [["A child of Laius' own, a child of Laius' and Jocasta's you are!"]]//

This passage represents the build up to the climax of the plot, where Oedipus' //hamartia// will finally be discovered with the Shepherd's testimony. //You turn your attention back to the Shepherd. You ask the Shepherd to recount the events of Laius' death. The Shepherd tells you that it is difficult for him to recall what happened as it was so long ago, and he believes his mind willfully forgot most of it for his own sake. The Shepherd goes on to say that he was deeply upset by Laius' death, for he had worked for him for many years. He was originally responsible for herding flocks across the alps of Cithaeron, but was soon promoted to serving within the palace. Upon hearing this, the Messenger calls out to him, and says he recognizes him, for they walked the mountains with their flock at the same time all those years ago. The Shepherd confirms that this is true, and the Messenger asks the Shepherd if he remembers giving him an infant to raise as his own. The Shepherd turns noticeably wary. "Why dost thou ask this question? What of it?" "My old friend, the king that stands before you now was that very child." The Messenger replied cheerfully. The Shepherd fell to his knees in shock. Jocasta, suddenly pale, begs you not to pursue the matter further. You demand they explain why they have reacted in such a way. Jocasta attempts to silence the Shepherd, but he throws himself on the ground before you, reaching for your feet. He sees the scars that mark your ankles, and he begins to beg for forgiveness. "O, the child I took to the mountains and gave away," the Shepherd despaired. "Would that I had died that day!" Jocasta begins screaming, but you are still able to hear the chilling words that come next. [["A child of Laius' own, a child of Laius' and Jocasta's you are!"]]// The user is given only one link forward into the climax of the plot, where Oedipus' //hamartia// is finally brought to light.

This passage represents the climax of the plot, where Oedipus' //hamartia// will be discovered, and his good fortune will take a turn for the worst. The Messenger and the Shepherd's interaction reveals how Oedipus was abandoned in the wildnerness as an infant, and how he survived and was brought to Corinth. But the Shepherd's reaction to this information further alludes to how an act of mercy may have evolved into something disastrous. //You summon the Shepherd in the hopes of finally revealing the truth. The Shepherd arrives, and you are filled with dread, but you feel as though you can no longer run away. The Shepherd peers at you closely, and you begin to fear that he will declare he recognizes you as the murderer of Laius, but the Messenger interrupts before he can speak. The Messenger claims that he knows the Shepherd from his days herding sheep in the mountains. Because they often passed each other with their flocks, they spoke often, and had a cordial relationship. But one day the Shepherd brought to him an abandoned infant, and begged him to take it far away and raise it as his own. Although the Messenger did not follow his instructions completely, he cheerfully informs his old friend that the infant was raised well by loving parents in a grand palace. The Shepherd appears deeply unsettled by this information. He asks why the Messenger is bringing that up now, when they are here to discuss the matter of Laius' murder. "My old friend," the Messenger explained. [["The king who stands before you is that very infant."]]//

This passage heavily implies the truth of Oedipus' heritage. Jocasta, who is beginning to suspect that he may be the son she discarded all those years ago, is horrified by the concept. Oedipus, however, takes her reaction to be one of disgust at the idea he may have been lowborn, and his strong sense of pride causes him to strike up an argument with her. The further development of this personality flaw lends itself well to the rapidly approaching reveal of his //hamartia//. //You send for the Shepherd. It will take time for him to be found and brought into the city, so whilst you wait you request the Messenger to give you more details on the origin of your birth. The Messenger explains that he once worked as a shepherd in the alps of Cithaeron, and it was here that a stranger gave to him an abandoned infant. The child's ankles were pinned together by his parents to prevent him from crawling. The Messenger, knowing Polybus and Merope were struggling to conceive, brought the infant to them. They accepted the child gladly, and raised you up until you suddenly departed Corinth in your youth. Jocasta, upon hearing this, turns pale. She begs you not to pursue the matter further. You believe that she is scandalized by the idea that you may not have been of royal blood after all, and you are offended. You begin to argue with her, asking if it would really be such a disappointment after years of marriage and sharing children. Jocasta, upset, departs in tears. Her exit is followed by the Shepherd, who is an old and softspoken man. The Messenger exclaims that he recognizes the Shepherd, as he is the very stranger he just spoke of. You ask the Shepherd if he ever took a child to the mountains. The old man grows suspicious. He does not understand why you are straying from the subject of Laius' murder, as that is what he was summoned for. "My old friend," the Messenger explained. [["The king who stands before you is that very infant."]]//

Here is where the final major components of Oedipus' //hamartia// are revealed: killing his father and marrying his mother. However, it should be remembered that these actions were driven by his emotions. Pride drove him to murder the stranger on the road who disrespected him, and entitlement brought him to accept the proposal of a beautiful widow. //You refuse to believe what you have just heard. You cannot imagine your kindhearted wife abandoning an infant to die. "The lady feared a prophecy," the Shepherd confessed. "'Twas told that he would slay his sire." "Then why didst thou give the child to this Messenger here?" Oedipus demanded. "Through pity, master, for the babe." The Shepherd said. "I thought he'd take it far away, to the country from where he came. But the prophecy was preserved for the worst of woes. God pity thee! Thou wast to misery born."// In Aristotelian tragedy, there are three key plot points: the //hamartia//, the discovery, and the reversal of fortune. The //hamartia// of Oedipus has been conveyed through previous branches and passages that demonstrate his personality flaws and allude to past violence inflicted upon others. The discovery of Oedipus' birth occurs here in this passage, and with this information the characters and the user can now come to the conclusion that Oedipus did indeed fulfill both the prophecy given to Polybus and the prophecy given to Laius: he killed his father, married his mother, and had children with her. The protagonist's discovery of his origins and his misdeeds triggers his downfall. With his own hands Oedipus built a life for himself in which he was a powerful, respected ruler and loving husband and father, and with those same hands he has destroyed it all. //You realize that you were indeed the murderer of Laius, and all that was foretold has come to pass. You fall to your knees. "O light, may I behold thee nevermore! [[I stand a wretch, in birth, in wedlock cursed, a parricide, incestuously, triply cursed!"]]// The user is given only one route forward into the final sequence of the story. This deprivation of agency emphasizes the loss of control of the protagonist over his fate.

This passage demonstrates the Aristotelian principle of the reversal in fortune and subsequent fall from grace. Oedipus' happy life comes to a horrific end with the suicide of Jocasta. //Reeling from this news, you run through the palace in search of Jocasta. You find the doors to your shared chambers barred from the inside. You throw yourself against the doors over and over, until they finally give way, and you fall to your knees at the sight that awaits you. Jocasta, having realized your true identity, has hung herself in despair. You stagger towards her corpse, then pull the golden brooches from her royal robes, and drive them into your eyes. The city of Thebes, shocked by the news, soon begins to cry out your name as a murderer and a criminal of the worst degree. You and your children are no longer safe. You beg for death to put an end to [[your misery]].// After witnessing her gruesome death, Oedipus blinds himself. However, in begging for death, he still exhibits the cowardly urge to run away from the consequences of his actions. If this were where the story ends, the //katharsis// of the story would be insufficient, as the protagonist has not truly faced the reality of what he has done.

This passage continues the protagonist's fall from grace. Now blind, he has lost the throne and the love of the people of Thebes. //Your world is now shrouded in darkness, but your eyes cannot forget the horrors that you have witnessed. Horrors done to you and to others by your own hands. Your children, frightened and despairing, take you by the hand and guide you through the halls of the palace that was once your home. You fear for their future, and your own. The old seer Teiresias waits for you in the chamber where you once commanded him as king. Teiresias expresses his pity towards you. He asks what will be done to you now. You begin to lament not having perished on the alps of Cithaeron as an infant as was intended. Teiresias replies that what's done is done. You understand now that this is your life, your truth, and you cannot run from it any longer. "O, I adjure you, hide me anywhere: far from this land, or cast me out to sea." You beg. "But rob me not of these my children!" Teiresias grants your request. He sends you off into exile with these parting words: "Look ye, countrymen and Thebans, this is Oedipus the great: he who knew the Sphinx's riddle and was mightiest in our state. Now, blinded by his own hands and led by his wretched brood, he goes. He himself must bear the load of guilt that none but him can share." Exit OEDIPUS.// Oedipus initially begs for death as a way to escape the reality of the consequences of his actions, but he eventually realizes that he must face the aftermath of the destruction he caused head-on. With this resolve, he also asks to keep his children by him, as this is another way of him taking responsibility for what he has done. This accountability and maturity starkly contrasts with the prideful young man he was at the beginning of the story. His choice to go into exile, and live out the rest of his days in solitude and reflection, demonstrates his growth as a character and ability to still conduct himself with dignity despite the horrors he has experienced. This is how the audience is able to release the negative emotions they have been accumulating throughout the story in a moment of //katharsis//.

Here is where Oedipus' //hamartia// is finally revealed with the truth of his parentage. This leads to his reversal in fortune, and subsequent fall from grace. //Upon hearing this, the Shepherd reeled back in shock. You are bewildered by his dramatic reaction and ask him to explain himself, but the Shepherd continues to adamantly refuse to continue the subject. Jocasta suddenly interjects as well, begging you not to continue the conversation. You grow suspicious of how they both appear to know something you do not. You ask the Shepherd from where he found the infant. The Shepherd has grown pale. He tells you that the truth will only bring destruction and woe, but you insist you find out, as you of all people should know the truth of your birth. The Shepherd finally speaks, but nothing can prepare you for the words that leave his mouth. [["The child was Laius' own."]]// The user is given only one route forward into the final sequence of the story. This deprivation of agency emphasizes the loss of control of the protagonist over his fate, as the //hamartia// has already been done long ago. What happens now is simply all the pieces falling into place.

This passage represents Oedipus' reversal in fortune. With the reveal of his parentage, his happy life in Thebes comes to an abrupt and heartbreaking end. //The words echo in your head. You struggle to comprehend what they mean. Despite the anxious pounding of your heart, you attempt to find a different meaning in them. "A bastard, then?" You say desperately. "A bastard born to Laius and a mistress, a child of wedlock?" The Shepherd shakes his head. He looks at you with great despair. "The child was Laius' own, born to him by Jocasta. I know it, sire, from the scars that mark your ankles. 'Twas done by Jocasta herself-" Jocasta begins screaming, and you watch in a daze as she pulls the sword from the scabbard of a nearby guard. Calling out to Laius, she directs the blade toward her own chest, and plunges it deep. It is not until the blood begins to stain the marble floor beneath her scarlet do you move. You look to the Shepherd. You feel strangely numb. "Tell me, do you recognize this face of mine?" "I do, sire." The Shepherd is trembling from head to toe. "From where do you recognize it?" "A crossroads, sire." The Shepherd answered. "Many years ago, my master and I were attacked by a vagrant on the road. I ran, a coward, from the scene. Prayed I did to never lay eyes upon the villain again, but the gods punish me now for abandoning my master." You begin to move of your own volition. You realize the prophecy has come true, the prophecy that you tried so hard to escape. You fall to your knees by Jocasta's body, and pull the golden brooches from her royal robes. Without hesitation, you drive the gleaming metal into [[your eyes]]. //

This passage finishes Oedipus' fall from grace and leads into the moment of //katharsis// that ends the story. //Katharsis// is defined as "purification" or "purgation," but in the strictly aesthetic concept Aristotle used it, //katharsis// refers to the audience releasing the negative emotions they have accumulated throughout the story at the end of the plot. As to how this phenomenon occurs will be expanded upon below. //Your world is now shrouded in darkness, but your eyes cannot forget the horrors that you have witnessed. Horrors done to you and to others by your own hands. Your children, who weep steadily, have become your guides through the halls of the palace that was once your home. The news of what transpired has spread throughout all of Thebes, and now the people who once celebrated your name demand you be punished as the most evil of all villains. Teiresias awaits you in the chamber where you once dismissed him. He expresses his pity for you, and offers to fulfill one last request. You ask if you may be executed for your crimes, but Teiresias denies this. "You yourself must bear the load of guilt that none but you can share." He says. You acknowledge that he is right. You think of your poor children, and you think of their poor mother. You think of your father and the death you brought carelessly upon him. "Let me be a dweller on the hills of Cithaeron, my tomb predestined to me by my sire. May I die, slain as they thought to slay me, when alive." And so you depart from the walls of Thebes that you once hopefully entered, guided forward into a dark world by the living proof of your misdeeds. Exit OEDIPUS.// Oedipus requests he be executed as punishment for his misdeeds, but Teiresias denies this request, and tells him that he must shoulder this burden. Oedipus' wish for death returns to cowardice as his personality flaw, as he wishes to escape the reality of the consequences of his actions. However, his acceptance and acknowledgment that he must atone for his sins by living on demonstrates he has matured from the brash young man he was at the beginning of the story. By taking his children with him into exile, he accepts responsibility for their cursed existence as well. The dignity that he exhibits in his final actions is what allows the audience to expeirence //katharsis//.