It is suprising that the Chorus apostrophizes Zeus, for although Oidipous did call out his name when he first realized that he might be Laios’ killer and supposed that that god must have caught him up in some divinely-laid plan (l. 738), he has had nothing directly to do with any of the events with which this play is concerned and he is associated with neither archery nor plague. If the Chorus’s mention of Zeus’s name signals nothing more than a sudden flood of emotion, it might suggest that Apollo is not alone among the gods in having an interest in correcting the problems with which he has been dealing. The Chorus’s invocation of Zeus invites him, at least figuratively, to approach the stage that Oidipous has just left. The indefinite relative pronoun at the beginning of this sentence seems now not to signal a shift to a new subject but to respond rather to Oidipous’s departure from the stage. Where the Chorus has been directing its comments directly to Oidipous, it now begins to speak to Zeus about him in the third person. If it means its comments as praise, the audience can see this as grounds for divine condemnation of Thebes, and with it of any city that, by over-reaching, seizes control of others’ wealth. [Gt-a] [P] [Mg] [Aj]