The apostrophe with its emphasis on Oidipous’s fame recalls Oidipous’s self-presentation at the play’s opening as “the famous Oidipous” (ὁ πᾶσι κλεινὸς Οἰδίπους; l. 8). At that moment Oidipous was famed in Thebes for solving the riddle of the Sphinx. The audience, however, was already aware that he had committed far more memorable deeds. Now the play’s action has effected the revelation of those deeds, but in continuing to call him “famous,” the populace seems not to appreciate the fact that the infamous parricide and incest eclipse the glories of his victory over the Sphinx. Thus, the god’s project is still incomplete, for while he has seen to it that all the facts have been brought into the open, their significance still awaits proper appreciation by the mortal community, something over which Apollo has no control. The Athenian audience is not, however, as limited as the Theban Chorus; it is now even able to appreciate the fact that the Sphinx’s defeat that first made Oidipous famous must itself be credited largely to the god. In this light it might reappraise the deeds for which Athens has become famed (the victories at Marathon and Salamis) and understand that, like Oidipous’s victory over the Sphinx leading to rule over Thebes, the victories leading to its hegemony in the Greek world should properly be attributed to the gods. [Gd] [Mpei] [Apa] [Apc]