This question similarly carries two meanings, either or both of which Oidipous might intend, depending upon his understanding of his circumstances: “To what place does the sound of my voice carry?” or “How does a voice pass through me on the air?” The first meaning may be interpreted as his way of referring to the fact that, now that he is blind, he cannot see whom the sound of his voice is reaching; he is learning to adapt to an auditory world. At another level, however, he might now be expressing his awareness of a phenomenon to which the audience has been a witness since the play’s opening; a voice not his own but borne on the air he breathes has been and still is passing right through him. The audience may consider that it is his consistent failure to listen for and to heed this voice that led to his present state of “suffering” (τλάμων) and can thus accurately be characterized as “reckless” (τλάμων). Is he still speaking in double entendre or does he now intend the pertinent meanings carried on his breath, for if he still speaks uncomprehendingly, then he is to be pitied for his obtuseness, while if he speaks comprehendingly, he is to be pitied rather for the recognition that he is the victim of his limitations, his lifelong blindness to the workings of the god. [Gd] [Mw] [Mpea] [Mpei] [P] These two kinds of pity are not morally equivalent: persistence in his obtuseness would require that the god subject him to yet more sufferings, while recognition of his limitations should put him into synch with a reality that provides for cooperative speech and action based on trust and respect between mortals and gods. [Dnc] [Dnp] [Dnt] The audience may thus sense not only that obtuseness with respect to the god’s disposition and powers invites destruction, but that the longer the obtuseness persists, the more prolonged the suffering and the more profound the destruction. [Aj]