Moving his focus from the intolerable contemplation of his children to the walls and towers of the town, the defenses it has built to ward off external aggressors, and thence to the town’s temples and altars, the places at which the public assembles to seek divine protection against war, disease, famine, and every other threat to its wellbeing, Oidipous’s thoughts link military security with religious pollution. The walls and towers to which he gestures are as evident and prominent in Athens as they are in Thebes; the audience may glance from the stage to its own city lying in plain view beyond the theater precinct, with new defensive walls leading to the port at Piraeus and a gorgeous new Parthenon gleaming and resplendent with the enormous, gilded statue of seated Athena situated directly above the theater. [Gt-a] [P] [Mw] These marvels could also, if the war is lost (as Delphi has foretold), become unbearable to look upon. The city preeminent in temples, statues, festivals, and other material signs of devotion to its gods stands in stark contrast to its attitudes towards Delphi, which are very like those of the Theban royals. Indeed, Athens’ forceful and contested demand that its subject allies parade treasures across the orchestra of this theater to mark the opening of this festival in honor of Dionysos suggests an impious disregard for divine institutions, especially Delphi in its role to regulate relationships among the Greek cities. [Mg] [Mj] [Mip] [P]