The word μεσόμφαλος—in mid-navel, central (LSJ)—is associated with Aeschylus, where it is heard at Agamemnon l. 1056 and Libation Bearers l. 1036. [Gm] In Agamemnon the word refers to the hearth at the center of the home that Clytemnestra has prepared for human sacrifice. In Libation Bearers it refers to Delphi. Orestes has just proclaimed his killing of Clytemnestra to have been in obedience to Apollo, who communicated to him through Delphi, and now he is proceeding, again in conformity with the god’s instructions, back to Delphi (μεσόμφαλος), for further instructions. He has decked himself in the crown and carries the branch of a suppliant—the same religious symbols as those used by the suppliants in this play’s opening tableau. This association casts the bull, Oidipous, as a repudiator of supplication like that of the Thebans with which this play’s action began. [P] Yet, while Oidipous through his response to the supplication repudiates the need for a god’s presence, the audience has seen many signs, including the present song, that the god is present. This suggests that the call for the bull to be tracked and dealt with due to his repudiation applies also to Oidipous and anyone who repudiates Delphi. The audience should consequently infer that the god’s presence and active engagement pertains as much to itself as they do either to the Thebans on stage or to the members of the house of Atreus. This song’s imagery, the dramatic performance in which the song is embedded, and the plague raging just beyond the theater express to the audience a warning in several registers to veer away from its repudiation of god, prophecy, and unholy bloodshed. [Gd] [Aj] [Mw] [P] [Mi]