The difficulty concerning Tiresias is of another sort. Œdipus’ apparent madness is not so great as it seems. Not only is he by his rank and superb self-confidence shielded from misgivings, not only is he already suspicious that the murderer must be some treacherous Theban,[327] but he has now lost his temper, and has just been furious enough to accuse Tiresias himself of complicity in the deed. It is therefore easy for him to assume that the prophet in his turn is only uttering his accusations as a wild insult. It might also be asked, why is not the scene with Jocasta, in which she fortifies the king against soothsayers and oracles, not placed at the end of the Tiresias-episode? This question leads one to suppose that there is great importance in the quarrel with Creon which intervenes between the departure of Tiresias and the queen’s appearance. Its importance clearly is, partly to depict Œdipus more plainly, by contrast with his equable kinsman, but most of all to give force and impressiveness to the end of the play, in which Creon appears as king. After the appalling climax of the play, and the frightful return of the blind Œdipus, there is danger that Creon’s entry will fall flat.[328] But with faultless skill Sophocles has prepared the ground so well that when the agony is at its worst our interest is not indeed increased, but refreshed and relieved by the appearance of this man whom we have forgotten, but whom we recognize in a flash as being now the pivot of events. This admirable stroke reminds one of the return of Chrysothemis in the _Electra_, but it is far more powerful. Another feat of dramatic power must be noted, marvellous even where all is masterly: the re-appearance of Œdipus after the climax. Nothing in Greek tragedy is more common than for a person after learning frightful news to rush within the doors in despair. But he does not return; a messenger tells the news of his fate. In this play news is indeed brought of the bloody deeds that have befallen. Then comes a sight almost too appalling for art: the doors open and the man of doom staggers into the light of day once more. Spiritually he is dead, but he may not destroy himself since he cannot go down to Hades where his father and mother dwell. He must live, surviving himself, as it were a corpse walking the upper earth. The waters of doom have closed over his head, but he re-appears.