In short, modern thought has not tended to clear up but rather to deepen the mystery of life in its relation to antecedent conditions; of fate in its relation to desert. Our common sense, as embodied in law, treats a man as responsible for the good or evil that he personally intends. This is no doubt an excellent practical rule, without which society could hardly exist at all; but looked at philosophically it does not really touch the heart of the great mystery which is the theme of 'King Oedipus' and of 'The Bride of Messina'. The young Oedipus, while living at Corinth with his foster-father, Polybus, whom he supposes to be his real father, is told by the oracle that he is destined to kill his father and marry his mother. What should he do? Commit suicide in order to stultify the oracle, or resolve to kill no man and to marry no woman? The story imputes to him no blame for doing neither of these things. He acts as a man would act who sees himself confronted by an evitable danger. He leaves Corinth, but the very step that he takes to avoid his fate brings it surely to pass. He meets a stranger in the road. A quarrel arises over the question of passing,--a quarrel as to the merit of which the legend is silent. Oedipus kills his antagonist, and that antagonist is his father. Then he delivers Thebes from the scourge of the Sphinx and receives the hand of Queen Jocasta as his due reward. He has forgotten the oracle, or imagines that he has eluded his foreordained fate by leaving Corinth; but the oracle has fulfilled itself, as the spectator knew from the beginning that it would. The interest of the tragedy turns largely upon the overwhelming remorse of Oedipus and Jocasta when they discover the truth.