In a recent paper I have studied the power play of notions such as tukhē (‘chance’) and telos (‘finality’) in the Oedipus Tyrannus, and in particular I have tried to show how these two principles are responsible for shaping different and overlapping narratives in the text. While the narrative of telos corresponds broadly speaking to the voice of Apollo the Father, the narrative of tukhē accommodates itself in the void and absence of the Father's voice. The encroachment of these two narratives upon one another not only outlines different visions of paternity—which is the central theme in the play—but also creates suspense and imprints an indecisive direction into the action of the play. In particular the narratives spun around tukhē, i.e. those that emphasize the mere accidentality of events, their mere human causation without any ultimate goal, resist the teleological thrust of the play, its divine finality—the necessary accomplishment of the oracles and of the prophecies— and accordingly also the ‘closure’ of the play. By closure of the play I understand the end of the play in accordance with the teleological premises that have been created during the action.