The evolution of the final Latin text of Oedipus rex is hard if not impossible to reconstruct. Cocteau completed his first draft in late October 1925, but this seems to have been the text he later published as an independent play called Oedipe-Roi, which coincides only in isolated passages with the eventual Latin. On the other hand, published French versions of Daniélou's text digress from the play even in many of the coincident passages, encouraging the speculation that they are indeed translations from the Latin rather than printings of Cocteau's French text as sent to Daniélou, which seems not to have survived. It would be useful to have the original French, if only to check the exact form of the text as it reached the translator, as this would presumably then reveal, beyond serious doubt, the form of Daniélou's text as it reached Stravinsky. This in turn would tell us to what extent the complicated scheme of line and phrase repetitions so characteristic of the score was Stravinsky's work, and to what extent it originated with the librettist or translator. Daniélou's text is not at all a routine Latinisation, but a skilful classical conceit in which assonance, interior rhyme, pleonasm, chiasmus, and other devices work so well towards the composer's musical intentions that it is hard to believe that there was no direct collaboration between them, as all the incidental documentation seems to suggest.