Jean Cocteau’s "The Infernal Machine" deftly intertwines political and social commentary within the fabric of mythological narrative, offering a sharp critique of the societal issues plaguing France during the 1930s. Through the play, Cocteau reveals the latent political and social dilemmas inherent in mythological tales, drawing parallels to contemporary concerns about national security, economic instability, and social unrest. These concerns echo the turbulent climate of both international and domestic affairs faced by France at the time.

In Cocteau’s dramatization, the characters embody the apathetic populace, reflecting a society caught in the throes of indifference. Ordinary individuals, characterized by limited intellect and mundane preoccupations, appear powerless to alter the course of events. Even when presented with opportunities to effect change, they remain passive. A poignant example is the soldiers who choose not to relay Laius’s final warning. Although the warning is incomplete, it possesses the potential to inform Jocasta of impending danger. Yet, these soldiers prioritize concerns of status and bureaucratic entanglements over pressing national issues.

Among the characters, a mother engages in conversation with the Sphinx, embodying ignorance and gossip. Nevertheless, her critique of the Theban government as corrupt and incompetent resonates with chilling realism. She suggests that the government is complicit in sustaining the threat posed by the Sphinx, using it as a convenient distraction from the failures of domestic policies. This scenario mirrors the perception of the weakened French governments in the early 1930s, grappling with similar accusations.

The mother’s conclusion, that only a dictator could effectively govern the nation, captures a sentiment prevalent in France during that era. This notion, however, was contrary to Cocteau’s beliefs. By presenting these ideas through a character distanced from his own worldview, Cocteau subtly critiques such authoritarian inclinations, underscoring his disapproval of the rise in dictatorial sentiment during the period.

In the narrative of fate and predestination, those who wield power often exhibit a profound insensitivity, as exemplified by Jocasta in the first act. This portrayal implicitly criticizes the indifference of governments towards immediate interventions that could ameliorate the plight of ordinary citizens. Instead of focusing on short-term relief, there is an overreliance on long-term policies, which seem futile in the face of an unpredictable future. Attempts to foresee what lies ahead, such as consulting oracles, often end in confusion and despair, yielding no beneficial outcomes.

The myth of Oedipus illustrates the futility of trying to evade destiny. The Sphinx, in an attempt to interfere with divine will by sparing Oedipus, unwittingly propels him towards his unavoidable fate. Jocasta and Oedipus themselves endeavor in vain to escape their predestined paths, only to find themselves ensnared by them. Their experiences underscore a compelling argument against delving into the past; Oedipus's obsessive quest to unveil the source of the plague and the truth behind the Corinthian message only hastens the impending disaster.

Jean Cocteau's understanding of his contemporaries emerges vividly in this context. His narrative echoes the dark period in French history during the Philippe Pétain era, where there was a notorious propensity to find scapegoats—not merely for the military defeat in 1940, but for the perceived moral degradation afflicting the nation. Through Oedipus, Cocteau draws a parallel to the dangers of such scapegoating, suggesting that the true calamity lies not in the fated events but in the moral failures of society.

In the realm of theater, the playwright wields unparalleled authority over the unfolding drama, a concept vividly illustrated by Cocteau in his work. Drawing a parallel to ancient myths, where divine entities toy with human destinies, Cocteau parallels this with the control a playwright has...