In the Roman play the chorus functions not as a narrative counterpoint to the dramatic action, but as a means of confronting Oedipus with his darkest thoughts and fears (i.e., an internal dialogue). Ironically, given that the plays of Sophocles provided the characters that Freud turned into key psychological complexes, it is the Seneca version that seems more like a fevered dream. Like most of Seneca's plays, "Oedipus" takes the familiar stories of Greek tragedies and provides some original details. For example, in this version Teiresias, the blind prophet of Thebes, uses a spell to call up the dead Laius so that he can offer his morbid insights on the events unfolding.

If Sophocles is interested in psychology, then Seneca is more the philosopher. Before Jocasta commits suicide in the play she has a final scene with Oedipus in which they discuss the accountability of humankind and fate. The play begins with a monologue by Oedipus where he talks about the calamitous state of Thebes and his fear that he may be the cause. At the end Oedipus is again alone on stage with all of his worst fears fully realized and self-blinded to ensure constant and continued punishment and suffering. Before the irresitable force of fate human beings can do nothing but suffer. This is not so much a tragedy, per se, but rather an unhappy story (i.e., a tale without the audience enjoying the Greek idea of catharsis). Comparing the versions by Sophocles and Seneca also provides a basic understanding of the difference between Greek and Roman tragedy.