What if Jocasta was not simply effaced at the end of the Oedipus play but developed as an icon of the persistent intersection of violence and motherhood in war time? What would that do to the taboo of Jocasta's incest and the horror of how that taboo lives on in her children? This article argues that through the concepts of replay and resonance, two Oedipal dramas (Pierre Corneille's 1659 Œdipe and Wajdi Mouawad's 2003 Incendies), separated by some three-hundred years, ask the audience to listen again to past traumas, to build on them and reframe them within new socio-political contexts.