Post on 12-Sep-2021
11.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Sophocles and Greek Drama
211.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Sophocles (c. 497 BCE – 406 BCE)
Sophocles remains a strong influence even today.
It has been said that he wrote over 100 plays in his career.
• onlyahandfuloffullformremaininexistence
• overtwentyfragmentsofplaysdoexistaswell;therestarelost
• fromtheselimitednumbersofplayshestillmanagestoinfluence
thedevelopmentofdrama
• heshiftedthefocusoffthechorusbyreducingitsnumbers,pluscreating
athirdactortoparticipateonstagewiththeprincipalactors
• livingtotheageofearlynineties,heexperiencedtheglorydaysof
Atheniandrama—andthedeclineofthecity’spowerduringthe
Peloponnesian War
311.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone as a Tragic Hero
The play Antigone is considered one of the perfect Greek dramas.
Like Oedipus Rex,anotherworkbySophocles,thisplayshowsawell-crafted
tragedyandestablishesastrongformulaforfuturetragiccharacterdevelopment.
ThetitlecharacterAntigoneisatragiccharacterfornumerousreasons.Selecting
fromthedefinitionsuppliedtoyouearlierinthecourse:
•Heroesareneither100%goodnor100%evil.
Antigone does not have malicious intentions; she is not a corrupt force.
Furthermoreherstubbornnesscouldbeconsideredaflaw;shewantsher
brotherPolyneiceshonored,ifonlywithasimpleburial.
•Theyarefatedtocausegrieftoindividualsortothecommunity.
SpecificallythroughherreactionstowardsCreon’sownflawinlogicand
pride,Antigone’sdisputeimpactnumerouspeople.
411.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone as a Tragic Hero
•Drivenandobsessedwithpastdeedsorbyfate.
Particulartoherstory,Antigoneisdrivenbyacurrentevent—Creon’slackof
honortowardsPolyneices,hisownnephew.
•Theheroisoftenakingorleaderinthecommunity,headoffamily.
In this case her family is of noble lineage— her bloodline represents authority.
•Theysymbolizethecommunityorthefamilyunit.
Antigonerepresentsthevoiceofthecity,thepeoplewhoquietlydisapprove
ofCreon’sapproachtoleadership.
•Theheros’downfalliscausedbytheirflaws.
•Theherosfighttothedeathduetoflawedbeliefsystem.
Antigone’sunwillingnesstocompromiseisaflawinhercharacter.Thisshows
shefailstoworkthroughamutualdiscoursewithCreon.
511.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone as a Tragic Hero
•Tragicherosunderstandtheyaredoomed.
From the beginning of the play, Antigone mentions that she understands
theconsequencesofheractions.Attheopeningsceneoftheplayshetells
Ismene that:
[L]eaveme
tosuffer[theconsequences,]this—dreadfulthing.I’llsuffer
nothingasgreatasdeathwithoutglory.(725-726,ll111-113)
•Theheros’downfallshouldarousepityand/orterrorinthereader.
Althoughbothcharactersactirrationallyandwithstrongstubbornattitudes—
eventhoughsympathydoesliewithAntigone,sheisequallyatfault.Whatis
uniquehere,sinceCreonhimselfisatragichero,hetakesontheroleof
producing terror in the audience; Antigone produces a feeling of pity.
611.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone, the play
Sophocles’ play sparks much discussion even in the modern world:
Headdressesvariousongoingsituationsstillrelevantinourculture.
• genderpoliticsand
• generalattitudestowardswomen
• divinerightofkings
• rightsofanindividualunderdevelopingdictatorship/totalitariangovernment
711.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone and Ismene
Considering the first topic, throughout the play, the audience is
reminded that the main argument lies between a male authority
figure and a female dissident.
• Ismenebringsuptheissuefirst,actingasafoiltoAntigone,intheopening
scenewherethetwosistersdiscussthenewlawcreatedbytheiruncleCreon.
Ismenesays:“[T]hinkwhatadeathwe’lldie,theworstofall/ifweviolatethe
lawsandoverridethefixeddecreeofthethrone,itspower—/wemustbe
sensible.Rememberwearewomen,we’renotborntocontendwithmen”
(725,ll71-75).
• Antigonehoweveristoowrappedupinherideologiestoletattitudestowards
herowngenderlimitheractions;herconvictionisstrong,evenknowingthe
consequences.
• Antigoneisshownastrong-willedcreature;Ismeneobedientandsubmissive.
811.05.11 || English 1302: Composition II || D. Glen Smith, instructor
The opening discussion establishes important details to the audience.
• Antigoneisshownasadefiantfemaleevenwhenconfrontedby
aclosefamilymember’scontradictoryfeelings.
• Sheisshownwitharesolveandindividualisticsenseofindependence
• Anyoneopposingherviewswouldbeconsideredatraitortothefamily—
ironically,justasCreon’sviewslabeloppositiontohislawsasatreacheryto
the state.
• Antigone’sreactionstoIsmeneshowthetitlecharactersteadfastinher
positionswithinthedevelopingconflict—
• andshowsshewillnotbeshiftfromheropinions,evenwhensheknowsthe
consequences:“AndevenifIdieintheact,thatdeathwillbeaglory”(725,l86).
• Hercharacterizationconfirmsatthebeginningoftheplaysheisatragicfigure.
Antigone and Ismene
911.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Even in the background, Ismene provides a strong part in the play.
Herspeechconfirmsheridealsasaculturalexpectationofwomen,
toremainmeekandobedient.
• Thisalsoshowssheistheweakerofthetwosisters.
• Ismeneisalsoshownasanobedientcitizenunwillingtofightbackatobvious
failuresbythemonarchy:
Imustobey/theoneswhostandinpower.Whyrushtoextremes?/
It’smadness,madness.(725,79-81)
• Shealsostates:“[B]utdefythecity?Ihavenostrengthforthat”(725,l94).
whichimpliesshebelievesthecity’slawsareabsoluteandunquestionable.
• Herspeechesconfirmherstatusasafoilcharacter.
Ismene
1011.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Ismene
LikewiseintheresultingscenebetweenthethreecharactersofCreon,Antigone,
andIsmene:
• Ismene’sweakercharacterizationisrevealedintheresultingconfrontation
betweenAntigoneandCreon;inthissceneIsmenereactsemotionallytothe
judgmentpassedagainstAntigone;Ismenewouldbelostwithoutherolder
sibling:“HowcanIlivealone,withouther?”(738,l638).
• IsmenewillendupthelastsurvivingfamilymemberoftheOedipusline
havingexperiencedthelossofmother,father,brothers,andsister.
• NoticeshedoesabidebyCreon’sdecisionintheend;shemeeklyreturnstothe
palacewithoutfurtherdebate,withoutanactofrebellion;wenolongerseeher
in the play.
11
Antigone
11.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone is always seen in opposition to Creon.
Theyareseenonoppositesidesofanissuewithnocompromise.
• Antigoneneverweakensherpositionorshiftsfromhervaluesofa
family’sworthovertheworthofthestate.
• Evenwithhersuicideshegainsthelastwordintheargument.
• Shetakesherownlifeonherownterms,notwithanestablishedjudgement
passedbyCreon.
• Likewisethisactconfirmshercharacterization:sheactsoutofalogical
approach,notoutofapassion.{ this may be a point of debate:
is her suicide an act of emotional reasoning or cold indifferent logic?
• Ironicallyherdeathechoesthesuicideofhermother,Jacostainthepreceding
storyofOedipus;inJacosta’scase,theactwasoutofhorrificrealizationofhow
onecannotescapefate,nomatterhowhardonetries.
1211.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Creon likewise is a tragic hero.
Heremainsunchangedinhisconvictionsuntilthelastfewmomentsoftheplay.
• InthediscussionwithhissonHaemonandthechorus,Creonrevealshis
politicalbeliefswhenhestates:
[T]heman
thecityplacesinauthority,hisordersmustbeobeyed,
largeandsmall
rightandwrong.(740,ll748-751)
• Creonseesthelawasanabsolute.Furthermore,aking’spowerrepresentsthe
city’sstrength;withastrongruler,thecitywillprosper.
• Asarepresentativeofhisownpowerasaking,hiscontrolaimstorepair
thewrongscurrentlyinfectingThebes—yet,inanironictwist,hisactionsare
merelycontinuationsofachainoffailuresandmisjudgmentsfromprevious
Thebanrulers.
Creon
1311.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone as Anarchy
• Creonalsowillstate:
Anarchy—/showmeagreatercrimeinalltheearth!/She,shedestroys
cities,ripsuphouses,/breakstheranksofspearmenintoheadlongrout/
[...]Therefore/wemustdefendthemenwholivebylaw,/neverletsome
womantriumphoverus./Bettertofallfrompower,iffallwemust,/at
thehandsofaman—neverberated/inferiortoawoman,never.
(740,ll752-761)
• CreonmentionsAnarchyandpersonifiestheelementasafemalefigure.
• Theword“anarchy”literallymeans“withoutgovernment”—inGreektheword
isspecificallyafemininenoun—soCreon’spersonificationoftheelementas
afemaleisnotunexpected.
• Inaddition,aconnectionismadebetweenAntigoneandAnarchy,
bothdefiantfemalesthroughhisanalogy.
1411.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Antigone as Anarchy
NoticeinCreon’sstatementhowAnarchy,ordisorder,destroysallaspectsof
civilization:political,domestic,andmilitary.
• Anythingwithinacivilizationcannotsurviveagainstamovementofanarchy.
• Anydisorderordisobedienceagainstalawhehascreatedthereforerepresents
anarchytoCreon.Hewantstomaintainabsolute,totalcontrol.
• Withinthesameexchangeofdialogue,Creonfurtherstateshowamanneeds
tocontrolhiswifeandcontrolhishousehold.
Showmethemanwhoruleshishouseholdwell:/I’llshowyousomeone
fittorulethestate./Thegoodman,myson,/Ihaveeveryconfidencehe
andhealone/cangivecommandsandtakethemtoo.Staunch/inthe
stormofspearshe’llstandhisground,/aloyal,unflinchingcomradeat
yourside.(740,ll739-745)
• InthismannerCreoncomparestheaveragehouseholdtotheaveragecity.
1511.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Another foil relationship is shown near the second half of the play.
Creon’ssonHaemonactsasanemotionalfoilinthesamemannerasIsmene.
• IsmeneandHaemonarebothaverage,moderatepeople.
• Ismeneisanobedientfemaletothecity,whereasHaemonseeksouta
moderation,aresolutionbetweenthetwooppositions.
• Hehasaminorcharacterflaw:heisdeeplyinlovewithAntigone;
hisargumentsbecomeemotionalandpassionate,contradictoryto
Antigone’sstoicnature.
• HismainspeechopenswithadiscourseonReason—acounterargumentto
Creon’srantonpoliticalstrengthandgovernmentcontrol.Hestates:
Father,onlythegodsendowamanwithreason,
thefinestofalltheirgifts,atreasure.(741,ll64-65)
Haemonbeginswitharationalargumentwantinghisfathertoseereason.
Haemon and Creon
1611.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Haemonfurtherstates:
Themaninthestreet,youknow,dreadsyourglance,
he’dneversayanythingdispleasingtoyourface.
Butit’sformetocatchthemurmursinthedark,
thewaythecitymournsforthisyounggirl.
‘Nowoman,’theysay,‘everdeserveddeathless,
andsuchabrutaldeathforsuchagloriousaction[...]
Death?Shedeservesaglowingcrownofgold!’
Sotheysay,andtherumorspreadsinsecret,
darkly...(741,ll773-784)
• Asafoil,heisattemptingtochangethefirm-resolveofanothercharacter,
andatthesametimeshowtheaudiencehowdevotedheistoAntigoneaswell.
HisdiscourseonlysucceedsinangeringCreonfurther.
Haemon and Creon
1711.05.11 || English 1302: Composition II || D. Glen Smith, instructor
In the resulting debate, Haemon shows the city is against the king.
Creonisbasicallyblindtooutsideopinionsandholdsfasttohisphilosophyof
thedivinerightofkings.Hefeelsthegodsputhimincontrol,whichconfirms
that his reactionary views are in control.
• Inhismind,thevoiceofthepeopledonotmakethelaws.
• Haemonreplies:“It’snocityatall,ownedbyonemanalone”(742,l824).
• TotheancientAthenians,withtheirdemocraticstate,thislineinparticular
confirmstheirpoliticalphilosophies.
• Amonarchyisaflawedsystemofgovernment.
Haemon and Creon
1811.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Tiresias soon enters the stage to begin a new debate with Creon.
Tiresiasisablindprophetwhoappearsinnumerousplaysandmyth-cycles.
• Herepresentsthearchetypeofawiseoldman;helivedthrough
sevengenerationsofThebeankings,startingwithCadmus.
• Hispropheciesderivefrompracticesofaugury,anancientbeliefthatbird
flightpatternsandsongscanpredictthefuture.InTiresias’case,theyoung
boyactsaswalkingguideandasasetofeyestotellhimwhatthebirdsdo.
• Despitehisdisability,hehasastrongergrasponthesituationdueto
hisacuteforesight.HelikewiseexposesCreon’sfatalflaw:
“Stubbornness/brandsyouforstupidity—prideisacrime”(749,1136-7).
• CreonironicallyisblindtothelogicTiresiasproposesandonlyreacts
withmoreanger.
Tiresias and Creon
1911.05.11 || English 1302: Composition II || D. Glen Smith, instructor
This discussion results in the climax of the play.
TheaudienceseesthemomentasapointwhereCreoncouldresolvetheconflict
withAntigoneandendwithapositiveresolution.
• However,thisisatragedyandtheendwillnotbeupliftingforanycharacter.
Tiresias and Creon
2011.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Creon
Despite the fact Creon is a tragic hero, he does not die at the closing.
Hisfateisleftasahorrificendinginanundisclosedinterval,notdiscussedin
thisplay.Antigoneisafterallthemainfocus.
• AswithmostGreekdramas,thescenesofsuicideanddeathalloccuroffstage,
outofsightoftheaudience.Aminorcharacteroftendeliversthenewsofthe
fataleventstoallowtheaudiencetocatchupwiththeplot.
• ThedeathofAntigoneandHaemonaresuchexampleswithaMessenger
deliveringthebadnewstotheChorus.
• Eurydice,Creon’swife,alsocommitssuicideuponhearingofthefateofher
son;beforeshediessheuttersacursedirectedatCreon.
• Creon’stragiccircumstanceistoliveonwithguilt,knowinghecommitted
erroneousjudgmentsattheconsequenceofhisfamily’slives.
2111.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Creon
The final scene shows Creon receiving word of his wife’s death.
Withthefinalblowsoflossofbothwifeandson,headmitshisfailings.
[T]heguiltisallmine—
canneverbefixedonanotherman,
noescapeforme.Ikilledyou,
I,godhelpme,Iadmititall![...]
Idon’tevenexist—Iamnoone.Nothing.(757,ll1441-6)
• Thisresultsinafinalgestureonhispart,actingasaprayertothegods,
askingforthemtoendhislife.Creoncannot,orwillnot,killhimself.
• Tosomeextent,theAncientGreeksbelievedsuicidewasaformofheroism.
Sincetherewasnoreturnafterdeath,suchanactpermittedamannerfor
rectifyingafailureinone’slife.Honorcouldberestoredtoanindividual.
2211.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Two trains of thought can be derived from Creon’s lack of “initiative”
in this matter:
•SophoclesmaybeimplyingthatCreonistoocowardlytokillhimself,thathis
flawedpersonalityincludesprideandcowardice.Hisearlystatementsof
braveryandstrengthwereallfalsedeclarations;sincesuicideisanactof
free-will,Creonmaybeshowinghimselftobeaweakindividual.
• OrCreondecidestoremainavictim-king,settinghimselfasanexample
forpossiblefuturerulersofThebesnottofollowhisrashlaws.
• Fromthispointforward,theChorusofElderlyMenspeakwithmoreauthority.
TheydeclaretoCreonhisfinallesson:
Formortalmen
thereisnoescapefromthedoomwemustendure.(757,ll1457-8)
Creon and the Chorus of Elderly Men
2311.05.11 || English 1302: Composition II || D. Glen Smith, instructor
Likewise, before the full closing of the play, the Chorus utters the
moral of the story.
Theydeliverthefinalword,directedtowardstheaudience.
• OnceCreonexitsthestageabrokenman,theyspeakinunison:
Wisdomisbyfarthegreatestpartofjoy,
andreverencetowardthegodsmustbesafeguarded.
Themightywordsoftheproudarepaidinfull
withmightyblowsoffate,andatlonglast
thoseblowswillteachuswisdom.(757,ll1466-70)
The Chorus of Elderly Men