antigone sophocle analyse

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Sophocles Antigone

Antigone (The names of characters who appear in this play are printed inbold ) Antigone like many Greek tragedies is set in Thebes The early history of Thebes was the subject of a cycle of epic poems which provided material for many plays of which in addition to Antigone Aeschylus’ Seven against Thebes Sophocles’ Oedipus Tyrannus

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SOPHOCLES ANTIGONE

ANTIGONE You can make that your excuse— 80 I will bury my brother ISMENE Oh my poor sister I’m so afraid for you! ANTIGONE Don’t fear for me ! Sort your own fate out! ISMENE You mustn’t tell anyone what you’re doing— Keep it secret and I will too 85 ANTIGONE Oh on the contrary! Tell them all! If you don’t spread the word

PDF	Sophocles’ Antigone Grand Valley State University Michigan With Director’s Note by

Why did Sophocles write Antigone?
Sophocles created Antigone in part to draw attention to this restricted role by Antigone’s defiance of Creon’s orders. Tossing aside her traditional responsibilities, she disregards his orders by burying her brother and suffering the consequences. Antigone sees herself as heroic and an example to women.
Why does Antigone accept her fate in 'Antigone'?
‘ Antigone is a hero because she remains true both to the Gods and her brother. Even when faced with death, she refuses to go against either one, choosing to end her own life. Thus, she seals her testimony with her own blood and dies a tragic hero.
What is Sophocles' tone toward Antigone?
Sophocles elicits pity by using epic similes, foreshadowing, and the tone he installs towards Antigone. Pity is what defined Antigone as a tragic hero. It gave the character a defined personality. Just like in all the greatest Greek plays ever written, Antigone evokes great pity.

Diane J. Rayor

Grand Valley State University, Michigan With Director’s Note by assets.cambridge.org

Introduction

Sophocles’ Antigone is the most read and performed of all Greek tragedies. The play poses a conflict between passionate characters whose extreme stances leave no room for compromise or diplomacy. Antigone’s character may also represent the rights of the individ-ual, family, and women and the authority of traditional customs, in opposition to Kreon’

Introduction

xiii end of the competition, a panel of ten judges ranked tragedians for their four plays and awarded a prize for the best production. To fund dramatic productions and other expensive projects con-sidered vital to the state, a special “liturgy” tax was imposed on wealthy citizens. The liturgies could fund warships or various public works or support

Introduction

(skenˆe) with central double doors, which was located at the back of the orchestra.7 The skenˆe allowed actors to make entrances and exits, provided room for costume changes, and could represent a house, palace, or any interior space. Actors and the chorus also entered or exited on the side paths; each parodos could represent a different des-tinati

Meter

In the original Greek, the plays are entirely in verse, with spoken lines primarily in iambic, choral songs in complex lyric meters, and chanted portions in anapests. The chorus, with the force of commu-nal authority, sings in unison the complex lyric songs between scenes. In general, actors speak and choruses sing. During highly emotional scenes,

Introduction

xvii The dramas concern royal houses mostly located outside of the Athenian territory of Attica. Athens is spared in most tragedies, and bad things, such as incest and murders within the family, tend to happen elsewhere, usually in rival states such as Thebes or Korinth. Locating the stories in other places and in a distant past provides a psycholo

The Duty of Burial

The play centers on the passionate conflict between Antigone and Kreon. Their standoff results in punishments for both: Antigone for refusing to obey Kreon’s decree and Kreon for refusing to allow her brother Polynices’ burial – and for burying the living Antigone assets.cambridge.org

Introduction

xix instead. Both Antigone and Kreon act on stated principles colored by their personalities, gender, and family history. The Athenian audience would have approached the play with the understanding of the importance of a proper burial and that the family’s duty is to bury its dead. A proper burial allows the dead to cross over into the underworld;

Introduction

xxi attend religious rituals and funerals and to aid in childbirth. For-tunately, they had an active religious life and participated in the many Athenian festivals, including dramatic festivals. The woman’s guardian (kyrios) – father, husband, son, or closest male relative – would be her representative for all legal and financial decisions. Kreon w

Introduction

xxiii meaning of philos, “friend,” whereas Antigone uses the other, “close relative or loved one.” Polynices attacked Thebes and so was no friend of the state; to Kreon, Polynices was not philos. Even so, Polynices was still Antigone’s brother; to Antigone, Polynices remained irrevocably philos. assets.cambridge.org

Translation

This introduction provides a background to the play, whereas the notes provide more detailed explanations of words, lines, and con-nections more apparent in the Greek. All the supplementary material is based on what students, teachers, directors, and casts needed or wanted to know. The bibliography lists a very small selection of the extensive fine

Scene Eight 1257–1353

Chorus Leader Kreon Messenger Characters enter and exit through the doors into the palace (skenˆe) or on the wing side paths (parodoi). One path leads from the city (CP) and the other to the battlefield or burial grounds (BP). The chorus enters and exits on the parodoi. assets.cambridge.org

Tiresias

Daughter of Oedipus and Jocasta Antigone’s sister Theban elders Jocasta’s brother, Antigone’s uncle Kreon’s son Seer Messenger assets.cambridge.org

Eurydice

Kreon’s wife Silent attendants of Kreon, Tiresias, and Eurydice assets.cambridge.org

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