revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Sophocles and Greek Drama
2revised 10.25.12 || English 1302: Composition & Rhetoric 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
3revised 10.25.12 || English 1302: Composition & Rhetoric 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.
4revised 10.25.12 || English 1302: Composition & Rhetoric 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.
5revised 10.25.12 || English 1302: Composition & Rhetoric 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:
Leavememyfoolishplan:
Iamnotafraidofthedanger;ifitmeansdeath,
Itwillnotbetheworstofdeaths—deathwithout
honor.(1028,ll86-89)
•Theheros’downfallshouldarousepityand/orterrorinthereader.
Althoughbothcharactersactirrationallyandwithstrongstubbornattitudes—
eventhoughsympathydoesliewithAntigone,sheisequallyatfault.Whatis
uniquehere,sinceCreonhimselfisatragichero,hetakesontheroleof
producing terror in the audience; Antigone produces a feeling of pity.
6revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Antigone, the play
Sophocles’ play sparks much discussion even in the modern world:
Headdressesvariousongoingsituationsstillrelevantinourculture.
• genderpoliticsand
• generalattitudestowardswomen
• divinerightofkings
• rightsofanindividualunderdevelopingdictatorship/totalitariangovernment
7revised 10.25.12 || English 1302: Composition & Rhetoric 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.
“Thinkhowmuchmoreterriblethanthese/Ourowndeathwouldbeifwe
shouldgoagainstCreon/Anddowhathehasforbidden!Weareonly
women,/Wecannotfightwithmen,Antigone!/Thelawisstrong.”
(1027,ll45-49).
• Antigonehoweveristoowrappedupinherideologiestoletattitudestowards
herowngenderlimitheractions;herconvictionisstrong,evenknowingthe
consequences.
• Antigoneisshownastrong-willedcreature;Ismeneobedientandsubmissive.
8revised 10.25.12 || English 1302: Composition & Rhetoric 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:“ifImustdie,/Isaythatthiscrimeisholy:Ishallliedown/
Withhimindeath,andIshallbeasdear/Tohimasheistome”(1028,l57-60).
• Hercharacterizationconfirmsatthebeginningoftheplaysheisatragicfigure.
Antigone and Ismene
9revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Even in the background, Ismene provides a strong part in the play.
Herspeechconfirmsheridealsasaculturalexpectationofwomen,
toremainmeekandobedient.
• Thisalsoshowssheistheweakerofthetwosisters.
• Ismeneisalsoshownasanobedientcitizenunwillingtofightbackatobvious
failuresbythemonarchy:
Iamhelpless:Imustyield/tothoseinauthority.AndIthinkitisa
dangerousbusiness/Tobealwaysmeddling.(1028,ll52-54)
• Shealsostates:
“Ihavenostrengthfor/Tobreakthelawsthatweremadeforthe
publicgood”(1028,ll66-67).
whichimpliesshebelievesthecity’slawsareabsoluteandunquestionable.
• Herspeechesconfirmherstatusasafoilcharacter.
Ismene
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Ismene
LikewiseintheresultingscenebetweenthethreecharactersofCreon,Antigone,
andIsmene:
• Ismene’sweakercharacterizationisrevealedintheresultingconfrontation
betweenAntigoneandCreon;inthissceneIsmenereactsemotionallytothe
judgmentpassedagainstAntigone;Ismenewouldbelostwithoutherolder
sibling:“ButhowcouldIgoonlivingwithouther?”(1039,l172).
• IsmenewillendupthelastsurvivingfamilymemberoftheOedipusline
havingexperiencedthelossofmother,father,brothers,andsister.
• NoticeshedoesabidebyCreon’sdecisionintheend;shemeeklyreturnstothe
palacewithoutfurtherdebate,withoutanactofrebellion;wenolongerseeher
in the play.
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Antigone
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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.
12revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Creon likewise is a tragic hero.
Heremainsunchangedinhisconvictionsuntilthelastfewmomentsoftheplay.
• InthediscussionwithhissonHaimonandthechorus,Creonrevealshis
politicalbeliefswhenhestates:
Whoeverischosentogovernshouldbeobeyed—
Mustbeobeyed,inallthings,greatandsmall,
Justandunjust![...]
Themanwhoknowshowtoobey,andthatmanonly,
Knowshowtogivecommandswhenthetimecomes.(1041,ll38-42)
• Creonseesthelawasanabsolute.Furthermore,aking’spowerrepresentsthe
city’sstrength;withastrongruler,thecitywillprosper.
• Asarepresentativeofhisownpowerasaking,hiscontrolaimstorepair
thewrongscurrentlyinfectingThebes—yet,inanironictwist,hisactionsare
merelycontinuationsofachainoffailuresandmisjudgmentsfromprevious
Thebanrulers.
Creon
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Antigone as Anarchy
• Creonalsowillstate:
Anarchy,anarchy!Showmeagreaterevil!/Thisiswhycitiestumble
andgreathousesraindown,/Thisiswhatscattersarmies!/No,no:good
livesaremadedobydiscipline.Wekeepthelawsthen,andthelawmakers,
/Andnowomanshallseduceus.Ifwemustlose,/Let’slosetoaman,at
least!isawomanstrongerthanwe?
(1041,ll45-51)
• CreonmentionsAnarchyandpersonifiestheelementasafemalefigure.
• Theword“anarchy”literallymeans“withoutgovernment”—inGreektheword
isspecificallyafemininenoun—soCreon’spersonificationoftheelementas
afemaleisnotunexpected.
• Inaddition,aconnectionismadebetweenAntigoneandAnarchy,
bothasdefiantfemalesthroughhisanalogy.
14revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Antigone as Anarchy
NoticeinCreon’sstatementhowAnarchy,ordisorder,destroysallaspectsof
civilization:political,domestic,andmilitary.
• Anythingwithinacivilizationcannotsurviveagainstamovementofanarchy.
• Anydisorderordisobedienceagainstalawhehascreatedthereforerepresents
anarchytoCreon.Hewantstomaintainabsolute,totalcontrol.
• Withinthesameexchangeofdialogue,Creonfurtherstateshowamanneeds
tocontrolhiswifeandcontrolhishousehold.
Showmethemanwhokeepshishouseinhand,
He’sfitforpublicauthority.(1041,ll34-35)
• InthismannerCreoncomparestheaveragehouseholdtotheaveragecity.
15revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Another foil relationship is shown near the second half of the play.
Creon’ssonHaimonactsasanemotionalfoilinthesamemannerasIsmene.
• IsmeneandHaimonarebothaverage,moderatepeople.
• Ismeneisanobedientfemaletothecity,whereasHaimonseeksouta
moderation,aresolutionbetweenthetwooppositions.
• Hehasaminorcharacterflaw:heisdeeplyinlovewithAntigone;
hisargumentsbecomeemotionalandpassionate,contradictoryto
Antigone’sstoicnature.
• HismainspeechopenswithadiscourseonReason—acounterargumentto
Creon’srantonpoliticalstrengthandgovernmentcontrol.Hestates:
ReasonisGod’scrowninggifttoman,andyouareright.(1042,l55)
Haimonbeginswitharationalargumentwantinghisfathertoseereason.
Haimon and Creon
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Haimonfurtherstates:
Yourtemperterrifies[thecitizens]—everyone
Willtellyouwhatyouliketohear.
ButI,atanyrate,canlisten;andIhaveheardthem,
Mutteringandwhisperinginthedarkaboutthisgirl.
Theysaynowomanhasever,sounreasonably,
Diedsoshamefuladeathforagenerousact:
“Shecoveredherbrother’sbody.Isthisindecent?
Shekepthimfromdogsandvultures.Isthisacrime?
Death?—Sheshouldhaveallthehonorthatwecangiveher(1042,ll62-70)
• Asafoil,heisattemptingtochangethefirm-resolveofanothercharacter,
andatthesametimeshowtheaudiencehowdevotedheistoAntigoneaswell.
HisdiscourseonlysucceedsinangeringCreonfurther.
Haimon and Creon
17revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
In the resulting debate, Haimon shows the city is against the king.
Creonisbasicallyblindtooutsideopinionsandholdsfasttohisphilosophyof
thedivinerightofkings.Hefeelsthegodsputhimincontrol,whichconfirms
that his reactionary views are in control.
• Inhismind,thevoiceofthepeopledonotmakethelaws.
• Haimonreplies:“ItisnoCityifittakesordersfromonevoice”(1043,l110).
• TotheancientAthenians,withtheirdemocraticstate,thislineinparticular
confirmstheirpoliticalphilosophies.
• Amonarchyisaflawedsystemofgovernment.
Haimon and Creon
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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:
Think:allmenmakemistakes,
Butagoodmanyieldswhenheknowshiscourseiswrong,
Andrepairstheevil—theonlycrimeispride(1049,ll34-36).
• CreonironicallyisblindtothelogicTiresiasproposesandonlyreacts
withmoreanger.
Tiresias and Creon
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This discussion results in the climax of the play.
TheaudienceseesthemomentasapointwhereCreoncouldresolvetheconflict
withAntigoneandendwithapositiveresolution.
• However,thisisatragedyandtheendwillnotbeupliftingforanycharacter.
Tiresias and Creon
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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.
• ThedeathofAntigoneandHaimonaresuchexampleswithaMessenger
deliveringthebadnewstotheChorus.
• Eurydice,Creon’swife,alsocommitssuicideuponhearingofthefateofher
son;beforeshediessheuttersacursedirectedatCreon.
• Creon’stragiccircumstanceistoliveonwithguilt,knowinghecommitted
erroneousjudgmentsattheconsequenceofhisfamily’slives.
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Creon
The final scene shows Creon receiving word of his wife’s death.
Withthefinalblowsoflossofbothwifeandson,headmitshisfailings.
Ialoneamguilty.
Iknowit,andIsayit.Leadmein[thepalace]
Quicklyfriends.
Ihaveneitherlifenorsubstance.(1056,ll131-134)
• Whatresultsisafinalgestureonhispart,actingasaprayertothegods,
askingforthemtoendhislife:“Letitcome/Letdeathcomequickly,
andbekindtome./Iwouldnoteverseethesunagain”(1056ll137-139).
• NoticethatCreoncannot,orwillnot,killhimself.
• Tosomeextent,theAncientGreeksbelievedsuicidewasaformofheroism.
Sincetherewasnoreturnafterdeath,suchanactpermittedamannerfor
rectifyingafailureinone’slife.Honorcouldberestoredtoanindividual.
22revised 10.25.12 || English 1302: Composition & Rhetoric 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.
Creon and the Chorus of Elderly Men
23revised 10.25.12 || English 1302: Composition & Rhetoric II || D. Glen Smith, instructor
Likewise, before the full closing of the play, the Chorus Leader utters
the moral of the story.
Hedeliversthefinalword,directedtowardstheaudience.
• OnlyonceCreonexitsthestageabrokenman,thechorusleaderspeaks:
Thereisnohappinesswherethereisnowisdom;
Nowisdombutinsubmissiontothegods.
Bigwordsarealwayspunished,
Andproudmeninoldagelearntobewise.(1056,ll149-152)
The Chorus of Elderly Men