sophocles and greek drama - david-glen smith · sophocles and greek drama. revised ... at the...

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


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.



•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.



•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.


Antigone, the play

Sophocles’ play sparks much discussion even in the modern world:

Headdressesvariousongoingsituationsstillrelevantinourculture.

• genderpoliticsand

• generalattitudestowardswomen

• divinerightofkings

• rightsofanindividualunderdevelopingdictatorship/totalitariangovernment


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.


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


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


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.

11

Antigone

revised 10.25.12 || English 1302: Composition & Rhetoric 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.


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


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.


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.


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


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


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


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


This discussion results in the climax of the play.

TheaudienceseesthemomentasapointwhereCreoncouldresolvetheconflict

withAntigoneandendwithapositiveresolution.

• However,thisisatragedyandtheendwillnotbeupliftingforanycharacter.

Tiresias and Creon


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.


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.


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


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

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