ANTIGONEBy

Sophocles

INTRO

Greek playwright Sophocles wrote the last play

in the Theban Trilogy, Antigone, around 442 B.C.

The Theban Trilogy consists of Oedipus Rex

(Oedipus the King), Oedipus at Colonus, and

Antigone, but the play considered the last of the

three was, ironically, written first.

Only seven of Sophocles's one hundred-twenty-

three tragedies have survived to the modern

era—with the trilogy surviving the ages intact.

These three plays are perhaps the most famous of

the seven, with Antigone performed most often.

Antigone tells the story of the title character,

daughter of Oedipus (the former king of Thebes,

who unknowingly killed his father and married

his mother, and who renounced his kingdom

upon discovering his actions), and her fight to

bury her brother Polyneices against the edict of

her uncle, Creon, the new king of Thebes.

It is a story that pits the law of the gods—

"unwritten law"—against the laws of humankind,

family ties against civic duty, and man against

woman.

Many playwrights in Ancient Greece used

mythological stories to comment on social and

political concerns of their time.

This is what Sophocles may have intended when

he wrote Antigone.

Based on the legends of Oedipus, Sophocles may

have been trying to send a message to the

Athenian general, Pericles, about the dangers of

authoritarian rule.

These tragedies were written to be performed at

the Great Dionysia (a festival in honor of the god

Dionysus, the god of fertility, theater, and wine)

in Athens.

Attending these plays was considered a civic

duty, and even criminals were let out of jail to

attend.

Antigone won Sophocles first prize at the festival

and was an enormous success.

It is still performed today, and has been adapted

by French playwright Jean Anouilh, who set the

play during World War II.

SOPHOCLES’ BIO

Sophocles lived from c.496 to c.406 B.C., during the Golden Age of Athens (480-404 B.C.), the Greek city-state of which he was a citizen.

He was an active citizen, participating in the city's infant democracy.

He was involved in the war against the Samians and during the war became friends with Athens's popular general, Pericles.

He founded the Thiasos of Muses (a society for the advancement of music and literature), and was an ambassador to many foreign countries throughout his lifetime.

He was also a priest of the healing god Amynos and kept the sacred snake representing the god Aeschulapius while his temple was being built.

He was a very well-rounded citizen, not only leading an active political and religious life but also writing one hundred and twenty-three tragedies, of which only seven remain intact for modern readers

Sophocles was married to a woman named Nicostrata, with whom he had a son, Iophon; he also had a son (out of wedlock) with Theoris of Sicyon named Ariston.

He studied music under Lamprus and tragedy under Aeschylus before writing his own tragedies.

His was a wealthy family and powerful in political and religious affairs.

Of his seven plays to survive, Oedipus Rex (Oedipus the King) (c. 430 B.C.), Oedipus at Colonus (c. 404 B.C.), and Antigone(c. 442 B.C.), comprise the "Theban Trilogy," three plays which deal with King Oedipus's tragic fall from power and the ruin of his children.

Sophocles also wrote Ajax (c. 450 B.C.), Trachiniae (The Women of Trachis) (440 B.C.), and Electro and Philoctetes(both c. 409 B.C.).

The titles of ninety other Sophoclean dramas survive, including Triptolemos, which was honored at the dramatic competition the Great Dionysia c. 468 B.C., when Sophocles defeated his onetime mentor Aeschylus.

In Antigone, the title character asserts that the laws of Zeus and "unwritten law" justify her burial of her brother, Polyneices.

The popular general Pericles himself addressed the issue of unwritten law.

To many scholars the play was Sophocles's message to Pericles on the dangers of authoritarian rule, and the playwright's assertion of the general's need to remain conscious of his duty to the citizens of Athens.

It was the duty of playwrights in Athens to address social and political issues, and this play not only addresses authoritarian rule, but also familial duty and the status of women in society.

When Antigone stands up to Creon she not only defies the edict, but also the traditional behavior of Greek women of the time.

During the Golden Age of Athens, Sophocles was

one of the city's most prolific and beloved

playwrights.

Antigone is still performed all over the world, and

though it may seem different in theme and

structure to modern works, it continues to move

audiences just at it did when it was first

produced.

Many scholars have remarked on Sophocles's

ability to create dramatic, complex, and unique

characters and situations, all of which have

withstood the passage of time.

THEMATIC OVERVIEW

Antigone was written over two thousand years ago, in

a land that is still considered the birthplace of

democracy.

Sophocles was a part of this democratic movement,

but custom, tradition, and the rules of the gods also

played an important role in Greek life.

This is reflected in the themes present in the play:

choices and their consequences; custom and tradition;

gods and religion, and betrayal.

These issues make Antigone constant in terms of its

relevance to audiences of all times, as these issues

represent some of the fundamental challenges faced

by humankind.

ANTIGONE: PROLOGUE

Antigone opens shortly before dawn outside of the palace at Thebes, where Antigone meets her sister Ismene.

Together they grieve over the losses their family has suffered.

First, their father, Oedipus, had unknowingly murdered his own father, ascended the throne, and married his mother.

When Oedipus discovered this, he put out his eyes and wandered as an exile from Thebes until his death.

Then their brothers Polyneices and Eteocles had killed each other in a battle between Thebes and the city of Argos.

Now, because Polyneices fought against Thebes, Creon, the new king of Thebes, has ordered that his corpse remain unburied, thus condemning his spirit to roam the earth for one hundred years.

PROLOGUE

Grieved, Antigone calls on Ismene to join her in

carrying out their duty to their brother in spite of

the edict.

Antigone appeals to her sister's familial duty.

Ismene, on the other hand, argues that, as

women, they should not question the decisions of

men— especially an edict from the king.

Each fails to persuade the other and the sisters

exit as the chorus of elders approaches.

PARADOS/SCENE 1

Because Thebes has stood victorious in the battle

against Argos, the chorus calls for a celebration.

Creon, newly crowned as king of Thebes, comes

from the palace.

He asks the elders to show him the same loyalty

they had previously awarded Oedipus.

He restates his edict that Polyneices shall not be

buried, vowing that no foe of the city shall be his

friend.

One of the young men guarding the body of

Polyneices comes forward.

The sentry tells Creon that someone has

sprinkled dust on the body of Polyneices—an

attempt at burial that violates Creon's decree.

An elder suggests that the act is the work of a

god.

Creon disagrees and warns the old man against

such foolish proclamations.

It is base, he argues, to defy the state, not the

glorious act of a god.

The king suspects that money has provoked

someone to attempt Polyneices's burial.

Creon tells the sentry that he will be held

responsible for the crime until the guard finds

the actual perpetrator.

He sends the sentry back to his post,

commanding that he find the lawbreaker.

ODE I/SCENE 2

The chorus praises the wonder that is man and

the cunning by which he can capture all of

nature, or, conversely, escape nature's snares, all,

that is, except death.

Then the guard returns bringing Antigone as his

captive.

The guard reports that just after they had

removed the dust from Polyneices, Antigone was

caught trying to bury her brother a second time.

When questioned by Creon, Antigone admits to

both attempts at burial.

Creon condemns her; Antigone asserts that she

has done a noble deed by honoring her family and

following the "unwritten law."

Creon suspects that, due to her odd behavior

earlier, Ismene may be an accomplice in her

sister's crimes.

When she comes forth, the chorus of elders

recognizes that Ismene is innocent; her tears are

not of guilt but sorrow for her sister.

Yet Creon demands her confession, and she gives

it.

Upon hearing this, Antigone states that she acted

alone, absolving her sister of guilt.

Ismene pleads for Antigone's life, reminding the

king that not only is his prisoner family

(Antigone is Creon's niece), she is also betrothed

to his son, Haemon.

Despite this, Creon will not reverse his judgment.

ODE II/SCENE 3

The Chorus laments the sufferings of Oedipus

and his children at the hands of the gods.

As Antigone and Ismene are led away, Haemon

appears.

He appeals to his father's ego, asking that he let

Antigone go free to show the people that he is a

kind and forgiving ruler.

Though Creon briefly considers his son's advice,

when Haemon notes that citizens are concerned

for Antigone's welfare, the king sees that the

argument is only made to free Antigone.

He rejects his son's proposal, stating that he will

not have his laws questioned by a woman, nor

will he accede to the desires of his son.

He vows to execute Antigone in Haemon's

presence, but his son leaves, vowing that his

father will never see him again.

Creon decides to bury Antigone alive with enough

food and water so that the city itself is not held to

blame for her death.

ODE III/SCENE 4

The chorus alludes to the power of love.

Antigone is led to a cavern where she will be

sealed inside of a tomb.

The chorus of elders mourn for her, speaking of

comparisons to Persephone, who also died young

and without a husband.

The chorus also seems to mock Antigone,

however.

ODE IV/SCENE 5

The chorus tells of others who have been

imprisoned.

After Antigone has been led away, Teiresias, a

blind seer, is brought before Creon.

The prophet warns Creon that he is responsible

for a sickness that has descended on Thebes.

Polyneices's unburied body has polluted the city

and the gods will hear no more prayers.

The body is also polluting the cities close to

Thebes, causing ill will toward Creon's city-state.

Creon accuses the old man of trickery, stating

that some enemy must have paid the seer to

come and upset him.

Teiresias accuses Creon of tyranny and

selfishness, warning the king that he will lose his

son and great grief will befall his house.

SCENE V/PAEN

After Teiresias exits, Creon becomes fearful.

He decides to heed the advice of the elders, allow

Polyneices to be buried, and set Antigone free.

When he exits the elders pray to Bacchus for the

safe-keeping of the city.

EXODOS

A messenger enters and reports that Haemon has

taken his own life. Eurydice, Creon's wife, comes

from the palace to receive this information.

She learns how Creon and his men first gave

Polyneices an honorable burial, and how, when

they came to Antigone's crypt, they found that

she had hanged herself.

Haemon, in grief, tried to stab his father and,

failing this, impaled himself.

Eurydice bears this news in silence, returning to

the palace.

Creon returns to the palace bearing the body of his

son.

He is grief-stricken over the results of his own

stubbornness.

He then learns that Eurydice has also taken her own

life.

Creon begins to rave, calling himself a rash, foolish

man whose life has been overwhelmed by death.

The Choragos states the play’s theme directly to the

audience saying that there is no joy without wisdom,

no wisdom without submission to the gods, braggarts

are always punished and proud (stubborn) men in old

age learn to be wise.

SOME QUESTIONS TO CONSIDER

How are women portrayed in Antigone?

Discuss the conflict between fate and destiny on one hand and free will on the other. Which dominates? How does each character grapple with their limited free will?

How do the play’s main characters (Creon, Antigone, Ismene) see themselves? How is this similar or different from how they are perceived by others?

What function does off-stage action have in Antigone? Why, for example, does Sophocles sometimes have messengers describe actions that have occurred rather than portraying events directly?

Compare and contrast Oedipus and Antigone. How are they similar? Different?

Antigone assumed her fate was to die in jail and therefore killed herself, fulfilling her fate only because she was aware of it. The question is, if characters were not aware of their own supposed fate, would it be fulfilled? Or, for those of you who’ve seen The Matrix, would Neo still have broken the vase if the Oracle hadn’t said anything