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The Theban Plays #3
丌賳鬲蹖诏賵賳赖
丌賳鬲蹖诏賵賳赖 鬲乇丕跇丿蹖 丿蹖诏乇蹖 丕夭 爻賴鈥屭з嗁団€� 鬲乇丕跇丿蹖鈥屬囏й� 芦鬲賽亘賽爻禄 爻賵賮賵讴賱爻 丕爻鬲 讴賴 賳禺爻鬲蹖賳 亘丕乇 丿乇 爻丕賱 鄞鄞鄄 蹖丕 鄞鄞郯 倬蹖卮 丕夭 賲蹖賱丕丿 丕噩乇丕 卮丿賴 丕爻鬲. 倬蹖卮 丕夭 丌睾丕夭 丿丕爻鬲丕賳貙 倬爻乇丕賳 丕賵丿蹖倬賵爻貙 丕鬲卅賵讴賱爻 賵 倬賵賱蹖鈥屬嗃屭┵堌池� 丿乇 噩賳诏 亘丕 蹖讴鈥屫屭� 亘乇 爻乇 鬲丕噩鈥屬堌� 卮賴乇 讴卮鬲賴 卮丿賴鈥屫з嗀�. 讴乇卅賵賳貙 噩丕賳卮蹖賳 丕鬲卅賵讴賱爻貙 賮乇賲丕賳 賲蹖鈥屫囏� 讴賴 噩爻丿 丕賵 乇丕 亘丕 鬲噩賱蹖賱 亘賴 禺丕讴 亘爻倬丕乇賳丿貙 丕賲丕 噩爻丿 倬賵賱蹖鈥屬嗃屭┵堌� 乇丕 乇賵蹖 禺丕讴 亘诏匕丕乇賳丿 鬲丕 禺賵乇丕讴 爻诏丕賳 賵 賱丕卮禺賵乇丕賳 卮賵丿. 丕蹖賳 賮乇賲丕賳 禺賱丕賮 芦賯丕賳賵賳 禺丿丕蹖丕賳禄 賵 丌蹖蹖賳 賲乇丿賲 卮賴乇 丕爻鬲 賵 丌賳鬲蹖诏賵賳赖 賵 丕蹖爻賲賳賴貙 禺賵丕賴乇丕賳 丿賵 亘乇丕丿乇 讴卮鬲賴鈥屫簇囏� 丕夭 丕蹖賳 鬲氐賲蹖賲 賳丕乇丕囟蹖鈥屫з嗀�. 丿乇 丌睾丕夭 鬲乇丕跇丿蹖貙 丌賳鬲蹖诏賵賳赖 禺賵丕賴乇卮 丕蹖爻賲賳賴 乇丕 亘賴 亘蹖乇賵賳 讴丕禺 賲蹖鈥屫ㄘ必� 鬲丕 丕賵 乇丕 丕夭 鬲氐賲蹖賲蹖 讴賴 丿丕乇丿 丌诏丕賴 讴賳丿貨 丕賵 賲蹖鈥屫堌з囏� 噩爻丿 倬賵賱蹖鈥屬嗃屭┵堌� 乇丕 亘賴 禺丕讴 亘爻倬丕乇丿 賵 丕蹖賳 亘乇禺賱丕賮 丿爻鬲賵乇 讴乇卅賵賳 丕爻鬲. 丕蹖爻賲賳賴 賳賲蹖鈥屫堌з嗀� 丌賳鬲蹖诏賵賳赖 乇丕 賲賳氐乇賮 讴賳丿 賵 亘丕 丕賵 賴賲讴丕乇蹖 賴賲 賳賲蹖鈥屭┵嗀� 趩乇丕讴賴 丕夭 賲噩丕夭丕鬲 賲乇诏 賲蹖鈥屫必池�. 亘丕 丕蹖賳 丨丕賱貙 丌賳鬲蹖诏賵賳赖 鬲氐賲蹖賲鈥屫ж� 乇丕 毓賲賱蹖 賲蹖鈥屭┵嗀� 賵 亘丕 丕蹖賳 讴丕乇 禺卮賲 讴乇卅賵賳 乇丕 亘賴 禺賵丿 亘乇賲蹖鈥屫з嗂屫藏з嗀� 賵 ...
147 pages, Paperback
First published January 1, 442
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About the author
Sophocles
2,389听books2,553听followersSophocles (497/496 BC-406/405 BC), (Greek:
危慰蠁慰魏位萎蟼
; German:
Sophokles
, Russian:
小芯褎芯泻谢
, French:
Sophocle
) was an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
The most famous tragedies of Sophocles feature Oedipus and Antigone: they are generally known as the Theban plays, though each was part of a different tetralogy (the other members of which are now lost). Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights.
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Displaying 1 - 30 of 7,736 reviews
February 23, 2009
Suck on that, Creon. They named the play after her.
December 26, 2023
I know all too well I鈥檓 going to die鈥�
how could I not?鈥攊t makes no difference
what you decree. And if I have to die
before my time, well, I count that a gain.
When someone has to live the way I do,
surrounded by so many evil things,
how can she fail to find a benefit
in death?
*Strong female characters did not exist before modern times*
*Old books are boring and outdated*
Antigone premiered in 441 B.C.E. She's still as relevant today as she was centuries ago.
Each time I re-read this masterpiece, I am in awe of its brilliance. I can say with absolute certainty that Antigone is my favorite classic. I first read it in high school. I read the classics because I had to, not because I enjoyed them. Does any teenager enjoy reading? I suppose some of them do. I was more concerned with friends, cool accessories, and rock bands. If you had asked me then what the best book ever written was, I would have said Twilight. (I'm sure some of you are wondering why you even added me as a friend on 欧宝娱乐). But even then, at the peak of my teenage angst, I knew Antigone was special. I've read it several times, and it still holds up.
You know how each time you re-watch Titanic, you hope it won't hit the iceberg? Well, each time I re-read Antigone, I hope she gets a happy ending. I know what happens in the end, but I'm saddened regardless. I expect two things from Greek mythology: incest and tragedy. I don't like the first one, but I'm kind of into angst.
*spoilers*
Medea is fascinating, but she's also batshit crazy. Electra is dumb as a post, and I can't stand her. Prometheus deserved better. Iphigenia also deserved better. Antigone's daddy, Oedipus, is the epitome of tragedy. The dude married (unknowingly) his mother. And that's not even the craziest thing in the book. Antigone's book shouldn't have been able to top all that drama, but it did.
I have been a stranger here in my own land: All my life.
I'm sure most of you have heard the story of Oedipus. The man is so legendary Freud named his complex after him. To say Antigone had a lot of family issues would be an understatement. She finds out her father is also her brother, her mother is also her grandmother, her father/brother killed her grandfather, her two brothers died fighting on opposite sides of the civil war, and her uncle refuses to give one of her fallen brothers a proper burial, and her sister is useless.
Antigone's father is in self-imposed exile, and her mother and brothers are gone. Honor is the only thing that she has left. She decides to bury her brother despite her uncle's threats, knowing that the outcome of such an act is certain death. Her uncle warns her, and her sister begs her to obey his command, but Antigone is too brave and honorable to give in. She doesn't fear death. She embraces it.
Haemon, Creon's son and Antigone's betrothed, takes her side over his father's. He pleads with his father to spare Antigone's life, but Creon remains unmoved. Antigone is punished by being locked inside a tomb while still alive. To spare herself the agony, Antigone takes her own life. When Haemon arrives, he discovers her lifeless body and takes his life as well. Creon regrets his decision, but his realization comes too late.
And so ends the tale of brave Antigone. She stood alone against Creon and his cronies and kept her honor. She proved to be everything a sister should be and more.
Then when I'm out of strength 鈥攂ut only then 鈥擨 will be stopped.
February 22, 2021
This drama highlights the differences between state and divine law. Especially interesting is the language. Sophocles has done very well to portray this conflict. Even after 2500 years still a worth reading, profound text.
June 12, 2016
Antigone is a real heroine; she stands up for what she believes in. She was faced with a strong dilemma. The law of man, the word of her uncle the king, demands that her brother's body remains unburied in the open with no funeral rights, to be savaged by animals. For King Creon, this is a symbolic justice for a traitor and a rebel, but the laws of the God鈥檚, and the ruling of Antigone鈥檚 own mind, demands that she gives him libations (death rights) that all men deserve. She buries the body and faces the consequences of the crime.
Creon: And still you had the gall to break this law?
Antigone: Of course I did. It wasn't Zeus, not in the least,
who made this proclamation-not to me
Nor did that justice, dwelling with the gods
beneath the earth, ordain such laws for men.
Nor did I think your edict had such force
that you, a mere mortal, could override the gods.
So, like I said she鈥檚 a heroine, for standing up against tyranny, but she isn鈥檛 the play鈥檚 tragic hero: it鈥檚 clearly King Creon. Who has the right of this situation? It is easy to brand Creon a tyrant, though to do so overlooks the reasoning behind his actions. In punishing Antigone鈥檚 dead brother, her rebellious dead brother, he is sending a political message to those that threaten the peace of Thebes. In reality he is being an effective, albeit harsh, ruler. When his niece breaks his law, he has no choice but to punish her as he would any man. He couldn鈥檛 allow her to be an exception to the rule, to do so would be to undermine the law of the land and his politics: it would be to make him a hypocrite. But, to sentence her to death, that鈥檚 a little extreme.
Thus, Sophocles presents a beautifully conflicted situation. There is no longer a discernible sense of right or wrong, only a thin line of morality that separates a tyrant from a man of justice. And his conviction only gets worse; he refuses to hear what his son and the city (the chorus) think about the situation. He only sees his narrow-minded sense of justice, and ignores the effects it will have on his loved ones. He has no doubts about his actions, and demonstrates the questionable nature of a cold approach to kingship. The laws of man are not always right. Something Creon simply cannot perceive. To his mind, he is morally right, a man of good character and a king of honour. Is this not the most dangerous of leaders?
Creon: I will take her down some wild, desolate path
never trod by men, and wall her up alive
in a rocky vault, and set out short rations,
just the measure piety demands
to keep the entire city free of defilement.
There let her pray to the one god she worships:
Death鈥攚ho knows?鈥攎ay just reprieveher from death.
Or she may learn at last, better late than never,
what a waste of breath it is to worship Death.
And this is what makes him the play鈥檚 tragic hero. His hamartia, his tragic flaw in Aristotle terms, is his severe lack of judgement, and his inability to perceive the wrongness of his decree. The reversal, recognition and suffering come in the form of the priest Tiresias, an old wise man who speaks to the Gods. He tells Creon what will happen if he persists down his current path, and after much resistance, Creon finally relents his folly. But it is far too late. The blood has already been shed. Tragedy has already struck, death has already struck: Creon is left in tatters. It is the hardest of lessons to learn.
So what do we learn from this? Greek tragedy was didactical in purpose; it was used as a learning tool, a means of imparting wisdom to the audience. What is Sophocles message? For me it鈥檚 quite simple: open your eyes and your heart. Never presume that you are right and an absolute morale authority. For Creon, his realisation came too late. The result was a sacrifice he will never forget, Antigone's death, and the one most readers seem to sympathise with. But I implore you to look further into the play, and consider the full role of Creon. To overlook him is to overlook the point of the work:
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.鈥�
This play is a spectacular piece of work. I need more Greek tragedy in my reading diet.
Penguin Little Black Classic- 55
The Little Black Classic Collection by penguin looks like it contains lots of hidden gems. I couldn鈥檛 help it; they looked so good that I went and bought them all. I shall post a short review after reading each one. No doubt it will take me several months to get through all of them! Hopefully I will find some classic authors, from across the ages, that I may not have come across had I not bought this collection.
Creon: And still you had the gall to break this law?
Antigone: Of course I did. It wasn't Zeus, not in the least,
who made this proclamation-not to me
Nor did that justice, dwelling with the gods
beneath the earth, ordain such laws for men.
Nor did I think your edict had such force
that you, a mere mortal, could override the gods.
So, like I said she鈥檚 a heroine, for standing up against tyranny, but she isn鈥檛 the play鈥檚 tragic hero: it鈥檚 clearly King Creon. Who has the right of this situation? It is easy to brand Creon a tyrant, though to do so overlooks the reasoning behind his actions. In punishing Antigone鈥檚 dead brother, her rebellious dead brother, he is sending a political message to those that threaten the peace of Thebes. In reality he is being an effective, albeit harsh, ruler. When his niece breaks his law, he has no choice but to punish her as he would any man. He couldn鈥檛 allow her to be an exception to the rule, to do so would be to undermine the law of the land and his politics: it would be to make him a hypocrite. But, to sentence her to death, that鈥檚 a little extreme.
Thus, Sophocles presents a beautifully conflicted situation. There is no longer a discernible sense of right or wrong, only a thin line of morality that separates a tyrant from a man of justice. And his conviction only gets worse; he refuses to hear what his son and the city (the chorus) think about the situation. He only sees his narrow-minded sense of justice, and ignores the effects it will have on his loved ones. He has no doubts about his actions, and demonstrates the questionable nature of a cold approach to kingship. The laws of man are not always right. Something Creon simply cannot perceive. To his mind, he is morally right, a man of good character and a king of honour. Is this not the most dangerous of leaders?
Creon: I will take her down some wild, desolate path
never trod by men, and wall her up alive
in a rocky vault, and set out short rations,
just the measure piety demands
to keep the entire city free of defilement.
There let her pray to the one god she worships:
Death鈥攚ho knows?鈥攎ay just reprieveher from death.
Or she may learn at last, better late than never,
what a waste of breath it is to worship Death.
And this is what makes him the play鈥檚 tragic hero. His hamartia, his tragic flaw in Aristotle terms, is his severe lack of judgement, and his inability to perceive the wrongness of his decree. The reversal, recognition and suffering come in the form of the priest Tiresias, an old wise man who speaks to the Gods. He tells Creon what will happen if he persists down his current path, and after much resistance, Creon finally relents his folly. But it is far too late. The blood has already been shed. Tragedy has already struck, death has already struck: Creon is left in tatters. It is the hardest of lessons to learn.
So what do we learn from this? Greek tragedy was didactical in purpose; it was used as a learning tool, a means of imparting wisdom to the audience. What is Sophocles message? For me it鈥檚 quite simple: open your eyes and your heart. Never presume that you are right and an absolute morale authority. For Creon, his realisation came too late. The result was a sacrifice he will never forget, Antigone's death, and the one most readers seem to sympathise with. But I implore you to look further into the play, and consider the full role of Creon. To overlook him is to overlook the point of the work:
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride.鈥�
This play is a spectacular piece of work. I need more Greek tragedy in my reading diet.
Penguin Little Black Classic- 55
The Little Black Classic Collection by penguin looks like it contains lots of hidden gems. I couldn鈥檛 help it; they looked so good that I went and bought them all. I shall post a short review after reading each one. No doubt it will take me several months to get through all of them! Hopefully I will find some classic authors, from across the ages, that I may not have come across had I not bought this collection.
October 15, 2024
Of all the Greek theatre, few works remain. Antigone is one of the most famous short pieces we still have. It is deserving. This tragedy is a powerful, deep, immense, great work. You had to be Sophocles to do this to us. It's enormous, beautiful, and intense!
October 15, 2015
This was a reread for me.
The first time I read this play was in my sophomore year or high school and I remember liking it but I LOVED it this time around.
It's fabulous and now I want to read the rest of the Theban plays.
The first time I read this play was in my sophomore year or high school and I remember liking it but I LOVED it this time around.
It's fabulous and now I want to read the rest of the Theban plays.
February 8, 2025
"Your soul is blowing apart."
~~
I love . I think it is one of the very best of the Greek tragedies ~~ no one of the very best of all tragedies ever written.
Random thought ~~ I suspect there is a play that is part of this cycle that is missing ~~ a play that focuses on the brothers.
This review will not focus on the play itself, but on the wonderful translation by .
is a poet. She is a wordsmith in the highest sense of the word. She has an ear for modern language that makes this translation fresh and contemporary while honoring true intention. Carson's translation is full of dry, dark humor and avoids the pitfalls of those dour, humorless translations that are of one note and written to emulate a funeral dirge. But more importantly, Carson shows that Kreon, not Antigone, is the true tragic character of the work. He refuses to heed the wisdom of others, when Kreon relents at the last, only to find his family dead and his city in despair.
The residue of those boring, stuffy late 19th / early 20th century translations that attempted to emulate Elizabethan English and place in the realm of a Shakespearean tragedy have been cast off by Carson. But, ultimately, I think it would be best to call this an adaptation rather than a translation.
ANTIGONE: WE BEGIN IN THE DARK AND THE BIRTH OF DEATH IS US
ISMENE: WHO SAID THAT
ANTIGONE: HEGEL
ISMENE: SOUNDS MORE LIKE BECKETT
ANTIGONE: HE WAS PARAPHRASING HEGEL
means to have a good time with , and thankfully she invites us along to the party.
~~
I love . I think it is one of the very best of the Greek tragedies ~~ no one of the very best of all tragedies ever written.
Random thought ~~ I suspect there is a play that is part of this cycle that is missing ~~ a play that focuses on the brothers.
This review will not focus on the play itself, but on the wonderful translation by .
is a poet. She is a wordsmith in the highest sense of the word. She has an ear for modern language that makes this translation fresh and contemporary while honoring true intention. Carson's translation is full of dry, dark humor and avoids the pitfalls of those dour, humorless translations that are of one note and written to emulate a funeral dirge. But more importantly, Carson shows that Kreon, not Antigone, is the true tragic character of the work. He refuses to heed the wisdom of others, when Kreon relents at the last, only to find his family dead and his city in despair.
The residue of those boring, stuffy late 19th / early 20th century translations that attempted to emulate Elizabethan English and place in the realm of a Shakespearean tragedy have been cast off by Carson. But, ultimately, I think it would be best to call this an adaptation rather than a translation.
ANTIGONE: WE BEGIN IN THE DARK AND THE BIRTH OF DEATH IS US
ISMENE: WHO SAID THAT
ANTIGONE: HEGEL
ISMENE: SOUNDS MORE LIKE BECKETT
ANTIGONE: HE WAS PARAPHRASING HEGEL
means to have a good time with , and thankfully she invites us along to the party.
November 21, 2021
11/21/21: I recently saw a production of Antigone, the daughter of Oedipus who defied King Creon to bury her brother, knowing that to obey divine law in this moment was the right and just thing to do. It's a little complicated from her on in, but what follows is a review of a kind of adaptation of the Antigone story set in Nazi Germany. Antigone is about family, pride and its difference from arrogance, about the assumption of political (and male) dominance, and about love. I reflect in the following about Sophocles' Antigone through this adaptation, which is a model for young people and old about doing the right thing, about resistance, and activism for justice. I have since read a few books about The White Rose, Sophie Scholl, and German resistance within Germany to Nazi fascism.
Original review, 5/29/19: Seeing a Middle School Production of Antigone in Munich: The Sophie Scholl Story and Reflecting on How to Foster Youth Resistance in Meaningful Ways: A Meditation
鈥淚 am not afraid of the danger. If it means death, it will not be the worst of deaths--death without honor鈥�--Antigone
Antigone: We begin in the dark and birth is the death of us.
Ismene: Who said that?
Antigone: Hegel.
Ismene: Sounds more like Beckett.
Antigone: He was paraphrasing Hegel--The chorus in Anne Carson's translation of
Sophocles鈥� Antigone, to make the point that many writers and thinkers across time were and still are paraphrasing Sophocles
I just saw a middle school production of a play of which I had never heard, Antigone in Munich: The Sophie Scholl Story, by Claudia Haas, about a high school girl, Sophie, who follows her college philosophy student brother Hans in getting involved in a German student resistance organization, The White Rose Society, that courageously opposed Hitler. My daughter was in the crew for the production (stage left props), as I once was for a production of Antigone when I was in college decades ago. Like Antigone, Sophie was a teenager who defended her brother honorably, following in their activist footsteps, doing the right thing in the face of a patriarchal authority who, like King Lear, raged with demands of loyalty.
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride鈥�--Antigone
I thought the play was ambitious for a middle school, as it circled back from Nazi resistance to Sophocles鈥� play about the daughter of Oedipus and Jocasta who insisted on defying King Creon鈥檚 order to bury her brother Polynices. Creon鈥檚 law forbidding the public mourning and burial of a member of one鈥檚 own family, maybe especially one seen as resistant to the state, punishable by death, is inhuman, it鈥檚 immoral. I listened to a translation of the original play and also read some of Anne Carson鈥檚 adaptation of the play, and of course saw (and read) Claudia Haas鈥� play.
Philosophy professor Hans Huber, who guided The White Rose Society, was executed for resistance to the Nazi state:
"And thou shalt act as if
On thee and on thy deed
Depended the fate of all Germany,
And thou alone must answer for it."
The Nazi regime also executed Huber鈥檚 student Hans and his younger sister Sophie Scholl on February 22, 1943.
I admired my daughter鈥檚 drama department鈥檚 ambition to stoke student activism through the production. The student body of my daughter鈥檚 school had staged a walkout this year protesting political inaction on school shootings. They made signs, wrote and signed petitions, and some of them were interviewed by the media. When I was in high school we shut down the school on a couple occasions, insisting that the curriculum reflect growing concerns with the Vietnam War, racism, the environment. We made signs, we wrote pamphlets, we created sit-down strikes, and we got some concessions and curricular changes. I lived to tell my tale, but four students were killed for protesting the Vietnam War at Kent State (and more students across the country were also killed for protesting that war) during my time in school:
...
Here鈥檚 some recent Chicago student climate change protesters:
...
鈥淒o not fear for me. Make straight your own path to destiny鈥濃€旳ntigone
Original review, 5/29/19: Seeing a Middle School Production of Antigone in Munich: The Sophie Scholl Story and Reflecting on How to Foster Youth Resistance in Meaningful Ways: A Meditation
鈥淚 am not afraid of the danger. If it means death, it will not be the worst of deaths--death without honor鈥�--Antigone
Antigone: We begin in the dark and birth is the death of us.
Ismene: Who said that?
Antigone: Hegel.
Ismene: Sounds more like Beckett.
Antigone: He was paraphrasing Hegel--The chorus in Anne Carson's translation of
Sophocles鈥� Antigone, to make the point that many writers and thinkers across time were and still are paraphrasing Sophocles
I just saw a middle school production of a play of which I had never heard, Antigone in Munich: The Sophie Scholl Story, by Claudia Haas, about a high school girl, Sophie, who follows her college philosophy student brother Hans in getting involved in a German student resistance organization, The White Rose Society, that courageously opposed Hitler. My daughter was in the crew for the production (stage left props), as I once was for a production of Antigone when I was in college decades ago. Like Antigone, Sophie was a teenager who defended her brother honorably, following in their activist footsteps, doing the right thing in the face of a patriarchal authority who, like King Lear, raged with demands of loyalty.
鈥淎ll men make mistakes, but a good man yields when he knows his course is wrong, and repairs the evil. The only crime is pride鈥�--Antigone
I thought the play was ambitious for a middle school, as it circled back from Nazi resistance to Sophocles鈥� play about the daughter of Oedipus and Jocasta who insisted on defying King Creon鈥檚 order to bury her brother Polynices. Creon鈥檚 law forbidding the public mourning and burial of a member of one鈥檚 own family, maybe especially one seen as resistant to the state, punishable by death, is inhuman, it鈥檚 immoral. I listened to a translation of the original play and also read some of Anne Carson鈥檚 adaptation of the play, and of course saw (and read) Claudia Haas鈥� play.
Philosophy professor Hans Huber, who guided The White Rose Society, was executed for resistance to the Nazi state:
"And thou shalt act as if
On thee and on thy deed
Depended the fate of all Germany,
And thou alone must answer for it."
The Nazi regime also executed Huber鈥檚 student Hans and his younger sister Sophie Scholl on February 22, 1943.
I admired my daughter鈥檚 drama department鈥檚 ambition to stoke student activism through the production. The student body of my daughter鈥檚 school had staged a walkout this year protesting political inaction on school shootings. They made signs, wrote and signed petitions, and some of them were interviewed by the media. When I was in high school we shut down the school on a couple occasions, insisting that the curriculum reflect growing concerns with the Vietnam War, racism, the environment. We made signs, we wrote pamphlets, we created sit-down strikes, and we got some concessions and curricular changes. I lived to tell my tale, but four students were killed for protesting the Vietnam War at Kent State (and more students across the country were also killed for protesting that war) during my time in school:
...
Here鈥檚 some recent Chicago student climate change protesters:
...
鈥淒o not fear for me. Make straight your own path to destiny鈥濃€旳ntigone
December 16, 2019
Book Review
4 out of 5 stars to , the third in a trilogy of Theban plays written around 441 BC (yes, almost 2500 years ago) by . In my junior year of high school, our Advanced Placement English teacher assigned all three Theban plays. This is a mini-review on the final one, Antigone, which was my second favorite -- Oedipus Rex was of course, my favorite. In this Greek tragedy, Antigone, Oedipus Rex's daughter, fights to have a proper burial for her brother. She is strong-willed, determined and forceful, yet respectful and fair in her arguments. What I love about these plays is that ability for the characters to call on your emotions, logic and your intelligence. The plots are incredibly complex and shocking, but the players are what help you fall in love with Sophocles as a writer. Given its 2500 years old, and a translation, there are a number of areas where might not fully understand, especially if you aren't familiar with your Greek Gods and Goddesses. The words themselves are beautiful. The images you see are intense. It's a fantastic read. But read them in order. And think of Antigone as your very own Wonder Woman.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
4 out of 5 stars to , the third in a trilogy of Theban plays written around 441 BC (yes, almost 2500 years ago) by . In my junior year of high school, our Advanced Placement English teacher assigned all three Theban plays. This is a mini-review on the final one, Antigone, which was my second favorite -- Oedipus Rex was of course, my favorite. In this Greek tragedy, Antigone, Oedipus Rex's daughter, fights to have a proper burial for her brother. She is strong-willed, determined and forceful, yet respectful and fair in her arguments. What I love about these plays is that ability for the characters to call on your emotions, logic and your intelligence. The plots are incredibly complex and shocking, but the players are what help you fall in love with Sophocles as a writer. Given its 2500 years old, and a translation, there are a number of areas where might not fully understand, especially if you aren't familiar with your Greek Gods and Goddesses. The words themselves are beautiful. The images you see are intense. It's a fantastic read. But read them in order. And think of Antigone as your very own Wonder Woman.
About Me
For those new to me or my reviews... here's the scoop: I read A LOT. I write A LOT. And now I blog A LOT. First the book review goes on 欧宝娱乐, and then I send it on over to my WordPress blog at , where you'll also find TV & Film reviews, the revealing and introspective 365 Daily Challenge and lots of blogging about places I've visited all over the world. And you can find all my social media profiles to get the details on the who/what/when/where and my pictures. Leave a comment and let me know what you think. Vote in the poll and ratings. Thanks for stopping by.
July 20, 2022
"All men make mistakes, but a good man yields when he knows his course is wrong and repairs the evil. The only crime is pride."
Polynices and his brother died in their battle to become the sole ruler of Thebes. Creon, the new King, decreed that Polynice, the invader, should be denied proper burial rites and his body left to rot and be eaten by carrion and dogs. According to Greek religion, this punishment would prevent his soul from entering the underworld. Creon added that anyone who ignored his edict and tried to bury Polynices would be sentenced to death. Creon's edit becomes Antigone, Polynice's sister's central dilemma. She must determine where her primary loyalty lies to her family or the state. Antigone chooses to bury her brother.
Sophocles uses Antigone's decision to examine the nature of power, arbitrary rules, and their effects on the family and social order. As Antigone was engaged to Creon's son, he must also choose between family and state.
Although written in the 5th century BC, Antigone remains relevant today. It presents debates that are nuanced and multifaceted. The writing is full and rich, and finely constructed lines often jump out at you. I read the play and listened to an excellent, full-cast, audible podcast production.
Highly recommend.
Polynices and his brother died in their battle to become the sole ruler of Thebes. Creon, the new King, decreed that Polynice, the invader, should be denied proper burial rites and his body left to rot and be eaten by carrion and dogs. According to Greek religion, this punishment would prevent his soul from entering the underworld. Creon added that anyone who ignored his edict and tried to bury Polynices would be sentenced to death. Creon's edit becomes Antigone, Polynice's sister's central dilemma. She must determine where her primary loyalty lies to her family or the state. Antigone chooses to bury her brother.
Sophocles uses Antigone's decision to examine the nature of power, arbitrary rules, and their effects on the family and social order. As Antigone was engaged to Creon's son, he must also choose between family and state.
Although written in the 5th century BC, Antigone remains relevant today. It presents debates that are nuanced and multifaceted. The writing is full and rich, and finely constructed lines often jump out at you. I read the play and listened to an excellent, full-cast, audible podcast production.
Highly recommend.
May 10, 2020
丌賳鬲蹖诏賵賳赖 賲丨讴賵賲 亘賴 賲乇诏 鬲賵爻胤 讴乇卅賵賳
丕購丿蹖倬 讴賴 亘毓丿 丕夭 鬲賵賱丿貙 丕夭 倬丿乇 賵 賲丕丿乇 胤乇丿 卮丿
丿乇 賳夭丕毓 噩賳诏蹖貙 倬丿乇 禺賵丿 乇丕 賲蹖鈥屭┴簇� 賵 亘丕 賲丕丿乇卮 蹖賵讴丕爻鬲賴 丕夭丿賵丕噩 賲蹖讴賳丿. 丕夭 丕購丿蹖倬 丿賵 丿禺鬲乇 亘丿賳蹖丕 賲蹖鈥屫①堌必� 讴賴 丌賳鬲蹖诏賵賳赖 賵 丕蹖爻賲賳賴 賳丕賲 丿丕乇丿. 蹖賵讴丕爻鬲賴 賵賯鬲蹖 賮賴賲蹖丿 丕購丿蹖倬 趩賴 讴爻蹖 丕爻鬲貙 禺賵丿 乇丕 讴卮鬲.
丌賳鬲蹖诏賵賳赖 丌禺乇蹖賳 賳賲丕蹖卮賳丕賲賴 丕夭 爻賴鈥屭з嗁囐� 鬲亘 爻賵賮賵讴賱 丕爻鬲 丕賲丕 丕賵賱蹖賳 賳賵卮鬲賴 卮丿賴. 爻賴鈥屭з嗁囐� 爻賵賮賵讴賱 鬲乇丕跇丿蹖鈥屬嗁堐屫� 蹖賵賳丕賳蹖貙 丕賵丿蹖倬 卮賴乇蹖丕乇 賵 丕賵丿蹖倬 丿乇 讴賵賱賵賳賵爻 丕爻鬲
亘乇丕蹖 賴賲趩蹖賳 賳賲丕蹖卮賳丕賲賴 鬲乇丕跇丿 亘蹖 賳馗蹖乇 亘丕蹖丿 丕夭 丕爻丕鬲蹖丿 亘乇噩爻鬲賴 賵 賳禺亘賴 蹖 丕丿亘蹖丕鬲 賳賵卮鬲:
丕賯丿丕賲 丌賳鬲蹖诏賵賳赖 賳賲丕丿 賳賵毓蹖 丕蹖丿賴 丌賱 丕爻鬲貙 丕蹖丿賴 丌賱蹖 亘賴 賳丕賲 賵噩賵丿 蹖讴 賯丕賳賵賳 亘乇鬲乇 賵 賮乇丿蹖 鬲乇 丿乇 亘乇丕亘乇 賯丿乇鬲. 丕蹖賳 鬲乇丕跇丿蹖 讴賴 鄄鄣郯郯 爻丕賱 倬蹖卮 賳賵卮鬲賴 卮丿賴貙 爻蹖丕爻鬲 賴丕蹖 亘乇賯乇丕乇 丿乇 乇賵丨蹖賴 卮禺氐蹖 賵 禺卮賵賳鬲 乇丕 亘賴 乇禺 賲蹖 讴卮丿. 禺卮賵賳鬲蹖 讴賴 鬲睾蹖蹖乇丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 亘乇 乇賵蹖 丕賮乇丕丿 丕毓賲丕賱 賲蹖 讴賳丿 賵 丨賯蹖賯鬲丕 丕蹖賳 賴賲丕賳 賱亘賴 鬲蹖睾蹖 丕爻鬲 讴賴 賮乇丿 乇丕 丕夭 噩丕賲毓賴 噩丿丕 賲蹖 讴賳丿. 丕夭 丕蹖賳 乇賵 卮賳蹖丿賳 丕蹖賳 丿丕爻鬲丕賳 亘爻蹖丕乇 噩匕丕亘 鬲賵氐蹖賴 賲蹖 卮賵丿.
鉁斮嗁呚ж�:
爻賳丿乇賵賲 讴乇卅賵賳: [丨丕讴賲 賲爻鬲亘丿 賵 丕胤乇丕賮蹖丕賳 賲爻鬲亘丿 丕賵] (丿丕蹖蹖 丌賳鬲蹖诏賵賳赖)
鉁旓笍丌賳鬲蹖诏賵賳赖: [賳賲丕丿 鬲賳賴丕蹖蹖] 賵 [乇賳噩 賵 丿乇丿 毓賲蹖賯]
亘毓囟蹖 丕夭 丿蹖丕賱賵诏 賴丕:
鉁斬й� 賮乇夭賳丿貙 賲乇诏 爻乇賳賵卮鬲 賴賲賴 蹖 丌丿賲蹖丕賳 丕爻鬲
丌乇賽賲蹖丿賳 丿乇 诏賵丿丕賱蹖 禺丕讴蹖!
亘丕卮丿 丕蹖賳 倬賵卮卮蹖 讴賴 亘乇 鬲賵 賲蹖 丕賮鬲丿
鬲賳賽 噩賵丕賳鬲 乇丕 亘丕 賲賴乇亘丕賳蹖 丿乇 亘乇 诏蹖乇丿!
鉁斮矩ж簇з�: 丕诏乇 丿賵賱鬲 賳蹖乇賵賲賳丿 亘丕卮丿 丿乇 倬乇鬲賵 丌賳 賴賲賴 趩蹖夭 丿丕乇蹖
賴賲賴: 胤亘蹖毓鬲 爻乇卮丕乇 丕夭 毓噩丕蹖亘 丕爻鬲貙丕賲丕 丕賳爻丕賳 卮丕賴讴丕乇 丕蹖賳 胤亘蹖毓鬲 丕爻鬲
馃敺讴丕賴賳: 丌蹖丕 讴爻蹖 賳蹖爻鬲 鬲丕 亘丿丕賳丿貙鬲丕 亘賮賴賲丿 讴賴 禺賽乇賻丿 亘乇鬲乇蹖賳賽 賳蹖讴蹖 賴丕爻鬲!!!
倬丕丿卮丕賴 亘丕 禺賳丿賴: 賵 亘蹖 卮乇賲蹖 夭卮鬲 鬲乇蹖賳 亘丿蹖賴丕爻鬲
讴丕賴賳: 丿蹖賵丕賳賴 丕夭 丿蹖賵丕賳诏蹖 丕卮 賲蹖禺賳丿丿
丌賳鬲蹖诏賵賳赖 丿乇 讴賳丕乇 亘乇丕丿乇卮 倬賵賱賵賳蹖讴爻
丕購丿蹖倬 讴賴 亘毓丿 丕夭 鬲賵賱丿貙 丕夭 倬丿乇 賵 賲丕丿乇 胤乇丿 卮丿
丿乇 賳夭丕毓 噩賳诏蹖貙 倬丿乇 禺賵丿 乇丕 賲蹖鈥屭┴簇� 賵 亘丕 賲丕丿乇卮 蹖賵讴丕爻鬲賴 丕夭丿賵丕噩 賲蹖讴賳丿. 丕夭 丕購丿蹖倬 丿賵 丿禺鬲乇 亘丿賳蹖丕 賲蹖鈥屫①堌必� 讴賴 丌賳鬲蹖诏賵賳赖 賵 丕蹖爻賲賳賴 賳丕賲 丿丕乇丿. 蹖賵讴丕爻鬲賴 賵賯鬲蹖 賮賴賲蹖丿 丕購丿蹖倬 趩賴 讴爻蹖 丕爻鬲貙 禺賵丿 乇丕 讴卮鬲.
丌賳鬲蹖诏賵賳赖 丌禺乇蹖賳 賳賲丕蹖卮賳丕賲賴 丕夭 爻賴鈥屭з嗁囐� 鬲亘 爻賵賮賵讴賱 丕爻鬲 丕賲丕 丕賵賱蹖賳 賳賵卮鬲賴 卮丿賴. 爻賴鈥屭з嗁囐� 爻賵賮賵讴賱 鬲乇丕跇丿蹖鈥屬嗁堐屫� 蹖賵賳丕賳蹖貙 丕賵丿蹖倬 卮賴乇蹖丕乇 賵 丕賵丿蹖倬 丿乇 讴賵賱賵賳賵爻 丕爻鬲
亘乇丕蹖 賴賲趩蹖賳 賳賲丕蹖卮賳丕賲賴 鬲乇丕跇丿 亘蹖 賳馗蹖乇 亘丕蹖丿 丕夭 丕爻丕鬲蹖丿 亘乇噩爻鬲賴 賵 賳禺亘賴 蹖 丕丿亘蹖丕鬲 賳賵卮鬲:
丕賯丿丕賲 丌賳鬲蹖诏賵賳赖 賳賲丕丿 賳賵毓蹖 丕蹖丿賴 丌賱 丕爻鬲貙 丕蹖丿賴 丌賱蹖 亘賴 賳丕賲 賵噩賵丿 蹖讴 賯丕賳賵賳 亘乇鬲乇 賵 賮乇丿蹖 鬲乇 丿乇 亘乇丕亘乇 賯丿乇鬲. 丕蹖賳 鬲乇丕跇丿蹖 讴賴 鄄鄣郯郯 爻丕賱 倬蹖卮 賳賵卮鬲賴 卮丿賴貙 爻蹖丕爻鬲 賴丕蹖 亘乇賯乇丕乇 丿乇 乇賵丨蹖賴 卮禺氐蹖 賵 禺卮賵賳鬲 乇丕 亘賴 乇禺 賲蹖 讴卮丿. 禺卮賵賳鬲蹖 讴賴 鬲睾蹖蹖乇丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 亘乇 乇賵蹖 丕賮乇丕丿 丕毓賲丕賱 賲蹖 讴賳丿 賵 丨賯蹖賯鬲丕 丕蹖賳 賴賲丕賳 賱亘賴 鬲蹖睾蹖 丕爻鬲 讴賴 賮乇丿 乇丕 丕夭 噩丕賲毓賴 噩丿丕 賲蹖 讴賳丿. 丕夭 丕蹖賳 乇賵 卮賳蹖丿賳 丕蹖賳 丿丕爻鬲丕賳 亘爻蹖丕乇 噩匕丕亘 鬲賵氐蹖賴 賲蹖 卮賵丿.
鉁斮嗁呚ж�:
爻賳丿乇賵賲 讴乇卅賵賳: [丨丕讴賲 賲爻鬲亘丿 賵 丕胤乇丕賮蹖丕賳 賲爻鬲亘丿 丕賵] (丿丕蹖蹖 丌賳鬲蹖诏賵賳赖)
鉁旓笍丌賳鬲蹖诏賵賳赖: [賳賲丕丿 鬲賳賴丕蹖蹖] 賵 [乇賳噩 賵 丿乇丿 毓賲蹖賯]
亘毓囟蹖 丕夭 丿蹖丕賱賵诏 賴丕:
鉁斬й� 賮乇夭賳丿貙 賲乇诏 爻乇賳賵卮鬲 賴賲賴 蹖 丌丿賲蹖丕賳 丕爻鬲
丌乇賽賲蹖丿賳 丿乇 诏賵丿丕賱蹖 禺丕讴蹖!
亘丕卮丿 丕蹖賳 倬賵卮卮蹖 讴賴 亘乇 鬲賵 賲蹖 丕賮鬲丿
鬲賳賽 噩賵丕賳鬲 乇丕 亘丕 賲賴乇亘丕賳蹖 丿乇 亘乇 诏蹖乇丿!
鉁斮矩ж簇з�: 丕诏乇 丿賵賱鬲 賳蹖乇賵賲賳丿 亘丕卮丿 丿乇 倬乇鬲賵 丌賳 賴賲賴 趩蹖夭 丿丕乇蹖
賴賲賴: 胤亘蹖毓鬲 爻乇卮丕乇 丕夭 毓噩丕蹖亘 丕爻鬲貙丕賲丕 丕賳爻丕賳 卮丕賴讴丕乇 丕蹖賳 胤亘蹖毓鬲 丕爻鬲
馃敺讴丕賴賳: 丌蹖丕 讴爻蹖 賳蹖爻鬲 鬲丕 亘丿丕賳丿貙鬲丕 亘賮賴賲丿 讴賴 禺賽乇賻丿 亘乇鬲乇蹖賳賽 賳蹖讴蹖 賴丕爻鬲!!!
倬丕丿卮丕賴 亘丕 禺賳丿賴: 賵 亘蹖 卮乇賲蹖 夭卮鬲 鬲乇蹖賳 亘丿蹖賴丕爻鬲
讴丕賴賳: 丿蹖賵丕賳賴 丕夭 丿蹖賵丕賳诏蹖 丕卮 賲蹖禺賳丿丿
丌賳鬲蹖诏賵賳赖 丿乇 讴賳丕乇 亘乇丕丿乇卮 倬賵賱賵賳蹖讴爻
October 28, 2021
Antigone is surprisingly insightful and beautiful. The Odes were especially stunning. Antigone is a bold, daring character and I respect her humor and strength 馃檱鈥嶁檧锔�
Shakespeare? No. Sophocles? Yes.
Shakespeare? No. Sophocles? Yes.
January 7, 2022
丕賱賯丿乇 賵 丕賱丨亘 賵 丕賱賰亘乇賷丕亍
賰丕賳賵丕 賲賮丕鬲賷丨 賲氐賷乇 丕賳鬲賷噩賵賳貨 氐丕丨亘丞 丕賱鬲乇丕噩賷丿賷丕 丕賱賲兀爻丕賵賷丞 丕賱丕睾乇賷賯賷丞 丕賱賲鬲賰丕賲賱丞
賵 丕賳鬲賷噩賵賳 丕亘賳丞 丕賵丿賷亘賵爻 賲賱賰 胤賷亘丞 匕賵 丕賱賲氐賷乇 丕賱賲兀爻丕賵賷 賮賱賯丿 賯鬲賱 丕亘丕賴 賵 鬲夭賵噩 丕賲賴 賵 丕賳噩亘 賲賳賴丕 丕乇亘毓 兀亘賳丕亍賸!! 丕 賵毓賳丿賲丕 氐丿賲鬲賴 賲毓乇賮丞 鬲賱賰 丕賱丨賯丕賷賯貨 賮賯兀 毓賷賳賷賴 賵 賴丕賲 毓賱賷 賵噩賴賴
賵 鬲賲鬲 丕賱賵賯賷毓丞 亘賷賳 丕亘賳丕丐賴 賯鬲賱丕 亘毓囟貨 賮賯乇乇 丕賱丨丕賰賲 丿賮賳 丕丨丿賴賲丕 賵 鬲乇賰 丕賱丕禺乇 賱賱胤賷賵乇 賴賳丕 丕氐乇鬲 丕賳鬲賷噩賵賳 毓賱賶 丿賮賳賴 賵 賱賵 毓賱賷 賲賵鬲賴丕
賲兀爻丕丞 丕賳鬲賷噩賵賳 賲乇賰亘丞貨 賮賯丿 賵乇孬鬲 毓賳 賵丕賱丿賴丕 賯丿乇賴 丕賱賲馗賱賲 賵 賲氐賷乇賴 丕賱賲兀爻丕賵賷
賵 丨亘賴丕 丕賱賰亘賷乇 賱丕禺賷賴丕 噩毓賱賴丕 鬲賮囟賱 賮賯丿丕賳 丨賷丕鬲賴丕 賮賷 爻亘賷賱 鬲賰乇賷賲 噩孬賲丕賳賴
賵 賰亘乇賷丕卅賴丕 噩毓賱賴丕 鬲丨噩賲 毓賳 乇噩丕亍 丕賱丨丕賰賲. 賱鬲睾賷锟斤拷乇 賯乇丕乇賴
賰亘乇賷丕亍 丨賲丕賴丕 丕賱丨丕賰賲 賴賵 丕賱匕賷 丕賵丿賷 亘賴丕 賱賱賲氐賷乇 丕賱丨鬲賲賷
賱丕 鬲禺噩賱 賲賳 兀禺胤丕卅賰 賮丕賳鬲 亘卮乇*
賵賱賰賳 丕禺噩賱 丕匕丕 賰乇乇鬲賴丕 賵 丕丿毓賷鬲 丕賳賴丕 賲賳 賮毓賱 丕賱賯丿乇*丕
丕賳鬲賷噩賵賳 賲賳 丕賯賵賶 丕賱卮禺氐賷丕鬲 丕賱賳爻丕卅賷丞 丕丿亘賷丕 毓賱賷 丕賱丕胤賱丕賯貨 賴賷 賱賷爻鬲 賮賷 賯賲丞 丕賱賮囟賱 亘爻亘亘 丕氐賱賴丕 賵 賲兀爻鬲賴丕 丕賱毓丕卅賱賷丞 貨 賵 賱賰賳賴丕 丕賷囟丕 丕賲賷乇丞 爻丕亘賯丞貨 賵 賱丕 鬲鬲乇丿賷听 賮賷 賴賵丞 丕賱賱丐賲 賵 丕賱禺爻丞
丕爻亘睾 毓賱賷賴丕 爻賵賮賵賰賱賷爻 賲賳 丕賱丕賮 丕賱爻賳賷賳貨 听 氐賮丕鬲 乇賮賷毓丞 賮噩毓賱賴丕 賲孬丕賱 賱賱卮噩丕毓丞貨 丕賱鬲丿賷賳貨 丕賱氐乇丕賲丞貨 賵 丕賱氐賲賵丿 賰廿爻賲賴丕貨 賵 賲毓賳丕賴 丕賱氐丕賲丿丞
乇睾賲 丕賱賵囟毓 丕賱賲鬲丿賳賷 丕賱匕賷 賰丕賳鬲 鬲睾乇賯 賮賷賴 丕賱賳爻丕亍 賮賷 賴匕丕 丕賱毓氐乇 丕賱賲賳氐乇賲貨 賲賳匕 丕賱賮賷賳 賵 禺賲爻賲丕卅丞 爻賳丞
丿賵丕賮毓听 丕賳鬲賷噩賵賳 丕賳爻丕賳賷丞 丿賷賳賷丞貨
賮賵賯賮鬲 丕賲丕賲 賯賵丕賳賷賳 賵囟毓賷丞 馗丕賱賲丞貨 胤賲毓丕 賮賷 丕禺乇丞 丕賮囟賱貨 賱鬲毓亘乇 毓賳 丕賱賲丿賷 丕賱匕賷 賯丿 鬲鬲胤乇賮 丕賱賷賴 丕賱賲乇兀丞 賮賷 爻亘賷賱 丕賯丕賲丞 丕賱毓丿賱
賰丕賳賵丕 賲賮丕鬲賷丨 賲氐賷乇 丕賳鬲賷噩賵賳貨 氐丕丨亘丞 丕賱鬲乇丕噩賷丿賷丕 丕賱賲兀爻丕賵賷丞 丕賱丕睾乇賷賯賷丞 丕賱賲鬲賰丕賲賱丞
賵 丕賳鬲賷噩賵賳 丕亘賳丞 丕賵丿賷亘賵爻 賲賱賰 胤賷亘丞 匕賵 丕賱賲氐賷乇 丕賱賲兀爻丕賵賷 賮賱賯丿 賯鬲賱 丕亘丕賴 賵 鬲夭賵噩 丕賲賴 賵 丕賳噩亘 賲賳賴丕 丕乇亘毓 兀亘賳丕亍賸!! 丕 賵毓賳丿賲丕 氐丿賲鬲賴 賲毓乇賮丞 鬲賱賰 丕賱丨賯丕賷賯貨 賮賯兀 毓賷賳賷賴 賵 賴丕賲 毓賱賷 賵噩賴賴
賵 鬲賲鬲 丕賱賵賯賷毓丞 亘賷賳 丕亘賳丕丐賴 賯鬲賱丕 亘毓囟貨 賮賯乇乇 丕賱丨丕賰賲 丿賮賳 丕丨丿賴賲丕 賵 鬲乇賰 丕賱丕禺乇 賱賱胤賷賵乇 賴賳丕 丕氐乇鬲 丕賳鬲賷噩賵賳 毓賱賶 丿賮賳賴 賵 賱賵 毓賱賷 賲賵鬲賴丕
賲兀爻丕丞 丕賳鬲賷噩賵賳 賲乇賰亘丞貨 賮賯丿 賵乇孬鬲 毓賳 賵丕賱丿賴丕 賯丿乇賴 丕賱賲馗賱賲 賵 賲氐賷乇賴 丕賱賲兀爻丕賵賷
賵 丨亘賴丕 丕賱賰亘賷乇 賱丕禺賷賴丕 噩毓賱賴丕 鬲賮囟賱 賮賯丿丕賳 丨賷丕鬲賴丕 賮賷 爻亘賷賱 鬲賰乇賷賲 噩孬賲丕賳賴
賵 賰亘乇賷丕卅賴丕 噩毓賱賴丕 鬲丨噩賲 毓賳 乇噩丕亍 丕賱丨丕賰賲. 賱鬲睾賷锟斤拷乇 賯乇丕乇賴
賰亘乇賷丕亍 丨賲丕賴丕 丕賱丨丕賰賲 賴賵 丕賱匕賷 丕賵丿賷 亘賴丕 賱賱賲氐賷乇 丕賱丨鬲賲賷
賱丕 鬲禺噩賱 賲賳 兀禺胤丕卅賰 賮丕賳鬲 亘卮乇*
賵賱賰賳 丕禺噩賱 丕匕丕 賰乇乇鬲賴丕 賵 丕丿毓賷鬲 丕賳賴丕 賲賳 賮毓賱 丕賱賯丿乇*丕
丕賳鬲賷噩賵賳 賲賳 丕賯賵賶 丕賱卮禺氐賷丕鬲 丕賱賳爻丕卅賷丞 丕丿亘賷丕 毓賱賷 丕賱丕胤賱丕賯貨 賴賷 賱賷爻鬲 賮賷 賯賲丞 丕賱賮囟賱 亘爻亘亘 丕氐賱賴丕 賵 賲兀爻鬲賴丕 丕賱毓丕卅賱賷丞 貨 賵 賱賰賳賴丕 丕賷囟丕 丕賲賷乇丞 爻丕亘賯丞貨 賵 賱丕 鬲鬲乇丿賷听 賮賷 賴賵丞 丕賱賱丐賲 賵 丕賱禺爻丞
丕爻亘睾 毓賱賷賴丕 爻賵賮賵賰賱賷爻 賲賳 丕賱丕賮 丕賱爻賳賷賳貨 听 氐賮丕鬲 乇賮賷毓丞 賮噩毓賱賴丕 賲孬丕賱 賱賱卮噩丕毓丞貨 丕賱鬲丿賷賳貨 丕賱氐乇丕賲丞貨 賵 丕賱氐賲賵丿 賰廿爻賲賴丕貨 賵 賲毓賳丕賴 丕賱氐丕賲丿丞
乇睾賲 丕賱賵囟毓 丕賱賲鬲丿賳賷 丕賱匕賷 賰丕賳鬲 鬲睾乇賯 賮賷賴 丕賱賳爻丕亍 賮賷 賴匕丕 丕賱毓氐乇 丕賱賲賳氐乇賲貨 賲賳匕 丕賱賮賷賳 賵 禺賲爻賲丕卅丞 爻賳丞
丿賵丕賮毓听 丕賳鬲賷噩賵賳 丕賳爻丕賳賷丞 丿賷賳賷丞貨
賮賵賯賮鬲 丕賲丕賲 賯賵丕賳賷賳 賵囟毓賷丞 馗丕賱賲丞貨 胤賲毓丕 賮賷 丕禺乇丞 丕賮囟賱貨 賱鬲毓亘乇 毓賳 丕賱賲丿賷 丕賱匕賷 賯丿 鬲鬲胤乇賮 丕賱賷賴 丕賱賲乇兀丞 賮賷 爻亘賷賱 丕賯丕賲丞 丕賱毓丿賱
January 29, 2023
greek tragedy has this element that is truly lacking in most contemporary works, and it's simply dimensionality. this manicheean idea of a "right" and a "wrong" that oppose each other completely without intersecting is flawed in a multitude of ways and is never applicable to the human psyche and the way we act, so finding it, even in fiction, is incredibly frustrating by its inaccuracy 馃檭
January 22, 2024
协褌邪 褌褉邪谐械写懈褟 懈屑械械褌 谐芯褉邪蟹写芯 斜芯谢械械 谐谢褍斜芯泻懈泄 褋屑褘褋谢, 褔械屑 芦笑邪褉褜 协写懈锌禄. 袞懈褌褜 锌芯 薪械锌懈褋邪薪褘屑 褔械谢芯胁械褔械褋泻懈屑 蟹邪泻芯薪邪屑, 懈谢懈 锌芯 袘芯卸褜懈屑 蟹邪泻芯薪邪屑, 锌芯褋褌褍锌邪褌褜 锌芯 屑芯褉邪谢懈 - 胁芯褌 褔械屑 褉褍泻芯胁芯写褋褌胁褍械褌褋褟 袗薪褌懈谐芯薪邪, 薪械褋屑芯褌褉褟 薪邪 褋屑械褉褌械谢褜薪褘泄 褉懈褋泻 芯褋谢褍褕邪褌褜褋褟 锌褉懈泻邪蟹邪. 袝械 褔褍胁褋褌胁芯 褋锌褉邪胁械写谢懈胁芯褋褌懈 写械褟褌械谢褜薪芯械, 邪泻褌懈胁薪芯械, 懈写褍褖械械 芯褌 褋械褉写褑邪. 袨薪邪 写械泄褋褌胁褍械褌 胁 屑械褉褍 褋胁芯懈褏 褋懈谢, 锌芯谢薪邪褟 褋泻芯褉斜薪褘褏 褔褍胁褋褌胁. 袝械 谐械褉芯懈蟹屑 蟹邪泻谢褞褔邪械褌褋褟 胁 芯写懈薪芯褔薪芯屑 胁褘褋褌褍锌谢械薪懈懈 锌褉芯褌懈胁 屑芯谐褍褖械褋褌胁械薪薪芯泄 胁谢邪褋褌懈, 锌褉芯褌懈胁芯锌芯褋褌邪胁谢械薪懈懈 锌芯褉褟写芯褔薪芯褋褌懈 懈 薪褉邪胁褋褌胁械薪薪芯褋褌懈 褋邪屑芯写褍褉薪芯泄 屑褋褌懈褌械谢褜薪芯褋褌懈 褑邪褉褟 袣褉械芯薪褌邪. 袠褋屑械薪邪, 薪邪锌褉芯褌懈胁, 褟胁谢褟械褌褋褟 胁芯锌谢芯褖械薪懈械屑 褋谢邪斜芯褋褌懈, 懈 芯薪邪 邪斜褋芯谢褞褌薪芯 薪械蟹邪屑械褌薪褘泄 锌械褉褋芯薪邪卸, 褋芯蟹写邪褞褖懈泄 褎芯薪 写谢褟 袗薪褌懈谐芯薪褘.
校 袣褉械芯薪褌邪 褋胁芯褟 谢芯谐懈泻邪, 芯薪邪 谢芯卸薪邪, 芯薪邪 芯褕懈斜芯褔薪邪, 锌芯褌芯屑褍 褔褌芯 芯薪 锌褘褌邪械褌褋褟 芯锌褉邪胁写邪褌褜 褋胁芯懈 薪械谐褍屑邪薪薪褘械 写械泄褋褌胁懈褟 锌芯 薪邪泻邪蟹邪薪懈褞 锌褉械写邪褌械谢褟 袩芯谢懈薪懈泻邪 懈薪褌械褉械褋邪屑懈 谐芯褉芯写邪-谐芯褋褍写邪褉褋褌胁邪. 袟写械褋褜 屑褘 胁懈写懈屑 褌懈锌懈褔薪褍褞 写谢褟 褌懈褉邪薪懈懈 芯褌褋褘谢泻褍 薪邪 锌褉懈芯褉懈褌械褌 谐芯褋褍写邪褉褋褌胁械薪薪褘褏 懈薪褌械褉械褋芯胁 薪邪写 褔械谢芯胁械褔械褋泻懈屑懈 (斜芯卸械褋褌胁械薪薪褘屑懈), 懈 褝褌芯 褍泻邪蟹褘胁邪械褌 薪邪 谐谢褍斜懈薪褍 锌芯薪懈屑邪薪懈褟 邪胁褌芯褉芯屑 锌褉懈褉芯写褘 写械褋锌芯褌懈蟹屑邪.
袙褋械 谢褞写懈 褋胁褟蟹邪薪褘 屑械卸写褍 褋芯斜芯泄 锌褉械卸写械 胁褋械谐芯 褍蟹邪屑懈 谢褞斜胁懈. 协褌懈 褍蟹褘 谢褞斜胁懈 锌褉懈胁芯写褟褌 泻 薪械胁芯蟹屑芯卸薪芯褋褌懈 卸懈褌褜 斜械蟹 谢褞斜懈屑褘褏. 袠 褝褌懈 褍蟹褘 谢褞斜胁懈 褟胁谢褟褞褌褋褟 泻邪褉邪褞褖懈屑懈 写谢褟 袣褉械芯薪褌邪, 锌芯褌械褉褟胁褕械谐芯 胁褋械褏, 泻褌芯 械屑褍 斜褘谢 写芯褉芯谐. 协褌芯 褌芯, 褔褌芯 薪邪蟹褘胁邪械褌褋褟 袪芯泻芯屑. 小谢械锌芯泄 孝械褉械褋懈泄 锌褉械写褋泻邪蟹邪谢, 褔褌芯 薪械 斜褍写械褌 斜谢邪谐芯锌芯谢褍褔懈褟 谐芯褉芯写褍. 袧邪褉芯写 褉芯锌褖械褌. 袙芯褌 褉械蟹褍谢褜褌邪褌 褌懈褉邪薪懈懈.
校 袣褉械芯薪褌邪 褋胁芯褟 谢芯谐懈泻邪, 芯薪邪 谢芯卸薪邪, 芯薪邪 芯褕懈斜芯褔薪邪, 锌芯褌芯屑褍 褔褌芯 芯薪 锌褘褌邪械褌褋褟 芯锌褉邪胁写邪褌褜 褋胁芯懈 薪械谐褍屑邪薪薪褘械 写械泄褋褌胁懈褟 锌芯 薪邪泻邪蟹邪薪懈褞 锌褉械写邪褌械谢褟 袩芯谢懈薪懈泻邪 懈薪褌械褉械褋邪屑懈 谐芯褉芯写邪-谐芯褋褍写邪褉褋褌胁邪. 袟写械褋褜 屑褘 胁懈写懈屑 褌懈锌懈褔薪褍褞 写谢褟 褌懈褉邪薪懈懈 芯褌褋褘谢泻褍 薪邪 锌褉懈芯褉懈褌械褌 谐芯褋褍写邪褉褋褌胁械薪薪褘褏 懈薪褌械褉械褋芯胁 薪邪写 褔械谢芯胁械褔械褋泻懈屑懈 (斜芯卸械褋褌胁械薪薪褘屑懈), 懈 褝褌芯 褍泻邪蟹褘胁邪械褌 薪邪 谐谢褍斜懈薪褍 锌芯薪懈屑邪薪懈褟 邪胁褌芯褉芯屑 锌褉懈褉芯写褘 写械褋锌芯褌懈蟹屑邪.
袙褋械 谢褞写懈 褋胁褟蟹邪薪褘 屑械卸写褍 褋芯斜芯泄 锌褉械卸写械 胁褋械谐芯 褍蟹邪屑懈 谢褞斜胁懈. 协褌懈 褍蟹褘 谢褞斜胁懈 锌褉懈胁芯写褟褌 泻 薪械胁芯蟹屑芯卸薪芯褋褌懈 卸懈褌褜 斜械蟹 谢褞斜懈屑褘褏. 袠 褝褌懈 褍蟹褘 谢褞斜胁懈 褟胁谢褟褞褌褋褟 泻邪褉邪褞褖懈屑懈 写谢褟 袣褉械芯薪褌邪, 锌芯褌械褉褟胁褕械谐芯 胁褋械褏, 泻褌芯 械屑褍 斜褘谢 写芯褉芯谐. 协褌芯 褌芯, 褔褌芯 薪邪蟹褘胁邪械褌褋褟 袪芯泻芯屑. 小谢械锌芯泄 孝械褉械褋懈泄 锌褉械写褋泻邪蟹邪谢, 褔褌芯 薪械 斜褍写械褌 斜谢邪谐芯锌芯谢褍褔懈褟 谐芯褉芯写褍. 袧邪褉芯写 褉芯锌褖械褌. 袙芯褌 褉械蟹褍谢褜褌邪褌 褌懈褉邪薪懈懈.
May 27, 2023
is it not astonishing how timeless certain pieces of literature are? is it not incredible how fictionalised heroines given to us are memorialised throughout history thanks to the written word for us to discover and find individual power in?
January 12, 2010
Antigone is a strong contender in the Plays That Keep You Awake at Night competition. The background of the story reads, no surprise, like a Greek tragedy: Antigone is the orphaned daughter of Jocasta and Oedipus (the mother and father/brother team from Oedipus Rex) who has now lost both her brothers as well 鈥� they killed each other fighting over who got to rule Thebes. Uncle Creon, the new king, decreed that the 鈥渢raitor鈥� brother is to go unburied. The conflict is that Antigone plans to ignore Creon鈥檚 decree and bury her brother anyway, while Creon says if she does, he鈥檒l have her killed.
While the conflict seems simple enough, it involves two competing arenas, political and religious. Politically, Antigone represents the aristos, the old ruling families, who aren鈥檛 as loyal to law as they are to their own families, and Creon represents the demos, or the voting masses, whose primary focus is the interest of the state and the rule of law. In the religious arena, Antigone wants to honor the gods鈥� laws by burying her brother, while Creon ignores the gods鈥� laws in favor of his own decrees. So who鈥檚 right? What is the balance of power between individuals and the state? The laws of man and the laws of gods? Governing with firmness and listening with reason?
The good news is that Sophocles gives each character a leg to stand on, but only one. Antigone is right to honor the gods鈥� laws but wrong to disobey the king鈥檚 decree, and Creon is wrong to disregard the gods鈥� laws but right to expect the laws of the land to supplant individual wishes. I鈥檓 guessing Sophocles would argue that the play鈥檚 success comes from the tension between these ideas as played out by two flawed characters. On the one hand, Antigone is a strident vigilante who doesn鈥檛 care that she鈥檚 breaking the law. And on the other hand, Creon is an insecure blowhard who doesn鈥檛 care that he鈥檚 breaking custom and the will of the gods by leaving his nephew鈥檚 corpse to be eaten by birds. Neither character is easy to side with, but each has a point.
However, the bad news is that Sophocles clearly sides with Creon 鈥� through the airtime he gives Creon (far more than he gives Antigone), through the chorus鈥檚 support (who are supposed to state the opinion of the audience), and through the plot itself, which gives Creon the realization of his mistakes and the cathartic 鈥淲oe is me鈥� ending. Creon, not Antigone, follows the tragic hero trajectory. Antigone鈥檚 real tragedy is simply that she鈥檚 a member of a spectacularly dysfunctional family. While the plot vindicates Antigone鈥檚 position, Sophocles undermines her character at every turn, and for some reason this drives me bonkers. Obviously nobody would read Pride and Prejudice and **SPOILER ALERT** say, 鈥淧oor Wickham got short shrift! Jane Austen was clearly in the bag for Darcy. How unfair!鈥� because those characters exist only as the author created them. Wickham is a scoundrel because Jane Austen created a scoundrel. However, the characters in this play existed before Sophocles and therefore outside Sophocles, so I don鈥檛 think I鈥檓 a lunatic for being irritated that Sophocles was manipulative in his treatment of them. In his real-life zeal to promote the interest of the polis, Sophocles weakens Antigone鈥檚 position by characterizing her as imbalanced and unnatural, which makes the didactic focus of the story political. That was his point, and in keeping with Greek tragedy of the 5th century BC, but it still irks me.
While the conflict seems simple enough, it involves two competing arenas, political and religious. Politically, Antigone represents the aristos, the old ruling families, who aren鈥檛 as loyal to law as they are to their own families, and Creon represents the demos, or the voting masses, whose primary focus is the interest of the state and the rule of law. In the religious arena, Antigone wants to honor the gods鈥� laws by burying her brother, while Creon ignores the gods鈥� laws in favor of his own decrees. So who鈥檚 right? What is the balance of power between individuals and the state? The laws of man and the laws of gods? Governing with firmness and listening with reason?
The good news is that Sophocles gives each character a leg to stand on, but only one. Antigone is right to honor the gods鈥� laws but wrong to disobey the king鈥檚 decree, and Creon is wrong to disregard the gods鈥� laws but right to expect the laws of the land to supplant individual wishes. I鈥檓 guessing Sophocles would argue that the play鈥檚 success comes from the tension between these ideas as played out by two flawed characters. On the one hand, Antigone is a strident vigilante who doesn鈥檛 care that she鈥檚 breaking the law. And on the other hand, Creon is an insecure blowhard who doesn鈥檛 care that he鈥檚 breaking custom and the will of the gods by leaving his nephew鈥檚 corpse to be eaten by birds. Neither character is easy to side with, but each has a point.
However, the bad news is that Sophocles clearly sides with Creon 鈥� through the airtime he gives Creon (far more than he gives Antigone), through the chorus鈥檚 support (who are supposed to state the opinion of the audience), and through the plot itself, which gives Creon the realization of his mistakes and the cathartic 鈥淲oe is me鈥� ending. Creon, not Antigone, follows the tragic hero trajectory. Antigone鈥檚 real tragedy is simply that she鈥檚 a member of a spectacularly dysfunctional family. While the plot vindicates Antigone鈥檚 position, Sophocles undermines her character at every turn, and for some reason this drives me bonkers. Obviously nobody would read Pride and Prejudice and **SPOILER ALERT** say, 鈥淧oor Wickham got short shrift! Jane Austen was clearly in the bag for Darcy. How unfair!鈥� because those characters exist only as the author created them. Wickham is a scoundrel because Jane Austen created a scoundrel. However, the characters in this play existed before Sophocles and therefore outside Sophocles, so I don鈥檛 think I鈥檓 a lunatic for being irritated that Sophocles was manipulative in his treatment of them. In his real-life zeal to promote the interest of the polis, Sophocles weakens Antigone鈥檚 position by characterizing her as imbalanced and unnatural, which makes the didactic focus of the story political. That was his point, and in keeping with Greek tragedy of the 5th century BC, but it still irks me.
June 11, 2019
I really enjoyed this. It鈥檚 easy to read (minus a few of the long chorus paragraphs), and Antigone is the heroine of Greek tragedies I never knew I needed. She鈥檚 got a backbone, a level of principles high above those around her, and she鈥檚 not afraid of anyone. Least of all King Creon. Honestly, she鈥檚 so ahead of her time, I did not expect the high levels of sass I got while reading this, and it鈥檚 surprisingly funny in places too. The overall short length stopped this getting too 鈥榖ogged down鈥� too.
I鈥檓 really glad I picked this up. I might even delve into more Greek tragedies in the future if they鈥檙e like this. It鈥檚 not as dry as it seems.
I鈥檓 really glad I picked this up. I might even delve into more Greek tragedies in the future if they鈥檙e like this. It鈥檚 not as dry as it seems.
June 14, 2019
鈥� Son nata per amar, non per odiare.鈥�
Nell鈥檃ntica Grecia non dare degna sepoltura al corpo di un uomo, lasciarlo in pasto ai rapaci era un gesto empio e contrario al volere degli dei. Il corpo di Polinice che si 猫 macchiato di tradimento contro la sua terra, non pu貌 essere sepolto per ordine del nuovo re di Tebe, Creonte.
Antigone 猫 una guerriera. Ha deciso contro ogni ordine che seppellir脿 il fratello Polinice. Combatte da sola la sua battaglia per difendere quanto di pi霉 sacro ha: la sua famiglia, anche contro le leggi, ingiustamente emanate.
鈥淎ntigone: Andr貌 da sola
a seppellirlo e sento che bello
sar脿 morire in questa occupazione:
cara con lui a me caro, giacer貌
ad una sacra colpa consacrata.
Pi霉 che ai vivi, piacer devo ai morti,
che in eterno con loro rimarr貌鈥�.
E di questo 猫 orgogliosa. Rispetter脿 le leggi degli dei andando contro la legge dell鈥檜omo che non perdona. E cos矛 morir脿 degnamente.
鈥淧otevo io sfidare degli d猫i
la punizione per avere avuto
paura di un uom che nulla vale?鈥�
La lotta 猫 fra uomo e donna, fra re e suddito. E sono conflitti insanabili. Lei fiera e altera, pronta a tutto pur di ottenere vittoria; il re Creonte cieco al volere degli dei, ascolta solo l鈥檃stio che lo alimenta e cerca riscatto per la sua terra. Ma il sovrano pagher脿 la sua tracotanza, la famosa hybrys greca, con quanto di pi霉 caro ha al mondo.
Pi霉 fili tragici si intrecciano: la sepoltura di Polinice, l鈥檃llontanamento di Ismene, il debole che soccombe al pi霉 forte, l鈥檕rdine che sovverte il caos.
Antigone 猫 una figura fortissima, una donna fiera, un esempio di ribellione contro l鈥檌ngiusto.
Splendida anche la figura di Tiresia, il cieco indovino:
鈥淩ifletti, figlio mio,
lo sbagliare 猫 comune ai mortali,
ma il saggio 猫 sempre pronto a riparare
l'errore. Stolto 猫 colui che riparo
non prende mentre il male diventa
尘补驳驳颈辞谤别鈥�.
L鈥檃ttualit脿 del messaggio che da questi testi emerge sempre mi sconvolge. A distanza di secoli non perdono la loro forza e la lettura 猫 bellissima, fonte di riflessioni intense e a volte amare. 鈥� La sorte che aiuta l'infelice, colpisce il fortunato:
nessun pu貌 dire quando finir脿鈥� .
Si paga sempre. Il conto prima o poi arriva.
鈥�Felice 猫 chi la sua vita trascorre
lontan dai mali, se invece la casa
猫 sconvolta da un dio, la sventura
prende a infierire sull'intera stirpe
cos矛 come un'ondata marina
trascinata dalla furia del vento,
il fondo dell'oceano sconvolge
e si avventa sonora sulle spiagge鈥� .
.
Nell鈥檃ntica Grecia non dare degna sepoltura al corpo di un uomo, lasciarlo in pasto ai rapaci era un gesto empio e contrario al volere degli dei. Il corpo di Polinice che si 猫 macchiato di tradimento contro la sua terra, non pu貌 essere sepolto per ordine del nuovo re di Tebe, Creonte.
Antigone 猫 una guerriera. Ha deciso contro ogni ordine che seppellir脿 il fratello Polinice. Combatte da sola la sua battaglia per difendere quanto di pi霉 sacro ha: la sua famiglia, anche contro le leggi, ingiustamente emanate.
鈥淎ntigone: Andr貌 da sola
a seppellirlo e sento che bello
sar脿 morire in questa occupazione:
cara con lui a me caro, giacer貌
ad una sacra colpa consacrata.
Pi霉 che ai vivi, piacer devo ai morti,
che in eterno con loro rimarr貌鈥�.
E di questo 猫 orgogliosa. Rispetter脿 le leggi degli dei andando contro la legge dell鈥檜omo che non perdona. E cos矛 morir脿 degnamente.
鈥淧otevo io sfidare degli d猫i
la punizione per avere avuto
paura di un uom che nulla vale?鈥�
La lotta 猫 fra uomo e donna, fra re e suddito. E sono conflitti insanabili. Lei fiera e altera, pronta a tutto pur di ottenere vittoria; il re Creonte cieco al volere degli dei, ascolta solo l鈥檃stio che lo alimenta e cerca riscatto per la sua terra. Ma il sovrano pagher脿 la sua tracotanza, la famosa hybrys greca, con quanto di pi霉 caro ha al mondo.
Pi霉 fili tragici si intrecciano: la sepoltura di Polinice, l鈥檃llontanamento di Ismene, il debole che soccombe al pi霉 forte, l鈥檕rdine che sovverte il caos.
Antigone 猫 una figura fortissima, una donna fiera, un esempio di ribellione contro l鈥檌ngiusto.
Splendida anche la figura di Tiresia, il cieco indovino:
鈥淩ifletti, figlio mio,
lo sbagliare 猫 comune ai mortali,
ma il saggio 猫 sempre pronto a riparare
l'errore. Stolto 猫 colui che riparo
non prende mentre il male diventa
尘补驳驳颈辞谤别鈥�.
L鈥檃ttualit脿 del messaggio che da questi testi emerge sempre mi sconvolge. A distanza di secoli non perdono la loro forza e la lettura 猫 bellissima, fonte di riflessioni intense e a volte amare. 鈥� La sorte che aiuta l'infelice, colpisce il fortunato:
nessun pu貌 dire quando finir脿鈥� .
Si paga sempre. Il conto prima o poi arriva.
鈥�Felice 猫 chi la sua vita trascorre
lontan dai mali, se invece la casa
猫 sconvolta da un dio, la sventura
prende a infierire sull'intera stirpe
cos矛 come un'ondata marina
trascinata dalla furia del vento,
il fondo dell'oceano sconvolge
e si avventa sonora sulle spiagge鈥� .
.
August 20, 2021
I first read Antigone when I took a course in college dedicated to the early Greek plays. I find it weathers well, but then that should be no surprise since it has already weathered more than 2000 years.
Twice I was taken by the presence of phrases we still use commonly today. Is this the possible first use of 鈥渂it the dust鈥�?
Here, there, great Ares like a war horse wheeled;
Beneath his car down thrust
Our foemen bit the dust
And this of 鈥渟tand your ground鈥�?
Such a man would in the storm of battle stand his ground.
The story revolves around the girl Antigone, daughter of Oedipus, whose brothers have fought and slain one another in battle. The brother on the non-victorious side, Polyneices, is laid out to be eaten by dogs and scavenger birds, and Creon, the king, makes it a crime for anyone to bury him. Antigone, heeding the laws of the Gods over the rule of one man, defies the king and attempts to bury her brother.
What ensues is tragedy. Creon鈥檚 insistence that he, and he alone, rules in Thebes, costs everyone in the play dearly, including himself.
His son, Haemon, pleads with him to listen to reason and be swayed by those who see the other side of the question, but he is stubborn and closes his eyes and ears. Haemon鈥檚 words are powerful, especially now, when I find so many people have their ideas set in stone and refuse to entertain the possibility of being wrong about anything.
Haemon鈥檚 plea:
The wisest man will let himself be swayed
By others鈥� wisdom and relax in time.
See how the trees beside a stream in flood
Save, if they yield to force, each spray unharmed,
But by resisting perish root and branch.
Finally, there was a stanza that jumped out at me as being so true of our own time and made me stop and think that little really changes over time:
Of evils current upon earth
The worst is money. Money 鈥榯is that sacks
Cities, and drives men forth from hearth and home;
I was surprised how much of the mythology I have retained from my school days and my subsequent readings of Bulfinch鈥檚 and Edith Hamilton, although I will confess to being happy to have Google available for the more obscure references. I realized, after reading this, that I would really enjoy revisiting all these early plays. Perhaps the other Oedipus plays from this trilogy will make my list before the end of the year.
Twice I was taken by the presence of phrases we still use commonly today. Is this the possible first use of 鈥渂it the dust鈥�?
Here, there, great Ares like a war horse wheeled;
Beneath his car down thrust
Our foemen bit the dust
And this of 鈥渟tand your ground鈥�?
Such a man would in the storm of battle stand his ground.
The story revolves around the girl Antigone, daughter of Oedipus, whose brothers have fought and slain one another in battle. The brother on the non-victorious side, Polyneices, is laid out to be eaten by dogs and scavenger birds, and Creon, the king, makes it a crime for anyone to bury him. Antigone, heeding the laws of the Gods over the rule of one man, defies the king and attempts to bury her brother.
What ensues is tragedy. Creon鈥檚 insistence that he, and he alone, rules in Thebes, costs everyone in the play dearly, including himself.
His son, Haemon, pleads with him to listen to reason and be swayed by those who see the other side of the question, but he is stubborn and closes his eyes and ears. Haemon鈥檚 words are powerful, especially now, when I find so many people have their ideas set in stone and refuse to entertain the possibility of being wrong about anything.
Haemon鈥檚 plea:
The wisest man will let himself be swayed
By others鈥� wisdom and relax in time.
See how the trees beside a stream in flood
Save, if they yield to force, each spray unharmed,
But by resisting perish root and branch.
Finally, there was a stanza that jumped out at me as being so true of our own time and made me stop and think that little really changes over time:
Of evils current upon earth
The worst is money. Money 鈥榯is that sacks
Cities, and drives men forth from hearth and home;
I was surprised how much of the mythology I have retained from my school days and my subsequent readings of Bulfinch鈥檚 and Edith Hamilton, although I will confess to being happy to have Google available for the more obscure references. I realized, after reading this, that I would really enjoy revisiting all these early plays. Perhaps the other Oedipus plays from this trilogy will make my list before the end of the year.
August 22, 2017
The family or the state
6 May 2012
This is probably the closest of all of the Greek tragedies to a Shakespearian tragedy. This is due to the end of the play having a huge bodycount and the action of the play is driven by one person's fatal flaw (not that I actually believe in the fatal flaw argument, but that is beside the point). However it is not Antigone who has the fatal flaw in this play but rather Creon, the king of Thebes. Unfortunately we cannot really look to Oedipus at Colonus to see the beginning of Creon's downfall because this play is not the final part of a trilogy, at least in the Aeschylan sense of a trilogy, though it is noticeable that when the copyists chose seven plays of Sophocles to preserve for posterity three of the Theban plays were kept which in a sense formed a trilogy, and in this trilogy we see Creon go from being a loyal servant of Oedipus to a ruthless tyrant that believes that he is the state and that his words are not to be disobeyed.
First I will discuss the term Harmatia, which is Aristotelian in origin, at least from his text on drama (The Poetics). I shall also look at the action of the play and finish off by discussing the main theme, which is the struggle between loyalty to one's family and loyalty to one's state. Well, no, I will finish off by looking at Creon's character, and how his actions bring about such a sticky end.
The concept of Harmatia is regularly found in the Bible where it has been translated into our word sin. Now, as I think about the concept of Harmatia I am somewhat torn between suggesting that Harmatia and sin are two different ideas, or that our modern understanding of sin does not exactly weigh with how the modern church translates and preaches it. The modern church preaches sin as being rebellion against God (of which we are all guilty), and then goes on to bombard us with what constitutes sin. However, to the Greeks, or at least to Aristotle, Harmatia is a fatal character flaw. Now that concept does not alienate sin because sin, in an of itself, is a fatal character flaw that we have inherited from Adam and Eve. This fatal character flaw of ours is our desire to live independently, and we see this more and more as we meet with people and associate with them. I also see it rampant throughout the church as people try to push God into a box and tell him what sin is rather than letting him demonstrate sin to them.
I say this because the list of sins seems to get longer and longer and we, as humans and those of us who call ourselves Christian, seem to think that sin is made up of our actions as opposed to our desire to rule ourselves. I guess the best explanation is that our actions, especially our selfish actions, are merely a symptom of this character flaw of ours. The Bible is correct when it says that the wages of sin is death, because as we see, especially in Antigone, that Creon's Harmatia leaves him desolate and alone, and as he says from his own lips, it is as if he were dead. Now, the Greek concept of death, the absence of life, and the removal of ourselves from this world, is somewhat different to the Biblical concept of death. In fact our modern understanding of death is more in line with the Grecian view. However the biblical view is that death is more to do with the break down of our relationships, particularly our relationship with God, than it is with the absence of life. To the Bible life is defined by relationships, and when we drive our relationships apart we are little more than dead. In fact it has been suggested that higher suicide rates occur among truly lonely people than it does among people who are surrounded by friends. That, though, is only speculation. However, consider this: even when we are surrounded by friends we can still be alone, especially if these so called friends of ours only seek us out for company and, in their self centred view of the world, seek to only have us by their side to make them feel good and important than really doing anything that is remotely friendly.
Now, the play itself is set after the Theban war, where Etocles and Polyneices killed each other after Polyneices attacked Thebes with his army to remove his brother and set himself up as king. Creon, by default, becomes king and his first order of business is to give Etocles a state funeral while leaving the body of Polyneices exposed. To be exposed was the worst thing that you could do to a corpse in the Ancient Greek world. A proper burial meant that you would at least have a half decent afterlife, while being exposed suggests that you would be left wondering the earth as a ghost, and a tormented one at that. Antigone, the sister of Polyneices, is horrified at this and seeks to bury him, much to Creon's displeasure, so he orders her executed. However the play is not as simple as that because Creon's son is in love with Antigone, and when he finds her dead, he kills himself, and in a fit of grief over the death of her son, Creon's wife also kills herself.
Now one of the main themes that comes out of this play is the struggle between one's loyalty to the state and one's loyalty to one's family and the dilemma that one will face when the state passes a law of which you do not approve. The question that is raised is: do you dishonour the state by breaking the law and honouring your family, or do you dishonour your family by upholding the law even when the law is unjust. In a way, there was nothing wrong with Creon's law, since Polyneices was a traitor, and treachery is seen as one of the worst crimes to commit (even today, though the definition of treason has become very ambiguous in the globalised, interconnected world). However, he was still family, and not only that, Etocles' ascension to the throne was dubious at best. The entire war was not so much about a deposed monarch seeking reinstatement, but rather a family quarrel between two brothers.
We still face these dilemmas today, though not to the same extent. The question of whether the drug laws are just is one of them (and I do believe that they are, even though they can be considered to be an outworking of the Nanny State). While it is true that people should be left to make their own decisions, we demonstrate time and time again that we are actually not capable of doing so, therefore the state actually does need to step in to protect us from ourselves. Then there is the war that the state embarks on that many members of the state disapprove of, and as a loyal soldier to the state, do you obey the state by embarking on a quasi-legal adventure, or do you uphold your morals by refusing, and face punishment or even gaol.
Creon mentions a number of times that he, as the king, is the state, and thus his laws are to be obeyed. However, ironically enough, the Chorus objects to this. Now the Chorus does play an important role in Greek tragedy, and usually represents what the Greeks call the 'Oklos', or the crowd. Crowd is actually a rather bad translation as my understanding of the Oklos is that it is a crowd that acts as a single entity and has a single mindset. Now, this is not always the case in Greek tragedy as at times the Chorus will split and then argue with itself, in a way representing division amongst the people. It is a shame that we do not actually see Choruses in plays any more (or not playing a major role as they did in Greek drama).
Now Creon, having become king, has pretty much become corrupted by power. Yet I am not entirely convinced that it is corruption at such an early stage of his reign. In a way, he is the new king, and he wants to stamp his authority on the city, or, as the Greeks called it, the Polis (I won't go into details of the meaning of this word as I have already spent too much time translating Oklos). For him to be disobeyed will suggest that he does not actually have the character to be a king. A king that is not obeyed and not respected is not actually a king because he has no authority. As such Creon wants to make sure that his authority sticks so when this law is broken he is forced to act. However, he is not caught in a dilemma deciding whether it is right to punish Antigone or not - he has already made up his mind, set the path that he wants to travel, and travels down it. However, it ends very, very badly for him, and this is emphasised at the conclusion when the prophet Tiresieus arrives and passes on the message from the gods. He has acted against the proper way and is now to be punished and there is no way to escape from it.
I recently watch a production of this play and have written on some of the ideas that came out of this production.
6 May 2012
This is probably the closest of all of the Greek tragedies to a Shakespearian tragedy. This is due to the end of the play having a huge bodycount and the action of the play is driven by one person's fatal flaw (not that I actually believe in the fatal flaw argument, but that is beside the point). However it is not Antigone who has the fatal flaw in this play but rather Creon, the king of Thebes. Unfortunately we cannot really look to Oedipus at Colonus to see the beginning of Creon's downfall because this play is not the final part of a trilogy, at least in the Aeschylan sense of a trilogy, though it is noticeable that when the copyists chose seven plays of Sophocles to preserve for posterity three of the Theban plays were kept which in a sense formed a trilogy, and in this trilogy we see Creon go from being a loyal servant of Oedipus to a ruthless tyrant that believes that he is the state and that his words are not to be disobeyed.
First I will discuss the term Harmatia, which is Aristotelian in origin, at least from his text on drama (The Poetics). I shall also look at the action of the play and finish off by discussing the main theme, which is the struggle between loyalty to one's family and loyalty to one's state. Well, no, I will finish off by looking at Creon's character, and how his actions bring about such a sticky end.
The concept of Harmatia is regularly found in the Bible where it has been translated into our word sin. Now, as I think about the concept of Harmatia I am somewhat torn between suggesting that Harmatia and sin are two different ideas, or that our modern understanding of sin does not exactly weigh with how the modern church translates and preaches it. The modern church preaches sin as being rebellion against God (of which we are all guilty), and then goes on to bombard us with what constitutes sin. However, to the Greeks, or at least to Aristotle, Harmatia is a fatal character flaw. Now that concept does not alienate sin because sin, in an of itself, is a fatal character flaw that we have inherited from Adam and Eve. This fatal character flaw of ours is our desire to live independently, and we see this more and more as we meet with people and associate with them. I also see it rampant throughout the church as people try to push God into a box and tell him what sin is rather than letting him demonstrate sin to them.
I say this because the list of sins seems to get longer and longer and we, as humans and those of us who call ourselves Christian, seem to think that sin is made up of our actions as opposed to our desire to rule ourselves. I guess the best explanation is that our actions, especially our selfish actions, are merely a symptom of this character flaw of ours. The Bible is correct when it says that the wages of sin is death, because as we see, especially in Antigone, that Creon's Harmatia leaves him desolate and alone, and as he says from his own lips, it is as if he were dead. Now, the Greek concept of death, the absence of life, and the removal of ourselves from this world, is somewhat different to the Biblical concept of death. In fact our modern understanding of death is more in line with the Grecian view. However the biblical view is that death is more to do with the break down of our relationships, particularly our relationship with God, than it is with the absence of life. To the Bible life is defined by relationships, and when we drive our relationships apart we are little more than dead. In fact it has been suggested that higher suicide rates occur among truly lonely people than it does among people who are surrounded by friends. That, though, is only speculation. However, consider this: even when we are surrounded by friends we can still be alone, especially if these so called friends of ours only seek us out for company and, in their self centred view of the world, seek to only have us by their side to make them feel good and important than really doing anything that is remotely friendly.
Now, the play itself is set after the Theban war, where Etocles and Polyneices killed each other after Polyneices attacked Thebes with his army to remove his brother and set himself up as king. Creon, by default, becomes king and his first order of business is to give Etocles a state funeral while leaving the body of Polyneices exposed. To be exposed was the worst thing that you could do to a corpse in the Ancient Greek world. A proper burial meant that you would at least have a half decent afterlife, while being exposed suggests that you would be left wondering the earth as a ghost, and a tormented one at that. Antigone, the sister of Polyneices, is horrified at this and seeks to bury him, much to Creon's displeasure, so he orders her executed. However the play is not as simple as that because Creon's son is in love with Antigone, and when he finds her dead, he kills himself, and in a fit of grief over the death of her son, Creon's wife also kills herself.
Now one of the main themes that comes out of this play is the struggle between one's loyalty to the state and one's loyalty to one's family and the dilemma that one will face when the state passes a law of which you do not approve. The question that is raised is: do you dishonour the state by breaking the law and honouring your family, or do you dishonour your family by upholding the law even when the law is unjust. In a way, there was nothing wrong with Creon's law, since Polyneices was a traitor, and treachery is seen as one of the worst crimes to commit (even today, though the definition of treason has become very ambiguous in the globalised, interconnected world). However, he was still family, and not only that, Etocles' ascension to the throne was dubious at best. The entire war was not so much about a deposed monarch seeking reinstatement, but rather a family quarrel between two brothers.
We still face these dilemmas today, though not to the same extent. The question of whether the drug laws are just is one of them (and I do believe that they are, even though they can be considered to be an outworking of the Nanny State). While it is true that people should be left to make their own decisions, we demonstrate time and time again that we are actually not capable of doing so, therefore the state actually does need to step in to protect us from ourselves. Then there is the war that the state embarks on that many members of the state disapprove of, and as a loyal soldier to the state, do you obey the state by embarking on a quasi-legal adventure, or do you uphold your morals by refusing, and face punishment or even gaol.
Creon mentions a number of times that he, as the king, is the state, and thus his laws are to be obeyed. However, ironically enough, the Chorus objects to this. Now the Chorus does play an important role in Greek tragedy, and usually represents what the Greeks call the 'Oklos', or the crowd. Crowd is actually a rather bad translation as my understanding of the Oklos is that it is a crowd that acts as a single entity and has a single mindset. Now, this is not always the case in Greek tragedy as at times the Chorus will split and then argue with itself, in a way representing division amongst the people. It is a shame that we do not actually see Choruses in plays any more (or not playing a major role as they did in Greek drama).
Now Creon, having become king, has pretty much become corrupted by power. Yet I am not entirely convinced that it is corruption at such an early stage of his reign. In a way, he is the new king, and he wants to stamp his authority on the city, or, as the Greeks called it, the Polis (I won't go into details of the meaning of this word as I have already spent too much time translating Oklos). For him to be disobeyed will suggest that he does not actually have the character to be a king. A king that is not obeyed and not respected is not actually a king because he has no authority. As such Creon wants to make sure that his authority sticks so when this law is broken he is forced to act. However, he is not caught in a dilemma deciding whether it is right to punish Antigone or not - he has already made up his mind, set the path that he wants to travel, and travels down it. However, it ends very, very badly for him, and this is emphasised at the conclusion when the prophet Tiresieus arrives and passes on the message from the gods. He has acted against the proper way and is now to be punished and there is no way to escape from it.
I recently watch a production of this play and have written on some of the ideas that came out of this production.
October 23, 2023
亘賴 賯丿乇蹖 鬲噩乇亘賴 禺賵丕賳丿賳 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賮賵賯 丕賱毓丕丿賴 亘賵丿 讴賴 亘丿賵賳 賵賯賮賴 亘丕 蹖讴 鬲乇噩賲賴 丿蹖诏乇貙 蹖讴蹖 丕夭 丕毓囟丕蹖 丕蹖賳 爻賴鈥屭з嗁� 賮賵賯鈥屫з勜关ж� 乇丕 賲噩丿丿 禺賵丕賳丿賲.
丿乇 賲乇賵乇蹖 讴賴 亘乇 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賳賵卮鬲賲貨 亘蹖卮鬲乇 乇丕噩毓 亘賴 賳賲丕蹖卮賳丕賲賴 丕賵賱 賵 丕丿蹖倬賵爻 氐丨亘鬲 讴乇丿賲. 丕賲丕 乇丕噩毓 亘賴 丌賳鬲蹖诏賵賳赖... 乇賵丕蹖鬲 丌賳鬲蹖诏賵賳赖 乇賵丕蹖鬲蹖 丕爻鬲 讴賴 賴賲賴 趩蹖 丿丕乇丿. 鬲乇丕跇丿蹖 丿丕乇丿. 毓卮賯 丿丕乇丿. 丿賵卅賱 丨賯 賵 賳丕丨賯 丿丕乇丿. 丿丕爻鬲丕賳鈥� 丿蹖讴鬲丕鬲賵乇蹖 賴丕 乇丕 丿丕乇丿 賵... 亘爻蹖丕乇蹖 丕夭 讴丕乇卮賳丕爻丕賳 丨鬲蹖 丌賳鬲蹖诏賵賳赖 乇丕 丿乇 倬賱賴 丕蹖 亘丕賱丕鬲乇 丕夭 丕丿蹖倬賵爻 卮賴乇蹖丕乇 賯乇丕乇 賲蹖鈥屫囐嗀�.
乇賵丕蹖鬲 爻賵賮賵讴賱爻 丕夭 賯丿乇鬲鈥屬嗁呚й屰� 讴乇卅賵賳貙 賵 卮丕賴讴丕乇 丿蹖丕賱賵诏鈥屬囏й屰� 讴賴 亘蹖賳 丕賵 賵 倬爻乇卮 乇丿 賵 亘丿賱 賲蹖卮賴 賳賲蹖鈥屫堎嗁� 賱丨馗丕鬲蹖 丕爻鬲 讴賴 丿乇 趩賴 噩丕蹖蹖 亘乇丕蹖 賲賳 鬲讴乇丕乇 禺賵丕賴丿 卮丿.
丿乇 倬丕蹖丕賳 賲蹖鈥屫堌з� 亘蹖賳 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 賵 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 賲賯丕蹖爻賴 丕蹖 讴賳賲. 丿乇 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 鬲賱丕卮 卮丿賴 亘賵丿 讴賴 賱丨賳 丨賲丕爻蹖 賵 丕爻胤賵乇賴 賵丕乇 賲鬲賳 丿乇 鬲乇噩賲賴 賮丕乇爻蹖 賴賲 賳賲賵丿 丿丕卮鬲賴 亘丕卮丿 讴賴 亘乇丕蹖 賲賳 噩匕丕亘 亘賵丿. 丕賲丕 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 趩賳蹖賳 鬲賱丕卮蹖 乇丕 賳讴乇丿賴 亘賵丿. 丕賵 丿乇 倬丕蹖丕賳 賲賯丿賲賴 丨鬲蹖 賲蹖鈥屬嗁堐屫池�:
"... 鬲乇丕跇丿蹖 蹖賵賳丕賳蹖貙 亘賴 毓賳賵丕賳 蹖讴 賴賳乇 亘丿賵蹖貙 丿乇 賳賴丕蹖鬲 爻丕丿诏蹖 賵 丕賯鬲氐丕乇 讴賱丕賲 賳賵卮鬲賴 賲蹖 卮丿賴 丕爻鬲. 胤亘蹖毓蹖 丕爻鬲 讴賴 丿乇 鬲乇噩賲賴 丌賳 賴賲 丕蹖賳 爻丕丿诏蹖 賵 丕賯鬲氐丕乇 亘丕蹖丿 乇毓丕蹖鬲 卮賵丿. 鬲賱丕卮 亘乇丕蹖 乇爻蹖丿賳 亘賴 賳賵毓蹖 夭亘丕賳 賮丕禺乇 蹖丕 賮禺蹖賲 亘乇丕蹖 鬲乇噩賲賴 趩賳蹖賳 賲鬲賳蹖 讴賴 诏丕賴蹖 丿蹖丿賴 賲蹖 卮賵丿- 亘賴 賳馗乇 賲賳 鬲賱丕卮 亘蹖賴賵丿賴 丕蹖爻鬲 賵 賳鬲蹖噩賴 丌賳 丿賵乇 卮丿賳 丕夭 乇賵丨 賲鬲賳 丕氐賱蹖 禺賵丕賴丿 亘賵丿. 亘賴 賴賲蹖賳 丿賱蹖賱 丿乇 鬲乇噩賲賴 賲賳 丕夭 賲鬲賳 丌賳鬲蹖诏賵賳赖 亘賳丕 亘乇 爻丕丿诏蹖 賵 倬蹖乇丕爻鬲诏蹖 亘賵丿賴 丕爻鬲.讴爻丕賳蹖 讴賴 丿乇 鬲乇噩賲賴 丌孬丕乇 讴賴賳 賵 讴賱丕爻蹖讴 丿乇 倬蹖 夭亘丕賳 賮丕禺乇 賲蹖 诏乇丿賳丿 丿乇 丕蹖賳 鬲乇噩賲賴 趩賳蹖賳 趩蹖夭蹖 賳禺賵丕賴賳丿 丿蹖丿."
丕賱亘鬲賴 丿乇 賲賯丿賲賴 趩丕倬 55 丕蹖卮丕賳 亘賴 鬲賵噩賴 卮丕賳 亘賴 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 丕卮丕乇賴 賲蹖 讴賳丿 賵 丕夭 丕蹖卮丕賳 亘賴 賳蹖讴蹖 蹖丕丿 賲蹖 讴賳丿.
亘丕蹖丿 丕丿丕賲賴 亘丿賴賲 讴賴 亘賴 噩夭 賲賯丿賲賴 丿乇蹖丕亘賳丿乇蹖 亘乇 丌賳鬲蹖诏賵賳赖 丿賵 囟賲蹖賲賴 丿蹖诏乇 賴賲 倬蹖卮 丕夭 賳賲丕蹖卮賳丕賲賴 賵噩賵丿 丿丕乇丿貨 蹖讴蹖 賲鬲賳 賴丕蹖丿诏乇 讴賴 丕夭 賲賯丿賲賴 讴鬲丕亘 賲賯丿賲賴 丕蹖 亘乇 賲鬲丕賮蹖夭蹖讴 丌賵乇丿賴 卮丿賴 賵 賳丕馗乇 亘賴 爻乇賵丿 丿賵賲 蹖丕 爻乇賵丿 丕賳爻丕賳 丕爻鬲 讴賴 丿乇 賲鬲賳 賴爻鬲. 囟賲蹖賲賴 丿蹖诏乇 賴賲 賲鬲賳蹖 丕爻鬲 亘乇诏乇賮鬲賴 丕夭 讴鬲丕亘 鬲毓亘蹖乇 乇賵蹖丕蹖 賮乇賵蹖丿.
丿乇 賲乇賵乇蹖 讴賴 亘乇 丕賮爻丕賳賴鈥屬囏й� 鬲亘丕蹖 賳賵卮鬲賲貨 亘蹖卮鬲乇 乇丕噩毓 亘賴 賳賲丕蹖卮賳丕賲賴 丕賵賱 賵 丕丿蹖倬賵爻 氐丨亘鬲 讴乇丿賲. 丕賲丕 乇丕噩毓 亘賴 丌賳鬲蹖诏賵賳赖... 乇賵丕蹖鬲 丌賳鬲蹖诏賵賳赖 乇賵丕蹖鬲蹖 丕爻鬲 讴賴 賴賲賴 趩蹖 丿丕乇丿. 鬲乇丕跇丿蹖 丿丕乇丿. 毓卮賯 丿丕乇丿. 丿賵卅賱 丨賯 賵 賳丕丨賯 丿丕乇丿. 丿丕爻鬲丕賳鈥� 丿蹖讴鬲丕鬲賵乇蹖 賴丕 乇丕 丿丕乇丿 賵... 亘爻蹖丕乇蹖 丕夭 讴丕乇卮賳丕爻丕賳 丨鬲蹖 丌賳鬲蹖诏賵賳赖 乇丕 丿乇 倬賱賴 丕蹖 亘丕賱丕鬲乇 丕夭 丕丿蹖倬賵爻 卮賴乇蹖丕乇 賯乇丕乇 賲蹖鈥屫囐嗀�.
乇賵丕蹖鬲 爻賵賮賵讴賱爻 丕夭 賯丿乇鬲鈥屬嗁呚й屰� 讴乇卅賵賳貙 賵 卮丕賴讴丕乇 丿蹖丕賱賵诏鈥屬囏й屰� 讴賴 亘蹖賳 丕賵 賵 倬爻乇卮 乇丿 賵 亘丿賱 賲蹖卮賴 賳賲蹖鈥屫堎嗁� 賱丨馗丕鬲蹖 丕爻鬲 讴賴 丿乇 趩賴 噩丕蹖蹖 亘乇丕蹖 賲賳 鬲讴乇丕乇 禺賵丕賴丿 卮丿.
丿乇 倬丕蹖丕賳 賲蹖鈥屫堌з� 亘蹖賳 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 賵 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 賲賯丕蹖爻賴 丕蹖 讴賳賲. 丿乇 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 鬲賱丕卮 卮丿賴 亘賵丿 讴賴 賱丨賳 丨賲丕爻蹖 賵 丕爻胤賵乇賴 賵丕乇 賲鬲賳 丿乇 鬲乇噩賲賴 賮丕乇爻蹖 賴賲 賳賲賵丿 丿丕卮鬲賴 亘丕卮丿 讴賴 亘乇丕蹖 賲賳 噩匕丕亘 亘賵丿. 丕賲丕 丌賯丕蹖 丿乇蹖丕亘賳丿乇蹖 趩賳蹖賳 鬲賱丕卮蹖 乇丕 賳讴乇丿賴 亘賵丿. 丕賵 丿乇 倬丕蹖丕賳 賲賯丿賲賴 丨鬲蹖 賲蹖鈥屬嗁堐屫池�:
"... 鬲乇丕跇丿蹖 蹖賵賳丕賳蹖貙 亘賴 毓賳賵丕賳 蹖讴 賴賳乇 亘丿賵蹖貙 丿乇 賳賴丕蹖鬲 爻丕丿诏蹖 賵 丕賯鬲氐丕乇 讴賱丕賲 賳賵卮鬲賴 賲蹖 卮丿賴 丕爻鬲. 胤亘蹖毓蹖 丕爻鬲 讴賴 丿乇 鬲乇噩賲賴 丌賳 賴賲 丕蹖賳 爻丕丿诏蹖 賵 丕賯鬲氐丕乇 亘丕蹖丿 乇毓丕蹖鬲 卮賵丿. 鬲賱丕卮 亘乇丕蹖 乇爻蹖丿賳 亘賴 賳賵毓蹖 夭亘丕賳 賮丕禺乇 蹖丕 賮禺蹖賲 亘乇丕蹖 鬲乇噩賲賴 趩賳蹖賳 賲鬲賳蹖 讴賴 诏丕賴蹖 丿蹖丿賴 賲蹖 卮賵丿- 亘賴 賳馗乇 賲賳 鬲賱丕卮 亘蹖賴賵丿賴 丕蹖爻鬲 賵 賳鬲蹖噩賴 丌賳 丿賵乇 卮丿賳 丕夭 乇賵丨 賲鬲賳 丕氐賱蹖 禺賵丕賴丿 亘賵丿. 亘賴 賴賲蹖賳 丿賱蹖賱 丿乇 鬲乇噩賲賴 賲賳 丕夭 賲鬲賳 丌賳鬲蹖诏賵賳赖 亘賳丕 亘乇 爻丕丿诏蹖 賵 倬蹖乇丕爻鬲诏蹖 亘賵丿賴 丕爻鬲.讴爻丕賳蹖 讴賴 丿乇 鬲乇噩賲賴 丌孬丕乇 讴賴賳 賵 讴賱丕爻蹖讴 丿乇 倬蹖 夭亘丕賳 賮丕禺乇 賲蹖 诏乇丿賳丿 丿乇 丕蹖賳 鬲乇噩賲賴 趩賳蹖賳 趩蹖夭蹖 賳禺賵丕賴賳丿 丿蹖丿."
丕賱亘鬲賴 丿乇 賲賯丿賲賴 趩丕倬 55 丕蹖卮丕賳 亘賴 鬲賵噩賴 卮丕賳 亘賴 鬲乇噩賲賴 丌賯丕蹖 賲爻讴賵亘 丕卮丕乇賴 賲蹖 讴賳丿 賵 丕夭 丕蹖卮丕賳 亘賴 賳蹖讴蹖 蹖丕丿 賲蹖 讴賳丿.
亘丕蹖丿 丕丿丕賲賴 亘丿賴賲 讴賴 亘賴 噩夭 賲賯丿賲賴 丿乇蹖丕亘賳丿乇蹖 亘乇 丌賳鬲蹖诏賵賳赖 丿賵 囟賲蹖賲賴 丿蹖诏乇 賴賲 倬蹖卮 丕夭 賳賲丕蹖卮賳丕賲賴 賵噩賵丿 丿丕乇丿貨 蹖讴蹖 賲鬲賳 賴丕蹖丿诏乇 讴賴 丕夭 賲賯丿賲賴 讴鬲丕亘 賲賯丿賲賴 丕蹖 亘乇 賲鬲丕賮蹖夭蹖讴 丌賵乇丿賴 卮丿賴 賵 賳丕馗乇 亘賴 爻乇賵丿 丿賵賲 蹖丕 爻乇賵丿 丕賳爻丕賳 丕爻鬲 讴賴 丿乇 賲鬲賳 賴爻鬲. 囟賲蹖賲賴 丿蹖诏乇 賴賲 賲鬲賳蹖 丕爻鬲 亘乇诏乇賮鬲賴 丕夭 讴鬲丕亘 鬲毓亘蹖乇 乇賵蹖丕蹖 賮乇賵蹖丿.
September 10, 2017
Wait, no, THIS is my favorite of the Oedipus cycle. My love is fickle. How did I not remember how good this was? The extended speeches are just as incredible as those in the other two plays, but what Antigone has over them is lightning-quick back-and-forth arguments that made my heart pound just from how good they were. I鈥檇 also forgotten how interesting the character of Antigone is (she milks that walk to her death for everything it鈥檚 worth), and how much Sophocles plays with gender stereotypes of strength. Please do yourself a favor and read this one.
April 1, 2023
Jeba膰 Kreona, Antygona to girlbosska
August 10, 2020
"螠苇纬伪 魏伪位蠈 魏伪喂 蟺蟻蠋蟿慰 蟿畏蟼 蔚蠀蟿蠀蠂委伪蟼, 畏 蠁蟻蠈谓畏蟽畏
魏伪谓蔚委蟼 未蔚谓 蟺蟻苇蟺蔚喂 谓蝿 伪蟽蔚尾蔚委 蟽蟿畏 胃蔚委伪 蟿维尉畏
位蠈纬喂伪 渭蔚纬维位伪 尉喂蟺伪蟽喂维蟼 渭蔚 蟽蠀渭蠁慰蟻苇蟼 渭蔚纬维位蔚蟼 蟺位畏蟻蠋谓慰谓蟿伪喂
渭蔚 蟿慰谓 魏伪喂蟻蠈 蟽蟿伪 纬蔚蟻伪蟿蔚喂维 胃伪 蟻胃蔚喂 魏喂 畏 纬谓蠋蟽畏"
螆蟿蟽喂 蟿蔚位蔚喂蠋谓蔚喂 蟿慰 蟽蟺慰蠀未伪委慰 苇蟻纬慰 蟿慰蠀 危慰蠁慰魏位萎 蟿慰 慰蟺慰委慰 蟽蔚 1.320 渭蠈位喂蟼 蟽蟿委蠂慰蠀蟼 尉蔚未喂蟺位蠋谓蔚喂 渭喂伪 蟽蔚喂蟻维 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠋谓, 未慰魏喂渭伪蟽喂蠋谓 魏伪喂 伪渭蠁喂蟽尾畏蟿萎蟽蔚蠅谓 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏慰喂谓蠅谓委伪蟼.
螆谓伪 渭蔚纬维位慰 蟺慰蠀 蔚谓未蔚蠂慰渭苇谓蠅蟼 未蠀蟽蟿蠉蠂畏蟽蔚 蟺慰蠀 苇纬喂谓蔚 渭维胃畏渭伪 蟽蟿伪 蔚位位畏谓喂魏维 蟽蠂慰位蔚委伪 魏伪喂 伪魏慰位慰蠀胃蔚委 蟿慰蠀蟼 螘位位畏谓蔚蟼 蠅蟼 苇谓伪 "渭维胃畏渭伪" 魏喂 蠈蠂喂 蟽伪谓 苇谓伪蟼 慰未畏纬蠈蟼 味蠅萎蟼.
" 螚 伪蟽蟿慰蠂伪蟽喂维 蟿慰 蟺慰喂慰 蟿蟻伪谓蠈 魏伪魏蠈 蟽蟿慰谓 魏蠈蟽渭慰" 蟽蔚位. 117 萎 "慰喂 胃蔚慰委 蟽蟺苇蟻谓慰蠀谓 蟽蟿慰谓 维谓胃蟻蠅蟺慰 蟿慰 谓慰蠀, 蟿慰 蟺喂慰 蟿蟻伪谓蠈 蟺蟻慰喂魏喂蠈 蟽蟿慰谓 魏蠈蟽渭慰 蠈位慰" 蟽蔚位. 77
魏伪喂 畏 蟺位苇慰谓 纬谓蠅蟽蟿萎 蟻萎蟽畏: " 螙蠅 纬喂伪 谓 伪纬伪蟺蠋 魏伪喂 谓蝿 伪纬伪蟺喂苇渭伪喂 魏喂 蠈蠂喂 纬喂伪 谓伪 渭喂蟽蠋"蟽蔚位.65
(螢伪谓伪) 未喂伪尾维味慰谓蟿伪蟼 慰 位维蟿蟻畏蟼 蟿蠅谓 尾喂尾位委蠅谓 渭蟺慰位喂维味蔚蟿伪喂 渭蔚 渭蔚纬维位蔚蟼 未蠈蟽蔚喂蟼 伪位萎胃蔚喂伪蟼, 蠁喂位慰蟽慰蠁委伪蟼 魏伪喂 蟽魏苇蠄畏蟼....
魏伪谓蔚委蟼 未蔚谓 蟺蟻苇蟺蔚喂 谓蝿 伪蟽蔚尾蔚委 蟽蟿畏 胃蔚委伪 蟿维尉畏
位蠈纬喂伪 渭蔚纬维位伪 尉喂蟺伪蟽喂维蟼 渭蔚 蟽蠀渭蠁慰蟻苇蟼 渭蔚纬维位蔚蟼 蟺位畏蟻蠋谓慰谓蟿伪喂
渭蔚 蟿慰谓 魏伪喂蟻蠈 蟽蟿伪 纬蔚蟻伪蟿蔚喂维 胃伪 蟻胃蔚喂 魏喂 畏 纬谓蠋蟽畏"
螆蟿蟽喂 蟿蔚位蔚喂蠋谓蔚喂 蟿慰 蟽蟺慰蠀未伪委慰 苇蟻纬慰 蟿慰蠀 危慰蠁慰魏位萎 蟿慰 慰蟺慰委慰 蟽蔚 1.320 渭蠈位喂蟼 蟽蟿委蠂慰蠀蟼 尉蔚未喂蟺位蠋谓蔚喂 渭喂伪 蟽蔚喂蟻维 蟺蟻慰尾位畏渭伪蟿喂蟽渭蠋谓, 未慰魏喂渭伪蟽喂蠋谓 魏伪喂 伪渭蠁喂蟽尾畏蟿萎蟽蔚蠅谓 蟿畏蟼 伪谓胃蟻蠋蟺喂谓畏蟼 魏慰喂谓蠅谓委伪蟼.
螆谓伪 渭蔚纬维位慰 蟺慰蠀 蔚谓未蔚蠂慰渭苇谓蠅蟼 未蠀蟽蟿蠉蠂畏蟽蔚 蟺慰蠀 苇纬喂谓蔚 渭维胃畏渭伪 蟽蟿伪 蔚位位畏谓喂魏维 蟽蠂慰位蔚委伪 魏伪喂 伪魏慰位慰蠀胃蔚委 蟿慰蠀蟼 螘位位畏谓蔚蟼 蠅蟼 苇谓伪 "渭维胃畏渭伪" 魏喂 蠈蠂喂 蟽伪谓 苇谓伪蟼 慰未畏纬蠈蟼 味蠅萎蟼.
" 螚 伪蟽蟿慰蠂伪蟽喂维 蟿慰 蟺慰喂慰 蟿蟻伪谓蠈 魏伪魏蠈 蟽蟿慰谓 魏蠈蟽渭慰" 蟽蔚位. 117 萎 "慰喂 胃蔚慰委 蟽蟺苇蟻谓慰蠀谓 蟽蟿慰谓 维谓胃蟻蠅蟺慰 蟿慰 谓慰蠀, 蟿慰 蟺喂慰 蟿蟻伪谓蠈 蟺蟻慰喂魏喂蠈 蟽蟿慰谓 魏蠈蟽渭慰 蠈位慰" 蟽蔚位. 77
魏伪喂 畏 蟺位苇慰谓 纬谓蠅蟽蟿萎 蟻萎蟽畏: " 螙蠅 纬喂伪 谓 伪纬伪蟺蠋 魏伪喂 谓蝿 伪纬伪蟺喂苇渭伪喂 魏喂 蠈蠂喂 纬喂伪 谓伪 渭喂蟽蠋"蟽蔚位.65
(螢伪谓伪) 未喂伪尾维味慰谓蟿伪蟼 慰 位维蟿蟻畏蟼 蟿蠅谓 尾喂尾位委蠅谓 渭蟺慰位喂维味蔚蟿伪喂 渭蔚 渭蔚纬维位蔚蟼 未蠈蟽蔚喂蟼 伪位萎胃蔚喂伪蟼, 蠁喂位慰蟽慰蠁委伪蟼 魏伪喂 蟽魏苇蠄畏蟼....
April 4, 2024
鉂漁nly a fool could be in love with death.鉂�
Antigone is truly a timeless play. I cannot believe it was written in 441 BCE! I feel like its themes are still relevant today. It's a shame that so many of Sophocles' plays are lost to history, I would have loved to read them as well.
The characters in Antigone are more complex and nuanced than I was initially expecting. In my view, Creon is not a villain 鈥� he is simply doing what he believes is right, and so is Antigone. I completely get why both of them did the things they did, and I like the fact that neither of them are entirely in the wrong.
I had to read this play for my literary history course, and I honestly was not expecting to love it. I thought it would be rather boring and convoluted, but it was not at all what I expected. I guess I just have a very biased view of classical literature... Studying literature at university has really opened my eyes in that regard; I never realised how many preconceived notions I had about certain kinds of books. It has been fun exploring all kinds of "new" books with my classmates.
We had very interesting discussions about this play during class, and discussing Antigone with everyone really made me appreciate it a lot more. I am definitely going to check out more of Sophocles' plays in the future!
鉂漈he power of fate is a wonder,
dark, terrible wonder -
neither wealth nor armies
towered walls nor ships
black hulls lashed by the salt
can save us from that force.鉂�
September 24, 2022
I started reading the Theban Plays the other day, compiled by Penguin and translated by Robert Fagles. That鈥檚 the power combo for now, though I am told half the fun is rereading with different translations. This particular edition presents the three plays in the order in which they were written, starting with Antigone, which is the final play in terms of chronology.
While reading these classics (true classics I guess), I find that I need to read the introduction in order to get a bit more of the context surrounding their writing and/or performance. Robert Knox has been a faithful companion in that sense. Here are a few facts that I appreciated learning about this play (spoilers ahead):
- Creon has a 鈥渕agnificent鈥� speech at the beginning of the play, stressing that 鈥渓oyalty to the city takes precedence over any private loyalty, to friend or family鈥�. This would be considered satire today, I think. 2022, the Western world, we are laughing political candidates off if they go near this sentiment. But it looks as though the original audience would have agreed with him! So the speech does not have the 鈥減ompous ass鈥� quality that we may ascribe to it.
- The main point of contention in the play is the burial and proper rites denied Polynices. Creon has declared it illegal for anyone to show mercy to the corpse of Polynices, as he became a traitor to the city, coming back to attack the city on the side of the enemy. Knox mentions that, once again, the audience would have been on the side of Creon!
鈥淭hese vivid phrases would have recalled to them the destruction of Athens and the desecration of its temples by the Persian invaders in 480; they would have had no second thoughts about denying burial to the corpse of any Athenian who had fought on the Persian side. Denial of burial in their homeland to traitors, real or supposed, was not unknown in Greece. Themistocles, for example, the hero of the Persian War, was later driven from Athens by his political enemies, who accused him of pro-Persian conspiratorial activity. Hounded from one Greek city to another he finally took refuse in Persian-controlled territory, where he died.鈥�
- A point that stood out to me as absurd was Antigone鈥檚 weird insistence that she would not have risked death by giving burial rites to her husband and child, as they are replaceable, and that a brother is far more valuable to her as he cannot be replaced. Apparently, the inspiration of this sentiment could be sourced to the work of Sophocles鈥� friend Herodotus, Histories.
鈥淒arius the Great King had condemned to death for treason a Persian noble, Intaphrenes, and all the men of his family. The wife of Intaphrenes begged importunately for their lives; offered one, she chose her brother鈥檚. When Darius asked her why, she replied in words that are unmistakably the original of Antigone鈥檚 lines.鈥�
However, as Knox points out, this makes less sense in the play. The wife of Intaphrenes is saving the life of her brother who is still alive, whereas Antione is just being spiteful 鈥� Polynices is already dead!
A great introduction to Sophocles. Next is Oedipus the King. I will get my tweed jacket and cigar and make sure my beard is nice and trimmed before getting to that one. Things are about to get Oedipal.
While reading these classics (true classics I guess), I find that I need to read the introduction in order to get a bit more of the context surrounding their writing and/or performance. Robert Knox has been a faithful companion in that sense. Here are a few facts that I appreciated learning about this play (spoilers ahead):
- Creon has a 鈥渕agnificent鈥� speech at the beginning of the play, stressing that 鈥渓oyalty to the city takes precedence over any private loyalty, to friend or family鈥�. This would be considered satire today, I think. 2022, the Western world, we are laughing political candidates off if they go near this sentiment. But it looks as though the original audience would have agreed with him! So the speech does not have the 鈥減ompous ass鈥� quality that we may ascribe to it.
- The main point of contention in the play is the burial and proper rites denied Polynices. Creon has declared it illegal for anyone to show mercy to the corpse of Polynices, as he became a traitor to the city, coming back to attack the city on the side of the enemy. Knox mentions that, once again, the audience would have been on the side of Creon!
鈥淭hese vivid phrases would have recalled to them the destruction of Athens and the desecration of its temples by the Persian invaders in 480; they would have had no second thoughts about denying burial to the corpse of any Athenian who had fought on the Persian side. Denial of burial in their homeland to traitors, real or supposed, was not unknown in Greece. Themistocles, for example, the hero of the Persian War, was later driven from Athens by his political enemies, who accused him of pro-Persian conspiratorial activity. Hounded from one Greek city to another he finally took refuse in Persian-controlled territory, where he died.鈥�
- A point that stood out to me as absurd was Antigone鈥檚 weird insistence that she would not have risked death by giving burial rites to her husband and child, as they are replaceable, and that a brother is far more valuable to her as he cannot be replaced. Apparently, the inspiration of this sentiment could be sourced to the work of Sophocles鈥� friend Herodotus, Histories.
鈥淒arius the Great King had condemned to death for treason a Persian noble, Intaphrenes, and all the men of his family. The wife of Intaphrenes begged importunately for their lives; offered one, she chose her brother鈥檚. When Darius asked her why, she replied in words that are unmistakably the original of Antigone鈥檚 lines.鈥�
However, as Knox points out, this makes less sense in the play. The wife of Intaphrenes is saving the life of her brother who is still alive, whereas Antione is just being spiteful 鈥� Polynices is already dead!
A great introduction to Sophocles. Next is Oedipus the King. I will get my tweed jacket and cigar and make sure my beard is nice and trimmed before getting to that one. Things are about to get Oedipal.
March 30, 2021
**4.5 stars**
鈥淎 man, though wise, should never be ashamed of learning more, and must unbend his mind.鈥�
The conclusive note to the three plays, it kind of makes you feel a bit desolate, deep down. If you think about it, you can find the impression of this play in particular on several of Shakespeare鈥檚 plays. To voice back pessimism, Tiresias is also back from Oedipus Rex, and this time we can鈥檛 suspect him of antagonism. However, what may strike as a bit odd is the almost null involvement of Eteocles in the entire tale, given he has one of the pivotal roles in the happenings of the play.
The play sets in motion a tragic collision between opposed laws and duties: between human-enforced and transcendental commands which both claim to dictate the burial of the dead and the secular edicts of a ruler determined to restore civic order, between family allegiance and private conscience and public duty and the rule of law restricting personal liberty for the sake of general benevolence. Like the proverbial immovable object meeting an irresistible force, Antigone tries, by hook or by crook, to arrange the impact of the seemingly irreconcilable conceptions of rights and responsibilities, producing an enduring illumination of human nature and condition.
And I can鈥檛 but agree more with Victor Hanson and John Heath, when they wrote:
鈥淲ithin this single drama鈥攊n great part, a harsh critique of Athenian society and the Greek city-state in general鈥擲ophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all. In this magnificent dramatic work, almost incidentally so, we find nearly every reason why we are now what we are.鈥�
And I鈥檓 glad for the former acts of Haemon. It takes something serious to stand against a tyrannical king, especially if it鈥檚 his father. Though in the end鈥� (I remembered Chester Bennington)
鈥淚t is not right if I am wrong. But if I am young, and right, what does my age matter?鈥�
鈥淎 man, though wise, should never be ashamed of learning more, and must unbend his mind.鈥�
The conclusive note to the three plays, it kind of makes you feel a bit desolate, deep down. If you think about it, you can find the impression of this play in particular on several of Shakespeare鈥檚 plays. To voice back pessimism, Tiresias is also back from Oedipus Rex, and this time we can鈥檛 suspect him of antagonism. However, what may strike as a bit odd is the almost null involvement of Eteocles in the entire tale, given he has one of the pivotal roles in the happenings of the play.
The play sets in motion a tragic collision between opposed laws and duties: between human-enforced and transcendental commands which both claim to dictate the burial of the dead and the secular edicts of a ruler determined to restore civic order, between family allegiance and private conscience and public duty and the rule of law restricting personal liberty for the sake of general benevolence. Like the proverbial immovable object meeting an irresistible force, Antigone tries, by hook or by crook, to arrange the impact of the seemingly irreconcilable conceptions of rights and responsibilities, producing an enduring illumination of human nature and condition.
And I can鈥檛 but agree more with Victor Hanson and John Heath, when they wrote:
鈥淲ithin this single drama鈥攊n great part, a harsh critique of Athenian society and the Greek city-state in general鈥擲ophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all. In this magnificent dramatic work, almost incidentally so, we find nearly every reason why we are now what we are.鈥�
And I鈥檓 glad for the former acts of Haemon. It takes something serious to stand against a tyrannical king, especially if it鈥檚 his father. Though in the end鈥� (I remembered Chester Bennington)
鈥淚t is not right if I am wrong. But if I am young, and right, what does my age matter?鈥�
September 25, 2022
禺乇丿 亘丕蹖丿 丌賲賵禺鬲
鬲丕 賲诏乇 丕夭 卮丕丿蹖 亘賴乇賴鈥屫й� 亘鬲賵丕賳 亘乇丿.
禺丿丕蹖丕賳 诏爻鬲丕禺蹖 乇丕 亘乇賳賲蹖鈥屫жㄙ嗀�
賵 跇丕跇禺丕蹖蹖 禺蹖乇賴 爻乇丕賳 乇丕
亘賴 囟乇亘鬲 賴丕蹖 诏乇丕賳 爻夭丕 賲蹖丿賴賳丿貙
亘丕卮丿 讴賴 賲乇丿賲丕賳
倬蹖乇丕賳賴 爻乇 禺乇丿 亘蹖丕賲賵夭賳丿.
毓噩亘 賳賲丕蹖卮賳丕賲賴 丕蹖貙 丕賵賱蹖賳 趩蹖夭蹖 讴賴 鬲賵噩賴賲 乇賵 噩賱亘 讴乇丿 卮亘丕賴鬲 睾乇蹖亘丕賳賴 丕蹖賳 丕孬乇 亘丕 丨丕賱 賵 乇賵夭 乇賴亘乇丕賳 賵 賲乇丿賲丕賳 禺賵丿賲賵賳 賴爻鬲.
丌賳鬲蹖诏賵賳赖 丿禺鬲乇 丕賵丿蹖倬賵爻 倬爻 丕夭 賲乇诏 倬丿乇 亘賴 賳丕賲夭丿蹖 賴丕蹖賲賵賳 倬爻乇 讴乇卅賵賳 倬丕丿卮丕賴 丿乇丌賲丿賴 賵 倬爻 丕夭 丿乇诏蹖乇蹖 丿賵 亘乇丕丿乇 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 賵 亘賴 丿爻鬲賵乇 倬丕丿卮丕賴 蹖讴蹖 丕夭 亘乇丕丿乇丕賳 诏乇丕賲蹖 丿丕卮鬲賴 卮丿賴 賵 亘賴 禺丕讴 爻倬乇丿賴 賵 丿蹖诏乇蹖 亘丕蹖丿 禺賵乇丕讴 賱丕卮禺賵乇丕賳 賵 爻诏丕賳 诏乇丿丿.
丌賳鬲蹖诏賵賳赖 鬲丕亘 賳蹖丕賵乇丿賴 賵 丕夭 倬丕丿卮丕賴 爻乇倬蹖趩蹖 讴乇丿賴 賵 亘乇丕丿乇 丿蹖诏乇 禺賵丿 乇丕 亘賴 禺丕讴 爻倬乇丿賴 賵 丨丕賱 倬丕丿卮丕賴 丿乇 倬蹖 鬲賳亘蹖賴 丕賵 賵 丕毓丿丕賲 丕賵 賲蹖亘丕卮丿.
賳賲丕蹖卮賳丕賲賴 讴賵鬲丕賴蹖賴 賵賱蹖 丿乇 賴賲蹖賳 趩賳丿蹖賳 氐賮丨賴 讴賱蹖 丨乇賮 夭丿賴 卮丿賴貙 丕夭 馗賱賲 賵 爻鬲賲 亘賴 丿禺鬲乇丕賳 賵 夭賳丕賳 賵 亘丿賳丕賲 讴乇丿賳 丕賵賳賴丕 诏乇賮鬲賴 鬲丕 丕毓鬲乇丕囟丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 毓賱蹖賴 倬丕丿卮丕賴.
丕蹖賳 賳賲丕蹖卮賳丕賲賴 丨噩賲蹖 賳丿丕乇賴 讴賴 亘禺賵丕賲 讴賱蹖 亘乇丕卮 亘賳賵蹖爻賲 賵 倬蹖卮賳賴丕丿 賲蹖讴賳賲 丨鬲賲丕 亘禺賵賳蹖丿 丕蹖賳 讴鬲丕亘 乇賵貙 賵丕賯毓丕 丕乇夭卮賲賳丿 賵 夭蹖亘丕爻鬲.
丌賳鬲蹖诏賵賳赖: 賲賳 賳毓卮 亘乇丕丿乇賲丕賳 乇丕 丿乇 禺丕讴 賲蹖讴賳賲! 丕诏乇 鬲賵 賳賲蹖讴賳蹖貙 賲賳 賲蹖讴賳賲. 賲賳 亘乇丕丿乇賲 乇丕 鬲賳賴丕 賳賲蹖诏匕丕乇賲
丕蹖爻賲賳賴: 亘蹖賳丿蹖卮 丕诏乇 丕夭 賮乇賲丕賳 倬丕丿卮丕賴賲丕賳 爻乇倬蹖趩蹖 讴賳蹖賲 趩賴 亘賱丕蹖蹖 亘乇 爻乇賲丕賳 禺賵丕賴丿 丌賲丿. 亘丕蹖丿 亘賴 蹖丕丿 丿丕卮鬲賴 亘丕卮蹖賲 讴賴 夭賳蹖 亘蹖卮 賳蹖爻鬲蹖賲貙 鬲賵丕賳 丿乇 丕賮鬲丕丿賳 亘丕 賲乇丿丕賳 乇丕 賳丿丕乇蹖賲貙 賲丕 鬲丕亘毓 賯丿乇鬲蹖賲.
丌賳鬲蹖诏賵賳赖: 丕诏乇 爻夭丕蹖 亘賴 噩丕 丌賵乇丿賳 丌蹖蹖賳 禺丿丕蹖丕賳 賲乇诏 丕爻鬲貙 賲賳 丕蹖賳 賲乇诏 乇丕 亘賴 噩丕賳 賲蹖禺乇賲. 丿乇 讴賳丕乇 丌賳讴賴 诏乇丕賲蹖 賲蹖丿丕乇賲卮貙 诏乇丕賲蹖 禺賵丕賴賲 禺賮鬲.
丕蹖爻賲賳賴: 賲賳 讴爻蹖 乇丕 亘蹖鈥屫辟呚� 賳賲蹖讴賳賲貙 丕賲丕 蹖丕乇丕蹖 丿乇 丕賮鬲丕丿賳 亘丕 丨讴賵賲鬲 乇丕 賳丿丕乇賲. 禺賵丕賴乇 亘蹖趩丕乇賴 丕賲! 賳賲蹖丿丕賳蹖 趩賯丿乇 亘乇 噩丕賳 鬲賵 賲蹖鬲乇爻賲!
丌賳鬲蹖诏賵賳赖: 亘乇噩丕賳 賲賳 賳鬲乇爻. 丿乇 丕賳丿蹖卮賴 禺賵丿 亘丕卮. 亘诏匕丕乇 賲賳 賵 丕蹖賳 丕賳丿蹖卮賴 丿蹖賵丕賳賴鈥屬堌ж辟� 亘賴 爻夭丕蹖 禺賵丿 亘乇爻蹖賲. 爻夭丕蹖 賲丕 噩夭 賲乇诏 倬乇 丕賮鬲禺丕乇 賳蹖爻鬲.
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讴乇卅賵賳 : 賲乇丿蹖 亘賴 爻丕賱 賲賳 亘丕蹖丿 丕夭 丕蹖賳 噩賵丕賳 倬賳丿 亘蹖丕賲賵夭丿責
賴丕蹖賲賵賳: 丕诏乇 賳丕丿乇爻鬲 賲蹖诏賵蹖賲 賳倬匕蹖乇貙 丕诏乇 賴賲 噩賵丕賳賲貙 亘賴 讴丕乇賴丕賲 賳馗乇 讴賳 賳賴 亘賴 爻丕賱 賴丕蹖 毓賲乇賲
讴乇卅賵賳: 丌蹖丕 丨賲丕蹖鬲 賳丕亘讴丕乇丕賳 讴丕乇 卮丕蹖爻鬲賴鈥屫й� 丕爻鬲責
賴丕蹖賲賵賳: 賲賳 丕夭 賴蹖趩 賳丕亘讴丕乇蹖 丨賲丕蹖鬲 賳讴乇丿賴 丕賲
讴乇卅賵賳: 賳丕賮乇賲丕賳蹖 丌賳 丿禺鬲乇 賳丕亘讴丕乇蹖 賳蹖爻鬲責
賴丕蹖賲賵賳: 賲乇丿賲丕賳 卮賴乇鬲 趩賳蹖賳 亘丕賵乇 賳丿丕乇賳丿
讴乇卅賵賳: 賲賳 賮乇賲丕賳乇賵丕蹖蹖 乇丕 亘丕蹖丿 丕夭 賲乇丿賲丕賳 卮賴乇 亘蹖丕賲賵夭賲責
賴丕蹖賲賵賳: 丕讴賳賵賳 鬲賵 禺賵丿 丿乇爻鬲 趩賵賳 噩賵丕賳丕賳 爻禺賳 賲蹖诏賵蹖蹖
讴乇卅賵賳: 倬爻 亘丕蹖丿 亘賴 乇丕蹖 丿蹖诏乇丕賳 賮乇賲丕賳乇賵丕蹖蹖 讴賳賲責
賴丕蹖賲賵賳: 賴蹖趩 卮賴乇蹖 丕夭 丌賳 蹖讴 鬲賳 賳蹖爻鬲
讴乇卅賵賳: 夭賲丕賲 卮賴乇 丿乇 丿爻鬲 賮乇賲丕賳乇賵丕爻鬲
賴丕蹖賲賵賳: 亘賴 亘賴! 夭賲丕賲丿丕乇 蹖讴賴 賵 鬲賳賴丕貙 丿乇 亘乇 亘蹖丕亘丕賳
鬲丕 賲诏乇 丕夭 卮丕丿蹖 亘賴乇賴鈥屫й� 亘鬲賵丕賳 亘乇丿.
禺丿丕蹖丕賳 诏爻鬲丕禺蹖 乇丕 亘乇賳賲蹖鈥屫жㄙ嗀�
賵 跇丕跇禺丕蹖蹖 禺蹖乇賴 爻乇丕賳 乇丕
亘賴 囟乇亘鬲 賴丕蹖 诏乇丕賳 爻夭丕 賲蹖丿賴賳丿貙
亘丕卮丿 讴賴 賲乇丿賲丕賳
倬蹖乇丕賳賴 爻乇 禺乇丿 亘蹖丕賲賵夭賳丿.
毓噩亘 賳賲丕蹖卮賳丕賲賴 丕蹖貙 丕賵賱蹖賳 趩蹖夭蹖 讴賴 鬲賵噩賴賲 乇賵 噩賱亘 讴乇丿 卮亘丕賴鬲 睾乇蹖亘丕賳賴 丕蹖賳 丕孬乇 亘丕 丨丕賱 賵 乇賵夭 乇賴亘乇丕賳 賵 賲乇丿賲丕賳 禺賵丿賲賵賳 賴爻鬲.
丌賳鬲蹖诏賵賳赖 丿禺鬲乇 丕賵丿蹖倬賵爻 倬爻 丕夭 賲乇诏 倬丿乇 亘賴 賳丕賲夭丿蹖 賴丕蹖賲賵賳 倬爻乇 讴乇卅賵賳 倬丕丿卮丕賴 丿乇丌賲丿賴 賵 倬爻 丕夭 丿乇诏蹖乇蹖 丿賵 亘乇丕丿乇 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 賵 亘賴 丿爻鬲賵乇 倬丕丿卮丕賴 蹖讴蹖 丕夭 亘乇丕丿乇丕賳 诏乇丕賲蹖 丿丕卮鬲賴 卮丿賴 賵 亘賴 禺丕讴 爻倬乇丿賴 賵 丿蹖诏乇蹖 亘丕蹖丿 禺賵乇丕讴 賱丕卮禺賵乇丕賳 賵 爻诏丕賳 诏乇丿丿.
丌賳鬲蹖诏賵賳赖 鬲丕亘 賳蹖丕賵乇丿賴 賵 丕夭 倬丕丿卮丕賴 爻乇倬蹖趩蹖 讴乇丿賴 賵 亘乇丕丿乇 丿蹖诏乇 禺賵丿 乇丕 亘賴 禺丕讴 爻倬乇丿賴 賵 丨丕賱 倬丕丿卮丕賴 丿乇 倬蹖 鬲賳亘蹖賴 丕賵 賵 丕毓丿丕賲 丕賵 賲蹖亘丕卮丿.
賳賲丕蹖卮賳丕賲賴 讴賵鬲丕賴蹖賴 賵賱蹖 丿乇 賴賲蹖賳 趩賳丿蹖賳 氐賮丨賴 讴賱蹖 丨乇賮 夭丿賴 卮丿賴貙 丕夭 馗賱賲 賵 爻鬲賲 亘賴 丿禺鬲乇丕賳 賵 夭賳丕賳 賵 亘丿賳丕賲 讴乇丿賳 丕賵賳賴丕 诏乇賮鬲賴 鬲丕 丕毓鬲乇丕囟丕鬲 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 毓賱蹖賴 倬丕丿卮丕賴.
丕蹖賳 賳賲丕蹖卮賳丕賲賴 丨噩賲蹖 賳丿丕乇賴 讴賴 亘禺賵丕賲 讴賱蹖 亘乇丕卮 亘賳賵蹖爻賲 賵 倬蹖卮賳賴丕丿 賲蹖讴賳賲 丨鬲賲丕 亘禺賵賳蹖丿 丕蹖賳 讴鬲丕亘 乇賵貙 賵丕賯毓丕 丕乇夭卮賲賳丿 賵 夭蹖亘丕爻鬲.
丌賳鬲蹖诏賵賳赖: 賲賳 賳毓卮 亘乇丕丿乇賲丕賳 乇丕 丿乇 禺丕讴 賲蹖讴賳賲! 丕诏乇 鬲賵 賳賲蹖讴賳蹖貙 賲賳 賲蹖讴賳賲. 賲賳 亘乇丕丿乇賲 乇丕 鬲賳賴丕 賳賲蹖诏匕丕乇賲
丕蹖爻賲賳賴: 亘蹖賳丿蹖卮 丕诏乇 丕夭 賮乇賲丕賳 倬丕丿卮丕賴賲丕賳 爻乇倬蹖趩蹖 讴賳蹖賲 趩賴 亘賱丕蹖蹖 亘乇 爻乇賲丕賳 禺賵丕賴丿 丌賲丿. 亘丕蹖丿 亘賴 蹖丕丿 丿丕卮鬲賴 亘丕卮蹖賲 讴賴 夭賳蹖 亘蹖卮 賳蹖爻鬲蹖賲貙 鬲賵丕賳 丿乇 丕賮鬲丕丿賳 亘丕 賲乇丿丕賳 乇丕 賳丿丕乇蹖賲貙 賲丕 鬲丕亘毓 賯丿乇鬲蹖賲.
丌賳鬲蹖诏賵賳赖: 丕诏乇 爻夭丕蹖 亘賴 噩丕 丌賵乇丿賳 丌蹖蹖賳 禺丿丕蹖丕賳 賲乇诏 丕爻鬲貙 賲賳 丕蹖賳 賲乇诏 乇丕 亘賴 噩丕賳 賲蹖禺乇賲. 丿乇 讴賳丕乇 丌賳讴賴 诏乇丕賲蹖 賲蹖丿丕乇賲卮貙 诏乇丕賲蹖 禺賵丕賴賲 禺賮鬲.
丕蹖爻賲賳賴: 賲賳 讴爻蹖 乇丕 亘蹖鈥屫辟呚� 賳賲蹖讴賳賲貙 丕賲丕 蹖丕乇丕蹖 丿乇 丕賮鬲丕丿賳 亘丕 丨讴賵賲鬲 乇丕 賳丿丕乇賲. 禺賵丕賴乇 亘蹖趩丕乇賴 丕賲! 賳賲蹖丿丕賳蹖 趩賯丿乇 亘乇 噩丕賳 鬲賵 賲蹖鬲乇爻賲!
丌賳鬲蹖诏賵賳赖: 亘乇噩丕賳 賲賳 賳鬲乇爻. 丿乇 丕賳丿蹖卮賴 禺賵丿 亘丕卮. 亘诏匕丕乇 賲賳 賵 丕蹖賳 丕賳丿蹖卮賴 丿蹖賵丕賳賴鈥屬堌ж辟� 亘賴 爻夭丕蹖 禺賵丿 亘乇爻蹖賲. 爻夭丕蹖 賲丕 噩夭 賲乇诏 倬乇 丕賮鬲禺丕乇 賳蹖爻鬲.
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讴乇卅賵賳 : 賲乇丿蹖 亘賴 爻丕賱 賲賳 亘丕蹖丿 丕夭 丕蹖賳 噩賵丕賳 倬賳丿 亘蹖丕賲賵夭丿責
賴丕蹖賲賵賳: 丕诏乇 賳丕丿乇爻鬲 賲蹖诏賵蹖賲 賳倬匕蹖乇貙 丕诏乇 賴賲 噩賵丕賳賲貙 亘賴 讴丕乇賴丕賲 賳馗乇 讴賳 賳賴 亘賴 爻丕賱 賴丕蹖 毓賲乇賲
讴乇卅賵賳: 丌蹖丕 丨賲丕蹖鬲 賳丕亘讴丕乇丕賳 讴丕乇 卮丕蹖爻鬲賴鈥屫й� 丕爻鬲責
賴丕蹖賲賵賳: 賲賳 丕夭 賴蹖趩 賳丕亘讴丕乇蹖 丨賲丕蹖鬲 賳讴乇丿賴 丕賲
讴乇卅賵賳: 賳丕賮乇賲丕賳蹖 丌賳 丿禺鬲乇 賳丕亘讴丕乇蹖 賳蹖爻鬲責
賴丕蹖賲賵賳: 賲乇丿賲丕賳 卮賴乇鬲 趩賳蹖賳 亘丕賵乇 賳丿丕乇賳丿
讴乇卅賵賳: 賲賳 賮乇賲丕賳乇賵丕蹖蹖 乇丕 亘丕蹖丿 丕夭 賲乇丿賲丕賳 卮賴乇 亘蹖丕賲賵夭賲責
賴丕蹖賲賵賳: 丕讴賳賵賳 鬲賵 禺賵丿 丿乇爻鬲 趩賵賳 噩賵丕賳丕賳 爻禺賳 賲蹖诏賵蹖蹖
讴乇卅賵賳: 倬爻 亘丕蹖丿 亘賴 乇丕蹖 丿蹖诏乇丕賳 賮乇賲丕賳乇賵丕蹖蹖 讴賳賲責
賴丕蹖賲賵賳: 賴蹖趩 卮賴乇蹖 丕夭 丌賳 蹖讴 鬲賳 賳蹖爻鬲
讴乇卅賵賳: 夭賲丕賲 卮賴乇 丿乇 丿爻鬲 賮乇賲丕賳乇賵丕爻鬲
賴丕蹖賲賵賳: 亘賴 亘賴! 夭賲丕賲丿丕乇 蹖讴賴 賵 鬲賳賴丕貙 丿乇 亘乇 亘蹖丕亘丕賳
September 17, 2017
I am not well-schooled in tragedies--the Greek tragedies, that is--but when I learned that one of the books I intended to read for the Man Booker award this year was based on the story of Antigone, I thought now was a good time to have a look.
This is the first I have encountered of the play, I loved it. It is filled with terrific emotion and common responses to tragedy, as well as wisdom unbound. The personalities are strong and salty...and act on their promises.
Those of you who know the story will still be thrilled by the Chorus at the end saying "Grand words of proud men are punished with great blows, and this, in old age, teaches wisdom." And "Wisdom is by far the foremost part of happiness..."
Oedipus's two sons kill one another, as decreed by fate, and his two daughters are forbidden by King Creon to bury the body of one of the sons because Creon thought him a traitor. Antigone decides she will bury him anyway because this is the custom of the city and is a courtesy to the gods. Terrible events ensue.
We never learn here why the two sons are unequally loved. Perhaps that backstory is given in another play.
This edition is printed left side with the Greek, right side with English. It has a detailed introduction in which the story and all the characters mentioned are described in their relationship to the main actors in this story. That was helpful. At the end are extensive notes and discussion about word choices and inferred meanings. I thought this was impressive.
This is the first I have encountered of the play, I loved it. It is filled with terrific emotion and common responses to tragedy, as well as wisdom unbound. The personalities are strong and salty...and act on their promises.
Those of you who know the story will still be thrilled by the Chorus at the end saying "Grand words of proud men are punished with great blows, and this, in old age, teaches wisdom." And "Wisdom is by far the foremost part of happiness..."
Oedipus's two sons kill one another, as decreed by fate, and his two daughters are forbidden by King Creon to bury the body of one of the sons because Creon thought him a traitor. Antigone decides she will bury him anyway because this is the custom of the city and is a courtesy to the gods. Terrible events ensue.
We never learn here why the two sons are unequally loved. Perhaps that backstory is given in another play.
This edition is printed left side with the Greek, right side with English. It has a detailed introduction in which the story and all the characters mentioned are described in their relationship to the main actors in this story. That was helpful. At the end are extensive notes and discussion about word choices and inferred meanings. I thought this was impressive.
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