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First Messenger
First Messenger
Second Messenger
Mute Two guards
A boy
Date premiered c. 441 BC
Place premiered Athens
Original language Ancient Greek
Genre Tragedy
Synopsis
Prior to the beginning of the play, brothers
Eteocles and Polyneices, leading opposite
sides in Thebes' civil war, died fighting
each other for the throne. Creon, the new
ruler of Thebes and brother of the former
Queen Jocasta, has decided that Eteocles
will be honored and Polyneices will be in
public shame. The rebel brother's body will
not be sanctified by holy rites and will lie
unburied on the battlefield, prey for carrion
animals like worms and vultures, the
harshest punishment at the time. Antigone
and Ismene are the sisters of the dead
Polyneices and Eteocles. In the opening of
the play, Antigone brings Ismene outside
the palace gates late at night for a secret
meeting: Antigone wants to bury
Polyneices' body, in defiance of Creon's
edict. Ismene refuses to help her, not
believing that it will actually be possible to
bury their brother, who is under guard, but
she is unable to stop Antigone from going
to bury her brother herself.
Characters
Antigone, compared to her beautiful and
docile sister, is portrayed as a heroine
who recognizes her familial duty. Her
dialogues with Ismene reveal her to be
as stubborn as her uncle.[3] In her, the
ideal of the female character is boldly
outlined.[4] She defies Creon’s decree
despite the consequences she may face,
in order to honor her deceased brother.
Ismene serves as a foil for Antigone,
presenting the contrast in their
respective responses to the royal
decree.[3] Considered the beautiful one,
she is more lawful and obedient to
authority. She hesitates to bury
Polyneices because she fears Creon.
Creon is the current King of Thebes, who
views law as the guarantor of personal
happiness. He can also be seen as a
tragic hero, losing everything for
upholding what he believed was right.
Even when he is forced to amend his
decree to please the gods, he first tends
to the dead Polyneices before releasing
Antigone.[3]
Eurydice of Thebes is the Queen of
Thebes and Creon’s wife. She appears
towards the end and only to hear
confirmation of her son Haemon’s
death. In her grief, she commits suicide,
cursing Creon whom she blames for her
son’s death.
Haemon is the son of Creon and
Eurydice, betrothed to Antigone. Proved
to be more reasonable than Creon, he
attempts to reason with his father for
the sake of Antigone. However, when
Creon refuses to listen to him, Haemon
leaves angrily and shouts he will never
see him again. He commits suicide after
finding Antigone dead.
Koryphaios is the assistant to the King
(Creon) and the leader of the Chorus. He
is often interpreted as a close advisor to
the King, and therefore a close family
friend. This role is highlighted in the end
when Creon chooses to listen to
Koryphaios' advice.
Tiresias is the blind prophet whose
prediction brings about the eventual
proper burial of Polyneices. Portrayed as
wise and full of reason, Tiresias
attempts to warn Creon of his
foolishness and tells him the gods are
angry. He manages to convince Creon,
but is too late to save the impetuous
Antigone.
The Chorus, a group of elderly Theban
men, is at first deferential to the king.[4]
Their purpose is to comment on the
action in the play and add to the
suspense and emotions, as well as
connecting the story to myths. As the
play progresses they counsel Creon to
be more moderate. Their pleading
persuades Creon to spare Ismene. They
also advise Creon to take Tiresias's
advice.
Historical context
Antigone was written at a time of national
fervor. In 441 BC, shortly after the play was
performed, Sophocles was appointed as
one of the ten generals to lead a military
expedition against Samos. It is striking
that a prominent play in a time of such
imperialism contains little political
propaganda, no impassioned apostrophe,
and, with the exception of the epiklerate
(the right of the daughter to continue her
dead father's lineage),[5] and arguments
against anarchy, makes no contemporary
allusion or passing reference to Athens.[6]
Rather than become sidetracked with the
issues of the time, Antigone remains
focused on the characters and themes
within the play. It does, however, expose
the dangers of the absolute ruler, or tyrant,
in the person of Creon, a king to whom few
will speak freely and openly their true
opinions, and who therefore makes the
grievous error of condemning Antigone, an
act which he pitifully regrets in the play's
final lines. Athenians, proud of their
democratic tradition, would have identified
his error in the many lines of dialogue
which emphasize that the people of
Thebes believe he is wrong, but have no
voice to tell him so. Athenians would
identify the folly of tyranny.
Notable features
The Chorus in Antigone departs
significantly from the chorus in Aeschylus'
Seven Against Thebes, the play of which
Antigone is a continuation. The chorus in
Seven Against Thebes is largely supportive
of Antigone's decision to bury her brother.
Here, the chorus is composed of old men
who are largely unwilling to see civil
disobedience in a positive light. The
chorus also represents a typical difference
in Sophocles' plays from those of both
Aeschylus and Euripides. A chorus of
Aeschylus' almost always continues or
intensifies the moral nature of the play,
while one of Euripides' frequently strays
far from the main moral theme. The
chorus in Antigone lies somewhere in
between; it remains within the general
moral and the immediate scene, but allows
itself to be carried away from the occasion
or the initial reason for speaking.[7]
Significance and
interpretation
In this play Sophocles raises a number of
questions: Should Polyneices, who
committed a serious crime that threatened
the city, be given burial rituals, or should
his body be left unburied as prey for
scavenging animals? Should someone
who attempts to bury him in defiance of
Creon be punished in an especially cruel
and horrible way? Are Creon’s actions
justified? Are Antigone’s actions justified?
In this play, Creon is not presented as a
monster, but as a leader who is doing what
he considers right and justified by the
state. The chorus is presented as a group
of citizens who, though they may feel
uneasy about the treatment of the corpse,
respect Creon and what he is doing. The
chorus is sympathetic to Antigone only
when she is led off to her death. But when
the chorus learns that the Gods are
offended by what Creon has done, and that
Creon’s actions will result in the
destruction of their city, then they ask
Creon to change course. The city is of
primary importance to the chorus.[8][9]
Once the initial premises behind the
characters in Antigone have been
established, the action of the play moves
steadily and inevitably towards the
outcome.[10] Once Creon has discovered
that Antigone buried her brother against
his orders, the ensuing discussion of her
fate is devoid of arguments for mercy
because of youth or sisterly love from the
Chorus, Haemon or Antigone herself. Most
of the arguments to save her center on a
debate over which course adheres best to
strict justice.[11]
Themes
Civil disobedience
Fidelity
Modern adaptations
Drama
Felix Mendelssohn composed a suite of
incidental music for Ludwig Tieck's
staging of the play in 1841. It includes
an overture and seven choruses.
Walter Hasenclever wrote an adaptation
in 1917, inspired by the events of World
War I.
French playwright Jean Anouilh's
tragedy Antigone was inspired by both
Sophocles' play and the myth itself.
Anouilh's play premièred in Paris at the
Théâtre de l'Atelier in February 1944,
during the Nazi occupation of France.
Right after World War II, Bertolt Brecht
composed an adaptation, Antigone,
which was based on a translation by
Friedrich Hölderlin and was published
under the title Antigonemodell 1948.
The Haitian writer and playwright Félix
Morisseau-Leroy translated and adapted
Antigone into Haitian Creole under the
title, Antigòn (1953). Antigòn is
noteworthy in its attempts to insert the
lived religious experience of many
Haitians into the content of the play
through the introduction of several Loa
from the pantheon of Haitian Vodou as
voiced entities throughout the
performance.
Antigone inspired the 1967 Spanish-
language novel La tumba de Antígona
(English title: Antigone's Tomb) by María
Zambrano.
Puerto Rican playwright Luis Rafael
Sánchez's 1968 play La Pasión según
Antígona Pérez sets Sophocles' play in a
contemporary world where Creon is the
dictator of a fictional Latin American
nation, and Antígona and her 'brothers'
are dissident freedom fighters.
In 1977, Antigone was translated into
Papiamento for an Aruban production by
director Burny Every together with Pedro
Velásquez and Ramon Todd Dandaré.
This translation retains the original
iambic verse by Sophocles.
In 2004, theatre companies Crossing
Jamaica Avenue and The Women's
Project in New York City co-produced
the Antigone Project written by Tanya
Barfield, Karen Hartman, Chiori
Miyagawa, Pulitzer Prize winner Lynn
Nottage and Caridad Svich, a five-part
response to Sophocles' text and to the
US Patriot Act. The text was published
by NoPassport Press as a single edition
in 2009 with introductions by classics
scholar Marianne McDonald and
playwright Lisa Schlesinger.
There are four operas: Antigone (1977)
by Dinos Constantinides, on an English
libretto by Fitts and Fitzgerald, Antigone
(1986) by Marjorie S. Merryman,
Antigone (1988) with music by Vassily
Lobanov and libretto (in Russian) by
Alexey Parin and the fourth – The Burial
at Thebes (2007–2008) by Dominique
Le Gendre and libretto by Seamus
Heaney, based on his translation for the
normal spoken theatre. The production
features conductor William Lumpkin,
stage director Jim Petosa, and six
singers and ten instrumentalists.[22]
Bangladeshi director Tanvir Mokammel
in his 2008 film Rabeya (The Sister) also
draws inspiration from Antigone to
parallel the story to the martyrs of the
1971 Bangladeshi Liberation War who
were denied a proper burial.[23]
In 2000, Peruvian theatre group
Yuyachkani and poet José Watanabe
adapted the play into a one-actor piece
which remains as part of the group's
repertoire.[24]
An Iranian absurdist adaptation of
Antigone was written and directed by
Homayoun Ghanizadeh and staged at
the City Theatre in Tehran in 2011.[25]
Roy Williams’s 2014 adaptation of
Antigone for the Pilot Theatre relocates
the setting to contemporary street
culture.[26]
Syrian playwright Mohammad Al-Attar
adapted Antigone for a 2014 production
at Beirut, performed by Syrian refugee
women.[27]
"Antigona," a 90-minute flamenco
version, performed by Soledad Barrio
and Noche Flamenca, with Barrio as
Antigona. Martín Santangelo, Artistic
Director and Producer, with
Choreography by Soledad Barrio and
additional choreography by Isabel
Bayon; Consulting Director, Lee Breuer;
Mask Design based on the work of Mary
Frank; Music by Eugenio Iglesias, Salva
de Maria and Martín Santangelo.
Presented at the West Park Presbyterian
Church, 165 West 86th Street, New York,
NY 10024, July 13 to August 15, 2015.
In 2012, the Royal National Theatre
adapted Antigone to modern times.
Directed by Polly Findlay,[28] the
production transformed the dead
Polyneices into a terrorist threat and
Antigone into a "dangerous
subversive."[29]
Cinema
Television
In 1986, Juliet Stevenson starred as
Antigone, with John Shrapnel as Creon
and Sir John Gielgud as Tiresias in the
BBC's The Theban Plays.
Notes
1. Sophocles (1986). The Three Theban
Plays: Antigone, Oedipus the King, Oedipus
at Colonus. Translated by Robert Fagles.
New York: Penguin. p. 35.
2. Sophocles (1947). Sophocles: The
Theban Plays (Penguin Classics).
Translated by E.F. Watling. The Penguin
Group.
3. McDonald, Marianne (2002), Sophocles'
Antigone (PDF), Nick Hern Books
4. Bates, Alfred, ed. (1906). The Drama: Its
History, Literature and Influence on
Civilization, Vol. 1 . London: Historical
Publishing Company. pp. 112–123.
5. Rosenfield, Kathrin H. (2010). Antigone:
Sophocles' Art, Hölderlin's Insight.
Translated by Charles B. Duff. Aurora,
Colorado: The Davies Group, Publishers.
pp. 1–22. ISBN 978-1934542224.
6. Letters, F. J. H. (1953). The Life and Work
of Sophocles. London: Sheed and Ward.
pp. 147–148.
7. Letters, p. 156.
8. Sophocles. Fagles, Robert, trans.
Sophocles: The Three Theban Plays. Knox,
Bernard. “Introduction”. Penguin Classics.
ISBN 978-0140444254
9. Collins, J. Churtin (1906). "The Ethics of
Antigone" . Sophocles' Antigone.
Translated by Robert Whitelaw. Oxford:
Clarendon Press.
10. Else, Gerald F. (1976). The Madness of
Antigone. Heidelberg: Carl Winter
Universitätsverlag. p. 43.
11. Letters, p. 147.
12. Rosenfield, p. 99–121.
13. Ward, James F. Heidegger’s Political
Thinking. Univ of Massachusetts Press,
1995. p. 190. ISBN 9780870239700
14. Keenan, Dennis King. The Question of
Sacrifice. Indiana University Press, 2005. p.
118. ISBN 9780253110565
15. Ferguson, John (2013). A Companion to
Greek Tragedy . University of Texas Press.
p. 173. ISBN 9780292759701.
16. Jebb, Sir Richard C. (1900). "Verse
429" . Sophocles: The Plays and
Fragments, with critical notes, commentary,
and translation in English prose. Part III:
The Antigone. Cambridge: Cambridge
University Press.
17. Rose, J. L. (March 1952). "The Problem
of the Second Burial in Sophocles'
Antigone". The Classical Journal. 47 (6):
220–221. JSTOR 3293220 .
18. Honig, Bonnie (2011). "ISMENE'S
FORCED CHOICE: SACRIFICE AND
SORORITY IN SOPHOCLES' ANTIGONE"
(PDF). Arethusa. The Johns Hopkins
University Press. 44: 29–68.
19. Levy, Charles S. (1963). "Antigone's
Motives: A Suggested Interpretation".
Transactions of the American Philological
Association. 94: 137–44.
doi:10.2307/283641 . JSTOR 283641 .
20. Sophocles (1991). Sophocles: Oedipus
the King, Oedipus at Colonus, Antigone.
Translated by David Grene. University of
Chicago Publishers. p. Line 48. ISBN 978-0-
226-30792-3.
21. MacKay, L. (1962). "Antigone,
Coriolanus, and Hegel". Transactions and
Proceedings of the American Philological
Association. 93: 178–179. JSTOR 283759 .
22. Medrek, T.J. (November 6, 1999). "BU
Opera fest's 'Antigone' is a lesson in
excellence" . Boston Herald. p. 22.
Retrieved March 8, 2010.
23. Press Trust of India (March 11, 2010).
"Bangla director dedicates new film to 1971
war martyrs" . NDTV Movies. New Delhi:
NDTV Convergence Limited.
24. Grupo Cultural Yuyachkani: Antígona
[Yuyachkani Cultural Group: Antigone].
Scalar (in Spanish). 11 March 2011.
Retrieved 24 March 2018.
25. "ﻧﮕﺎﻫﯽ ﺑﻪ ﻧﻤﺎﯾﺶ "آﻧﺘﯿﮕﻮﻧﻪ" ﻧﻮﺷﺘﻪ و ﮐﺎر
[ " ""ﻫﻤﺎﯾﻮن ﻏﻨﯽزادهTake a look at the
"Antigone" display of Homayoun
Ghanizadeh]. Irani Art (in Persian). February
1389. Retrieved 24 March 2018.
26. Hickling, Alfred (September 23, 2014).
"Antigone Review – engaging Gangland
Sophocles" . The Guardian.
27. Fordham, Alice (December 13, 2014).
"Syrian Women Displaced By War Make
Tragedy Of 'Antigone' Their Own" . National
Public Radio.
28. "Antigone: Cast & creative" . National
Theatre. The Royal National Theatre.
Archived from the original on 31 August
2012. Retrieved 23 July 2018.
29. Billington, Michael (31 May 2012).
"Antigone – review" . The Guardian.
Retrieved 5 December 2015.
30. "The Deferred Antigone (Germany in
Autumn, 1978)" . YouTube. Retrieved
30 June 2018.
31. Gillespie, Jill. "Deutschland Im Herbst -
Film (Movie) Plot and Review" .
FilmReference. Retrieved 30 June 2018.
Further reading
Butler, Judith (2000). Antigone's Claim:
Kinship Between Life and Death. New
York: Columbia University Press. ISBN 0-
231-11895-3.
Heaney, Seamus (December 2004). "The
Jayne Lecture: Title Deeds: Translating a
Classic" (PDF). Proceedings of the
American Philosophical Society. 148 (4):
411–426. Archived from the original
(PDF) on 2011-10-18.
External links
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Antigone
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