sophocles and greek drama

11.05.11 || English 1302: Composition II || D. Glen Smith, instructor

Sophocles and Greek Drama


Sophocles (c. 497 BCE – 406 BCE)

Sophocles remains a strong influence even today.

It has been said that he wrote over 100 plays in his career.

• onlyahandfuloffullformremaininexistence

• overtwentyfragmentsofplaysdoexistaswell;therestarelost

• fromtheselimitednumbersofplayshestillmanagestoinfluence

thedevelopmentofdrama

• heshiftedthefocusoffthechorusbyreducingitsnumbers,pluscreating

athirdactortoparticipateonstagewiththeprincipalactors

• livingtotheageofearlynineties,heexperiencedtheglorydaysof

Atheniandrama—andthedeclineofthecity’spowerduringthe

Peloponnesian War


Antigone as a Tragic Hero

The play Antigone is considered one of the perfect Greek dramas.

Like Oedipus Rex,anotherworkbySophocles,thisplayshowsawell-crafted

tragedyandestablishesastrongformulaforfuturetragiccharacterdevelopment.

ThetitlecharacterAntigoneisatragiccharacterfornumerousreasons.Selecting

fromthedefinitionsuppliedtoyouearlierinthecourse:

•Heroesareneither100%goodnor100%evil.

Antigone does not have malicious intentions; she is not a corrupt force.

Furthermoreherstubbornnesscouldbeconsideredaflaw;shewantsher

brotherPolyneiceshonored,ifonlywithasimpleburial.

•Theyarefatedtocausegrieftoindividualsortothecommunity.

SpecificallythroughherreactionstowardsCreon’sownflawinlogicand

pride,Antigone’sdisputeimpactnumerouspeople.



•Drivenandobsessedwithpastdeedsorbyfate.

Particulartoherstory,Antigoneisdrivenbyacurrentevent—Creon’slackof

honortowardsPolyneices,hisownnephew.

•Theheroisoftenakingorleaderinthecommunity,headoffamily.

In this case her family is of noble lineage— her bloodline represents authority.

•Theysymbolizethecommunityorthefamilyunit.

Antigonerepresentsthevoiceofthecity,thepeoplewhoquietlydisapprove

ofCreon’sapproachtoleadership.

•Theheros’downfalliscausedbytheirflaws.

•Theherosfighttothedeathduetoflawedbeliefsystem.

Antigone’sunwillingnesstocompromiseisaflawinhercharacter.Thisshows

shefailstoworkthroughamutualdiscoursewithCreon.



•Tragicherosunderstandtheyaredoomed.

From the beginning of the play, Antigone mentions that she understands

theconsequencesofheractions.Attheopeningsceneoftheplayshetells

Ismene that:

[L]eaveme

tosuffer[theconsequences,]this—dreadfulthing.I’llsuffer

nothingasgreatasdeathwithoutglory.(725-726,ll111-113)

•Theheros’downfallshouldarousepityand/orterrorinthereader.

Althoughbothcharactersactirrationallyandwithstrongstubbornattitudes—

eventhoughsympathydoesliewithAntigone,sheisequallyatfault.Whatis

uniquehere,sinceCreonhimselfisatragichero,hetakesontheroleof

producing terror in the audience; Antigone produces a feeling of pity.


Antigone, the play

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

Headdressesvariousongoingsituationsstillrelevantinourculture.

• genderpoliticsand

• generalattitudestowardswomen

• divinerightofkings

• rightsofanindividualunderdevelopingdictatorship/totalitariangovernment


Antigone and Ismene

Considering the first topic, throughout the play, the audience is

reminded that the main argument lies between a male authority

figure and a female dissident.

• Ismenebringsuptheissuefirst,actingasafoiltoAntigone,intheopening

scenewherethetwosistersdiscussthenewlawcreatedbytheiruncleCreon.

Ismenesays:“[T]hinkwhatadeathwe’lldie,theworstofall/ifweviolatethe

lawsandoverridethefixeddecreeofthethrone,itspower—/wemustbe

sensible.Rememberwearewomen,we’renotborntocontendwithmen”

(725,ll71-75).

• Antigonehoweveristoowrappedupinherideologiestoletattitudestowards

herowngenderlimitheractions;herconvictionisstrong,evenknowingthe

consequences.

• Antigoneisshownastrong-willedcreature;Ismeneobedientandsubmissive.


The opening discussion establishes important details to the audience.

• Antigoneisshownasadefiantfemaleevenwhenconfrontedby

aclosefamilymember’scontradictoryfeelings.

• Sheisshownwitharesolveandindividualisticsenseofindependence

• Anyoneopposingherviewswouldbeconsideredatraitortothefamily—

ironically,justasCreon’sviewslabeloppositiontohislawsasatreacheryto

the state.

• Antigone’sreactionstoIsmeneshowthetitlecharactersteadfastinher

positionswithinthedevelopingconflict—

• andshowsshewillnotbeshiftfromheropinions,evenwhensheknowsthe

consequences:“AndevenifIdieintheact,thatdeathwillbeaglory”(725,l86).

• Hercharacterizationconfirmsatthebeginningoftheplaysheisatragicfigure.

Antigone and Ismene


Even in the background, Ismene provides a strong part in the play.

Herspeechconfirmsheridealsasaculturalexpectationofwomen,

toremainmeekandobedient.

• Thisalsoshowssheistheweakerofthetwosisters.

• Ismeneisalsoshownasanobedientcitizenunwillingtofightbackatobvious

failuresbythemonarchy:

Imustobey/theoneswhostandinpower.Whyrushtoextremes?/

It’smadness,madness.(725,79-81)

• Shealsostates:“[B]utdefythecity?Ihavenostrengthforthat”(725,l94).

whichimpliesshebelievesthecity’slawsareabsoluteandunquestionable.

• Herspeechesconfirmherstatusasafoilcharacter.

Ismene


Ismene

LikewiseintheresultingscenebetweenthethreecharactersofCreon,Antigone,

andIsmene:

• Ismene’sweakercharacterizationisrevealedintheresultingconfrontation

betweenAntigoneandCreon;inthissceneIsmenereactsemotionallytothe

judgmentpassedagainstAntigone;Ismenewouldbelostwithoutherolder

sibling:“HowcanIlivealone,withouther?”(738,l638).

• IsmenewillendupthelastsurvivingfamilymemberoftheOedipusline

havingexperiencedthelossofmother,father,brothers,andsister.

• NoticeshedoesabidebyCreon’sdecisionintheend;shemeeklyreturnstothe

palacewithoutfurtherdebate,withoutanactofrebellion;wenolongerseeher

in the play.

11

Antigone


Antigone is always seen in opposition to Creon.

Theyareseenonoppositesidesofanissuewithnocompromise.

• Antigoneneverweakensherpositionorshiftsfromhervaluesofa

family’sworthovertheworthofthestate.

• Evenwithhersuicideshegainsthelastwordintheargument.

• Shetakesherownlifeonherownterms,notwithanestablishedjudgement

passedbyCreon.

• Likewisethisactconfirmshercharacterization:sheactsoutofalogical

approach,notoutofapassion.{ this may be a point of debate:

is her suicide an act of emotional reasoning or cold indifferent logic?

• Ironicallyherdeathechoesthesuicideofhermother,Jacostainthepreceding

storyofOedipus;inJacosta’scase,theactwasoutofhorrificrealizationofhow

onecannotescapefate,nomatterhowhardonetries.


Creon likewise is a tragic hero.

Heremainsunchangedinhisconvictionsuntilthelastfewmomentsoftheplay.

• InthediscussionwithhissonHaemonandthechorus,Creonrevealshis

politicalbeliefswhenhestates:

[T]heman

thecityplacesinauthority,hisordersmustbeobeyed,

largeandsmall

rightandwrong.(740,ll748-751)

• Creonseesthelawasanabsolute.Furthermore,aking’spowerrepresentsthe

city’sstrength;withastrongruler,thecitywillprosper.

• Asarepresentativeofhisownpowerasaking,hiscontrolaimstorepair

thewrongscurrentlyinfectingThebes—yet,inanironictwist,hisactionsare

merelycontinuationsofachainoffailuresandmisjudgmentsfromprevious

Thebanrulers.

Creon


Antigone as Anarchy

• Creonalsowillstate:

Anarchy—/showmeagreatercrimeinalltheearth!/She,shedestroys

cities,ripsuphouses,/breakstheranksofspearmenintoheadlongrout/

[...]Therefore/wemustdefendthemenwholivebylaw,/neverletsome

womantriumphoverus./Bettertofallfrompower,iffallwemust,/at

thehandsofaman—neverberated/inferiortoawoman,never.

(740,ll752-761)

• CreonmentionsAnarchyandpersonifiestheelementasafemalefigure.

• Theword“anarchy”literallymeans“withoutgovernment”—inGreektheword

isspecificallyafemininenoun—soCreon’spersonificationoftheelementas

afemaleisnotunexpected.

• Inaddition,aconnectionismadebetweenAntigoneandAnarchy,

bothdefiantfemalesthroughhisanalogy.


Antigone as Anarchy

NoticeinCreon’sstatementhowAnarchy,ordisorder,destroysallaspectsof

civilization:political,domestic,andmilitary.

• Anythingwithinacivilizationcannotsurviveagainstamovementofanarchy.

• Anydisorderordisobedienceagainstalawhehascreatedthereforerepresents

anarchytoCreon.Hewantstomaintainabsolute,totalcontrol.

• Withinthesameexchangeofdialogue,Creonfurtherstateshowamanneeds

tocontrolhiswifeandcontrolhishousehold.

Showmethemanwhoruleshishouseholdwell:/I’llshowyousomeone

fittorulethestate./Thegoodman,myson,/Ihaveeveryconfidencehe

andhealone/cangivecommandsandtakethemtoo.Staunch/inthe

stormofspearshe’llstandhisground,/aloyal,unflinchingcomradeat

yourside.(740,ll739-745)

• InthismannerCreoncomparestheaveragehouseholdtotheaveragecity.


Another foil relationship is shown near the second half of the play.

Creon’ssonHaemonactsasanemotionalfoilinthesamemannerasIsmene.

• IsmeneandHaemonarebothaverage,moderatepeople.

• Ismeneisanobedientfemaletothecity,whereasHaemonseeksouta

moderation,aresolutionbetweenthetwooppositions.

• Hehasaminorcharacterflaw:heisdeeplyinlovewithAntigone;

hisargumentsbecomeemotionalandpassionate,contradictoryto

Antigone’sstoicnature.

• HismainspeechopenswithadiscourseonReason—acounterargumentto

Creon’srantonpoliticalstrengthandgovernmentcontrol.Hestates:

Father,onlythegodsendowamanwithreason,

thefinestofalltheirgifts,atreasure.(741,ll64-65)

Haemonbeginswitharationalargumentwantinghisfathertoseereason.

Haemon and Creon


Haemonfurtherstates:

Themaninthestreet,youknow,dreadsyourglance,

he’dneversayanythingdispleasingtoyourface.

Butit’sformetocatchthemurmursinthedark,

thewaythecitymournsforthisyounggirl.

‘Nowoman,’theysay,‘everdeserveddeathless,

andsuchabrutaldeathforsuchagloriousaction[...]

Death?Shedeservesaglowingcrownofgold!’

Sotheysay,andtherumorspreadsinsecret,

darkly...(741,ll773-784)

• Asafoil,heisattemptingtochangethefirm-resolveofanothercharacter,

andatthesametimeshowtheaudiencehowdevotedheistoAntigoneaswell.

HisdiscourseonlysucceedsinangeringCreonfurther.

Haemon and Creon


In the resulting debate, Haemon shows the city is against the king.

Creonisbasicallyblindtooutsideopinionsandholdsfasttohisphilosophyof

thedivinerightofkings.Hefeelsthegodsputhimincontrol,whichconfirms

that his reactionary views are in control.

• Inhismind,thevoiceofthepeopledonotmakethelaws.

• Haemonreplies:“It’snocityatall,ownedbyonemanalone”(742,l824).

• TotheancientAthenians,withtheirdemocraticstate,thislineinparticular

confirmstheirpoliticalphilosophies.

• Amonarchyisaflawedsystemofgovernment.

Haemon and Creon


Tiresias soon enters the stage to begin a new debate with Creon.

Tiresiasisablindprophetwhoappearsinnumerousplaysandmyth-cycles.

• Herepresentsthearchetypeofawiseoldman;helivedthrough

sevengenerationsofThebeankings,startingwithCadmus.

• Hispropheciesderivefrompracticesofaugury,anancientbeliefthatbird

flightpatternsandsongscanpredictthefuture.InTiresias’case,theyoung

boyactsaswalkingguideandasasetofeyestotellhimwhatthebirdsdo.

• Despitehisdisability,hehasastrongergrasponthesituationdueto

hisacuteforesight.HelikewiseexposesCreon’sfatalflaw:

“Stubbornness/brandsyouforstupidity—prideisacrime”(749,1136-7).

• CreonironicallyisblindtothelogicTiresiasproposesandonlyreacts

withmoreanger.

Tiresias and Creon


This discussion results in the climax of the play.

TheaudienceseesthemomentasapointwhereCreoncouldresolvetheconflict

withAntigoneandendwithapositiveresolution.

• However,thisisatragedyandtheendwillnotbeupliftingforanycharacter.

Tiresias and Creon


Creon

Despite the fact Creon is a tragic hero, he does not die at the closing.

Hisfateisleftasahorrificendinginanundisclosedinterval,notdiscussedin

thisplay.Antigoneisafterallthemainfocus.

• AswithmostGreekdramas,thescenesofsuicideanddeathalloccuroffstage,

outofsightoftheaudience.Aminorcharacteroftendeliversthenewsofthe

fataleventstoallowtheaudiencetocatchupwiththeplot.

• ThedeathofAntigoneandHaemonaresuchexampleswithaMessenger

deliveringthebadnewstotheChorus.

• Eurydice,Creon’swife,alsocommitssuicideuponhearingofthefateofher

son;beforeshediessheuttersacursedirectedatCreon.

• Creon’stragiccircumstanceistoliveonwithguilt,knowinghecommitted

erroneousjudgmentsattheconsequenceofhisfamily’slives.


Creon

The final scene shows Creon receiving word of his wife’s death.

Withthefinalblowsoflossofbothwifeandson,headmitshisfailings.

[T]heguiltisallmine—

canneverbefixedonanotherman,

noescapeforme.Ikilledyou,

I,godhelpme,Iadmititall![...]

Idon’tevenexist—Iamnoone.Nothing.(757,ll1441-6)

• Thisresultsinafinalgestureonhispart,actingasaprayertothegods,

askingforthemtoendhislife.Creoncannot,orwillnot,killhimself.

• Tosomeextent,theAncientGreeksbelievedsuicidewasaformofheroism.

Sincetherewasnoreturnafterdeath,suchanactpermittedamannerfor

rectifyingafailureinone’slife.Honorcouldberestoredtoanindividual.


Two trains of thought can be derived from Creon’s lack of “initiative”

in this matter:

•SophoclesmaybeimplyingthatCreonistoocowardlytokillhimself,thathis

flawedpersonalityincludesprideandcowardice.Hisearlystatementsof

braveryandstrengthwereallfalsedeclarations;sincesuicideisanactof

free-will,Creonmaybeshowinghimselftobeaweakindividual.

• OrCreondecidestoremainavictim-king,settinghimselfasanexample

forpossiblefuturerulersofThebesnottofollowhisrashlaws.

• Fromthispointforward,theChorusofElderlyMenspeakwithmoreauthority.

TheydeclaretoCreonhisfinallesson:

Formortalmen

thereisnoescapefromthedoomwemustendure.(757,ll1457-8)

Creon and the Chorus of Elderly Men


Likewise, before the full closing of the play, the Chorus utters the

moral of the story.

Theydeliverthefinalword,directedtowardstheaudience.

• OnceCreonexitsthestageabrokenman,theyspeakinunison:

Wisdomisbyfarthegreatestpartofjoy,

andreverencetowardthegodsmustbesafeguarded.

Themightywordsoftheproudarepaidinfull

withmightyblowsoffate,andatlonglast

thoseblowswillteachuswisdom.(757,ll1466-70)

The Chorus of Elderly Men

sophocles and greek drama

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