According to Haemon, what do the people of Thebes think about Antigones punishment?

This article is about the play by Sophocles. For the master character in the play, see Antigone.

Tragedy past Sophocles

Antigone
Antigone in front of the dead Polynices by Nikiforos Lytras 1865
Written past	Sophocles
Chorus	Theban Elders
Characters	Antigone Ismene Creon Eurydice Haemon Tiresias Picket Leader of the Chorus First Messenger Second Messenger
Mute	Ii guards A boy
Engagement premiered	c. 441 BCE
Place premiered	Athens
Original language	Ancient Greek
Genre	Tragedy

Antigone ( ann-TIG-ə-nee; Aboriginal Greek: Ἀντιγόνη) is a tragedy by Sophocles written in or before 441 BC.

Of the three Theban plays Antigone is the tertiary in order of the events depicted in the plays, simply it is the first that was written.^[1] The play expands on the Theban legend that predates it, and it picks up where Aeschylus' Seven Against Thebes ends.

Synopsis [edit]

Prior to the get-go of the play, the brothers Eteocles and Polynices, leading reverse sides in Thebes' ceremonious 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 Polynices volition be in public shame. The rebel brother's body will not exist sanctified by holy rites and will lie unburied on the battlefield, prey for carrion animals like vultures and jackals^{[ according to whom? ]}, the harshest penalty at the time. Antigone and Ismene are the sisters of the dead Polynices and Eteocles.

Laius

Jocasta

Creon

Oedipus

Eteocles

Polynices

Ismene

Antigone

Haemon

In the opening of the play, Antigone brings Ismene outside the palace gates late at night for a hole-and-corner meeting: Antigone wants to bury Polynices' body, in defiance of Creon's edict. Ismene refuses to aid her, non assertive that it volition actually be possible to bury their blood brother, who is under guard, but she is unable to stop Antigone from going to coffin her blood brother herself.

The chorus enter and cast the background story of the 7 against Thebes into a mythic and heroic context.

Creon enters, and seeks the support of the chorus of Theban elders in the days to come up and in particular, wants them to dorsum his edict regarding the disposal of Polynices' body. The leader of the chorus pledges his support out of deference to Creon. A lookout man enters, fearfully reporting that the body has been given funeral rites and a symbolic burial with a thin covering of world, though no one sees who actually committed the crime. Creon, furious, orders the picket to discover the culprit or face up expiry himself. The sentry leaves.

The sentry returns, bringing Antigone with him. The lookout man explains that the watchmen uncovered Polynices' torso and then caught Antigone as she did the funeral rituals. Creon questions her after sending the picket away, and she does not deny what she has done. She argues unflinchingly with Creon about the immorality of the edict and the morality of her deportment. Creon becomes furious, and seeing Ismene upset, thinks she must accept known of Antigone's plan. He summons her. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will non have information technology. Creon orders that the ii women be imprisoned. The chorus sing of the troubles of the house of Oedipus. Haemon, Creon'south son, enters to pledge allegiance to his father, even though he is engaged to Antigone. He initially seems willing to abdicate Antigone, just when Haemon gently tries to persuade his father to spare Antigone, claiming that "under cover of darkness the urban center mourns for the girl", the discussion deteriorates, and the 2 men are soon bitterly insulting each other. When Creon threatens to execute Antigone in front of his son, Haemon leaves, vowing never to meet Creon again.

The chorus sing of the power of love. Antigone is brought in under baby-sit on her way to execution. She sings a complaining. The chorus compares her to the goddess Niobe, who was turned into a stone, and say it is a wonderful affair to be compared to a goddess. Antigone accuses them of mocking her.

Creon decides to spare Ismene and to bury Antigone alive in a cave. By not killing her direct, he hopes to pay minimal respects to the gods. She is brought out of the business firm, and this fourth dimension, she is sorrowful instead of defiant. She expresses her regrets at not having married and dying for following the laws of the gods. She is taken away to her living tomb.

The Chorus encourages Antigone by singing of the peachy women of myth who suffered.

Tiresias, the blind prophet, enters. Tiresias warns Creon that Polynices should at present be urgently buried because the gods are displeased, refusing to accept whatsoever sacrifices or prayers from Thebes. However, Creon accuses Tiresias of being corrupt. Tiresias responds that Creon will lose "a son of [his] own loins"^[2] for the crimes of leaving Polynices unburied and putting Antigone into the earth (he does not say that Antigone should not be condemned to expiry, only that it is improper to proceed a living torso underneath the earth). Tiresias also prophesies that all of Hellenic republic will despise Creon and that the sacrificial offerings of Thebes will not exist accustomed by the gods. The leader of the chorus, terrified, asks Creon to take Tiresias' advice to free Antigone and bury Polynices. Creon assents, leaving with a retinue of men. The chorus delivers an oral ode to the god Dionysus.

A messenger enters to tell the leader of the chorus that Haemon has killed himself. Eurydice, Creon'due south wife and Haemon's mother, enters and asks the messenger to tell her everything. The messenger reports that Creon saw to the burial of Polynices. When Creon arrived at Antigone's cavern, he found Haemon lamenting over Antigone, who had hanged herself. Haemon unsuccessfully attempted to stab Creon, and then stabbed himself. Having listened to the messenger's account, Eurydice silently disappears into the palace.

Creon enters, carrying Haemon's body. He understands that his own actions take caused these events and blames himself. A second messenger arrives to tell Creon and the chorus that Eurydice has killed herself. With her last jiff, she cursed her husband for the deaths of her sons, Haemon and Megareus. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to assistance him inside. The order he valued so much has been protected, and he is still the rex, but he has acted against the gods and lost his children and his wife every bit a event. Later on Creon condemns himself, the leader of the chorus closes by saying that although the gods punish the proud, punishment brings wisdom.

Characters [edit]

• 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 graphic symbol is boldly outlined.^[4] She defies Creon'southward decree despite the consequences she may face, in guild to laurels her deceased blood brother.
• Ismene serves as a foil for Antigone, presenting the contrast in their respective responses to the royal prescript.^[iii] Considered the beautiful one, she is more lawful and obedient to authority. She hesitates to bury Polynices considering she fears Creon.
• Creon is the current King of Thebes, who views law as the guarantor of personal happiness. He can besides be seen every bit a tragic hero, losing everything for upholding what he believed was right. Even when he is forced to ameliorate his decree to please the gods, he beginning tends to the dead Polynices earlier releasing Antigone.^[3]
• Eurydice of Thebes is the Queen of Thebes and Creon'south wife. She appears towards the end and only to hear confirmation of her son Haemon'south decease. 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 than reasonable than Creon, he attempts to reason with his father for the sake of Antigone. All the same, when Creon refuses to listen to him, Haemon leaves angrily and shouts he will never see him again. He commits suicide afterward finding Antigone dead.
• Koryphaios is the assistant to the King (Creon) and the leader of the Chorus. He is ofttimes interpreted as a shut advisor to the Male monarch, and therefore a shut family unit friend. This office is highlighted in the cease when Creon chooses to listen to Koryphaios' communication.
• Tiresias is the blind prophet whose prediction brings nearly the eventual proper burying of Polynices. Portrayed as wise and total of reason, Tiresias attempts to warn Creon of his foolishness and tells him the gods are angry. He manages to convince Creon, only is besides late to save the impetuous Antigone.
• The Chorus, a group of elderly Theban men, is at first deferential to the rex.^[four] Their purpose is to comment on the action in the play and add to the suspense and emotions, likewise every bit connecting the story to myths. As the play progresses they counsel Creon to exist more moderate. Their pleading persuades Creon to spare Ismene. They also advise Creon to take Tiresias's advice.

Historical context [edit]

Antigone was written at a fourth dimension of national fervor. In 441 BCE, shortly after the play was performed, Sophocles was appointed as one of the ten generals to lead a armed services expedition against Samos. It is striking that a prominent play in a fourth dimension of such imperialism contains little political propaganda, no impassioned apostrophe, and—with the exception of the epiklerate (the correct of the daughter to continue her dead begetter'south lineage)^[5] and arguments against chaos—makes no contemporary allusion or passing reference to Athens.^[vi] Rather than go sidetracked with the issues of the time, Antigone remains focused on the characters and themes within the play. Information technology does, nonetheless, expose the dangers of the absolute ruler, or tyrant, in the person of Creon, a male monarch to whom few will speak freely and openly their true opinions, and who therefore makes the grievous error of condemning Antigone, an human action which he pitifully regrets in the play's concluding lines. Athenians, proud of their autonomous tradition, would accept identified his mistake in the many lines of dialogue which emphasize that the people of Thebes believe he is wrong, but have no vocalization to tell him then. Athenians would place the folly of tyranny.

Notable features [edit]

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 Vii Against Thebes is largely supportive of Antigone'south decision to bury her blood brother. Here, the chorus is composed of old men who are largely unwilling to see civil disobedience in a positive calorie-free. The chorus also represents a typical difference in Sophocles' plays from those of both Aeschylus and Euripides. A chorus of Aeschylus' well-nigh 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 in the immediate scene, just allows itself to exist carried abroad from the occasion or the initial reason for speaking.^[vii]

Significance and interpretation [edit]

Once Creon has discovered that Antigone buried her blood brother confronting his orders, the ensuing word of her fate is devoid of arguments for mercy because of youth or sisterly honey from the Chorus, Haemon or Antigone herself. Most of the arguments to relieve her centre on a contend over which course adheres best to strict justice.^{[8] [nine]}

Both Antigone and Creon claim divine sanction for their deportment; merely Tiresias the prophet supports Antigone'southward merits that the gods demand Polynices' burial. Information technology is not until the interview with Tiresias that Creon transgresses and is guilty of sin. He had no divine intimation that his edict would be displeasing to the Gods and against their will. He is here warned that it is, simply he defends it and insults the prophet of the Gods. This is his sin, and it is this which leads to his penalisation. The terrible calamities that overtake Creon are not the result of his exalting the law of the state over the unwritten and divine constabulary which Antigone vindicates, but are his intemperance which led him to disregard the warnings of Tiresias until it was besides late. This is emphasized by the Chorus in the lines that conclude the play.^[x]

The German poet Friedrich Hölderlin, whose translation had a strong touch on on the philosopher Martin Heidegger, brings out a more than subtle reading of the play: he focuses on Antigone's legal and political status within the palace, her privilege to be the hearth (according to the legal instrument of the epiklerate) and thus protected by Zeus. Co-ordinate to the legal practice of classical Athens, Creon is obliged to marry his closest relative (Haemon) to the late rex's daughter in an inverted marriage rite, which would oblige Haemon to produce a son and heir for his expressionless male parent in law. Creon would exist deprived of grandchildren and heirs to his lineage – a fact which provides a stiff realistic motive for his hatred against Antigone. This modern perspective has remained submerged for a long time.^[11]

Heidegger, in his essay, The Ode on Man in Sophocles' Antigone, focuses on the chorus' sequence of stophe and antistrophe that begins on line 278. His interpretation is in three phases: offset to consider the essential meaning of the poesy, and then to move through the sequence with that understanding, and finally to discern what was nature of humankind that Sophocles was expressing in this poem. In the first two lines of the outset strophe, in the translation Heidegger used, the chorus says that at that place are many strange things on globe, merely there is nothing stranger than man. Ancestry are of import to Heidegger, and he considered those two lines to describe the primary trait of the essence of humanity within which all other aspects must find their essence. Those two lines are so fundamental that the rest of the verse is spent catching upward with them. The authentic Greek definition of humankind is the i who is strangest of all. Heidegger'south estimation of the text describes humankind in one word that captures the extremes — deinotaton. Human is deinon in the sense that he is the terrible, violent one, and also in the sense that he uses violence against the overpowering. Man is twice deinon. In a series of lectures in 1942, Hölderlin's Hymn, The Ister, Heidegger goes further in interpreting this play, and considers that Antigone takes on the destiny she has been given, but does not follow a path that is opposed to that of the humankind described in the choral ode. When Antigone opposes Creon, her suffering the uncanny, is her supreme activeness.^{[12] [13]}

The trouble of the second burial [edit]

An of import outcome still debated regarding Sophocles' Antigone is the problem of the second burying. When she poured dust over her brother'south body, Antigone completed the burial rituals and thus fulfilled her duty to him. Having been properly buried, Polynices' soul could proceed to the underworld whether or not the grit was removed from his body. However, Antigone went back later his torso was uncovered and performed the ritual again, an human action that seems to exist completely unmotivated past annihilation other than a plot necessity so that she could exist caught in the human action of disobedience, leaving no dubiousness of her guilt. More than one commentator has suggested that it was the gods, not Antigone, who performed the starting time burial, citing both the guard'southward description of the scene and the chorus's observation.^[14]

Richard C. Jebb suggests that the only reason for Antigone'southward render to the burial site is that the first time she forgot the Choaí (libations), and "possibly the rite was considered completed only if the Choaí were poured while the grit however covered the corpse."^[15]

Gilbert Norwood explains Antigone's operation of the second burial in terms of her stubbornness. His statement says that had Antigone not been and so obsessed with the thought of keeping her brother covered, none of the deaths of the play would have happened. This statement states that if null had happened, nothing would have happened, and doesn't have much of a stand in explaining why Antigone returned for the 2nd burying when the first would take fulfilled her religious obligation, regardless of how stubborn she was. This leaves that she acted only in passionate defiance of Creon and respect to her brother'southward earthly vessel.^[sixteen]

Tycho von Wilamowitz-Moellendorff justifies the demand for the 2d burial by comparing Sophocles' Antigone to a theoretical version where Antigone is apprehended during the first burial. In this situation, news of the illegal burial and Antigone'southward arrest would get in at the aforementioned time and there would exist no period of fourth dimension in which Antigone'due south defiance and victory could be appreciated.

J. L. Rose maintains that the solution to the problem of the 2d burial is solved by shut examination of Antigone every bit a tragic character. Being a tragic character, she is completely obsessed by 1 idea, and for her this is giving her brother his due respect in expiry and demonstrating her love for him and for what is right. When she sees her brother's torso uncovered, therefore, she is overcome by emotion and acts impulsively to cover him again, with no regards to the necessity of the activity or its consequences for her prophylactic.^[sixteen]

Bonnie Honig uses the problem of the second burial as the basis for her claim that Ismene performs the offset burial, and that her pseudo-confession earlier Creon is really an honest access of guilt.^[17]

Themes [edit]

Civil disobedience [edit]

A well established theme in Antigone is the right of the individual to decline society's infringement on her freedom to perform a personal obligation.^[18] Antigone comments to Ismene, regarding Creon's edict, that "He has no right to go along me from my own."^[nineteen] Related to this theme is the question of whether Antigone'south will to bury her blood brother is based on rational idea or instinct, a contend whose contributors include Goethe.^[18]

The contrasting views of Creon and Antigone with regard to laws higher than those of land inform their dissimilar conclusions about ceremonious disobedience. Creon demands obedience to the law above all else, correct or wrong. He says that "there is zero worse than disobedience to potency" (An. 671). Antigone responds with the idea that state law is non absolute, and that it can be cleaved in civil disobedience in farthermost cases, such as honoring the gods, whose dominion and potency outweigh Creon's.

Natural law and contemporary legal institutions [edit]

Creon'south decree to leave Polynices unburied in itself makes a bold statement about what information technology ways to be a citizen, and what constitutes abdication of citizenship. It was the firmly kept custom of the Greeks that each city was responsible for the burial of its citizens. Herodotus discussed how members of each city would collect their own dead later a large battle to coffin them.^[twenty] In Antigone, it is therefore natural that the people of Thebes did not coffin the Argives, but very hit that Creon prohibited the burial of Polynices. Since he is a citizen of Thebes, it would accept been natural for the Thebans to coffin him. Creon is telling his people that Polynices has distanced himself from them, and that they are prohibited from treating him as a fellow-citizen and burying him as is the custom for citizens.

In prohibiting the people of Thebes from burial Polynices, Creon is essentially placing him on the level of the other attackers—the foreign Argives. For Creon, the fact that Polynices has attacked the metropolis finer revokes his citizenship and makes him a foreigner. As defined past this decree, citizenship is based on loyalty. Information technology is revoked when Polynices commits what in Creon'south eyes amounts to treason. When pitted confronting Antigone'due south view, this agreement of citizenship creates a new axis of conflict. Antigone does not deny that Polynices has betrayed the state, she simply acts as if this expose does not rob him of the connection that he would have otherwise had with the city. Creon, on the other hand, believes that citizenship is a contract; it is not accented or inalienable, and can exist lost in certain circumstances. These two opposing views – that citizenship is accented and undeniable and alternatively that citizenship is based on certain beliefs – are known respectively as citizenship 'past nature' and citizenship 'by law.'^[20]

Fidelity [edit]

Antigone's conclusion to bury Polynices arises from a desire to bring honor to her family, and to award the higher law of the gods. She repeatedly declares that she must act to please "those that are dead" (An. 77), because they hold more than weight than whatsoever ruler, that is the weight of divine police. In the opening scene, she makes an emotional entreatment to her sister Ismene saying that they must protect their brother out of sisterly dearest, even if he did betray their state. Antigone believes that there are rights that are inalienable considering they come from the highest authorisation, or dominance itself, that is the divine law.

While he rejects Antigone's actions based on family honor, Creon appears to value family unit himself. When talking to Haemon, Creon demands of him non only obedience every bit a citizen, but also as a son. Creon says "everything else shall be 2nd to your begetter's decision" ("An." 640–641). His emphasis on existence Haemon's father rather than his king may seem odd, especially in light of the fact that Creon elsewhere advocates obedience to the country above all else. It is not clear how he would personally handle these ii values in conflict, but it is a moot betoken in the play, for, every bit absolute ruler of Thebes, Creon is the state, and the state is Creon. It is clear how he feels near these two values in disharmonize when encountered in another person, Antigone: loyalty to the land comes before family fealty, and he sentences her to death.

Portrayal of the gods [edit]

In Antigone as well as the other Theban Plays, there are very few references to the gods. Hades is the god who is most commonly referred to, but he is referred to more as a personification of Death. Zeus is referenced a total of 13 times by name in the entire play, and Apollo is referenced but as a personification of prophecy. This lack of mention portrays the tragic events that occur as the result of human error, and non divine intervention. The gods are portrayed every bit chthonic, as near the beginning there is a reference to "Justice who dwells with the gods beneath the earth." Sophocles references Olympus twice in Antigone. This contrasts with the other Athenian tragedians, who reference Olympus frequently.

Beloved for family [edit]

Antigone's love for family unit is shown when she buries her blood brother, Polynices. Haemon was securely in love with his cousin and fiancée Antigone, and he killed himself in grief when he plant out that his beloved Antigone had hanged herself.

Modern adaptations [edit]

Drama [edit]

• Felix Mendelssohn composed a suite of incidental music for Ludwig Tieck's staging of the play in 1841. It includes an overture and 7 choruses.
• Walter Hasenclever wrote an adaptation in 1917, inspired by the events of Globe War I.
• Jean Cocteau created an adaptation of Sophocles' Antigone at Théâtre de l'Atelier in Paris on December 22nd, 1922.
• French playwright Jean Anouilh's tragedy Antigone was inspired past both Sophocles' play and the myth itself. Anouilh'due south play premièred in Paris at the Théâtre de 50'Atelier in February 1944, during the Nazi occupation of France.
• Right later World War II, Bertolt Brecht composed an accommodation, 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 Castilian-language novel La tumba de Antígona (English championship: Antigone's Tomb) by María Zambrano.
• Puerto Rican playwright Luis Rafael Sánchez'south 1968 play La Pasión según Antígona Pérez sets Sophocles' play in a gimmicky world where Creon is the dictator of a fictional Latin American nation, and Antígona and her 'brothers' are dissident freedom fighters.
• The Isle, a 1973 apartheid-era play past the S African playwrights Athol Fugard, John Kani, and Winston Nthsona, features two cellmates who rehearse and ultimately perform Antigone for the other prisoners, drawing parallels betwixt Antigone herself and black political prisoners held in Robben Island prison house.
• 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 Artery and The Women'southward 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-role response to Sophocles' text and to the United states of america Patriot Act. The text was published by NoPassport Press as a unmarried edition in 2009 with introductions by classics scholar Marianne McDonald and playwright Lisa Schlesinger.
• Bangladeshi managing 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 burying.^[21]
• In 2000, Peruvian theatre group Yuyachkani and poet José Watanabe adapted the play into a one-actor piece which remains every bit function of the group'southward repertoire.^[22]
• An Iranian absurdist adaptation of Antigone was written and directed by Homayoun Ghanizadeh and staged at the Urban center Theatre in Tehran in 2011.^[23]
• In 2012, the Regal National Theatre adapted Antigone to modernistic times. Directed by Polly Findlay,^[24] the production transformed the dead Polynices into a terrorist threat and Antigone into a "dangerous destructive."^[25]
• Roy Williams's 2014 adaptation of Antigone for the Pilot Theatre relocates the setting to gimmicky street civilization.^[26]
• Syrian playwright Mohammad Al-Attar adapted Antigone for a 2014 production at Beirut, performed by Syrian refugee women.^[27]
• "Antigone in Ferguson" is an adaptation conceived in the wake of Michael Brownish'south death in 2014, through a collaboration between Theater of State of war Productions and community members from Ferguson, Missouri. Translated and directed past Theater of War Productions Creative Manager Bryan Doerries and composed by Phil Woodmore.^[28]

Opera [edit]

• Antigone, opera past Arthur Honegger, premiered on December 28, 1927 at Théâtre de la Monnaie in Bruxelles.
• Antigonae, opera by Carl Orff, a Literaturoper which uses Friedrich Hölderlin'due south translation of Sophokles' drama (1805), premiered on August 8, 1949 at the Felsenreitschule in the context of Salzburg Festival.
• Antigone (1977) by Dinos Constantinides, on an English libretto past Fitts and Fitzgerald
• Antigone (1986) past Marjorie Southward. Merryman
• Antigone oder die Stadt (1988) past Georg Katzer with a libretto past Gerhard Müller, premiered at the Komische Oper Berlin in 1991, staged past Harry Kupfer and conducted past Jörg-Peter Weigle
• The Burying at Thebes (2007–2008) past Dominique Le Gendre and libretto by Seamus Heaney, based on his translation for spoken theatre. The production features conductor William Lumpkin, stage director Jim Petosa, and six singers and ten instrumentalists.^[29]

Literature [edit]

In 2017 Kamila Shamsie published Home Burn down, which transposes some of the moral and political questions in Antigone into the context of Islam, ISIS and modern-day Britain.

Cinema [edit]

Yorgos Tzavellas adapted the play into a 1961 film which he besides directed. Information technology featured Irene Papas as Antigone.

Liliana Cavani's 1970 I Cannibali is a contemporary political fantasy based upon the Sophocles play, with Britt Ekland as Antigone and Pierre Clémenti as Tiresias.

The 1978 omnibus film Frg in Autumn features a segment past Heinrich Böll entitled "The Deferred Antigone"^[xxx] where a fictional production of Antigone is presented to television executives who reject information technology equally "too topical".^[31]

A 2019 Canadian film adaption transposed the story into one of a modernistic mean solar day immigrant family in Montreal. It was adapted and directed by Sophie Deraspe, with boosted inspiration from the Death of Fredy Villanueva. Antigone was played by Nahéma Ricci.

Television [edit]

It was filmed for Australian TV in 1966.

In 1986, Juliet Stevenson starred every bit Antigone, with John Shrapnel as Creon and John Gielgud as Tiresias in the BBC's The Theban Plays.

Antigone at the Barbican was a 2015 filmed-for-Telly version of a production at the Barbican directed past Ivo van Hove; the translation was past Anne Carson and the film starred Juliette Binoche as Antigone and Patrick O'Kane equally Kreon.

Other TV adaptations of Antigone have starred Irene Worth (1949) and Dorothy Tutin (1959), both broadcast by the BBC.

Translations and adaptations [edit]

• 1550 – Georgio Rotallero: text in Latin
• 1729 – George Adams, prose: full text
• 1782 – Vittorio Alfieri, in hendecasyllables: text in Italian
• 1839 – Johann Jakob Christian Donner, German language poesy
• 1865 – Edward H. Plumptre, verse (Harvard Classics Vol. VIII, Part vi. New York: P.F. Collier & Son, 1909–14); full text
• 1888 – Sir George Young, verse (Dover, 2006; ISBN 978-0-486-45049-0)
• 1899 – G. H. Palmer, poesy (Boston: Houghton and Mifflin, 1899)
• 1904 – Richard C. Jebb, prose: full text
• 1911 – Joseph Edward Harry, poesy (Cincinnati: Robert Clarke, 1911)
• 1912 – F. Storr, poetry: full text
• 1926 – Ettore Romagnoli, in hendecasyllables, text in Italian
• 1931 – Shaemas O'Sheel, prose
• 1938 – Dudley Fitts and Robert Fitzgerald, verse: full text
• 1946 – Jean Anouilh, (modern French translation)
• 1947 – Eastward. F. Watling, poetry (Penguin classics)
• 1949 – Robert Whitelaw, poetry (Rinehart Editions)
• 1950 – Theodore Howard Banks, verse
• 1950 – W. J. Gruffydd (translation into Welsh)
• 1953 – Félix Morisseau-Leroy (translated and adapted into Haitian Creole)
• 1954 – Elizabeth Wyckoff, verse
• 1954 – F. L. Lucas, verse translation
• 1956 – Shahrokh Meskoob (into Persian)
• 1958 – Paul Roche, verse
• 1962 – H. D. F. Kitto, poetry
• 1962 – Michael Townsend, (Longman, 1997; ISBN 978-0-8102-0214-6)
• 1973 – Richard Emil Braun, poesy
• 1982 – Robert Fagles, verse with introduction and notes past Bernard Knox
• 1986 – Don Taylor, prose (The Theban Plays, Methuen Drama; ISBN 978-0-413-42460-0)
• 1991 – David Grene, verse
• 1994 – Hugh Lloyd-Jones, verse (Sophocles, Volume 2: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus, Loeb Classical Library No. 21, 1994; ISBN 978-0-674-99558-ane)
• 1997 – George Judy, adaptation for children (Pioneer Drama, 1997)
• 1998 – Ruby Blondell, prose with introduction and interpretive essay (Focus Classical Library, Focus Publishing/R Pullins Company; ISBN 0-941051-25-0)
• 1999 – Declan Donnellan, with introduction by Nicholas Dromgoole (Oberon Books, 1999; ISBN 978-one-840-02136-iii)
• 2000 – Marianne MacDonald, (Nick Hern Books, 2000; ISBN 978-1-85459-200-two)
• 2001 – Paul Woodruff, verse (Hackett, 2001; ISBN 978-0-87220-571-0)
• 2003 – Reginald Gibbons and Charles Segal, verse (Oxford UP, 2007; ISBN 978-0-19-514310-2)
• 2004 – Seamus Heaney, The Burial at Thebes – verse adaptation (Farrar, Straus and Giroux, 2005; ISBN 978-0-374-53007-five), also adapted as an opera in 2008
• 2005 – Ian C. Johnston, verse (modern English): full text
• 2006 – George Theodoridis, prose: full text
• 2006 – A. F. Th. van der Heijden, 'Drijfzand koloniseren' ("Colonizing quicksand"), prose, adapting Antigone's story using characters from the author's 'Homo Duplex' saga.
• 2009 – Tanya Barfield, Karen Hartman, Lynn Nottage, Chiori Miyagawa, Caridad Svich, play adaptation (NoPassport Press, 2009; ISBN 978-0-578-03150-7)
• 2011 - Diane Rayor, Sophocles' Antigone: A New Translation. Cambridge University Press.
• 2012 – Anne Carson, play adaptation (Antigonick, New Directions Press; ISBN 978-0-811-21957-0)
• 2013 – George Porter, poetry ("Black Antigone: Sophocles' tragedy meets the heartbeat of Africa", ISBN 978-1-909-18323-0)
• 2014 – Marie Slaight and Terrence Tasker, verse and fine art ('"The Antigone Poems, Altaire Productions; ISBN 978-0-9806447-0-eight)
• 2016 – Frank Nisetich
• 2016 – Slavoj Žižek, with introduction past Hanif Kureishi, Bloomsbury, New York
• 2017 – Kamila Shamsie, Dwelling Fire, novel. An adaptation in a contemporary context, London: Bloomsbury Circus. ISBN 978-i-4088-8677-nine
• 2017 – Brad Poer, Antigone: Closure, play accommodation (contemporary American prose adaptation set up postal service-autumn of United States regime)
• 2017 – Griff Bludworth, ANTIGONE (built-in against). A gimmicky play adaptation that addresses the theme of racial discrimination.
• 2017 – Seonjae Kim, Riot Antigone. A punk rock musical adaptation inspired by the Riot grrrl movement that focuses on Antigone's coming of age.
• 2019 – Niloy Roy, Antigone: Antibody, play adaptation (contemporary Indian adaptation set up in postal service- anarchic context of disharmonize between state and individual )
• 2019 - Sophie Deraspe, Antigone

Notes [edit]

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 Grouping.
3. ^ ^{a b c} McDonald, Marianne (2002), Sophocles' Antigone (PDF), Nick Hern Books
4. ^ ^{a b} Bates, Alfred, ed. (1906). The Drama: Its History, Literature and Influence on Civilisation, Vol. i. 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. ISBN978-1934542224.
6. ^ Letters, F. J. H. (1953). The Life and Work of Sophocles. London: Sheed and Ward. pp. 147–148.
7. ^ Letters 1953, p. 156.
8. ^ Letters 1953, p. 147.
9. ^ Chiara Casi (January 2018). "L'immoralità della Giustizia". 50'Immoralità della Giustizia . Retrieved 6 October 2019.
10. ^ Collins, J. Churtin (1906). "The Ethics of Antigone". Sophocles' Antigone. Translated by Robert Whitelaw. Oxford: Clarendon Press.
11. ^ Rosenfield, p. 99–121. sfn mistake: no target: CITEREFRosenfield (help)
12. ^ Ward, James F. Heidegger'south Political Thinking. Univ of Massachusetts Press, 1995. p. 190. ISBN 9780870239700
13. ^ Keenan, Dennis King. The Question of Sacrifice. Indiana University Printing, 2005. p. 118. ISBN 9780253110565
14. ^ Ferguson, John (2013). A Companion to Greek Tragedy. University of Texas Press. p. 173. ISBN9780292759701.
15. ^ Jebb, Sir Richard C. (1900). "Poesy 429". Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English language prose. Part III: The Antigone. Cambridge: Cambridge University Press.
16. ^ ^{a b} Rose, J. Fifty. (March 1952). "The Problem of the Second Burial in Sophocles' Antigone". The Classical Journal. 47 (6): 220–221. JSTOR 3293220.
17. ^ Honig, Bonnie (2011). "ISMENE'South FORCED Pick: SACRIFICE AND SORORITY IN SOPHOCLES' ANTIGONE" (PDF). Arethusa. The Johns Hopkins Academy Printing. 44: 29–68.
18. ^ ^{a b} Levy, Charles S. (1963). "Antigone's Motives: A Suggested Interpretation". Transactions of the American Philological Clan. 94: 137–44. doi:10.2307/283641. JSTOR 283641.
19. ^ Sophocles (1991). Sophocles: Oedipus the Rex, Oedipus at Colonus, Antigone. Translated by David Grene. University of Chicago Publishers. p. Line 48. ISBN978-0-226-30792-3.
20. ^ ^{a b} MacKay, L. (1962). "Antigone, Coriolanus, and Hegel". Transactions and Proceedings of the American Philological Association. 93: 178–179. doi:10.2307/283759. JSTOR 283759.
21. ^ Press Trust of India (March 11, 2010). "Bangla director dedicates new motion picture to 1971 war martyrs". NDTV Movies. New Delhi: NDTV Convergence Limited. Archived from the original on fourteen July 2011.
22. ^ Grupo Cultural Yuyachkani: Antígona [Yuyachkani Cultural Grouping: Antigone]. Scalar (in Castilian). 11 March 2011. Retrieved 24 March 2018.
23. ^ "نگاهی به نمایش "آنتیگونه" نوشته و کار "همایون غنی‌زاده"" [Take a look at the "Antigone" brandish of Homayoun Ghanizadeh]. Irani Art (in Persian). February 1389. Retrieved 24 March 2018.
24. ^ "Antigone: Cast & creative". National Theatre. The Royal National Theatre. Archived from the original on 31 Baronial 2012. Retrieved 23 July 2018.
25. ^ Billington, Michael (31 May 2012). "Antigone – review". The Guardian . Retrieved 5 December 2015.
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 in Ferguson". Theater of War.
29. ^ Medrek, T.J. (November 6, 1999). "BU Opera fest's 'Antigone' is a lesson in excellence". Boston Herald. p. 22. Retrieved March 8, 2010.
30. ^ Archived at Ghostarchive and the Wayback Machine: "The Deferred Antigone (Germany in Autumn, 1978)". YouTube . Retrieved 30 June 2018.
31. ^ Gillespie, Jill. "Federal republic of germany Im Herbst - Picture (Movie) Plot and Review". FilmReference . Retrieved 30 June 2018.

Further reading [edit]

• Butler, Judith (2000). Antigone's Claim: Kinship Between Life and Death . New York: Columbia University Press. ISBN0-231-11895-3.
• Heaney, Seamus (Dec 2004). "The Jayne Lecture: Title Deeds: Translating a Archetype" (PDF). Proceedings of the American Philosophical Lodge. 148 (4): 411–426. Archived from the original (PDF) on 2011-10-18.
• Heidegger, Martin; Gregory Fried; Richard Polt (2000). An Introduction to Metaphysics. New Haven: Yale University Printing. pp. 156–176. ISBN978-0-300-08328-vi.
• Heidegger, Martin; McNeill, William; Davis, Julia (1996). Hölderlin's Hymn "The Ister". Bloomington: Indiana University Press.
• Lacan, Jacques (1992). The Seminar of Jacques Lacan, Book 7: The Ethics of Psychoanalysis. Dennis Porter, translator. New York: W.West. Norton. pp. 240–286. ISBN0-393-31613-0.
• Miller, Peter (2014). "Helios, vol. 41 no. ii, 2014 © Texas Tech University Printing 163 Destabilizing Haemon: Radically Reading Gender and Authority in Sophocles' Antigone". Helios. 41 (2): 163–185. doi:10.1353/hel.2014.0007. hdl:10680/1273. S2CID 54829520.
• Segal, Charles (1999). Tragedy and Civilization: An Interpretation of Sophocles. Norman, OK: University of Oklahoma Printing. p. 266. ISBN978-0-8061-3136-8.
• Steiner, George (1996). Antigones: How the Antigone Legend Has Endured in Western Literature, Art, and Thought. New Haven: Yale Academy Press. ISBN0-300-06915-4.

External links [edit]

jaquezbehere.blogspot.com

Source: https://en.wikipedia.org/wiki/Antigone_%28Sophocles_play%29

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