Lost in Translation

The condemnation of Antigone is subsequent to a marriage arrangement with Haemon, Creon's son, and the ambiguity of both the translation and the words from the chorus personifying and criticizing more Greek gods, then following an appraisal to Antigone cause a stimulating thought of how the situation is actually playing out. Many believe the translation of Ismene and Creon's conversation when she asks "Creon—you're really going to rob your son of Antigone?" (647) and the following lines are meant to be said by Antigone. With Ismene saying these lines, the portrayal of Antigone's lack of love or interest in Haemon heightens rather than if she speaks the lines, it will match the love Haemon claims for her. The seconding of this confusing translation is when the chorus personifies 'Love', saying "Love the plunderer laying waste the rich!" (880) where they not only continue to disrespect the gods of the afterlife, but Eros and Aphrodite as well. This mockery of love and its terrorizing ways in then almost retracted when the chorus praises Antigone's strength and morality "...treasur[ing] the seed of Zeus within her womb..." (1043). Is 'Love' only at the hand of condemnation when it is romantically influenced, why is Haemon's love for Antigone different than her love for Polynices? It seems as though when vouching love for family, one is either in honor or at fault to both the gods and the law, but when vouching for a lover, such as Haemon does, one is left at the hand of judgement because of the fact that infatuation blurs the intent of the lover in question.

(how the interpretation of one is constantly misconstrued by another)

Blog post #2

Antigone and Creon are set on opposite point of views from each other. Both are stubbornly set on the validity of the side they support. Creon reigns down on his decree to leave Polynices for the “birds and dogs to tear” (230) and rules over his decree with an iron fist. Creon is infatuated with government and policy being the supreme authority over the rights of people. Antigone is strong willed and even goes as far as telling Ismene to “tell the world” (101) about her plan. There is no way for the two to make a compromise. From a neutral standpoint both are flawed in their standpoint and it all comes down to ethics. They both only recognize one duty in their arguments. Antigone stresses the Grecian principles regarding funeral rights and loyalty to your family. Creon emphasizes the duty to ones own city-state and the unwavering obedience to one’s king. Creon’s pride and jurisdiction is based on that of a tyrant’s. His rule is an unyielding and harsh weight upon those he governs. The second time the chorus comes in, they warn against those who “wed [themselves] to inhumanity” (414). It stressed the ability of man to accomplish his goals but warned of the misfortune that would come for not taking the common good and his Gods in consideration. Creon talks about his “ship of state” (180) and how he has “righted her once more” (182). It’s as if Creon’s goal only lies in keeping the ship assailed but he is not worried about the destination.  He is a flawed leader who only worries about the current state of his land instead of the policies and ultimate end goals.

The stability of the current city-state cannot be Creon's only concern, he cannot abandon all principles to suit his needs of crushing Polynices and any other defiance. He seems to be blind to Antigone's very basic need for her brother's rights.  

Traditions

Before and after Antigone plans the burial of Polynices then actually performs the 'criminal' act, she redefines the perception of law. Rather than listening to the public disclaimer shaming her brother and disrespecting his death rights, she follows the morals of the gods. Antigone firmly believes that the burial of her brother is in respect to the gods wishes and to leave him to rot in an empty field will not only dishonor her family, but those of higher being as well. Antigone explicitly states her opinion on Creon’s law, and has no shame in defying it. To follow the laws of the mortal world would be disrespectful to the gods, by leaving her brother untouched to obey this law will “...dishonor the laws the gods hold in honor.” (91-92) This theme of the afterlife and “pleas[ing] the dead” (89) moves throughout the play, almost molding Antigone’s strength and motivation against Creon and his guards. She holds no shame in the fact that she is honoring her family line and tradition by burying Polynices, as he is just as much a part of their bloodline that Eteocles is. Despite Ismene’s warnings and even the questioning by Creon himself, Antigone does not doubt herself or the consequences she will have to pay. “I did it. I don’t deny a thing.” (492) she tells Creon, who is almost in disbelief that she would perform such an act, but as she says before and will say again “It wasn’t Zeus...who made this proclamation...” (499-501) By employing the emphasis of traditional burial and respect, the play focuses specifically on Antigone’s beliefs and empowerment. Thematic perceptions of self-identity and respect to those to be respected are the two largest components throughout the play, making it a symbol of traditional values and self-empowerment.

Blog #2 3/11/16

      The opening scene of Antigone sets up the central problem of the play: Creon's enforcement to keep Polynices unburied and Antigone's urge to break this strict order. Polynices' punishment is a reaction to his dual with his own brother, resulting in “each killed by the other’s sword” (42). Creon offers Eteocles a burial “with military honors”, but refuses to offer the same rite to Polynices who, “fought as bravely and died as miserably” (16, 18). The reasoning behind this is because Polynices represents the enemy of the polis: a traitor who is unworthy of the most basic privileges. In response to being an invader of the city, and the killer of his brother, Creon refuses Polynices burial – the ceremony to put his soul to rest.

      Antigone finds herself opposing Creon’s decision regarding Polynices and his refusal of a burial. Her determination is displayed when she says, “Creon is not enough to stand in my way” (35). Antigone’s willingness to rebel against the law as much as facing possible death presents the opportunity of a close-knit relationship between herself and Polynices. She sees the civil order as forbidding her participation in a rite solely composed for women, thus denying her role in society. Through her defiance and her disregard for her own life, Antigone declares a love for the dead, and even deeper, her love for death itself. Antigone’s deceleration, “I am not afraid of the danger; if it means death,” is an outright demonstration of her bravery to “bury the brother [she] love[s]” (80, 62).

This political cartoon agrees with the concern of Antigone: women are stripped of their rightful duties in society.  

Headstrong Antigone

               The brilliant characterization of Antigone sets the stage for this tragedy.  Immediately the reader is introduced to a strong willed Antigone.  She is upset by the improper burial of her brother Polynices and implores her sister to assist her in burying their brother.  Creon makes “a city-wide proclamation…[and] forbids anyone to bury him, even mourn him.” (l. 33-34)  Despite this proclamation, Antigone pressures her sister to help her.  This event shows Antigone’s loyalty to her family even though her brother is considered a traitor.  She risks death in the name of family and love.  Antigone is a strong female lead in a time where women are “not born to contend with men” and must submit to “much stronger hands” of those “who stand in power.” (l. 75, 77, 80)  She defies the standards set for women and goes on to challenge the king. 

                A quote by Morihei Ueshiba describes Antigone’s devotion, “Loyalty and devotion lead to bravery. Bravery leads to the spirit of self-sacrifice. The spirit of self-sacrifice creates trust in the power of love.”  She is brave for standing up to the king and remaining loyal to her traitor brother.  This bravery leads self-sacrifice because she risks being stoned to death.  She proves her love and devotion to her family through her possibly deadly risk.  The loyalty she shows is commendable because she is willing to risk anything for her families honor.  Antigone explains to Ismene that she will “suffer nothing as great as death without glory.” (l. 112-113)

Ancient Grecian First Wave Feminism

Antigone and Ismene present two sides of an issue from the opening of the play: to bury Polynices or not. The girls are sisters, but only in familial ties. Ismene clings to the fear she eats from Creon’s government. She releases her internalized misogyny at Antigone, “Remember we are women / we are not born to contend with men” (74-75). Ismene’s rage comes from Antigone’s proposal to bury their brother, regardless of what King Creon decrees. “I’ll raise a mound for him, for my dear brother” (95). Antigone’s instant characterization juxtaposes her against Ismene, King Creon, and Grecian society. Subsequently, she unknowingly embodies feminism. She embodies a woman’s right to think. Her ideas are inaugural in the grand scheme of women’s rights. Antigone and Ismene’s relationship plays into an archetype of women against women. Two women competing for the same resources like wild animals. This inner-feminine dilemma lends itself to a slam poem entitled “Fantastic Breasts and Where to Find Them”. This poem debates the topic of women’s rights in a masculine dominated world. The poem’s main metaphor is the role women play in the world of Harry Potter. By contrasting such a novel world against pragmatic issues of womanhood, truths are revealed. The same revealing experience occurs in Antigone. By pitting a woman against family for the sake of her family, Antigone truly calls into question what a woman is allowed to do in society. Dedication is a virtue, but only when it is used in the appropriate societal context. Before any precedents exist, Antigone revels to break the bonds of womanhood against her own misogynistic sister and brother. 

Blog Post #2- 3/11/16

Antigone, written by Sophocles, delves into a woman, Antigone, who deeply values honor. The Greek play begins with Antigone mourning over the loss of her two brothers, Eteocles and Polynices, to her sister, Ismene. She is devasted not only that her two brothers death by fighting one another, but by Polynices’ rights to a burial being taken away. Eteocles “had been given full military honors”(line 29) and Creon, the King, “forbids anyone to bury [Polynices].” (lines 33-34) Her values of honor and family are shown when she enlightens her sister on the idea of her providing Polynices the burial he deserves. Antigone gives Ismene an ultimatum after explaining the decree Creon has announced by saying,  “You’ll soon show what you are, worth your breeding, Ismene, or a coward—for all your royal blood.” (lines 44-46) Antigone has given her a choice of either, showing disloyalty to her family or being of assistance in burying Polynices.

Joseph Addison once said, “Better to die ten thousand deaths than wound my honor.” This quote relates to Antigone because she knows her life is on the line if she chooses to take the risk and bury Polynices, but she decides to anyway. Ismene reminds her of how their father died and how their mother and their father’s mother died and how their reputations were ruined and if their death was horrific, then the outcome of breaking the law would result inworse punishment—especially for women. Antigone responds, “I won’t insist, no, even if you should have a change of heart…and even if I die in the act, that death will be a glory.” (lines 82-86) No matter what consequences her scandal will lead to, Antigone is adamant on honoring her brother and family morals by executing her plan.