Jedina tragedija koju sam u gimnaziji čitao kao lektiru. Slabo sam šta zapamtio, osim da je tada 15-godišnjem meni zvučala... tragično.

Antigona, rođena iz incestuozne veze svog brata/oca Edipa i majke/babe Jokaste, nastavlja jadan život, pored kog čoveku jednostavno dođe da sedne i plače. U ovom nastavku tebanskog ciklusa je srećemo u njenim dvadesetim, nakon što joj se braća pobiju u međusobnom dvoboju. Ujak Kreont, tebanski kralj, odbija da sahrani jednog od njih, pošto je Polinik bio državni neprijatelj. Antigona odbija da ispoštuje zabranu, vrši pogrebni obred, i - biva kažnjenja smrću.

Antigona nastupa puna samopouzdanja, kao da je ona zakon. U svakom trenutku joj je jasno šta je ispravno, ali se ne trudi da druge uveri u to. Divlja je i nepopustljiva, a ipak se ne brani preterano, nije joj svejedno ali razume da mora umreti. Antigona brani porodicu, ali imaš osećaj da to nije iz ljubavi do brata, kao da je više vezana za samu ideju porodice, a ne konkretno za brata. Potreban joj je osećaj povezanosti s nečim, a to je porodica.

Antigonine nezaboravne reči. Nisu baš potpuno logične, ovde zvuči kao da bratu spašava život, ali dobro:
"... da muž mi umre, lako drugoga je naći
i dijete mogu rodit' s novim mužem tim,
no kad mi oca mog i majku krije grob,
od koga će se meni drugi rodit brat?"

I Kreont želi povezanost, ali kod njega je to povezanost sa polisom. Patriotizam mu je ispred svega, ispred porodice. Utilitaran je, siguran je da Kreonti ovog sveta kontrolišu dešavanja u njemu, ali se pomalo čudno protivi zakonitostima bez kojih polis ne može postojati (vidi njegove reči). Svoje odluke brani zakonima države, ali njegovi govori su puni porodice. Na kraju, i kažnjen je, možda još surovije od Antigone, ne politički već preko porodice. Gledajući njegovu nesreću, kao i broj izgovorenih stihova, ispada da je on ustvari glavna ličnost ove tragedije?

Kreontove nezaboravne reči, čudne za jednog kralja polisa:
"Goreg zla od novca čitav nema svet,
on gradove će srušit i razorit svud."

Festival grčke tragedije (za jednog gledaoca)
Ovo je šesti takmičar na mom antičkom prvenstvu grčke tragedije. Priznajem, Antigona je bila favorit za preuzimanje prvog mesta, ali sport je to, ne pobeđuje uvek ime.

1. Car Edip (Sofokle)
2. Agamemnon (Eshil)
3. Antigona (Sofokle)
4. Eumenides (Eshil)
5. The Libation Bearers (Pokajnice - Eshil)
6. Oedipus at Colonus (Sofokle)

What a work it was.!! The copy I have is by Penguin Little Black Classics series,and I was delaying reading it since the print was tiny and set in a style I didn't like. But now I realize what a stupid I was to have delayed reading such a piece of beauty...

Moralizing isn't everyone's forte. Too many have written such a lot of works on the topic that the moment one starts reading something on it,the natural reaction is 'not again.!' This book is a bit different in that genre. It moralizes,it talks of morals of men and God.. It goes on to lengthy arguments,though not much in terms of rationality,on many occasions.. Antigone and Creone and Haemon and Tiresias puts up their own arguments. But nowhere do feel a sense of boredom. Sophocles has given strength to each character,no matter which part he argues. Each one of them talks as if there is fire in their words,a fire that can't be quenched by the other person's arguments.

'It's a dreadful thing to yield..
But resist now?
Lay my pride bare to the blows of ruin?
That's dreadful too.'

The fear described in these words,the fear of knowing the right but refusing to go back on one's actions because of pride,it's a folly we all are guilty of. Pride is a sin,but it is the most humane of feelings. It is impossible not to feel it,if for nothing then for one's lack of it. We all hold on to our words and actions like its a part of us. We would rather die than take back our words. We say-a man is only as good as his words. And this King is no less human in that... But see where that pride takes him..

In the beginning,Creon tells Ismene,
'Don't even mention her-she no longer exists.'

And in the end,he tells his attendants,
'I don't even exist-I'm no one. Nothing.'

But we don't have to be bothered of all these,do we.? Pride is something we can't avoid.. I'm proud of my books and so are you of other things.. But let aside moralizing.. The book is a masterpiece...

When injustice is the law..

I might sound stupid for bringing Che into such a regal and archaic setting,but I guess I'm not. The dilemma portrayed here,the choice between the law of the land and the moral laws one hold within,is something that every human faces. To bend or to resist is the question. And Antigone makes her choice courageously. She refuses to submit to the law of the land which she calls injustice,and decides to court death for a law she holds to heart,the law of God. The classic dilemma between law of customs and law of intuition. But it would be somewhat gray to call it law of intuition since there is no pure law of intuition,all our ideas are colored by our genes and circumstances. Antigone's act of defiance is inspiring. And that is what makes this work so fiery.

A read that was thoroughly entertaining.

یک تراژدی فوق العاده زیبا و خواندنی

The first time I encountered Antigone, it was through Theater of War's Antigone in Ferguson, which they front loaded with We Are Not Princesses, a documentary about four Beruit refugee mothers performing the play as a way to process their grief. But the Theater of War version stuck out to us immediately because my bride grew up in Ferguson.

Antigone in Ferguson is a groundbreaking project, developed by Theater of War Productions, which fuses dramatic readings by acclaimed actors of Sophocles’ Antigone with live choral music performed by a diverse choir, including activists, youth, teachers, police officers, and concerned citizens from St. Louis, Missouri and New York City, culminating in powerful, healing discussions about race and social justice. Antigone in Ferguson was conceived in the wake of Michael Brown’s death in 2014, through a collaboration between Theater of War Productions and community members from Ferguson, MO, and premiered at Normandy High School, Michael Brown’s alma mater, in September of 2016.

So... I had a bit of frontloading before reading this one. My encounter with Sophocles prior to this read through pretty much began and ended with Oedipus (and his progeny in Star Wars... not that progeny). But Antigone in the context of Oedipus paints an even starker contrast on the need for virtue in the midst of our broken families, broken communities, and acts of tyranny.

ANTIGONE is about as relevant for BLM as The Suppliant Maidens was for #MeToo — to die in burying is to live, according to Antigone. Against the backdrop of "let the dead bury the dead, you follow me," it sort of smarts. But in the context Jesus uttered, ANTIGONE'S advocacy for burial rites in the teeth of one who desecrates the corpse of her brother — she does follow. She answers, "Let the dead draw and quarter the corpse of my brother, you follow me in the corporeal work of mercy in burying the dead. Even your enemy."

It's mercy she's after. And she's after it in the teeth of Creon, who in the prior volumes throws Oedipus's unknowing patricide and incest to the crows. It seems, in the conclusion, that Creon's knowing cruelty trumps Oedipus's unknowing failings. The old Book of Common Prayer, as Walking on Water: Reflections on Faith and Art reminded us, confessed those things we have left undone or did unknowingly (a la Oedipus) and those things we actively did wrong, knowingly (a la Creon). The unburied shame of Antigone's brothe father, thougher is more a parallel metaphor for both the unburied shame of her father (who cannot live down the great evil he did accidentally) and the unburied — exposed — shame of Creon (who does his evil in broad daylight). Sins of the father, though visited on later generations, yet wane in time if we let them.

Antigone is told she has a "hot heart for chilling deeds" by sister Ismene — perhaps chilling as in harrowing, perhaps chilling literally (as in a cold dead corpse herself). But perhaps it's more to cool off the wrath of Creon unwittingly turned upon her murdered brother and the "spears athirst for blood" in the myth of redemptive violence, revenge killings, recidivism, and fatal encounters with the guard of the citadel. The phrase that no man can be fully known, in soul and spirit and mind, until he hath been seen versed in rule and lawgiving may not hold true. But it's certainly one way to hold a magnifying glass up to a man's soul.

Indeed "dread news makes one pause long." But in a dread world of dread news, a world without pauses, how do we learn to pause again? Do we merely continue to blame shift?

Then evil words flew fast and loud among us, guard accusing guard; and it would e'en have come to blows at last, nor was there any to hinder. Every man was the culprit, and no one was convicted, but all disclaimed knowledge of the deed. And we were ready to take red-hot iron in our hands — to walk through fire; to make oath by the gods that we had not done the deed — that we were not privy to the planning or the doing.

"I was just following orders" said some guards of Auschwitz. Others merely turned a blind eye and shifted blame. It's interesting because, in context, the guards are talking about who buried the body (Antigone did it), to Creon. But it applies just as much to their carrying out of his orders. And, hilariously, Creon compliments the integrity of said guards for refusing to accept bribery.

Mea culpa does not allow for this.

But against heavens laws — the corporal work of mercy in burying the dead — he stands condemned because he's trying to rewrite what Zeus wrote. And Zeus's eagle even shows up.

Later he says:

Disobedience is the worst of evils. This it is that ruins cities; that makes home desolate; by this, the ranks of allies are broken into headlong rout; but, of the lives whose course is fair, the greater part owes safety to obedience. Therefore we must support the cause of order, and in no wise suffer a woman to worst us. Better to fall from power, if we must, by a man's hand; then we should not be called weaker than a woman.

But here he says:

Now verily I am no man, she is the man, if this victory shall rest with her, and bring no penalty.

He's worried about her outmanning her. As with Oedipus at ColonusOedipus at Colonus — in which the women, his daughters, are called "men, not women, in true service" and the sons are called "aliens, not sons of mine." — it's yet another instance in antiquity of the word "man" being genderless and of "woman" being specific. Mankind is always a diverse and inclusive term, womankind is always a restrictive term. And therefore daughters can rise to the virtue of manfulness, men can fall short of manfulness, but womankind never works as a synonym for "humanity." Because manfulness is a virtue and manliness is an aesthetic. This is repeated over and over again. And recalls the line from Walking on Water: Reflections on Faith and Art:

Nor do I want to be stuck in the vague androidism which has resulted from the attempts to avoid the masculine pronoun. We are in a state of intense sexual confusion, both in life and language, but the social manipulation is not working. Language is a living thing; it does not stay the same; it is hard for me to read the language of Piers Plowman, for instance, so radical have the changes been. But language is its own creature. It evolves on its own. It follows the language of its great artists, such as Chaucer. It does not do well when suffering from arbitrary control. Our attempts to change the words which have long been part of a society dominated by males have not been successful; instead of making language less sexist they have made it more so. Indeed, we are in a bind. For thousands of years we have lived in a paternalistic society, where women have allowed men to make God over in their own masculine image. But that's anthropomorphism. To think of God in terms of sex at all is a dead end. To substitute person for man has ruined what used to be a good theological word, calling up the glory of God's image within us. Now, at best, it's a joke. There's something humiliating and embarrassing about being a chairperson. Or a chair. A group of earnest women have put together a volume of desexed hymns, and one of my old favourites now begins: “Dear Mother-Father of personkind.” No. It won't do. This is not equality. Perhaps we should drop the word woman altogether and use man, recognizing that we need both male and female to be whole. And perhaps if we ever have real equality with all our glorious differences, the language itself will make the appropriate changes. For language, like a story or a painting, is alive. Ultimately it will be the artists who will change the language (as Chaucer did, as Dante did, as Joyce did), not the committees. For an artist is not a consumer, as our commercials urge us to be. An artist is a nourisher and a creator who knows that during the act of creation there is collaboration. We do not create alone."

Reminds me of St. Catherine of Siena:

"What made you establish man in so great a dignity? Certainly, the incalculable love by which you have looked on your creature in yourself! You are taken with love for her; for by love indeed you created her; by love you have given her a being capable of tasting your eternal Good."

In this case, Antigone actually trumps Creon in the virtue of manfulness: she asserts her death _over_ his life for the sake of her brother's body. She puts her body on the line for her brother who did the same. Sound familiar?

She then goes on a long moral parsing about why he deserves burial. And after the argument is laid bare, we find that Creon did what he knew was evil simply because he chose wrong when a proper dilemma presented itself. "For with wisdom hath some one given forth the famous saying, that evil seems good, soon or late, to him whose mind the god draws to mischief; and but for the briefest space doth he fare free of woe." Said in another way, "The time will come, Harry, when you will have to choose between what is right and what is easy."

Specifically Haemon, Creon's son and Antigone's cousin, says he hears the guards's:

"murmurs in the dark, these moanings of the city for this maiden; 'no woman' they say, 'ever merited her doom ess — none ever, was to die so shamefully for deeds so glorious as hers; who, when her own brother had fallen in bloody strife, would not leave him unburied, to be devoured by carrion dogs, or by any bird: deserves not she the meed of golden honor?' ....think not that thy word, and thine alone, must be right. For if any man thinks that he alone is wise — that in speech, or in mind, he hath no peer — such a soul, when laid open, is ever found empty."

That last bit would do well to circulate widely these days.

But Antigone is winning. Why? Virtue wins. Theodore Parker said that the arc of the moral universe is long, but it bends towards justice. And it does here. Unjust laws aren't just and they don't stand, over the long haul. She's worried she's atoning for the sins of her father's patricide and incest. But godly sorrow brings repentance that leaves no regret and changes things for generation. She's the daughter of the wise, elder Oedipus, not the younger, bloodthirsty one.

Fundamentally, the whole thing comes down to Teiresias's — the blind prophet's — line:

Self-will, we know, incurs the charge of folly. Nay, allow the claim of the dead; stab not the fallen; what prowess is it to slay the slain anew? I have sought thy [Creon's] good and for thy good I speak: and never is it sweeter to learn from a good counsellor than when he counsels for thine own gain.

Creon yields, ultimately, because good counsel is more precious than wealth and it's better to keep the established laws even at life's end.

As a play about the bodies of our slain enemies, we would do well to note that willing the good of the other always plays out well over the long haul.

"Fortune raises and Fortune humbles the lucky or unlucky from day to day, and no one can prophesy to men concerning those things which are established. For Creon was blest once, as I count bliss; he had saved this land of Cadmus from its foes; he was clothed with sole dominion in the land; he reigned, the glorious sire of princely children. And now all hath been lost. For when a man hath forfeited his pleasures, I count him not as living — I hold him but a breathing corpse. Heap up riches in thy house, if thou wilt; live in kingly state; yet if there be no gladness therewith, I would not give the shadow of vapour for all the rest compared with joy."

This joy is a longing — a Seinsucht — for Goodness. For Truth. For Beauty.

For the distilled, unoccluded brightness of Being.

Antigone manifests Him. Creon does not.

Wisdom is the supreme part of happiness; and reverence towards the gods must be inviolate. Great words of prideful men are ever punished with great blows, and, in old age, teach the chastened to be wise

Seek wisdom, not wealth or power or fame.

WORDS LEARNED:

• lucre
• mattock
• pelf
• opprobrius

কির্কেগার্ড-এর আইদার/অর বইয়ে অ্যান্টিগনি চরিত্রের একটা দারুণ বিশ্লেষণ আছে। সেটা পড়ে মূলতঃ এই নাটকটা পড়ার ইচ্ছা হলো। কারণ আমার অ্যাটেনশন স্প্যানের এতো জঘন্য অবস্থা যে এক বইয়ের মাঝে আরেক বই শুরু না করলে ভালো লাগে না।

পড়ার সময় সবার আগে যে বিষয়টা চোখে পড়েছে সেটা হলো- গল্পের প্লট শুরু হয় অ্যান্টিগনির কারণে, নায়িকা হিসেবেও সে অত্যন্ত মানানসই, দাপুটে চরিত্র—কিন্তু গল্পের সবথেকে বড়ো ট্র্যাজেডি তার নিয়তিতে আসে না। বরং যার কপালে আসে, তাকে গল্পের খলনায়ক বলা যায়। তার নাম ক্রিয়ন, থিবস-এর অবিসংবাদিত রাজা, এবং অ্যান্টিগনির আত্মীয় (অ্যান্টিগনির বাবা হচ্ছে ইডিপাস। ইডিপাসের ব্যাপারে কমবেশি সবাই জানেন, তার আত্মীয়তার সম্পর্কগুলো কতোটা জটিল সে ব্যাপারেও ধারণা রাখেন। সেই জটিল অরণ্য পাড়ি দিতে হলে যতো ধারালো কুঠার লাগবে, তা আপাতত আমার হাতে নেই)।

কেন এমন হলো? কেন গল্পের মূল চরিত্র অ্যান্টিগনি হলেও ট্র্যাজেডির মূল শিকার সে নয়? ইডিপাস রেক্স নাটকে তো এমনটা দেখা যায় না। আবু ইব্রাহিমের মৃত্যুতেও না। এটা নিয়ে ভাবতে গিয়ে ক্রিয়ন আর অ্যান্টিগনির মধ্যে একটা মিল লক্ষ করলাম। আর একটা পার্থক্য। মিলটা হচ্ছে, দুজনেরই প্রধান চারিত্রিক ত্রুটি হচ্ছে জেদ। দুজনই প্রচণ্ড একরোখা, কারণ তারা জানে যে সিদ্ধান্তগুলো তারা নিচ্ছে সেগুলো নিজের জন্য নিচ্ছে না। নীতি, আদর্শ তাদেরকে এই সিদ্ধান্তগুলো নিতে বলছে। তবে দুজনের আদর্শের জায়গা দুটো দুই রকম।

গল্পের সংঘর্ষের মূল কারণ হচ্ছে অ্যান্টিগনির ভাই। অ্যান্টিগনির দুই ভাই যুদ্ধের দুই পক্ষের সৈনিক ছিলো। একজন ক্রিয়নের হয়ে যুদ্ধ করেছে, আরেকজন ক্রিয়নের বিপক্ষে। দুইজন একইসাথে মারা যায়। তাদের লড়াইয়ের বর্ণনা আছে ‘দ্য প্রজেনি’ নামে এক নাটকে, যেটার কিছু অংশ শুধু উদ্ধার করতে পেরেছেন ইতিহাসবিদেরা। পুরো নাটকটা পড়ার সৌভাগ্য হয়তো আমাদের কোনোদিনই হবে না।

অ্যান্টিগনির যে ভাই বিপক্ষে যুদ্ধ করে মারা গেছে, ক্রিয়ন তার লাশ রাস্তায় ফেলে রাখার হুকুম দিয়েছে। অন্ত্যেষ্টিক্রিয়া করা যাবে না। কারণ সে বিশ্বাসঘাতক। রাজ্যের বিরুদ্ধে, রাজ্যের মানুষের বিরুদ্ধে যুদ্ধ করে ছেলেটা মারা গেছে।

অ্যান্টিগনি কিছুতেই সেটা মানতে রাজি নয়। তার হিসেব খুবই সহজ—আপন ভাইয়ের লাশ সে কোনোভাবেই বেওয়ারিশের মতো পড়ে থাকতে দেবে না। প্রতিটা মৃত মানুষের লাস্ট রাইটস পাওয়ার অধিকার আছে—এই নিয়ম বেঁধে দিয়েছে স্বয়ং দেবতারা। এই হচ্ছে অ্যান্টিগনির নীতিবোধের উৎস।

ক্রিয়নেরটা হচ্ছে রীতি, আর দেশপ্রেম, এবং অনেকখানি অহংকার। সে নিজের রাজত্ব আর নিজের বিরুদ্ধে এতো বড়ো ধৃষ্টতা মেনে নেবে না।

এখানেই হচ্ছে দুজনের পার্থক্য। অ্যান্টিগনি যে আদর্শগুলোকে আপন মনে করে, সেগুলো এসেছে দৈব বা ধার্মিক প্রেক্ষাপট থেকে। ক্রিয়নেরগুলো হচ্ছে জাগতিক, ব্যক্তিক।

হয়তো এ কারণেই অ্যান্টিগনির কপালে যে শাস্তিটা আসে, সেটা ক্রিয়নের মতো খারাপ নয়। অ্যান্টিগনি বারবার বলে মানুষ নিয়তির সামনে অসহায়, বাধ্য। তাই নিজের নিয়তি তাকে অবাক করে না। অন্যদিকে নিয়তির প্রতিনিধি হিসেবে টিরেসিয়াস যখন ক্রিয়নের কাছে আসে, ক্রিয়ন তার কথা একবাক্যে উড়িয়ে দেয়। পরে ক্রিয়নের মত পরিবর্তন হলেও, সেই অপমানের মাশুল গুনতে হয় কড়ায়-গণ্ডায়।

চরিত্র হিসেবে অ্যান্টিগনিকে দারুণ লেগেছে। তার বেপরোয়া দৃষ্টিভঙ্গি, যা ন্যায্য সেটার পেছনে সব ভুলে ছুটে যাওয়া, প্রবল বাধার মুখেও নিজের বক্তব্য না বদলানো—এই বৈশিষ্ট্যগুলো তাকে বীরের মর্যাদা দিয়েছে।

কির্কেগার্ড-এর বইটা শেষ হলে অ্যান্টিগনিকে নিয়ে আরও কিছু কথা লিখবো।

این قانون را حکومت مسلم است
که در زندگانی ما میرندگان
هیچ شادی بسیاری نیست
که با بسیاری اندوه همزاد نباشد

Love that the Gods' work is like Karma. There's a whole lot of death and suicide in this one to bring the Oedipus Cycle to a finish.

"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.

2022 Review
Very interesting to read this one after The Seven Against Thebes.

2020 Review
Who needs Romeo and Juliet? Give me Haemon and Antigone any day for the dramatic and unnecessary deaths of romantic youths!

In all seriousness, I thoroughly enjoyed this play and was reminded of what skill the Greek playwrights had that however many years later, I was still left chuckling and slightly heartbroken by the end.

How did I not know this existed until now? Also, I love how they had strong female leads back then.

“ Son nata per amar, non per odiare.”
Nell’antica 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 è macchiato di tradimento contro la sua terra, non può essere sepolto per ordine del nuovo re di Tebe, Creonte.
Antigone è una guerriera. Ha deciso contro ogni ordine che seppellirà il fratello Polinice. Combatte da sola la sua battaglia per difendere quanto di più sacro ha: la sua famiglia, anche contro le leggi, ingiustamente emanate.
“Antigone: Andrò da sola
a seppellirlo e sento che bello
sarà morire in questa occupazione:
cara con lui a me caro, giacerò
ad una sacra colpa consacrata.
Più che ai vivi, piacer devo ai morti,
che in eterno con loro rimarrò”.

E di questo è orgogliosa. Rispetterà le leggi degli dei andando contro la legge dell’uomo che non perdona. E così morirà degnamente.
“Potevo io sfidare degli dèi
la punizione per avere avuto
paura di un uom che nulla vale?”

La lotta è 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’astio che lo alimenta e cerca riscatto per la sua terra. Ma il sovrano pagherà la sua tracotanza, la famosa hybrys greca, con quanto di più caro ha al mondo.
Più fili tragici si intrecciano: la sepoltura di Polinice, l’allontanamento di Ismene, il debole che soccombe al più forte, l’ordine che sovverte il caos.
Antigone è una figura fortissima, una donna fiera, un esempio di ribellione contro l’ingiusto.
Splendida anche la figura di Tiresia, il cieco indovino:
“Rifletti, figlio mio,
lo sbagliare è comune ai mortali,
ma il saggio è sempre pronto a riparare
l'errore. Stolto è colui che riparo
non prende mentre il male diventa
maggiore”.
L’attualità del messaggio che da questi testi emerge sempre mi sconvolge. A distanza di secoli non perdono la loro forza e la lettura è bellissima, fonte di riflessioni intense e a volte amare. “ La sorte che aiuta l'infelice, colpisce il fortunato:
nessun può dire quando finirà” .
Si paga sempre. Il conto prima o poi arriva.
“Felice è chi la sua vita trascorre
lontan dai mali, se invece la casa
è sconvolta da un dio, la sventura
prende a infierire sull'intera stirpe
così come un'ondata marina
trascinata dalla furia del vento,
il fondo dell'oceano sconvolge
e si avventa sonora sulle spiagge” .








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القدر و الحب و الكبرياء
كانوا مفاتيح مصير انتيجون؛ صاحبة التراجيديا المأساوية الاغريقية المتكاملة

و انتيجون ابنة اوديبوس ملك طيبة ذو المصير المأساوي فلقد قتل اباه و تزوج امه و انجب منها اربع أبناءً!! ا وعندما صدمته معرفة تلك الحقايق؛ فقأ عينيه و هام علي وجهه
و تمت الوقيعة بين ابناؤه قتلا بعض؛ فقرر الحاكم دفن احدهما و ترك الاخر للطيور هنا اصرت انتيجون على دفنه و لو علي موتها

مأساة انتيجون مركبة؛ فقد ورثت عن والدها قدره المظلم و مصيره المأساوي
و حبها الكبير لاخيها جعلها تفضل فقدان حياتها في سبيل تكريم جثمانه
و كبريائها جعلها تحجم عن رجاء الحاكم. لتغيير قراره
كبرياء حماها الحاكم هو الذي اودي بها للمصير الحتمي

لا تخجل من أخطائك فانت بشر*
ولكن اخجل اذا كررتها و ادعيت انها من فعل القدر*ا
انتيجون من اقوى الشخصيات النسائية ادبيا علي الاطلاق؛ هي ليست في قمة الفضل بسبب اصلها و مأستها العائلية ؛ و لكنها ايضا اميرة سابقة؛ و لا تتردي  في هوة اللؤم و الخسة

اسبغ عليها سوفوكليس من الاف السنين؛   صفات رفيعة فجعلها مثال للشجاعة؛ التدين؛ الصرامة؛ و الصمود كإسمها؛ و معناه الصامدة
رغم الوضع المتدني الذي كانت تغرق فيه النساء في هذا العصر المنصرم؛ منذ الفين و خمسمائة سنة

دوافع  انتيجون انسانية دينية؛
فوقفت امام قوانين وضعية ظالمة؛ طمعا في اخرة افضل؛ لتعبر عن المدي الذي قد تتطرف اليه المرأة في سبيل اقامة العدل