virginia woolf, üç gine’de ataerkil düzene/mantığa başkaldırısını övmeye doyamayınca ben de antigone’yle artık tanışayım dedim. sayın woolf'un çok sevdiği kadar varmış.

Antigone, serinin üçüncü ve son kısmı.

Yaşamış en talihsiz adamın kızı Antigone. Çok güçlü bir karakter, asla pes etmiyor, doğru olandan şaşmadan adalet arıyor.

Babasının ölümünden sonra iki kardeşi birbirlerine karşı savaşıp ölüyor. Ölen kardeşlerden biri ülkeyi yıkmak istediğinden Kral olan dayıları Kreon uygun bir cenaze töreni yapılıp gömülmesine izin vermiyor. Cesedi açıkta bırakıp kurda kuşa yem ediyor. Cesedi gömmek isteyenin cezasının ölüm olacağını duyuruyor. Antigone buna dayanamayıp tanrısal yasaları çiğnediği için Kreon'a karşı çıkıyor, yanlış yaptığını, diğer insanların kendisinden korktuğu için yüzüne doğruları söyleyemediğini anlatıyor. Kral ise itiraz kabul etmiyor, kendi koyduğu kuralların daha üstün olduğunu savunuyor.

Kreon'un "Koca Teiresias" dediği bilici çözüm için geliyor, tanrıların adaleti de.

Daha önce okuyup yorumlayanlar da dile getirmiş ancak ben de yazmak istedim, o çağda bir kadın karaktere böyle güçlü bir rol verilmesi efsane olmuş. Sophokles'in 123 oyundan geri sadece yedisinin kalmış olması da gerçekten çok üzücü, kim bilir neler vardı, hiç öğrenemeyeceğiz.

Эта трагедия имеет гораздо более глубокий смысл, чем «Царь Эдип». Жить по неписаным человеческим законам, или по Божьим законам, поступать по морали - вот чем руководствуется Антигона, несмотря на смертельный риск ослушаться приказа. Ее чувство справедливости деятельное, активное, идущее от сердца. Она действует в меру своих сил, полная скорбных чувств. Ее героизм заключается в одиночном выступлении против могущественной власти, противопоставлении порядочности и нравственности самодурной мстительности царя Креонта. Исмена, напротив, является воплощением слабости, и она абсолютно незаметный персонаж, создающий фон для Антигоны.
У Креонта своя логика, она ложна, она ошибочна, потому что он пытается оправдать свои негуманные действия по наказанию предателя Полиника интересами города-государства. Здесь мы видим типичную для тирании отсылку на приоритет государственных интересов над человеческими (божественными), и это указывает на глубину понимания автором природы деспотизма.
Все люди связаны между собой прежде всего узами любви. Эти узы любви приводят к невозможности жить без любимых. И эти узы любви являются карающими для Креонта, потерявшего всех, кто ему был дорог. Это то, что называется Роком. Слепой Тересий предсказал, что не будет благополучия городу. Народ ропщет. Вот результат тирании.

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.

O desrespeito pelo corpo falecido plasmado na proibição de cerimónia fúnebres, misturado com a autocracia de um líder que não escuta o conselho que lhe é dado pelos próximos. É este texto clássico que me faz viajar para tempos e espaços diversos.

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Δραματικός λόγος από τον τραγικό ποιητή Σοφοκλή! ΄Ενα δυνατό κείμενο σε όλα τα επίπεδα του λόγου, που εμπλέκει τον αναγνώστη στα δρώμενα κάνοντας τον να φιλοσοφήσει και να προβληματιστεί. Μεγάλες αλήθειες και διαχρονικές αξίες παρουσιάζονται στο κείμενο όπως " αναρχίας ουκ εστιν μειζον κακόν" και "«Ούτοισυνέχθειν, αλλά συμφιλείν έφυν» «δε γεννήθηκα για να μισώ με τους άλλους άλλα να αγαπώ μαζί τους» "Οὐδὲν γὰρ ἀνθρώποισιν οἷον ἄργυρος κακὸν νόμισμ’ ἔβλαστε" "τό γὰρ περισσὰ πράσσειν οὐκ ἔχει νοῦν οὐδένα" είναι καθάρια τρέλα να θέλεις ό,τι ξεπερνάει τη δύναμη σου….
ένα ανυπέρβλητο κείμενο της αρχαίας ελληνικής γραμματείας άριστο και αξεπέραστο από γλωσσικής, αισθητικής και ερμηνευτικής άποψης!

Que privilégio o nosso, o de poder ler textos que sobreviveram a povos e civilizações ...que não se perderam na sucessão secular dos dias. Ao longo desta leitura, ocorreu-me, diversas vezes, que esta obra, escrita possivelmente em 441 a.C. , poderia ter sido mais uma a integrar a extensa lista do "Bibliocausto" . Perderíamos então a possibilidade de conhecermos um texto teatral maravilhoso , apesar de trágico.
Esta peça da Antiguidade comprova que as relações humana se têm entrelaçado com os mesmos fios, que se podem partir a qualquer momento, e que, a nossa essência permaneceu imutável ao longo dos tempos. Antígona, Creonte, Hémon, Ismena ou Eurídice não são diferentes de nós , nem tão pouco o tema da peça se restringe à época em que foi escrita...

i’m afraid sophocles ate with this one

A tragedy bleaker than many of Shakespeare’s works. It had a bit of a slow start but then picked up speed very quickly up until the multilayered mournful ending.

With the translation I suppose - but this just feels so dang modern. Like not much has changed in life.

Kreon doesn't allow the family to bury a man. The man's sister Antigone disobeys the king and gives him funeral rites. Kreon condemns her to death - but everyone knows it's the wrong thing to do, eventually the king realizes it too.

I've always been a morality > law person... but I think as you get older it's just easier to follow the law and not worry about morality. As long as it's legal, it's moral - you put your morality in the hands of the lawmakers and trust that their doing a good job. Here it's easy to see the mistake because the law is literally just whatever Kreon decides it is.

"Μέγα καλό και πρώτο της ευτυχίας, η φρόνηση
κανείς δεν πρέπει ν΄ ασεβεί στη θεία τάξη
λόγια μεγάλα ξιπασιάς με συμφορές μεγάλες πληρώνονται
με τον καιρό στα γερατειά θα ρθει κι η γνώση"
Έτσι τελειώνει το σπουδαίο έργο του Σοφοκλή το οποίο σε 1.320 μόλις στίχους ξεδιπλώνει μια σειρά προβληματισμών, δοκιμασιών και αμφισβητήσεων της ανθρώπινης κοινωνίας.

Ένα μεγάλο που ενδεχομένως δυστύχησε που έγινε μάθημα στα ελληνικά σχολεία και ακολουθεί τους Ελληνες ως ένα "μάθημα" κι όχι σαν ένας οδηγός ζωής.
" Η αστοχασιά το ποιο τρανό κακό στον κόσμο" σελ. 117 ή "οι θεοί σπέρνουν στον άνθρωπο το νου, το πιο τρανό προικιό στον κόσμο όλο" σελ. 77
και η πλέον γνωστή ρήση: " Ζω για ν αγαπώ και ν΄ αγαπιέμαι κι όχι για να μισώ"σελ.65

(Ξανα) διαβάζοντας ο λάτρης των βιβλίων μπολιάζεται με μεγάλες δόσεις αλήθειας, φιλοσοφίας και σκέψης....

Antigone is a strong contender in the Plays That Keep You Awake at Night competition. The background of the story reads, no surprise, like a Greek tragedy: Antigone is the orphaned daughter of Jocasta and Oedipus (the mother and father/brother team from Oedipus Rex) who has now lost both her brothers as well — they killed each other fighting over who got to rule Thebes. Uncle Creon, the new king, decreed that the “traitor” brother is to go unburied. The conflict is that Antigone plans to ignore Creon’s decree and bury her brother anyway, while Creon says if she does, he’ll have her killed.

While the conflict seems simple enough, it involves two competing arenas, political and religious. Politically, Antigone represents the aristos, the old ruling families, who aren’t as loyal to law as they are to their own families, and Creon represents the demos, or the voting masses, whose primary focus is the interest of the state and the rule of law. In the religious arena, Antigone wants to honor the gods’ laws by burying her brother, while Creon ignores the gods’ laws in favor of his own decrees. So who’s right? What is the balance of power between individuals and the state? The laws of man and the laws of gods? Governing with firmness and listening with reason?

The good news is that Sophocles gives each character a leg to stand on, but only one. Antigone is right to honor the gods’ laws but wrong to disobey the king’s decree, and Creon is wrong to disregard the gods’ laws but right to expect the laws of the land to supplant individual wishes. I’m guessing Sophocles would argue that the play’s success comes from the tension between these ideas as played out by two flawed characters. On the one hand, Antigone is a strident vigilante who doesn’t care that she’s breaking the law. And on the other hand, Creon is an insecure blowhard who doesn’t care that he’s breaking custom and the will of the gods by leaving his nephew’s corpse to be eaten by birds. Neither character is easy to side with, but each has a point.

However, the bad news is that Sophocles clearly sides with Creon — through the airtime he gives Creon (far more than he gives Antigone), through the chorus’s support (who are supposed to state the opinion of the audience), and through the plot itself, which gives Creon the realization of his mistakes and the cathartic “Woe is me” ending. Creon, not Antigone, follows the tragic hero trajectory. Antigone’s real tragedy is simply that she’s a member of a spectacularly dysfunctional family. While the plot vindicates Antigone’s position, Sophocles undermines her character at every turn, and for some reason this drives me bonkers. Obviously nobody would read Pride and Prejudice and **SPOILER ALERT** say, “Poor Wickham got short shrift! Jane Austen was clearly in the bag for Darcy. How unfair!” because those characters exist only as the author created them. Wickham is a scoundrel because Jane Austen created a scoundrel. However, the characters in this play existed before Sophocles and therefore outside Sophocles, so I don’t think I’m a lunatic for being irritated that Sophocles was manipulative in his treatment of them. In his real-life zeal to promote the interest of the polis, Sophocles weakens Antigone’s position by characterizing her as imbalanced and unnatural, which makes the didactic focus of the story political. That was his point, and in keeping with Greek tragedy of the 5th century BC, but it still irks me.