A discussion of the complex social, political, and religious framework surrounding the performance of tragedy in 5th century Athens, and an interpretation of Sophocles' "Antigone" as a political play.
Written in 2009; 4,418 words; 10 sources; MLA; $ 116.95
Paper Summary:
This paper discusses the extent to which tragedy was both a part of and, at the same time, reflected the social, political, and religious climate of 5th century Athens. In particular, the writer examines Sophocles' tragedy "Antigone" as an artwork immersed in, and a product of, this complex social climate. A description of the historical and cultural background of the play is given, focusing on the City Dionysia, the Athenian religious festival dedicated to Dionysus' worship, out of which Athenian tragedy developed. Politically, the composition of "Antigone" coincides with Pericles' further development of the Athenian democratic system. The writer shows that Sophocles in his "Antigone" considers various types of justice, power models and the negative consequences of living under a tyrant, and this would resonate with the Athenian audience who were moving from an oligarchical to a democratic government. The paper concludes that artistic forms and content are rooted in the culture from which they emerge and that tragedy is a social, intellectual, and religious, as well as a political tool.
From the Paper:
"In the Antigone we are confronted with a clash of wills portrayed through the agonistic struggle of Antigone and Creon, initially, and between Creon and all other characters as the play continues. Set in Thebes (Grene 181), Creon comes to power following the deaths of both of Oedipus' sons, Eteocles and Polyneices. Creon represents the voice of absolute authority; violators of his law are faced with death (line 40). Creon's monarchy is clearly delineated from the direct democracy that the Athenians participated in; to the Athenian, Creon's monarchy clearly reflects the negative aspects of oligarchy, including that of the Spartans."
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