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Sophocles?s and Thoreau, 2004.
This paper discusses the theme of civil obedience in Sophocles?s ?Antigone? and Thoreau?s ?On the Duty of Civil Disobedience?.
1,045 words (approx. 4.2 pages), 2 sources, APA, $ 36.95
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Abstract
This paper explains that ?Antigone? and ?On the Duty of Civil Disobedience? share a common theme that civil disobedience is valid and agreeable for individuals to conduct because the moral law and the conscience take precedence in a human?s priority over legal laws imposed by ?mortals? only. The author points out that the function of literature as the mirror of the society is illustrated effectively in the most popular and well-known literary work of Sophocles, the play ?Antigone?. The paper relates that Henry David Thoreau?s discourse on the nature of government and its functions and dysfunctions in the society is discussed thoroughly in ?On the Duty of Civil Disobedience?.
From the Paper
"People do not only experience governments and the political state of societies, because political institutions are also illustrated and mirrored effectively through literature. Although considered an art form, literature also provides people with insights and subjective reflections of individuals about specific issues that the author deems important not only for him/her, but also for the society s/he lives in. More than anything, literature is an effective medium through which irregularities and conflicts that happen between the government and society or individual is reflected and informed to other people as an issue of public interest."
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A Comparative Study of Aeschylus and Sophocles, 2008.
A comparative analysis of the dramatic art of the Greek tragedians, Aeschylus and Sophocles.
4,055 words (approx. 16.2 pages), 9 sources, MLA, $ 109.95
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Abstract
This paper presents a comparative and parallel study of the dramatic art of the most prominent Greek dramatists Aeschylus and Sophocles. The writer discusses the similarities and differences between the two tragic poets, both in terms of style and content, and explains how each dramatist uses the chorus. The writer also explains that where the dramatic art of Sophocles is characterized by accomplished symmetry and harmonious grace, that of Aeschylus is hard, grand and severe, and Aeschylus (referred to as the 'Master of the Grotesque') is rightly acknowledged as the inventor of scenic pomp and hyperbole. The writer believes that Sophocles' art of characterization is more complex than Aeschylus and explains how Sophocles uses the third actor to place the audience in a position to judge the chief character from at least three points of view. The writer further asserts that unlike Aeschylus, who is simple and direct, Sophocles carries an explicit irony in his plays and he presents not only the problems, but suggests the solutions also to the intricacies of human life in relation to the cosmic and social order. The writer concludes that, as a modern reader, Sophocles is the greater of the two dramatists.
From the Paper
"Of the precious and inexhaustible treasure of the Greek endeavours in the realm of tragedy, very little has come down to the readers. We are aware of the names of a few tragedians with Aeschylus, Sophocles and Euripides being the being the most prominent. And with these three too, a very little of the whole number of works is left. The extant dramas are those that had been selected by the Alexandrian critics for the study of Greek literature. The reason for being their choice by the critics was their affordability as the best illustration of the various styles of tragic art. Regarding Aeschylus and Sophocles, (the two subjects of this term paper) we are left with seven pieces remaining of each."
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Sophocles and "Antigone", 2001.
A discussion of the use and role of mythology in Ancient Greece with emphasis on Sophocles a Greek dramatist, and a discussion of his play "Antigone."
2,000 words (approx. 8.0 pages), 7 sources, $ 63.95
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Abstract
An analysis of the use of mythology by Sophocles. The author discusses the use of myths in Ancient Greece to define gods and their laws, showing the terrible consequences of disobeying them and forming the structure of society and politics. The author discusses Sophocles, a Greek dramatist and his use of myths and religious rituals. Included is an analysis of Sophocles' play "Antigone".
From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action Greek dramatists often based their plots on myths, which are believed to reflect the national identity and various historic periods. Besides serving as lyric entertainment stories, myths were used to persuade and enlighten citizens in matters of politics, religion, and customary rituals (Bremmer, 58)."
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Sophocles' "Antigone", 2005.
This paper discusses the roles of the Greek chorus in Sophocles' "Antigone".
1,445 words (approx. 5.8 pages), 4 sources, MLA, $ 47.95
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Abstract
This paper explains that the roles of the Greek Chorus in Sophocles' "Antigone" are its technical functions as the logical division of the play into sequential parts and as the representation of the characters and the Chorus' own role as an autonomous entity in the plot of the play. The author explains that the Chorus as a character in the play appears as a single entity, thus using the first person singular body, "I", and acts as a lyrical commentator. The paper relates that the Chorus creates the connection between Sophocles' "Oedipus Rex" and "Antigone".
From the Paper
"The typical technical characteristics of the Greek Chorus are generally maintained in Antigone. The Chorus sings as it enters onto the stage--the parodos--shortly after the first scene and unfolds the exposition of the play, i.e., the events that took place before the time of the play itself. In the exposition of Antigone [704-706, lines 117-179], the Chorus tells us about the great war of "the seven against Thebes" and, by that, provides the missing details such as the cause of death of Antigone's brother, the general atmosphere in the city (the aftermath), and the reasons that back and nourish Creon's unquestionable leadership as well as his blasphemous acts."
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Euripides, Sophocles and Aeschylus, 2006.
This paper examines how Euripides, Sophocles and Aeschylus set the foundations of drama today.
1,575 words (approx. 6.3 pages), 6 sources, $ 62.95
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Abstract
The paper discusses how Euripides, Sophocles and Aeschylus are the three most significant Greek playwrights that have affected the development of modern drama. Aeschylus, the oldest of the playwrights existing in the Greek period, gave modern drama the actor, the scenery and the dialogue that is significant to how theatrical works have been constructed throughout the history of theatre. Sophocles added the third actor and then set about transforming the dialogue of the play in a manner that allowed theatrical work to develop with dramatic movement for the characters and the spectators. Euripides created the prologue to allow the audience to comprehend the world that had been created on the stage. However, the paper explains that Euripides also changed the manner in which gender was viewed in theatre and he gave women strength that affected not only the drama of his time, but the drama of the modern world as well.
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Sophocles' Theban Plays, 2008.
This paper discusses the merits of reading Sophocles' Theban play cycle, "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order.
1,323 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
The paper argues that reading the three plays "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order gives us more insight into Sophocles' narrative skill. The paper explains that one is able to fully savor the strange fusion of character and destiny that Sophocles manages to pull off as a playwright and storyteller. The paper argues further that although the play cycle has occasional lapses in chronology and internal inconsistencies, the plays also show us how certain characters, in particular, Creon, are able to radically transform themselves over time.
From the Paper
"Sophocles composed the Theban plays during a thirty-six year span. The three plays were actually not composed in chronological order; Antigone was penned first, followed by Oedipus the King, and finally, Oedipus at Colonus, shortly before Sophocles's death. As such, the three plays are rife with inconsistencies that come out when one reads them closely in chronological (i.e. sequential) order. Most notably, at the end of Oedipus the King, Creon has emerged as the undisputed King. He decides to expel Oedipus from Thebes after consulting with Apollo. Creon is then asked to look after Antigone and Ismene, the two daughters of Oedipus, which he agrees to do. In the subsequent plays, however, the two daughters are found wandering about on their own, either having fled with Oedipus or actively campaigning against Creon, who is supposed to be looking after them."
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Use of Mythology by Sophocles, 2001.
A look at Sophocles' use of myth in his writings.
2,000 words (approx. 8.0 pages), 0 sources, $ 63.95
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Abstract
An examination of Sophocles' use of mythology to enlighten matters of politics, religion and rituals. Included is an analysis of Sophocles' "Antigone".
From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action."
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Sophocles and Brecht, 2005.
Examines and compares Sophocles' "Antigone" and Brecht's "The Good Woman of Setzuan".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
Sophocles and Brecht were playwrights separated not only by millennia of time but also by the radically different cultural and social contexts of classical Greece and 20th century Europe. This being said, the paper shows that one of the striking elements of a comparison and contrast of Sophocles' "Antigone" and Bertolt Brecht's "The Good Woman of Setzuan" is how similarly they depict the forces that constrict and define women's identities in society. The paper argues that while the primary focus of both works is not specifically related to issues of gender and women's identities, both plays represent challenges to social codes.
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Sophocles' "Antigone", 2005.
This paper discusses that the character Ismene in Sophocles' "Antigone" is the ideal representation of the mainstream view of women in early Greece.
1,245 words (approx. 5.0 pages), 2 sources, MLA, $ 42.95
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Abstract
This paper explains that the character Ismene in Sophocles' "Antigone"
believed that men were superior to women, and women should therefore make no attempt to oppose any man. The author points out that her actions are in opposition to the beliefs of her sister Antigone and her father Oedipus; instead, she has selects to abide by the beliefs of two people who are of little or no significance to her, Creon and Pericles. The paper stresses that Oedipus does not agree with his society and his daughter's concept of women's inferiority to men; his words contrast their beliefs by putting a woman on the same level as him, a man.
From the Paper
"In this play, Creon has become Oedipus's successor and has now been corrupted by his power as tyrant. The character of Creon in Antigone believes that women are inferior to men. He believes that under no circumstances should women behave in a way that challenges the superiority of a male. He presents this belief when speaking to his son Haemon. In the conversation between the two, Creon stated, "If we fall, better a man should take us down. Never say that a woman bested us.""
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Kafka?s ?The Metamorphosis? and Sophocles? ?Oedipus Tyrannus", 2002.
This paper contends that both Franz Kafka?s short story, ?The Metamorphosis," and
Sophocles?s drama, ?Oedipus Tyrannus", focus on the protagonist as a classical Greek tragic hero, who is a victim of fate, and the absence of freewill.
1,600 words (approx. 6.4 pages), 0 sources, $ 52.95
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Abstract
This paper discusses that, although both the protagonists, Sophocles?s Oedipus the King and Kafka's Gregor Samsa, are victims of fate and paternal jealousy, both men emerge as preeminent heroes in the world of literature. The author states that Gregor Sarnsa and Oedipus the King are both tragic heroes, victims of their father?s fate and of their own, who are not in control of their destinies. The paper demonstrates that both Oedipus the King and Gregor Samsa assume the roles of their fathers, which contribute to their downfall as heroes.
From the Paper
"Laius tried to kill his infant son by leaving him to die on the side of a mountain; similarly, Gregor?s father successfully kills his son by throwing apples at him. Because of the prophesy that his son was going to murder him, Laius acted in self-defense. Oedipus usurps his father?s power inadvertently, but he does rise to power and becomes a hero because he killed his father. Gregor rose to power and became the head of his family because his father was disabled. Like Laius, Gregor?s father felt that he acted out of self-defense when he killed his son."
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Family vs. State in Sophocles' "Antigone", 2002.
An analysis of the characters in Sophocles' "Antigone".
1,086 words (approx. 4.3 pages), 0 sources, $ 37.95
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Abstract
The paper analyzes the play "Antigone" by ancient Greek writer and poet, Sophocles. The paper argues the position that the play emphasizes the meaning of family over the meaning of state, which are represented in the characters of Creon and Antigone.
From the Paper
"With multiple perspectives on the matter, even the Chorus of the play shows partiality to the oikos as well. After Antigone speaks of her imminent death, the Chrous replies by saying, ?And so you go with honor and praise below to the caverns of the dead; no sickness wasted you away, you do not pay the wages of the sword, but will go to death a law unto yourself? (795). The Chorus raises up honor and praises to Antigone for her support of the oikos, confirming that the Chorus does indeed support Antigone?s decisions. Shortly after, the Chorus once again raises the idea that the legacy of Antigone?s oikos may be the reason for her sorrow by saying, ??great has been your fall. Perhaps you are paying the price of your father?s sin? (825). Sophocles is employing yet another tool to associate the play with the importance of family."
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Sophocles?s "Antigone", 2004.
Analysis of the main characters, Antigone and Ismene, in Sophocles's story, "Antigone".
1,101 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
This paper looks at how Sophocles depicts the sharply contrasting female characters in his story, "Antigone", by creating a situation where both the characters have identical interests and must deal with the same life challenges. The paper analyzes and compares the responses of each sister to the difficult life situation imposed upon her and describes their characters based upon this analysis.
From the Paper
"Sophocles? Antigone is a story that has several strong characters, each set up cleverly in order to demonstrate the role that personality traits and the strength of conviction in ideals plays in determining individual decisions. Thus, if Creon?s son Haemon serves as a contrast of wisdom to his own display of pride and arrogance, Antigone?s sister Ismene acts as a foil in defining Antigone?s character and strength of conviction in her ideals."
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Sophocles' "Antigone", 2008.
This paper discusses the conflict which arises between Antigone and Creon in Sophocles' "Antigone".
1,615 words (approx. 6.5 pages), 3 sources, MLA, $ 52.95
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This paper explains that Sophocles'"Antigone" presents the trials and tribulations of one of Oedipus' daughters, Antigone, as she attempts to fulfill the obligations she feels towards the shattered family. The author points out that the conflict between Antigone and Creon is a conflict of perceptions. The paper relates that Creon believes that one's highest duty is to respect the rules, which govern citizenship, thus complying with all city laws and edicts irrespective of personal opinions and moral codes. The author stress that, Antigone, on the other hand, within the context of her moral code, believes that the laws of a state should be compliant with divine laws. The paper states that, since Antigone thinks that Creon's edict is deemed incongruous with divine law and disrespectful of blood ties, Antigone believes that obedience towards Creon's laws would be immoral and wrong so she disobeys them at the cost of her own life.
From the Paper
"Creon considers it unconscionable that someone would put their duties as a family member ahead of their duties as a citizen. "And a man who thinks more highly of a friend than of his country, well, he means nothing to me." A person who is capable of valuing his own family members over his fellow citizens has no worth as a citizen, which is the only measure of any significance as far as Creon is concerned. In his eyes, it is precisely our existence as good citizens that give value to our lives. As Howenstein explains, according to Creon, ruling is grounded in the incontestable power of the sovereign and the absolute subservience of his people."
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Sophocles' "Oedipus Tyrannus", 2008.
Reviews the play Sophocles' "Oedipus Tyrannus", especially the theme of fate and free will.
1,320 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper explains that Sophocles' play "Oedipus Tyrannus" asks the question whether Oedipus could have used free will to stop the fulfillment of the prophesy concerning his life and, if not, whether he deserved his self-imposed fate at the end of the play. The paper points out that one of the central flaws in Oedipus' character is his confidence, stubbornness and pride in himself, which led to his fate in the end. The paper concludes that Oedipus cannot be regarded as guilty but rather a victim of forces outside of his control.
Table of Content:
Character
Fate vs. Free Will
Oedipus' Guilt
From the Paper
"The audience is not presented with the impression that Oedipus' fate is the direct result of any flaw in his character. Indeed, the people of Thebes love and respect him. He also shows his integrity in dealing with those seeking his downfall. Creon for example seeks a private audience with Oedipus, but Oedipus refuses this in the interest of disclosure in matters regarding his people. He also shows himself to be a good king, in placing the interests of his people before his own."
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"Antigone" by Sophocles, 2006.
A review of the play "Antigone", written by Sophocles in 442 BCE.
1,010 words (approx. 4.0 pages), 1 source, MLA, $ 35.95
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Abstract
This paper studies the Sophocles play "Antigone" from 442 BCE. The author explores the play's dialogue, which is checkered with metaphors, similes and analogies, as was common for many works of Greek literature and mythology. In particular, the paper looks beyond the play's main storyline to its universal messages about life, people, beliefs and fate.
From the Paper
"In the early part of the play, Antigone and her sister, Ismene, are discussing a burial for their brother Polyneices. During this discussion Ismene is astounded that Antigone would even consider defying Creon's edict and performing burial rites for Polyneices. To her sister's refusal to be involved in such a deed, Antigone responds by declaring she will obey the gods before she will obey the earthly rule of Creon. The gods have allowed for a respectful burial of the dead regardless of earthly mandates, and by burying the dead you honor the gods."
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