Antigone Crossword Puzzle

Total Page:16

File Type:pdf, Size:1020Kb

Antigone Crossword Puzzle L I T ERARY CROSSWO RD PUZZ LE AntigoneAntigone 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 Across Down 1. AcrossThe punishment for disobeying Creon’s edict is death by Down2. At first, the Chorus wonders if __________ buried Polynices. __________.1. The punishment for disobeying Creon’s edict is 2.4. At Ismenefirst, the tells Chorus Creon thatwonders Antigone if __________ is his__________ death by __________. buried Polynices. 3. Who3. Who was wasAntigone’s Antigone’s father? father? 4. Ismene__________ tells Creon __________ that Antigone to stop him is hisfrom killing her. 5. Who5. Who loses loses his wife his and wife son and at theson end at ofthe the end play? of the __________(three words) __________ __________ to stop 8. Theplay? guards witness a __________ __________ before Anti- 6.him The from second killing messenger her. (three tells Creonwords) that __________ is dead. gone8. The arrives guards at Polynices’ witness body. a __________ (two words) __________ 6.7. The A recurringsecond messengermotif or symbol tells in Creonthe play that is a ship in a before Antigone arrives at Polynices’ body. (two ____________________ is__________. dead. (two words) 12. Ismenewords) does not think that she and Antigone should be con- 7. A recurring motif or symbol in the play is a ship 12.cerned Ismene with moralitydoes not because think thatthey sheare ___________. and Antigone 9.in Eteoclesa __________ and Polynices __________. fought for (twopower words) over __________. 14. Tiresiasshould tells be Creon, concerned “The city with is __________ morality because because ofthey your 9.10. Eteocles After the and Chorus Polynices urges Ismene fought to for stand power by Antigone, over Ismene counsel….”are ___________. __________.pleads __________. 16. 14.Antigone Tiresias is the tells __________ Creon, “The figure city of isthe __________ story. 10.11. After Creon the denies Chorus Antigone’s urges Ismenebrother proper to stand __________ by rites. because of your counsel….” Antigone, Ismene pleads __________. 17. 16.Who Antigone prophesies is thatthe Creon__________ will suffer figure the death of the of story.a child? 11.13. Creon Ismene: denies “I do Antigone’snot dishonor brother them, but proper to do this against the 18. 17.The Who __________ prophesies reports that that Creon someone will has suffer buried the Polynices. death __________state—I have rites. no __________ for it.” 20. Haemonof a child?claims that __________ is humanity’s greatest 13.14. Ismene: Ismene “Iis doAntigone’s not dishonor __________. them, but to do this 18. The __________ reports that someone has against the state—I have no __________ for it.” possession.buried Polynices. 14.15. Ismene The play is Antigone’sbegins with a__________. conversation between Antigone and 21. 20.Antigone Haemon __________ claims thatherself __________ and dies. is humanity’s 15. The__________. play begins with a conversation between 22. Thegreatest animal Tiresias possession. claims that he receives omens from 16.Antigone Creon carries and __________.the body of this person at the end of the play. 25. 21.In his Antigone initial speech, __________ Creon stresses herself the and importance dies. of loyalty to16. 19. Creon Hamartia: carries a __________ the body of flaw this person at the end 22. The animal Tiresias claims that he receives of the play the omens__________. from 19.23. Hamartia: Antigone afinds __________ that it is more flaw important to please the world 26. The __________ convinces Creon to bury Polynices. of the __________. 27. Haemon is actually Antigone’s __________. 24. “[M]ost beautiful of all fates, the one bringing me my last day, 28. The Chorus: “__________, unconquered in battle, / the very best fate!” shows Creon’s __________. __________, who attacks wealth.” (same word) www.prestwickhouse.com LI TERARY CROSSWORD PUZZLE Answer Key Across Antigone 1. The punishment for disobey- 17. Who prophesies that Creon Antigone will suffer the death of a child? 1 2 ing Creon’s edict is death by S T O N I N G __________. [STONING] [TIRESIAS] 3 4 5 6 3. Who was Antigone’s father? 18. The __________ reports that O E D I P U S C R E O N [OEDIPUS] someone has buried Polynices. D A U 5. Who loses his wife and son at [SENTRY] 7 8 9 10 the end of the play? [CREON] 20. Haemon claims that __________ S U D U S T S T O R M G 8. The guards witness a is humanity’s greatest possession. T G H Y U __________ __________ before [INTELLIGENCE] 11 12 Antigone arrives at Polynices’ 21. Antigone __________ herself O B H W O M E N D I 13 14 body. (two words) and dies. [HANGS] S R U T B S I C K L [DUSTSTORM] 22. The animal Tiresias claims that 15 16 12. Ismene does not think that he receives omens from [BIRD] T M R E I H E R O I C T 17 18 19 she and Antigone should be 25. In his initial speech, Creon R Y I T I R E S I A S S E N T R Y concerned with morality because stresses the importance of loyalty E S A I M E T R they are ___________. to the __________. [STATE] 20 21 [WOMEN] 26. The __________ convinces Cre- I N T E L L I G E N C E M E H A N G S on to bury Polynices. [CHORUS] 22 23 14. Tiresias tells Creon, “The city G A L N O B I R D G is __________ because of your 27. Haemon is actually Antigone’s 24 25 counsel….” [SICK] __________. [FIANCÉ] T G S T A T E N E I 26 27 16. Antigone is the __________ 28. The Chorus: “__________, C H O R U S W F I A N C É figure of the story. [HEROIC] unconquered in battle, / __________, who attacks I D 28 wealth.” (same word) [LOVE] L O V E Down T 2. At first, the Chorus wonders if 7. A recurring motif or sym- Across11. Creon denies Antigone’s brother 16. Creon carriesDown the body of this __________ buried Polynices. bol in the play is a ship in a 1. Theproper punishment __________ for disobeyingrites. Creon’s edictperson is at the2. end At first,of the the play. Chorus wonders if __________ [GOD] __________ __________. (two death[BURIAL] by __________. [STONING] [HAEMON] buried Polynices. [GOD] words) [STORMYSEA] 3. Who was Antigone’s father? [OEDIPUS] 4. Ismene tells Creon that Antigone is his 4. Ismene tells Creon that Antigone 5.13. Who Ismene: loses “I hisdo notwife dishonor and son at the end19. of Hamartia:the a ____________________ flaw __________ __________ to stop is his __________ __________ 9. Eteocles and Polynices fought play?them, [CREON] but to do this against the [TRAGIC] him from killing her. (three words) 8. The guards witness a __________ __________ [DAUGHTERINLAW] __________ to stop him from for power over __________. state—I have no __________ for 23. Antigone finds that it is more killing her. (three words) [THEBES] beforeit.” [STRENGTH] Antigone arrives at Polynices’ body. (two 6. The second messenger tells Creon that words) [DUSTSTORM] important to please__________ the world is of dead. [EURYDICE] [DAUGHTERINLAW] 10. After the Chorus urges Ismene 12.14. Ismene Ismene doesis Antigone’s not think that she and Antigonethe __________. 7. A recurring[DEAD] motif or symbol in the play is a ship 6. The second messenger tells to stand by Antigone, Ismene should__________. be concerned [SISTER] with morality because they in a __________ __________. (two words) are ___________. [WOMEN] 24. “[M]ost beautiful[STORMYSEA] of all fates, the Creon that __________ is dead. pleads __________. [GUILTY] 14.15. Tiresias The play tells begins Creon, with “The a conver city -is __________one bringing9. me Eteocles my last andday, thePolynices fought for power over [EURYDICE] becausesation between of your Antigone counsel….” and [SICK] very best fate!” __________.shows Creon’s [THEBES] 16. Antigone is the __________ figure of the story. 10. After the Chorus urges Ismene to stand by [HEROIC]__________. [ISMENE] __________. [GUILT]Antigone, Ismene pleads __________. [GUILTY] 17. Who prophesies that Creon will suffer the death 11. Creon denies Antigone’s brother proper of a child? [TIRESIAS] __________ rites. [BURIAL] 18. The __________ reports that someone has 13. Ismene: “I do not dishonor them, but to do this buried Polynices. [SENTRY] against the state—I have no __________ for 20. Haemon claims that __________ is humanity’s it.” [STRENGTH] greatest possession. [INTELLIGENCE] 14. Ismene is Antigone’s __________. [SISTER] 21. Antigone __________ herself and dies. 15. The play begins with a conversation between Get Free Classroom Resources [HANGS] Antigone and __________. [ISMENE] THE ENGLISH TEACHER’S FREE LIBRARY When we ask teachers what they want, they always say, “free stuff for my classroom.” Look no further—the new English Teacher’s Free Library is loaded with free eBooks, lesson plans, posters, and puzzles that are ready for your classroom. Visit: www.prestwickhouse.com/free-library www.prestwickhouse.com.
Recommended publications
  • The Dream Narrative As a Mode of Female Discourse in Epic Poetry
    Transactions of the American Philological Association 140 (2010) 195–238 Incohat Ismene: The Dream Narrative as a Mode of Female Discourse in Epic Poetry* emma scioli University of Kansas summary: This article examines Ismene’s nightmare in book 8 of Statius’s Thebaid by contextualizing it within the epic’s narrative, comparing it with the dream narrations of other female characters in epic poetry, and aligning it with other typically female modes of subjective expression in epic, such as weaving, teichoscopy, and lamentation. My analysis shows that by exposing the diffi- culties inherent in retelling a dream, Statius demonstrates sympathy with the female perspective on the horrific war that constitutes the central action of his poem and foreshadows the subsequent inadequacy of words in reaction to such horror. i. introduction: ismene begins ismene, daughter of oedipus, is a character who has virtually no presence in the narrative of Statius’s Thebaid either before or after the small section devoted to the retelling of her dream and its aftermath (8.607–54); for this reason, the intricacy and allusiveness of this passage are all the more striking. In this scene, Ismene recounts to her sister Antigone a dream she has had, in which her wedding to her fiancé Atys is violently interrupted by a fire. After questioning the dream’s origin, Ismene discounts its meaning as incongruous with her understanding of her own waking reality and resumes * Shorter versions of this paper were delivered at the University of Rome, Tor Vergata, in 2004 and the 2005 APA meeting in Boston. I would like to thank audience members at both venues for useful feedback.
    [Show full text]
  • Surviving Antigone: Anouilh, Adaptation, and the Archive
    SURVIVING ANTIGONE: ANOUILH, ADAPTATION AND THE ARCHIVE Katelyn J. Buis A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Cynthia Baron, Advisor Jonathan Chambers ii ABSTRACT Dr. Cynthia Baron, Advisor The myth of Antigone has been established as a preeminent one in political and philosophical debate. One incarnation of the myth is of particular interest here. Jean Anouilh’s Antigone opened in Paris, 1944. A political and then philosophical debate immediately arose in response to the show. Anouilh’s Antigone remains a well-known play, yet few people know about its controversial history or the significance of its translation into English immediately after the war. It is this history and adaptation of Anouilh’s contested Antigone that defines my inquiry. I intend to reopen interpretive discourse about this play by exploring its origins, its journey, and the archival limitations and motivations controlling its legacy and reception to this day. By creating a space in which multiple readings of this play can exist, I consider adaptation studies and archival theory and practice in the form of theatre history, with a view to dismantle some of the misconceptions this play has experienced for over sixty years. This is an investigation into the survival of Anouilh’s Antigone since its premiere in 1944. I begin with a brief overview of the original performance of Jean Anouilh’s Antigone and the significant political controversy it caused. The second chapter centers on the changing reception of Anouilh’s Antigone beginning with the liberation of Paris to its premiere on the Broadway stage the following year.
    [Show full text]
  • Llt 121 Classical Mythology Lecture 32 Good Morning
    LLT 121 CLASSICAL MYTHOLOGY LECTURE 32 GOOD MORNING AND WELCOME TO LLT 121 CLASSICAL MYTHOLOGY IN WHICH WE RESUME OUR ADVENTURES IN THE CITY OF THEBES. THE CITY THAT THE GODS SEEM TO LOVE TO HATE. THE ORIGINAL FOUNDER TURNS INTO A SNAKE. WE'VE GOT THAT AT THEBES. A YOUNG MAN IS TURNED INTO A STAG FOR SEEING ARTEMIS BATHING IN THE NUDE. YES, WE HAVE THAT AT THEBES. THE SON KILLS THE FATHER. WE HAVE GOT THAT. WE DO THAT AT THEBES. THE SON MARRIES MOTHER. WE DO THAT TOO. BROTHER KILLS BROTHER, YEP. IF IT'S BAD AND IT HAPPENED IN ANCIENT GREEK MYTHOLOGY YOU CAN BET IT HAPPENED AT ANCIENT THEBES. I'VE ALREADY TOLD YOU WHY THAT IS. IT HAPPENS TO BE RIGHT NEXT DOOR TO ATHENS. WHERE I WANT TO START TODAY IS WITH ONE OF THE MOST FAMOUS CHARACTERS IN ALL WESTERN CIVILIZATION, ONE OF THE MOST COMPLEX PEOPLE YOU'LL EVER WANT TO MEET. THIS GUY IS BY THE NAME OF OEDIPUS. OEDIPUS STARTS OFF AS A LITTLE BABY. HE IS A CUTE LITTLE BABY. HE USED TO BE A LITTLE BOY. THEN HE WINDS UP AS THIS SAD, MULING, PUKING, UNHAPPY MAN WHO HAS POKED HIS OWN EYES OUT WITH A BROOCH. THIS IS THE GORE DRIPPING OUT OF HIS EYES AND ALL OF THAT BECAUSE HE SUFFERS FROM CLASSICAL GREEK MYTHOLOGY'S WORST DOCUMENTED CASE OF ARTIMONTHONO. NOW I GET IT. I PAUSE FOR YOUR QUESTIONS UP TO THIS POINT. WHEN LAST WE LEFT OFF LAIUS HAD BECOME KING AFTER A LONG WAIT WITH SOME INTERESTING MATHEMATICS BEHIND IT IF YOU'LL RECALL.
    [Show full text]
  • A Psychoanalytic Study of Sophocles' Antigone Authors: Almansi, Renato, J
    EBSCOhost http://web.ebscohost.com/ehost/delivery?sid=6f63c990-0c3e-4396-979b... Record: 1 Title: A Psychoanalytic Study of Sophocles' Antigone Authors: Almansi, Renato, J. Source: Psychoanalytic Quarterly, 1991; v. 60, p69, 17p ISSN: 00332828 Document Type: Article Language: English Abstract: This paper examines, in a detailed and comprehensive fashion, the unconscious motivations of the main protagonists of Sophocles' Antigone and the play's general structure as a psychoanalytically coherent whole. This examination helps to foster an understanding of the conceptual place of Antigone within the Oedipus Trilogy, its relationship to Oedipus Rex, and the complementary character of these two tragedies. Accession Number: PAQ.060.0069A Database: PEP Archive A Psychoanalytic Study of Sophocles' Antigone Renato J. Almansi, M.D.; 200 East 89th St., Apt. 41B New York, NY 10128 ABSTRACT This paper examines, in a detailed and comprehensive fashion, the unconscious motivations of the main protagonists of Sophocles' Antigone and the play's general structure as a psychoanalytically coherent whole. This examination helps to foster an understanding of the conceptual place of Antigone within the Oedipus Trilogy, its relationship to Oedipus Rex, and the complementary character of these two tragedies. Antigone was first produced in the year 442 B.C., the first of the three plays of the Oedipus Trilogy. Oedipus Rex was produced between 430 and 425 B.C., and Oedipus at Colonus posthumously in 401 B.C. As we shall see, this sequence may be psychologically significant. Since the very beginning, Antigone has been the object of great interest: it immediately made Sophocles famous, and throughout the ages it has caused an outpouring of comments and hypotheses stimulated by the multiplicity of political, social, and philosophical issues the play seems to raise and by its enigmatic quality.
    [Show full text]
  • Female Familial Relationships in Valerius' Argonautica and Statius
    W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2021 Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid Sophia Warnement Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Classical Literature and Philology Commons Recommended Citation Warnement, Sophia, "Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid" (2021). Undergraduate Honors Theses. Paper 1619. https://scholarworks.wm.edu/honorstheses/1619 This Honors Thesis -- Open Access is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Female Familial Relationships in Valerius’ Argonautica and Statius’ Thebaid A thesis submitted in partial fulfillment of the requirement for the degree of Bachelor of Arts in Department of Classical Studies from The College of William and Mary by Sophia Irene Warnement Accepted for ______Honors___________________________ (Honors, Highest Honors) __Vassiliki Panoussi___________________ Vassiliki Panoussi, Director __Molly Swetnam-Burland____________ Molly Swetnam-Burland __Jennifer Gülly___ ____________________ Jennifer Gülly Williamsburg, VA May 07, 2021 Table of Contents ACKNOWLEDGMENTS ..........................................................................................................................................
    [Show full text]
  • Sophocles' Antigone Reworked in the Twentieth
    NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 12 (2018) SOPHOCLES’ ANTIGONE REWORKED IN THE TWENTIETH CENTURY: THE CASE OF HASENCLEVER’S ANTIGONE (1917) © Rossana Zetti (University of Edinburgh) INTRODUCTION AND CONTEXTUALIZATION This article examines a little-known example of Antigone’s reception in the twentieth century: the adaptation by the German expressionist writer Walter Hasenclever. This version is the first and arguably most innovative of several European adaptations of Sophocles’ play to appear in the first half of the twentieth century. Although successful at the time of its production, Hasenclever’s Antigone is scarcely read in contemporary scholarship and is discussed mainly in German-language scholarship.1 Whereas Flashar’s wide-ranging study, in German, refers to Hasenclever’s drama (Flashar 2009: 127– 29), in Fischer-Lichte’s 2017 book Tragedy’s Endurance, in English, Hasenclever appears only in one endnote (Fischer-Lichte 2017: 143). The only English translation of the play available (Ritchie and Stowell 1969: 113–60) is rather out of date and inaccessible. Hasenclever’s Antigone is briefly mentioned in Steiner’s essential reference book Antigones (Steiner 1984: 142; 146; 170; 218), in the chapter on Antigone in the recent Brill’s Companion to the Reception of Sophocles (Silva 2017: 406–7) and in Cairns’ 2016 book on Sophocles’ Antigone (Cairns 2016: 133). However, it is absent in some of the most recent contributions dedicated to the play’s modern reception, including Wilmer’s and Žukauskaitė’s edited collection on Antigone in postmodern thought (2010), Mee’s and Foley’s essays (2011) discussing adaptations of Antigone staged around the world, and Morais’, Hardwick’s and Silva’s recent volume (2017).2 The absence of Hasenclever from contemporary scholarship can be explained by the fact that his Antigone lacks the complexity of later adaptations, such as Anouilh’s and Brecht’s.
    [Show full text]
  • Seneca's Phoenician Women — Genre, Structure, Thematic Unity
    UDC 821.124 Philologia Classica. 2021. Vol. 16. Fasc. 1 Seneca’s Phoenician Women — Genre, Structure, Thematic Unity Tomasz Sapota University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] Iwona Słomak University of Silesia in Katowice, Faculty of Humanities, pl. Sejmu Śląskiego 1, 40-032 Katowice, Poland; [email protected] For citation: Sapota T., Słomak I. Seneca’s Phoenician Women — Genre, Structure, Thematic Unity. Philologia Classica 2021, 16 (1), 77–89. https://doi.org/10.21638/spbu20.2021.107 This article revises current perspectives on the generic status, composition, and subject mat- ter of Phoenician Women by Seneca. It adopts a new approach, focusing on selected elements of text organisation. In particular, emphasis is given to the construction of characters and the analogies and contrasts between them which were already of interest to ancient poetics and rhetoric. Moreover, the article refers to observations, accurate but isolated and largely ignored, made by scholars who recognised Seneca’s originality and suggested that his plays might have been inspired by the declamatory tradition and should be read in the context of evolving post- classical literature. By adopting this perspective, it becomes possible to bring together a large number of partial conclusions that are related to Phoenician Women as well as other plays by Seneca. What is more important, the work brings to light the purposeful composition of the drama and its thematic unity, allowing us to return to the MS versions that until now have been replaced by conjectures, which often distort the meaning of the text.
    [Show full text]
  • Jocasta and the Sin of Thebes Bernadette Waterman Ward
    Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit.
    [Show full text]
  • Antigone's Line
    Bulletin de la Société Américaine de Philosophie de Langue Française Volume 14, Number 2, Fall 2005 Antigone’s Line Mary Beth Mader “Leader: What is your lineage, stranger? Tell us—who was your father? Oedipus: God help me! Dear girl, what must I suffer now? Antigone: Say it. You’re driven right to the edge.”1 Sophocles’ Antigone has solicited many superlatives. Hölderlin considered the play to be the most difficult, the most enigmatic and the most essentially Greek of plays. This paper treats a matter of enigma in the play, one that is crucial to understanding the central stakes of the drama. Its main purpose is to propose a novel account of this enigma and briefly to contrast this account with two other readings of the play. One passage in particular has prompted the view that the play is extremely enigmatic; it is a passage that has been read with astonishment by many commentators and taken to demand explanation. This is Antigone’s defense speech at lines 905-914. Here, she famously provides what appear to her to be reasons for her burying her brother Polynices against the explicit command of her king and uncle, Creon. Her claim is that she would not have deliberately violated Creon’s command, would not have ANTIGONE’S LINE intentionally broken his law or edict, had this edict barred her from burying a child or a husband of hers. She states that if her husband or child had died “there might have been another.” But since both her mother and father are dead, she reasons, “no brother could ever spring to light again.”2 Reasoning of this sort has a precedent in a tale found in Herodotus’ Histories, and Aristotle cites it in Rhetoric as an example of giving an explanation for something that one’s auditors may at first find incredible.3 To Aristotle, then, Antigone’s defense speech appears to have been “rhetorically satisfactory,” as Bernard Knox says.4 However, such a reception is rare among commentators.5 1.
    [Show full text]
  • Languages of Mourning: Between Page and (Modern) Stage
    Philosophy Study, ISSN 2159-5313 June 2014, Vol. 4, No. 6, 416-422 D DAVID PUBLISHING Languages of Mourning: Between Page and (Modern) Stage Justyna Biernat Jagiellonian University The aim of this essay is to provide an analysis of the Euripides’ “Phoenician Women” in terms of mourning. The author intends to set a parallel between the ancient tragedy and its modern adaptation staged by one of the most prominent Polish directors Krzysztof Warlikowski. In the essay, the author will discuss how suffering is depicted in the ancient drama and what changes of mourning motif are introduced into its modern performance. The author will examine the literary as well as the (modern) theatrical topos of grief by analyzing the poetics of tragedy (dramatic structure, metaphors of death, dramatis personae, funeral vocabularium, function of laments) and the poetics of performance (stage design, costumes and props, funerary symbolism, acting, directing solutions). The purpose of the paper is to argue against the insignificance of Euripides’ drama and the marginalization of Warlikowski’s “Phoenician Women.” Finally, the author will attempt to indicate the mourning motif as one of the essential and attractive for the ancient tragic plot and the modern performance as well. Keywords: Euripides, Krzysztof Warlikowski, Greek tragedy, mourning 1. Introduction In one of the central scenes of the Euripides’ “Phoenician Women,” the future king of Thebes Creon enters to expose and mourn the death of his younger son. He begins his lament with the characteristic, mourning question: Ah, ah, what shall I do? Shall I weep and groan for myself or my city1 and continues his weeping for the heroic self-sacrifice of Menoeceus and the ongoing war on the tainted Theban land.
    [Show full text]
  • Thebaid 2: Oedipus Descendants of Cadmus
    Thebaid 2: Oedipus Descendants of Cadmus Cadmus = Harmonia Aristaeus = Autonoe Ino Semele Agave = Echion Pentheus Actaeon Polydorus (?) Autonoe = Aristaeus Actaeon Polydorus (?) • Aristaeus • Son of Apollo and Cyrene • Actaeon • While hunting he saw Artemis bathing • Artemis set his own hounds on him • Polydorus • Either brother or son of Autonoe • King of Cadmeia after Pentheus • Jean-Baptiste-Camile Corot ca. 1850 Giuseppe Cesari, ca. 1600 House of Cadmus Hyrieus Cadmus = Harmonia Dirce = Lycus Nycteus Autonoe = Aristaeus Zeus = Antiope Nycteis = Polydorus Zethus Amphion Labdacus Laius Tragedy of Antiope • Polydorus: • king of Thebes after Pentheus • m. Nycteis, sister of Antiope • Polydorus died before Labdacus was of age. • Labdacus • Child king after Polydorus • Regency of Nycteus, Lycus Thebes • Laius • Child king as well… second regency of Lycus • Zethus and Amphion • Sons of Antiope by Zeus • Jealousy of Dirce • Antiope imprisoned • Zethus and Amphion raised by shepherds Zethus and Amphion • Returned to Thebes: • Killed Lycus • Tied Dirce to a wild bull • Fortified the city • Renamed it Thebes • Zethus and his family died of illness Death of Dirce • The Farnese Bull • 2nd cent. BC • Asinius Pollio, owner • 1546: • Baths of Caracalla • Cardinal Farnese • Pope Paul III Farnese Bull Amphion • Taught the lyre by Hermes • First to establish an altar to Hermes • Married Niobe, daughter of Tantalus • They had six sons and six daughters • Boasted she was better than Leto • Apollo and Artemis slew every child • Amphion died of a broken heart Niobe Jacques Louis David, 1775 Cadmus = Harmonia Aristeus =Autonoe Ino Semele Agave = Echion Nycteis = Polydorus Pentheus Labdacus Menoecius Laius = Iocaste Creon Oedipus Laius • Laius and Iocaste • Childless, asked Delphi for advice: • “Lord of Thebes famous for horses, do not sow a furrow of children against the will of the gods; for if you beget a son, that child will kill you, [20] and all your house shall wade through blood.” (Euripides Phoenissae) • Accidentally, they had a son anyway.
    [Show full text]
  • The Story of Oedipus: Prequel to Antigone
    The Story of Oedipus: Prequel to Antigone • LAIUS is left an orphaned minor by his father Labdacus • AMPHION AND ZETHUS rule Thebes (Build the Cadmeia) and exile Laius • Laius goes to live in Elis (PISA) with King Pelops (son of Tantalus son of Zeus) • Laius becomes very good friends with young Chrysippus, youngest child of King Pelops • Laius and Chrysippus run away together (or Laius rapes Chrysippus). Pelops curses Laius. • Laius returns to Thebes and becomes King • Laius marries his cousin Jocasta, but they are childless • Laius goes to Delphi and intends to ask Apollo's advice; Apollo announces that Laius will have a child who will kill him • Laius and Jocasta have a baby son (Oedipus) whom they plan to kill. The royal shepherd is ordered to dispose of the child on Mt. Cithaeron. Instead he gives Oedipus to the royal Corinthian shepherd. • The Royal Corinthian Shepherd takes the child back to the childless king and queen of Corinth (Polybus and Merope), who adopt him. • At about the age of 18, at a dinner party, one of Oedipus' friends makes a rude remark about his not being a real Corinthian but only adopted. Oedipus is shocked and shamed, and goes off to Delphi to ask Apollo about the truth. • Apollo tells Oedipus he is doomed to kill his father and sleep with his mother. • Oedipus unknowingly kills his father Laius (within hours, at The Three Ways) • Oedipus kills the SPHINX on the way from the Three Ways to Thebes • Oedipus is received at Thebes as a national hero, and invited to marry the recently widowed queen Jocasta.
    [Show full text]