Antigone by Sophokles

: Tragic Drama Theme: “Who can control his fate?” (Shakespeare, Othello, 1604) One: ″Oedipus the King ″ Preparation: This ancient play dramatizes an existential
principle important to human experience in all ages and cultures, the strands of internal and external causes whose sinuous threads create the fabric we term fate, as
observed from different points of view embodying these very factors. We hear, for example, Oedipus declaring that “…no man in the world Can make the gods do more
than the gods will.” (Scene I: 64-65); that, “Ah, / If I was created so, born to this fate Who deny the savagery of God?…” (Scene II: 300-304) that, ″Apollo. Apollo.
Dear Children, the god was Apollo. He brought my sick, sick fate upon me.” (Éxodos, 110-12); that Theiresias, from a different perspective, reminding Oedipus that “You
weave your own doom” (Scene I, 161); that Then the Chorus acknowledging to all—both within and outside the dramatic context—that whatever the internal and external
sources may be for our individual destinies, these entities make certain that the terms of our fates are fulfilled: “And the Furies follow him the sad Furies…. And the
immortal Furies follow, forever follow.” (Ode I: 8,18); that In rebuttal to these arguments, Jocasta offering her husband the dismissive notion, “Why should anyone in
this world be afraid, Since Fate rules us all and nothing can be foreseen? A man should live only for the present day. Have no more fear of sleeping with your mother:
How many men, in dreams, have lain with their mothers! No reasonable man is troubled by such things.” (Scene III: 64-66); and that And, finally, the play coming full
circle in Creon’s remarking that “…you served your own destruction.” (Exodos: 291) Well, whom to believe? Writing: Should you select this play of the two to write your
second paper on, your task is to study the factors that these points of view argue constitute an individual’s fate (termed variously in different cultures as destiny,
kismet, karma, cause-and-effect, nurture vs. nature, cosmic coincidence, divine will/free will, etc.). Quote key passages—not merely a few words or phrases—that you
believe offer solutions, however tentative, to the existential dilemma posed by Sophocles’ drama: “What constitutes human destiny?” Your notes assembled and collated,
compose an informative, entertaining, and convincing argument about the nature and important constituents of fate as portrayed in this classic tragedy. Conclude your
analysis with a convincing argument why you agree or not with the drama′s different points of view. Two: ″Antigonê″ Preparation: This play, though keenly interested also
in characters′ and thus its audience′s understanding the mystery called fate that thoughtful people have long sought to understand, seems to focus tightly on the
principle of service and duty as the most important elements of fate and, accordingly, the challenges one faces who wishes to find a harmonious relationship with his
or her (a) religious duties to the gods, (b) legal duties owed the state, (c) affectionate duties naturally owed to family members, and (d) ethical duties one owes to
oneself and all others. Such a multifaceted complexity might well force even a person of vigilant conscience to make compromises between the different schools of
thought on the subject, compromises that can become contradictions, and contradictions that may lead to a breakdown in personal and social order, or chaos—what Creon
declares is anarchy, the greatest “evil” of all—as dramatized by these and similar points of view: Antigonê’s stating that “I am doing what I must.” (Prologue: 73);
and Choragos’ wondering “What are the new complexities That shifting Fate has woven for him [Creon]?” (Scene I: 4-5); and Creon’s strong admonition that “…as for the
man who sets private friendship above the public welfare,—I have no use for him either.” (Scene I: 21-22); and The Chorus’ remarking that “Numberless are the world’s
wonders, but none More wonderful than man…. O clear intelligence, force beyond all measure! O fate of man, working both good and evil! “ (Ode I: 1-2); and Ismenê’s
arguing with her sister that “I too have a duty that I must discharge to the dead.” (Scene II: 138); and And Creon’s realization that “The laws of the gods are mighty,
and a man must serve them…” (Scene V: 108) Back and forth the debate goes on. The play even permits an ostensibly lowly messenger to add his contribution to this
weighty issue by remarking that “No man can foretell his fate” (Exodos: 6). Well, whom indeed to believe? Writing: Should you wish to write your essay on this play,
thoughtfully collate these and similar contributions to the play’s multifaceted investigation into the matrix of obligations that human beings—that “wonderful”
species—incur to the gods, to society, to family, and to self, informing your reader, thus, what principle you feel Sophocles is revealing that might synthesize these
various duties into a harmonious and practical ethic that allows humans to fulfill all duties and thereby to satisfy all concerned—above and below—by establishing
private, social, and divine stability. Conclude your analysis with a convincing argument on whether or not you agree with the play—and why, exactly. Remember that the
same strictures outlined in paper #1 regarding prose stylistics and your obligation to complete all the terms of the assignment remain in place for this exercise. Edit
and proofread your final draft with utmost care and precision; use your grammar handbook and the College tutorial services as you deem necessary to your composing an
excellent representation of verbal intelligence. Protocols: Two-three pages (maximum), typed, double-spaced (not single, triple, etc.), composed in a readable 10- or
12-pt. font, leaving reasonable margins all around. Due: Check the syllabus schedule. Note: A late penalty of a full letter-grade per calendar day is in effect—no
exceptions.