SCENE 3. Is it grief for Antigone that brings him here, And bitterness at being robbed of his bride? [Enter HAIMON.]

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1 SUMMARY, Scenes 3 5 aimon begs his father to save ntigone and threatens to kill himself f Antigone dies, but Creon will not hange his mind. Teiresias tells Creon hat Creon will suffer deeply if Antigone s not freed. Creon begins to doubt his ecision and finally goes to the tomb o save Antigone. A messenger tells urydice what happened at the tomb: hen Creon arrived, Antigone had hung erself. Haimon then killed himself. hen Creon returns to the palace, he inds that Eurydice has killed herself in rief. Creon, a broken man, admits that e has brought about his own downfall hrough arrogance. Spanish Summaries, p. 69 EDICT How will Creon react to his n s appeals for Antigone? ditional Resources Guide, p. 70 Audio Library Spanish Audio Library NNECT Have students describe at makes a good son according Creon and compare it with expecions of modern American parents. eon says a son should show solute obedience and put his her s desires first. Students may te that modern parents are more listic.) SCENE 3 CHORAGOS. But here is Haimon, King, the last of all your sons. A Is it grief for Antigone that brings him here, And bitterness at being robbed of his bride? [Enter HAIMON.] CREON. We shall soon see, and no need of diviners. Son, 5 You have heard my final judgment on that girl: Have you come here hating me, or have you come With deference and with love, whatever I do? HAIMON. I am your son, father. You are my guide. You make things clear for me, and I obey you. 10 No marriage means more to me than your continuing wisdom. CREON. Good. That is the way to behave: subordinate Everything else, my son, to your father s will. This is what a man prays for, that he may get Sons attentive and dutiful in his house, B 15 Each one hating his father s enemies, Honoring his father s friends. But if his sons Fail him, if they turn out unprofitably, What has he fathered but trouble for himself And amusement for the malicious? So you are right 20 Not to lose your head over this woman. Your pleasure with her would soon grow cold, Haimon, And then you d have a hellcat in bed and elsewhere. Let her find her husband in Hell! Of all the people in this city, only she 25 Has had contempt for my law and broken it. Do you want me to show myself weak before the people? Or to break my sworn word? No, and I will not. The woman dies. I suppose she ll plead family ties. Well, let her. C 30 If I permit my own family to rebel, How shall I earn the world s obedience? Show me the man who keeps his house in hand, He s fit for public authority. I ll have no dealings With law-breakers, critics of the government: 35 Whoever is chosen to govern should be obeyed 748 UNIT 4: DRAMA 4 diviners: people who predict the future. 7 deference: respect and honor due to another.

2 Must be obeyed, in all things, great and small, Just and unjust! O Haimon, The man who knows how to obey, and that man only, Knows how to give commands when the time comes. 40 You can depend on him, no matter how fast The spears come: he s a good soldier, he ll stick it out. Anarchy, anarchy! Show me a greater evil! This is why cities tumble and the great houses rain down, This is what scatters armies! 45 No, no: good lives are made so by discipline. We keep the laws then, and the lawmakers, And no woman shall seduce us. If we must lose, Let s lose to a man, at least! Is a woman stronger than we? CHORAGOS. Unless time has rusted my wits, 50 What you say, King, is said with point and dignity. HAIMON. [Boyishly earnest.] Father: Reason is God s crowning gift to man, and you are right To warn me against losing mine. I cannot say I hope that I shall never want to say! that you 55 Have reasoned badly. Yet there are other men Who can reason, too; and their opinions might be helpful. You are not in a position to know everything That people say or do, or what they feel: Your temper terrifies them everyone 60 Will tell you only what you like to hear. But I, at any rate, can listen; and I have heard them Muttering and whispering in the dark about this girl. F They say no woman has ever, so unreasonably, Died so shameful a death for a generous act: 65 She covered her brother s body. Is this indecent? She kept him from dogs and vultures. Is this a crime? Death? She should have all the honor that we can give her! This is the way they talk out there in the city. You must believe me: 70 Nothing is closer to me than your happiness. What could be closer? Must not any son Value his father s fortune as his father does his? I beg you, do not be unchangeable: Do not believe that you alone can be right. Sophocles C QUESTION What additional reasons does Creon give for punishing Antigone for breaking his law? (He does not want to be considered weak by his people; he does not want to be considered unfair by not enforcing the law with his own family.) D QUESTION According to Creon, what is the most important trait for a leader to have? (the ability to obey) E Critical Thinking IDENTIFYING BIAS Share the following model to help students identify a bias that may affect Creon s judgment. Model: Creon says that his punishment of Antigone is due to his strong belief in discipline and the law. However, he implies that he might be able to give in to a man s disagreement with him, but he does not want a woman to look stronger than he. I think Creon is prejudiced against women. This bias makes me doubt his true motives. F LISTEN Encourage students to imagine Haimon s tone of voice as he talks to his father on page 749. Have them list adjectives to describe his tone. (calm, reasonable, respectful) ANTIGONE, SCENE MEETING INDIVIDUAL NEEDS ENGLISH LANGUAGE LEARNERS Words Related to Government Antigone contains many references to law and government. Some words may be unfamiliar to English language learners or may have abstract meanings that are difficult to grasp. Activity On the board, compile a list of government-related words in the play. Creon s speech on pages includes the words State, throne, subjects, exile, and traitor. Words on pages include authority, govern, government, anarchy, and discipline. Have volunteers use each word in a sentence. Additional Resources English Language Learners Sourcebook, p. 92

3 Literary Elements AGIC FLAW Explain that a tragic w is a character fault, such as lousy, anger, or pride, that causes erson to come to grief. What aracter fault does Haimon seem think his father has? (inflexibility, inability to admit that someone sides himself may be right) How uld this character fault prove to be ragic flaw? (It may cause Creon to ng to a bad decision even after he lizes it is wrong, despite the hardips it may cause.) The Armentum Rider. c. 550 B.C., Greek. Bronze, height: 23.6 cm. The British Museum, London. 75 The man who thinks that, The man who maintains that only he has the power To reason correctly, the gift to speak, the soul A man like that, when you know him, turns out empty. It is not reason never to yield to reason! G 80 In flood time you can see how some trees bend, And because they bend, even their twigs are safe, While stubborn trees are torn up, roots and all. And the same thing happens in sailing: Make your sheet fast, never slacken, and over you go, 85 Head over heels and under: and there s your voyage. Forget you are angry! Let yourself be moved! I know I am young; but please let me say this: 750 UNIT 4: DRAMA LIFE SKILLS CONNECTION Persuasive Techniques Discuss Haimon s techniques in trying to convince his father to change his mind. Point out that Haimon begins by being polite, respectful, calm, flattering, and reasonable. He tries to convince his father with facts: for example, he tells Creon that the people disapprove of Creon s treatment of Antigone. He uses analogies to illustrate the dangers of stubbornness. Only when Creon insults Haimon and refuses to listen to reason does Haimon get angry. Activity Have students discuss situations in which they or others have tried to persuade parents, teachers, or friends to take a specific course of action. Which techniques are most and least effective? Point out that sometimes, as in Haimon s case, even the most tactful and skillful persuasive techniques may be ineffective. L1

4 The ideal condition Would be, I admit, that men should be right by instinct; 90 But since we are all too likely to go astray, The reasonable thing is to learn from those who can teach. CHORAGOS. You will do well to listen to him, King, If what he says is sensible. And you, Haimon, Must listen to your father. Both speak well. 95 CREON. You consider it right for a man of my years and H experience To go to school to a boy? HAIMON. It is not right If I am wrong. But if I am young, and right, What does my age matter? CREON. You think it right to stand up for an anarchist? 100 HAIMON. Not at all. I pay no respect to criminals. CREON. Then she is not a criminal? HAIMON. The City would deny it, to a man. CREON. And the City proposes to teach me how to rule? HAIMON. Ah. Who is it that s talking like a boy now? 105 CREON. My voice is the one voice giving orders in this City! I HAIMON. It is no City if it takes orders from one voice. CREON. The State is the King! HAIMON. Yes, if the State is a desert. [Pause.] CREON. HAIMON. This boy, it seems, has sold out to a woman. If you are a woman: my concern is only for you. 110 CREON. So? Your concern! In a public brawl with your father! HAIMON. CREON. HAIMON. How about you, in a public brawl with justice? With justice, when all that I do is within my rights? You have no right to trample on God s right. CREON. [Completely out of control.] Fool, adolescent fool! Taken in by a woman! 115 HAIMON. You ll never see me taken in by anything vile. CREON. Every word you say is for her! HAIMON. [Quietly, darkly.] And for you. And for me. And for the gods under the earth. Sophocles H Critical Thinking IDENTIFYING ASSUMPTIONS What assumption does Creon make? Is it a valid assumption? (He assumes that the older a person is, the wiser he or she is, an invalid assumption.) Prefixes The combining form -archy, rule or government, comes from the Greek word archein, to rule. Therefore, anarchy, with the prefix an-, without, means an absence of government. Anarchist, with the suffix -ist, one that adheres to a doctrine, means one who promotes anarchy. Have students give the definition of each prefix and each word with the combining form -archy that follows: monarchy, squirearchy, oligarchy. I Critical Thinking INFERRING What disagreement do Haimon and Creon have about governing the city-state? (Creon believes one man should be all-powerful while Haimon believes all citizens should have a voice.) J Literary Elements TRAGIC FLAW What character faults, besides inflexibility, does Creon exhibit in his dialogue with Haimon? (pride, arrogance, stubbornness, and a bad temper) Could any of these faults be a tragic flaw? (Any or all of them could lead to his downfall.) ANTIGONE, SCENE REAL-WORLD CONNECTION Dictatorships Have students research and discuss countries in the world today that are ruled by a dictatorship, a form of government in which one individual holds all the power. Some governments to suggest are those in Cuba, Iraq, and Libya. L3 inter NET CONNECTION Revolutions Ask students to use a search engine to find out about dictatorships or other oppressive forms of government that have been overthrown throughout history. Have students make a list of research questions and then research one revolution that is of interest to them. Students might enter keywords such as revolutions, dictatorships, French Revolution, American Revolution, or Russian Revolution.

5 Literary Elements ARACTERS Based on what has en shown of Haimon s character, w believable is the threat he kes to kill himself if Antigone killed? (Because Haimon has haved calmly and reasonably, it easy to believe that he is serious out his threat and will follow ough on it.) NNECT Suggest that students agine they are psychologists ked to advise Creon on how to ndle his conflict with his son. at advice might they offer? udents may suggest that Creon ntrol his anger, take time to coner the points made by his son, d consult other trusted advisers out whether to change his mind.) Author s Craft NE Remind students that the tone a literary work is the author s or eaker s attitude toward the plot d characters, such as amused, d, or angry. Have students identify tone of the play and explain how elps them predict how the conflict l be resolved. (The tone is serious d tragic; this supports a prediction t Creon will have Antigone killed d Haimon will also die.) L CREON. You ll never marry her while she lives. K HAIMON. Then she must die. But her death will cause another. 120 CREON. Another? Have you lost your senses? Is this an open threat? HAIMON. There is no threat in speaking to emptiness. CREON. I swear you ll regret this superior tone of yours! You are the empty one! HAIMON. If you were not my father, 125 I d say you were perverse. CREON. You girlstruck fool, don t play at words with me! HAIMON. I am sorry. You prefer silence. CREON. Now, by God! I swear, by all the gods in heaven above us, You ll watch it, I swear you shall! [To the SERVANTS.] Bring her out! 130 Bring the woman out! Let her die before his eyes! Here, this instant, with her bridegroom beside her! HAIMON. Not here, no; she will not die here, King. And you will never see my face again. Go on raving as long as you ve a friend to endure you. [Exit HAIMON.] 135 CHORAGOS. Gone, gone. Creon, a young man in a rage is dangerous! CREON. Let him do, or dream to do, more than a man can. He shall not save these girls from death. CHORAGOS. These girls? You have sentenced them both? CREON. No, you are right. 140 I will not kill the one whose hands are clean. CHORAGOS. But Antigone? CREON. [Somberly.] I will carry her far away Out there in the wilderness, and lock her Living in a vault of stone. She shall have food, As the custom is, to absolve the State of her death. M Vocabulary perverse (pər vurs ) adj. determined to go against what is reasonable, expected, or desired; contrary absolve (ab zolv ) v. to free from guilt or blame 752 UNIT 4: DRAMA MEETING INDIVIDUAL NEEDS MULTIPLE MODES OF EXPRESSION Bodily-Kinesthetic Students who enjoy expressing themselves through acting may enjoy portraying two characters, Haimon and Creon, as their discussion disintegrates into angry threats and insults. Activity Have volunteers work in pairs. Have one student in each pair portray Haimon and the other Creon. Have them practice reading the dialogue on page 752, discussing techniques for showing anger. Point out that shouting may not be as effective as facial expression, posture, and gestures in communicating Haimon s cold anger and Creon s rage. Have the pairs perform their dialogue for the class. L2

6 145 And there let her pray to the gods of hell: They are her only gods: Perhaps they will show her an escape from death, Or she may learn, though late, That piety shown the dead is pity in vain. [Exit CREON.] ODE 3 CHORUS. Love, unconquerable Waster of rich men, keeper Of warm lights and all-night vigil In the soft face of a girl: 5 Sea-wanderer, forest-visitor! N Even the pure Immortals cannot escape you, And mortal man, in his one day s dusk, Trembles before your glory. Surely you swerve upon ruin 10 The just man s consenting heart, As here you have made bright anger Strike between father and son And none has conquered but Love! A girl s glance working the will of heaven: 15 Pleasure to her alone who mocks us, Merciless Aphrodite. SCENE 4 CHORAGOS. [As ANTIGONE enters guarded.] But I can no longer stand in awe of this, Nor, seeing what I see, keep back my tears. Here is Antigone, passing to that chamber Where all find sleep at last. 5 ANTIGONE. Look upon me, friends, and pity me Turning back at the night s edge to say Good-by to the sun that shines for me no longer; Now sleepy Death Summons me down to Acheron, that cold shore: 10 There is no bridesong there, nor any music. CHORUS. Yet not unpraised, not without a kind of honor, You walk at last into the underworld; Sophocles 16 Aphrodite (af rə d tē): the goddess of love and beauty. 9 Acheron (ak ə ron): The Greeks believed that the souls of the dead inhabited an underworld bordered by the river Acheron. ANTIGONE, SCENE N Literary Elements FIGURES OF SPEECH: Metaphor The chorus calls love Sea-wanderer, forest visitor! What idea does the metaphor express? (Love is capable of affecting people everywhere, including on the sea and in the forest.) O INTERPRET Have students state the topic of Ode 3. What does the chorus say about the topic? (The topic is the power of love. The chorus says love for a woman is capable of making men powerless. It is such a strong force that it even strikes the gods, so men are particularly susceptible to it. Love can bring even the best men close to ruin, as seen in Haimon and Creon s argument over Haimon s fiancee, Antigone.) P QUESTION What feelings does the choragos express as Antigone prepares to go to her death? (The choragos expresses deep grief and sadness.) MEETING INDIVIDUAL NEEDS MULTIPLE MODES OF EXPRESSION Bodily/Kinesthetic The chorus in a Greek tragedy not only chanted or sang their lines but danced. Portions of the chorus s lines were marked strophe, meaning that the actors danced from stage right to stage left while chanting them. Other parts were marked antistrophe, during which the actors danced in the opposite direction. Activity Have musically talented students create a performance of Ode 3 on page 753. Explain that the first stanza is the strophe and the second stanza is the antistrophe. Encourage students to imagine how the chorus might have chanted and danced and to choreograph their performance accordingly. Have them perform the ode for the class. L3 VOCABULARY CONNECTION Aphrodite You may want to explain to students that the English word aphrodisiac, meaning a food or a substance such as perfume that increases sexual attraction, comes from the name of the Greek goddess of love and beauty, Aphrodite.

7 Literary Elements ARACTERS Have students scribe Antigone s mood as she pares for her death. (She is pressed and sad; she seems to l sorry for herself; she blames e blasphemy of her birth.) NNECT Have students paraphrase es and discuss whether ople in the United States today by these guidelines. (The chorus ys it is good to be religious and ow reverence for God; however, any conflict between religion and man law, human law must be eyed. In our society, secular law o takes precedence in any conflict h religious law.) ALUATE Encourage students to cuss the way Creon is punishing tigone. Do they agree with him t his hands are clean? (Creon rationalizing his punishment, which nsists of locking Antigone in a ne vault with some food. Most ders will recognize that Creon ows that she will soon die and t he is responsible for her death.) Untouched by sickness, broken by no sword. What woman has ever found your way to death? 15 ANTIGONE. How often I have heard the story of Niobe, Tantalos wretched daughter, how the stone Clung fast about her, ivy-close: and they say The rain falls endlessly And sifting soft snow; her tears are never done. 20 I feel the loneliness of her death in mine. CHORUS. But she was born of heaven, and you Are woman, woman-born. If her death is yours, A mortal woman s, is this not for you Glory in our world and in the world beyond? 25 ANTIGONE. You laugh at me. Ah, friends, friends, Can you not wait until I am dead? O Thebes, O men many-charioted, in love with Fortune, Dear springs of Dirce, sacred Theban grove, Q Be witnesses for me, denied all pity, 30 Unjustly judged! and think a word of love For her whose path turns Under dark earth, where there are no more tears. CHORUS. You have passed beyond human daring and come at last Into a place of stone where Justice sits. 35 I cannot tell What shape of your father s guilt appears in this. ANTIGONE. You have touched it at last: that bridal bed Unspeakable, horror of son and mother mingling: Their crime, infection of all our family! 40 O Oedipus, father and brother! Q Your marriage strikes from the grave to murder mine. I have been a stranger here in my own land: All my life The blasphemy of my birth has followed me. 45 CHORUS. Reverence is a virtue, but strength R Lives in established law: that must prevail. You have made your choice, Your death is the doing of your conscious hand. ANTIGONE. Then let me go, since all your words are bitter, 50 And the very light of the sun is cold to me. Vocabulary prevail (pri vāl ) v. to be superior in power or influence; succeed 754 UNIT 4: DRAMA How often... mine: Niobe (n ō bē ), a former queen of Thebes, was punished by the gods for excessive pride. After all of her children were killed, she was turned to stone, but she continued to shed tears I cannot... followed me: Incest, or sexual relations between siblings or between parents and children, was a sin against the gods. Oedipus and Jocasta did not know, at the time, that they were committing incest, but their marriage was cursed nonetheless, and that curse now plagues their daughter, Antigone. MEETING INDIVIDUAL NEEDS MULTIPLE MODES OF EXPRESSION Spatial Antigone s tragic fate is clear in this scene of the play. Artistic students may wish to create a visual interpretation of this character and her emotions. Activity Have students make a drawing, painting, collage, or sculpture showing the character of Antigone and the emotions she feels as she awaits death. Have them display and discuss their artwork. L3

8 Lead me to my vigil, where I must have Neither love nor lamentation; no song, but silence. [CREON interrupts impatiently.] CREON. If dirges and planned lamentations could put off death, Men would be singing for ever. [To the SERVANTS.] Take her, go! 55 You know your orders: take her to the vault And leave her alone there. And if she lives or dies, That s her affair, not ours: our hands are clean. ANTIGONE. O tomb, vaulted bride-bed in eternal rock, Soon I shall be with my own again 60 Where Persephone welcomes the thin ghosts underground: And I shall see my father again, and you, mother, And dearest Polyneices dearest indeed To me, since it was my hand That washed him clean and poured the ritual wine: 65 And my reward is death before my time! And yet, as men s hearts know, I have done no wrong, I have not sinned before God. Or if I have, I shall know the truth in death. But if the guilt Black figure vase depicting soldiers armed with spears and decorated shields. c B.C. Greek. Fired clay, height: 46.5 cm. The British Museum, London. Sophocles 52 lamentation: mournful outcry of sorrow or grief. 60 Persephone (pər sef ə nē): Persephone is the queen of the underworld of the dead. T Literary Elements FIGURES OF SPEECH: Metaphor Have students explain how Antigone s description of her tomb as a vaulted bride-bed in eternal rock is an appropriate metaphor. (Since she will die in the vault, she will never be a bride as she had planned; the tomb takes the place of her marriage bed. Since it will become her tomb, she will be there eternally.) According to Greek myth, Persephone was the daughter of Zeus and of Demeter, the goddess of fertility. Persephone was kidnapped by Hades, the god of the dead, to become his wife. Demeter, heartbroken, expressed her anger at the gods by refusing to let crops grow. Zeus ordered Hades to return Persephone; however, she had eaten pomegranate seeds, symbolizing marriage, and therefore her marriage to Hades could not be ended. Zeus compromised by allowing Persephone to return to Earth for eight months each year and to stay in the underworld for four. Therefore, during the time when Persephone is on Earth, the land is fertile. When she is not, the land is barren. This myth helped explain the cycle of the growing seasons in Greece. ANTIGONE, SCENE MEETING INDIVIDUAL NEEDS ENGLISH LANGUAGE LEARNERS Words Related to Death The play s characters talk of death as the time for Antigone s punishment nears. It may be helpful to English language learners to review some words related to death that appear in the dialogue. Activity Write the following words on the board: mortal, grave, murder, dirges, tomb. Have students locate a line on pages that includes each word. Have students paraphrase the line so that the meaning of the word is clear. Have students add to the list as they complete the play. Additional Resources English Language Learners Sourcebook, p. 93

9 Literary Elements AGIC FLAW In Antigone s last eech before she is led to the ult, she says that she is being nished because she would not nsgress the laws of heaven. Have dents discuss whether this is ly the case or whether there are aracter flaws or other reasons for tigone s fate. (Some students y think Antigone s tragic outcome caused by her stubborn refusal to e in to Creon s authority or to apolize for her actions; another possibilis that her death is an inescapable e decreed by the gods because of r father s sins.) ESTION What do all the legends ated by the chorus have in mmon? How do they relate to tigone s situation? (Each legend ls of someone who came to a gic end because of Fate. Because stories involve kings and gods, outcomes are even more tragic. e chorus is comparing Antigone s gic situation to those of the legds protagonists.) Literary Elements EME Point out that the chorus is mmunicating a moral through the ends they tell in Ode 4. Have stunts discuss the moral or theme t emerges through these legends. o one can prevail against untiring stiny ; neither gods nor mortals, luding Antigone, can avoid their e once it has been decreed by gods.) Lies upon Creon who judged me, then, I pray, 70 May his punishment equal my own. CHORAGOS. O passionate heart, Unyielding, tormented still by the same winds! CREON. Her guards shall have good cause to regret their delaying. ANTIGONE. Ah! That voice is like the voice of death! CREON. I can give you no reason to think you are mistaken. 75 ANTIGONE. Thebes, and you my fathers gods, And rulers of Thebes, you see me now, the last Unhappy daughter of a line of kings, Your kings, led away to death. You will remember What things I suffer, and at what men s hands, U 80 Because I would not transgress the laws of heaven. [To the GUARDS, simply.] Come: let us wait no longer. [Exit ANTIGONE, L., guarded.] V W ODE 4 CHORUS. All Danäe s beauty was locked away In a brazen cell where the sunlight could not come: A small room, still as any grave, enclosed her. Yet she was a princess too, 5 And Zeus in a rain of gold poured love upon her. O child, child, No power in wealth or war Or tough sea-blackened ships Can prevail against untiring Destiny! 10 And Dryas son also, that furious king, Bore the god s prisoning anger for his pride: Sealed up by Dionysos in deaf stone, His madness died among echoes. So at the last he learned what dreadful power 15 His tongue had mocked: For he had profaned the revels, And fired the wrath of the nine Implacable Sisters that love the sound of the flute. And old men tell a half-remembered tale 20 Of horror done where a dark ledge splits the sea And a double surf beats on the gray shores: 756 UNIT 4: DRAMA 80 transgress: break or violate. 1 9 All Danäe s... Destiny: The Chorus briefly relates three Greek legends. Danäe (dan ā ē ) was imprisoned by her father when it was foretold that she would bear a child who would kill him. After Zeus visited Danäe, she gave birth to Zeus s son, who did eventually kill his grandfather And Dryas... flute: Dionysos (d ə n səs) is the god of wine and fertility, and the Implacable Sisters (also called the Muses) are the goddesses of the arts and sciences. After Dryas s son (King Lycurgus) objected to the worship of Dionysos, the Sisters imprisoned him and drove him mad. OCABULARY CONNECTION uses The Muses were goddesses ho inspired writers and artists. Ask stuents to identify English words that have heir origin in this mythology (for examle, muse, music, museum). MEETING INDIVIDUAL NEEDS ADVANCED LEARNERS Greek Mythology Some students may like to find out more about the Greek gods, goddesses, and mortal heroes and heroines mentioned in Ode 4. Activity Suggest that students research the Muses, nine goddesses of the arts and sciences. They were the daughters of Zeus and Mnemosyne, the goddess of memory. The Muses, whom Greek writers and artists called upon for inspiration, were Calliope epic poetry; Erato love poetry; Euterpe lyric poetry; Melpomene tragedy; Thalia comedy; Clio history; Urania astronomy; Polyhymnia sacred music; and Terpsichore dance. Have students present their findings in an oral or written report. L3

10 How a king s new woman, sick With hatred for the queen he had imprisoned, Ripped out his two sons eyes with her bloody hands 25 While grinning Ares watched the shuttle plunge Four times: four blind wounds crying for revenge, Crying, tears and blood mingled. Piteously born, Those sons whose mother was of heavenly birth! Her father was the god of the North Wind 30 And she was cradled by gales, She raced with young colts on the glittering hills And walked untrammeled in the open light: But in her marriage deathless Fate found means To build a tomb like yours for all her joy. SCENE 5 [Enter blind TEIRESIAS, led by a boy. The opening speeches of TEIRESIAS should be in singsong contrast to the realistic lines of CREON.] TEIRESIAS. This is the way the blind man comes, Princes, Princes, Lock-step, two heads lit by the eyes of one. CREON. What new thing have you to tell us, old Teiresias? TEIRESIAS. I have much to tell you: listen to the prophet, Creon. 5 CREON. I am not aware that I have ever failed to listen. TEIRESIAS. Then you have done wisely, King, and ruled well. CREON. I admit my debt to you. But what have you to say? TEIRESIAS. This, Creon: you stand once more on the edge of fate. CREON. What do you mean? Your words are a kind of dread. 10 TEIRESIAS. Listen, Creon: I was sitting in my chair of augury, at the place Where birds gather about me. They were all a-chatter, As is their habit, when suddenly I heard A strange note in their jangling, a scream, a 15 Whirring fury; I knew that they were fighting, Y Tearing each other, dying In a whirlwind of wings clashing. And I was afraid. I began the rites of burnt-offering at the altar, But Hephaistos failed me: instead of bright flame, 20 There was only the sputtering slime of the fat thighflesh Melting: the entrails dissolved in gray smoke, The bare bone burst from the welter. And no blaze! Sophocles And old men... all her joy: It was King Phineus who imprisoned his first wife (the queen) and allowed his jealous new wife to blind the queen s sons. This horrible act was done under the gleeful gaze of Ares, the war god. 1 8 This is... of fate: The blind prophet serves as the gods agent, or gobetween, in their dealings with people I was sitting... afraid: Teiresias sits in his chair of augury to listen to the birds, whose sounds he interprets as messages from the gods, allowing him to foretell, or augur, the future. The birds fighting is a very bad sign. X Literary Elements DIALOGUE Have students characterize Creon s treatment of Teiresias. (He is somewhat more respectful to him than to others, but still abrupt and impatient.) Y VISUALIZE Ask a volunteer to read Teiresias s speech, lines Encourage students to visualize the sights and imagine the sounds of Teiresias s experience. Have them name some words to describe the images in the speech. (Students may find the imagery violent, exciting, spooky, disturbing, and somewhat repellent.) Z Literary Elements ALLITERATION Have students identify the alliterative phrases (phrases with the repetition of initial consonant sounds) in the last three lines of Teiresias s speech and describe their effect. (The alliteration in sputtering slime, fat thighflesh, and bare bone burst emphasize the vividly physical, repellent nature of the signs Teiresias sees.) ANTIGONE, SCENE Listening and Speaking M inilesson Recounting Fables In Ode 4, the chorus tells of three events to teach the lesson that a person cannot escape his or her fate. Activity Have students create a fable that communicates a moral. Suggest that they think of a real situation in which they or someone else learned an important lesson or make up a story to illustrate an important lesson they have learned. You may also suggest that students find a fable such as one by Aesop and retell it. Have students tell their fables to the class. Suggest that they use an informal, conversational tone and end by stating the moral of their story. L2

11 ALUATE Have a student read ud the advice that Teiresias gives eon in lines Encourage dents to evaluate the advice and e examples of people following or t following it. ESTION Of what does Creon cuse Teiresias? (He accuses him accepting money to try to convince on to bury Polyneices.) This was a sign from heaven. My boy described it, Seeing for me as I see for others. 25 I tell you, Creon, you yourself have brought This new calamity upon us. Our hearths and altars Are stained with the corruption of dogs and carrion birds That glut themselves on the corpse of Oedipus son. The gods are deaf when we pray to them, their fire 30 Recoils from our offering, their birds of omen Have no cry of comfort, for they are gorged With the thick blood of the dead. O my son, These are no trifles! Think: all men make mistakes, AA But a good man yields when he knows his course is wrong, 35 And repairs the evil. The only crime is pride. Give in to the dead man, then: do not fight with a corpse What glory is it to kill a man who is dead? Think, I beg you: It is for your own good that I speak as I do. 40 You should be able to yield for your own good I began... of the dead: Another bad sign: Hephaistos (hi fes təs), the god of fire, is withholding fire. Teiresias says that the gods are rejecting the Thebans sacrificial offerings because the animals have fed on Polyneices s corpse. CREON. It seems that prophets have made me their especial province. All my life long I have been a kind of butt for the dull arrows Of doddering fortune-tellers! No, Teiresias: 45 If your birds if the great eagles of God himself Should carry him stinking bit by bit to heaven, I would not yield. I am not afraid of pollution: No man can defile the gods. Do what you will, Go into business, make money, speculate 50 In India gold or that synthetic gold from Sardis, Get rich otherwise than by my consent to bury him. BB Teiresias, it is a sorry thing when a wise man Sells his wisdom, lets out his words for hire! TEIRESIAS. Ah Creon! Is there no man left in the world 55 CREON. To do what? Come, let s have the aphorism! Vocabulary defile (di f l ) v. to spoil the purity of; make dirty or unclean 758 UNIT 4: DRAMA 50 synthetic gold from Sardis: The people of Sardis, the capital of ancient Lydia (in modern-day Turkey), invented metallic coinage, the synthetic gold that Creon speaks of. 55 aphorism: a concise statement of a general truth. MEETING INDIVIDUAL NEEDS SPECIAL NEEDS Less-Proficient Readers Words in a text may have definitions students are not used to. For example, on page 758, the words province (line 41), pollution (line 47), and speculate (line 49) are used in unusual senses. Activity Point out the words noted above and have students explain what they mean in context. Suggest that if students come across a word whose meaning they think they know but which does not make sense in the sentence, they should try to figure out the definition through context. If this does not work, suggest that they write it down and look it up at the end of a page. L1 Additional Resources Inclusion

12 TEIRESIAS. No man who knows that wisdom outweighs any wealth? CREON. As surely as bribes are baser than any baseness. TEIRESIAS. You are sick, Creon! You are deathly sick! CREON. As you say: it is not my place to challenge a prophet. 60 TEIRESIAS. Yet you have said my prophecy is for sale. CREON. This generation of prophets has always loved gold. TEIRESIAS. The generation of kings has always loved brass. CREON. You forget yourself! You are speaking to your King. TEIRESIAS. I know it. You are a king because of me. 65 CREON. You have a certain skill; but you have sold out. TEIRESIAS. King, you will drive me to words that CREON. Say them, say them! Only remember: I will not pay you for them. TEIRESIAS. No, you will find them too costly. CREON. No doubt. Speak: Whatever you say, you will not change my will. 70 TEIRESIAS. Then take this, and take it to heart! The time is not far off when you shall pay back Corpse for corpse, flesh of your own flesh. You have thrust the child of this world into living night, You have kept from the gods below the child that is theirs: 75 The one in a grave before her death, the other, Dead, denied the grave. This is your crime: And the Furies and the dark gods of Hell Are swift with terrible punishment for you. Do you want to buy me now, Creon? Not many days, 80 And your house will be full of men and women weeping, And curses will be hurled at you from far Cities grieving for sons unburied, left to rot Before the walls of Thebes. These are my arrows, Creon: they are all for you. 85 [To BOY.] But come, child: lead me home. Let him waste his fine anger upon younger men. Sophocles 64 I know... me: It was Teiresias who revealed the truth of Oedipus s relationship to Jocasta and thus set off the chain of events that led to Creon s becoming king. 77 Furies: three goddesses who avenge crimes. CC Literary Elements TRAGIC FLAW Ask two students to read aloud the statements of Creon and Teiresias in lines Have them name the character flaws Teiresias calls attention to when he says, The generation of kings has always loved brass. If they are not sure of the meaning of brass in the sentence, have them look it up in a dictionary and determine its meaning in this context. (Brass can mean brash self-assurance and impudence, character traits Creon displays in this scene.) DD Author s Craft PARALLELISM Point out lines Have students identify the stylistic devices Sophocles uses to emphasize Teiresias s summary of Creon s crime. (Sophocles uses parallel sentence structure and contrast to describe the similarities and differences in what Creon has done to Antigone and to Polyneices.) EE CONNECT Have a volunteer read Teiresias s prophecy in lines Ask students how they would respond to such a prophecy given by a figure like Teiresias. (Many students will say that they would take such a prophecy seriously given the wisdom and reason of Teiresias.) ANTIGONE, SCENE MEETING INDIVIDUAL NEEDS MULTIPLE MODES OF EXPRESSION Spatial Point out that the art of costuming is an important element of the theater. Even in ancient Greece, actors wore elaborate costumes to make their roles realistic and inspire the audience. Activity Have students make an illustration for a costume design for one of the play s characters. Have them consider the character s position in society and his or her personality in creating appropriate clothing. Also emphasize that the costume should be visually appealing to the audience. Have students display their work. L2 VOCABULARY CONNECTION Furies The Furies were goddesses who avenged criminal behavior. Ask students to discuss how the English word fury is connected to this mythology.

13 ALUATE Urge students to consider ether Creon s change of heart in keeping with his character or ether it is too sudden to seem listic. Literary Elements OT: Climax Remind students that in fiction, a play s most suspensemoment occurs just before the max, when the conflict is finally olved. Here the suspense is sed on whether Creon will reach tigone s tomb before it is too late. ve students predict the plot s tcome. (Most students will realize t Creon finally bows to the laws the gods but has changed his nd too late.) Maybe he will learn at last To control a wiser tongue in a better head. [Exit TEIRESIAS.] CHORAGOS. The old man has gone, King, but his words 90 Remain to plague us. I am old, too, But I cannot remember that he was ever false. CREON. That is true.... It troubles me. Oh it is hard to give in! but it is worse To risk everything for stubborn pride. 95 CHORAGOS. Creon: take my advice. CREON. What shall I do? CHORAGOS. Go quickly: free Antigone from her vault And build a tomb for the body of Polyneices. CREON. You would have me do this? CHORAGOS. Creon, yes! And it must be done at once: God moves 100 FF Swiftly to cancel the folly of stubborn men. CREON. It is hard to deny the heart! But I Will do it: I will not fight with destiny. CHORAGOS. You must go yourself, you cannot leave it to others. CREON. I will go. Bring axes, servants: 105 Come with me to the tomb. I buried her, I Will set her free. Oh quickly! GG My mind misgives The laws of the gods are mighty, and a man must serve them To the last day of his life! [Exit CREON.] Aphrodite. Greek, from eastern Turkey. Paean CHORAGOS. God of many names CHORUS. O Iacchos son of Kadmeian Semele O born of the Thunder! Paean (pē ən): a song of praise, joy, or thanksgiving. Here, the Chorus praises Dionysos. 3 Iacchos (y a kəs): considered Thebes s special protector because his mother had been a Theban princess. The Chorus begs Dionysos to come to Thebes and drive out evil. 760 UNIT 4: DRAMA MEETING INDIVIDUAL NEEDS ADVANCED LEARNERS Another Antigone The French playwright Jean Anouilh wrote a modern version of Antigone. He wrote the play in 1942 when Paris was occupied by the Nazis. Many people thought that Antigone represented the French resistance movement and Creon German authority in Anouilh s play. Activity Have students read Anouilh s play. Encourage them to discuss, orally or in an essay, whether the moral issues in Sophocles play transfer effectively to the twentieth century. (The play has adult themes. You may wish to review the play before recommending it to students.) L3

14 Guardian of the West Regent of Eleusis plain O Prince of maenad Thebes 5 and the Dragon Field by rippling Ismenos: CHORAGOS. God of many names CHORUS. the flame of torches flares on our hills the nymphs of Iacchos dance at the spring of Castalia: from the vine-close mountain come ah come in ivy: 10 Evohé evohé! sings through the streets of Thebes CHORAGOS. God of many names CHORUS. Iacchos of Thebes heavenly Child of Semele bride of the Thunderer! The shadow of plague is upon us: come with clement feet oh come from Parnasos 15 down the long slopes across the lamenting water CHORAGOS. Io Fire! Chorister of the throbbing stars! O purest among the voices of the night! Thou son of God, blaze for us! CHORUS. Come with choric rapture of circling Maenads 20 Who cry Io Iacche! God of many names! Sophocles 1 5 God of... Ismenos: The names of Dionysos refer to people and places associated with him. His mother, Kadmeian Semele (sem ə lē), was the daughter of Kadmos, a king of Thebes. His father was Zeus, who controlled thunder. This plain was the site of religious ceremonies performed in honor of Dionysos, and the river Ismenos ran near Thebes. The maenads (mē nadz) were Dionysos s devoted priestesses. 7 9 the nymphs... come in ivy: Dionysos was raised by nymphs, longlived women who were associated with trees and other parts of nature. The spring of Castalia is on Parnasos, a holy mountain. The grape vine and ivy were symbols of Dionysos. 10 Evohé: Hallelujah. 14 clement: forgiving; merciful. HH Literary Elements IMAGERY Have volunteers read a striking image from the Paean. Then have the class describe the overall effect of the Paean s imagery. (Striking images include the flame of torches flares on our hills and across the lamenting water. The effect of the imagery is to make the song passionate and reverent and to emphasize the close connection between the ancient Greek gods and nature.) II EVALUATE Have a student read aloud the Messenger s dialogue, lines 2 6. Encourage students to discuss whether they agree or disagree with this view of life. Exodos [Enter MESSENGER, L.] MESSENGER. Men of the line of Kadmos, you who live Near Amphion s citadel: I cannot say Of any condition of human life This is fixed, This is clearly good, or bad. Fate raises up, 5 And Fate casts down the happy and unhappy alike: No man can foretell his Fate. Exodos: the last part of the play. 2 Amphion s citadel: the wall around Thebes, which Amphion built by charming stones into place with music. ANTIGONE, EXODOS 761 MEETING INDIVIDUAL NEEDS MULTIPLE MODES OF EXPRESSION Musical The music that accompanied Greek drama no longer exists, so there is no way to know exactly how the choral lines were sung. Songs such as the Paean may have been chanted as prayers like those in worship services. One such style of chanting is known as Gregorian chant or plainsong. Activity Have students who are knowledgeable about music bring a recording of Gregorian chants to class. Then have students work together to chant the Paean chorally in a similar way. L2

15 NNECT Have students summarize values evident in the messenr s dialogue in lines Which ments of life are said to be import and unimportant? Have stunts discuss whether these values held in our society today. (The ssenger says that power, success, d wealth are unimportant comred to the health and happiness of e s family. These are widely held lues in today s society.) Literary Elements LOGUE Remind students that ch action, especially violence, Greek drama, occurs offstage; e of the characters describes it. ve students discuss whether this thod detracts from the play s ma and suspense or adds to it. thena was the goddess of warare and of wisdom and also the atroness of arts and crafts. A yth says that Athens was named or her after a contest between her nd Poseidon. The town s citizens aid they would name their city fter the god or goddess who ffered the most useful gift. oseidon offered a horse and thena offered an olive tree. he gods decided that Athena s ift was more valuable and the ity was named in her honor. Take the case of Creon: Creon was happy once, as I count happiness: Victorious in battle, sole governor of the land, Fortunate father of children nobly born. 10 And now it has all gone from him! Who can say That a man is still alive when his life s joy fails? He is a walking dead man. Grant him rich, Let him live like a king in his great house: If his pleasure is gone, I would not give 15 So much as the shadow of smoke for all he owns. JJ CHORAGOS. Your words hint at sorrow: what is your news for us? MESSENGER. They are dead. The living are guilty of their death. CHORAGOS. Who is guilty? Who is dead? Speak! MESSENGER. Haimon. Haimon is dead; and the hand that killed him 20 Is his own hand. KK CHORAGOS. His father s? or his own? MESSENGER. His own, driven mad by the murder his father had done. CHORAGOS. Teiresias, Teiresias, how clearly you saw it all! MESSENGER. This is my news: you must draw what conclusions you can from it. CHORAGOS. But look: Eurydice, our Queen: 25 Has she overheard us? LL [Enter EURYDICE from the Palace, C.] EURYDICE. I have heard something, friends: As I was unlocking the gate of Pallas shrine, For I needed her help today, I heard a voice Telling of some new sorrow. And I fainted 30 There at the temple with all my maidens about me. But speak again: whatever it is, I can bear it: Grief and I are no strangers. MESSENGER. Dearest Lady, I will tell you plainly all that I have seen. I shall not try to comfort you: what is the use, 35 Since comfort could lie only in what is not true? MM The truth is always best. I went with Creon To the outer plain where Polyneices was lying, No friend to pity him, his body shredded by dogs. 762 UNIT 4: DRAMA 27 Pallas: the goddess of wisdom; also known as Athena. 32 Grief and I... strangers: Eurydice (yoo rid i sē) is referring to the death of Megareus (me ɡ ar ā oos), her older son, who died in the battle for Thebes. EAL-WORLD CONNECTION odern Tragedies Have students disuss some modern tragedies that they ave heard about through the news edia. Ask them to consider whether ny tragedies today compare with the amily and state tragedy described in ntigone. Point out that the tragedy in ntigone is not brought about by an accient or a natural disaster but by deliberte actions of people who feel they are ehaving morally. L2 REAL-WORLD CONNECTION Comparing Reviews Have students attend a performance of Antigone or another play of your choice in your community. Suggest that they take along a small notebook to jot down their responses to aspects of the performance, including the staging, the sets, and the performances of individual actors. Afterwards have each student find and read one or more reviews of the play from local newspapers and then write a brief essay comparing his or her own responses with those of the reviewers. L2

16 We made our prayer in that place to Hecate 40 And Pluto, that they would be merciful. And we bathed The corpse with holy water, and we brought Fresh-broken branches to burn what was left of it, And upon the urn we heaped up a towering barrow Of the earth of his own land. When we were done, we ran 45 To the vault where Antigone lay on her couch of stone. Sophocles 39 Hecate (hek ə tē): another name for Persephone, the goddess of the underworld. 40 Pluto: another name for Hades, the god of the underworld. LL Literary Elements CHARACTERS Eurydice, the wife of Creon, does not appear until this late moment in the play. Have students discuss whether this is a flaw in the play and how it affects the drama. (Some students may find it disconcerting that Eurydice has not played a more important role in the play. She adds to the effect of the tragedy in her role as the griefstricken mother of Haimon.) Cult Statue of Aphrodite B.C., Greek. Limestone and marble, height: 7 ft. 6 in. The J. Paul Getty Museum, Los Angeles. Viewing the sculpture: How does this sculpture reflect the mood of this scene? Explain. MM Literary Elements CHARACTERS Have students describe the minor character of the Messenger. In what ways are his character traits appropriate to his role in the play? (The Messenger is honest, serious, and straightforward. He narrates the tragic events clearly; therefore, the events are clearly understood and the tragedy is not belittled.) VIEWING THE SCULPTURE One of the main purposes of temples was to house cult statues like this one. Viewing Response The sculpture has a gravity that reflects the mood of the scene; even her robe is like a shroud. ANTIGONE, EXODOS 763 Listening and Speaking M inilesson Performing Dialogue Choosing and performing a portion of the play s dialogue can help students better appreciate and understand the play. Activity Have students work in pairs and choose a portion of dialogue that includes two or more characters in the play and that they feel is particularly important to the play s themes. Have them practice reading the dialogue, discussing the vocal tone, emphasis, facial expression, and gestures to best communicate the dialogue s meaning. Have each pair perform their dialogue for the class, explaining why they think it is especially meaningful. L2

17 UALIZE Encourage students visualize the scene in the vault. ve them point out visual details t are particularly vivid, such as imon lying beside Antigone, o has hanged herself with her en veil; or Haimon s red blood Antigone s white skin after he ls himself. EDICT Have students predict ether the Messenger is right in assumption that Eurydice has t the room to grieve privately. LITERATURE & HUMANITIES Display The Burghers of Calais on page 325 of Art Talk. Have tudents examine this memorial ommemorating six leading itizens of Calais who gave their ves for their fellow citizens. iscuss the memorial s images. hen have students create their wn memorials to honor ntigone. One of the servants had gone ahead, And while he was yet far off he heard a voice Grieving within the chamber, and he came back And told Creon. And as the King went closer, 50 The air was full of wailing, the words lost, And he begged us to make all haste. Am I a prophet? He said, weeping, And must I walk this road, The saddest of all that I have gone before? My son s voice calls me on. Oh quickly, quickly! 55 Look through the crevice there, and tell me If it is Haimon, or some deception of the gods! We obeyed; and in the cavern s farthest corner We saw her lying: She had made a noose of her fine linen veil 60 And hanged herself. Haimon lay beside her, His arms about her waist, lamenting her, His love lost under ground, crying out That his father had stolen her away from him. When Creon saw him the tears rushed to his eyes 65 And he called to him: What have you done, child? Speak to me. NN What are you thinking that makes your eyes so strange? O my son, my son, I come to you on my knees! But Haimon spat in his face. He said not a word, Staring And suddenly drew his sword 70 And lunged. Creon shrank back, the blade missed; and the boy, Desperate against himself, drove it half its length Into his own side, and fell. And as he died He gathered Antigone close in his arms again, Choking, his blood bright red on her white cheek. 75 And now he lies dead with the dead, and she is his At last, his bride in the houses of the dead. [Exit EURYDICE into the Palace.] CHORAGOS. She has left us without a word. What can this mean? MESSENGER. It troubles me, too; yet she knows what is best, Her grief is too great for public lamentation, OO 80 And doubtless she has gone to her chamber to weep For her dead son, leading her maidens in his dirge. 764 UNIT 4: DRAMA Reading M inilesson Comparison and Contrast Many of the conflicts of Antigone exist in the form of opposite or contrasting values. Have students contribute as you write the following conflicts on the board: mortal vs. gods law vs. religion man vs. woman age vs. youth state vs family Activity Have students quote or summarize a portion of dialogue from Antigone that illustrates each set of contrasts. L2 Additional Resources Reading Skills Practice Workbook

18 [Pause.] CHORAGOS. It may be so: but I fear this deep silence MESSENGER. I will see what she is doing. I will go in. [Exit MESSENGER into the Palace.] [Enter CREON with attendants, bearing HAIMON s body.] CHORAGOS. But here is the King himself: oh look at him, 85 Bearing his own damnation in his arms. CREON. Nothing you say can touch me any more. My own blind heart has brought me From darkness to final darkness. Here you see The father murdering, the murdered son 90 And all my civic wisdom! Haimon my son, so young, so young to die, I was the fool, not you; and you died for me. CHORAGOS. That is the truth; but you were late in learning it. CREON. This truth is hard to bear. Surely a god 95 Has crushed me beneath the hugest weight of heaven, And driven me headlong a barbaric way To trample out the thing I held most dear. The pains that men will take to come to pain! [Enter MESSENGER from the Palace.] MESSENGER. The burden you carry in your hands is heavy, 100 But it is not all: you will find more in your house. CREON. MESSENGER. What burden worse than this shall I find there? The Queen is dead. CREON. O port of death, deaf world, Is there no pity for me? And you, Angel of evil, 105 I was dead, and your words are death again. Is it true, boy? Can it be true? Is my wife dead? Has death bred death? MESSENGER. You can see for yourself. [The doors are opened, and the body of EURYDICE is disclosed within.] CREON. Oh pity! 110 All true, all true, and more than I can bear! O my wife, my son! Sophocles PP VISUALIZE Have students visualize the scene described in the stage directions. Point out that although much of the action of the play has occurred offstage, this scene would be visually moving on stage. QQ Literary Elements FIGURES OF SPEECH: Metaphor Have students explain the metaphor of blindness in Creon s speech. What is being compared? (Creon compares his inability to see right and wrong to an inability to see physically. He compares his emotional darkness to literal darkness.) RR Literary Elements DIALOGUE Ask students to characterize the attitude of the choragos toward Creon at this point. Is his attitude surprising? (Some students will find the bluntness of the choragos s remark that Creon has taken too long to learn his lesson surprising in light of Creon s grief. Others will see that the choragos is being honest and objective as he has throughout the play.) SS RESPOND Have students discuss their feelings toward Creon at this point in the play. (Some students will pity him because of his great tragedy and his weakened state. Others will not feel pity because he has brought his tragedy on himself.) ANTIGONE, EXODOS 765 Writing M inilesson Using Metaphors Sophocles uses many metaphors to make his characters and plot compelling. For example, on page 765 Creon says, Surely a god has crushed me beneath the hugest weight of heaven. Point out that he is comparing his emotional burden to a physical one. The comparison is implied; it does not include the word like or as. Activity Have students write three metaphors that describe an emotion experienced by themselves, someone else, or a fictional character. Suggest that students first think of something they want to compare the emotion to and then experiment with ways of suggesting the comparison without using the word like or as. Students may wish to refer to other metaphors throughout the play, particularly in the choral odes. Have volunteers read their metaphors. L2 Additional Resources Writer s Choice, Lesson 5.2

19 VIEWING THE SCULPTURE Chrysippus was a member of the Stoic school of philosophers, who emphasized reason over passion. Viewing Response The sculpture seems to convey defeat and resignation, which Creon is also feeling. ragic Heroes Modern ragedies often feature common en and women similar to those e know. But according to ristotle, the classical Greek tragic ero was of aristocratic birth, often king. Even more important than hero s noble position in society as a nobility of character and an bility to face suffering courageously. Statue of Chrysippus, the Greek philosopher. 3rd century B.C. Marble. Louvre Museum, Paris. Viewing the sculpture: What emotions does this sculpture convey? How might these emotions compare with what Creon may be feeling at this point in the play? 766 UNIT 4: DRAMA rammar and Language M inilesson nd Punctuation Review with students e three kinds of punctuation used to nd sentences and when each is used. eriod at the end of declarative sennces and most imperative sentences uestion mark at the end of interrogative entences xclamation point at the end of exclamary sentences, strong interjections, and imperative sentences that express strong emotion Activity Have students find at least three examples of each use of end punctuation in sentences from the play. Ask them to write the sentences and a brief explanation of why each is an example of a particular usage. L1 Additional Resources Grammar and Language Transparency 58 Grammar and Language Workbook, p. 245 Grammar and Composition Handbook, Lessons Writer s Choice, Lessons