what is a good thesis statement for antigone

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Essays on Antigone

Hook examples for "antigone" essays, the tragic heroine hook.

Introduce the character of Antigone as the tragic heroine of the play. Discuss her noble qualities, her determination to uphold her beliefs, and the tragic consequences of her actions.

The Conflict of Divine and Human Law Hook

Explore the central conflict in "Antigone" between divine law and human law. Discuss how Antigone's defiance of King Creon's decree highlights the clash between moral duty and political authority.

The Power and Pride of Creon Hook

Focus on the character of Creon as a symbol of political power and pride. Discuss how his decisions and hubris lead to tragedy within the play and explore the lessons it conveys.

The Feminist Interpretation Hook

Analyze "Antigone" from a feminist perspective, highlighting the role of gender and the defiance of traditional gender roles in the play. Discuss how Antigone's actions challenge societal norms.

The Chorus as a Moral Compass Hook

Examine the role of the Chorus in "Antigone" as a moral compass and commentator on the events of the play. Discuss how the Chorus adds depth to the themes and characters.

The Tragedy of Ismene Hook

Explore the character of Ismene, Antigone's sister, and her role in the tragedy. Discuss her internal conflict and her ultimate fate as a foil to Antigone.

The Ancient Greek Context Hook

Provide historical and cultural context for "Antigone" by discussing ancient Greek beliefs and values, including the significance of burial rituals and the influence of Greek tragedy.

The Universal Themes Hook

Highlight the enduring themes of "Antigone," such as the consequences of moral choices, the conflict between individual and state, and the nature of justice. Discuss how these themes resonate with audiences today.

The Tragedy's Relevance in Modern Society Hook

Discuss the relevance of "Antigone" in contemporary society, drawing parallels to issues of civil disobedience, government authority, and individual conscience. Emphasize the enduring impact of the play's themes.

The Lessons of "Antigone" Hook

End your essay by summarizing the lessons and insights that "Antigone" offers to readers and audiences. Reflect on the enduring importance of this classic Greek tragedy.

List of Interesting Antigone Essay Topics

• The Role of Fate vs. Free Will in Sophocles' "Antigone"
• Moral Conflict and the Law: Analyzing Antigone and Creon's Dilemmas
• Gender Roles and Resistance in "Antigone"
• The Complexities of Morality and Duty in Sophocles' Antigone
• The Concept of Divine Law vs. Human Law in "Antigone"
• Antigone and Creon: A Study of Foil Characters in Sophocles' Tragedy
• The Influence of Greek Chorus in Shaping the Narrative of "Antigone"
• "Antigone" and the Politics of Rebellion: Insights into Authority and Obedience
• The Theme of Family Loyalty vs. Civic Duty in "Antigone"

Foreshadowing in Antigone

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Justice in Antigone: Divine Law Versus Human Authority

The moral obligations of antigone society to families and elders, an analysis of power, authority and truth in antigone, a play by sophocles, modern feminism vs antigone feminism, let us write you an essay from scratch.

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Pride Comes before a Fall: Creon's Tragedy in Antigone

Book review: antigone written by sophocles, comparison of antigone and creon in sophocles’ antigone, ismene: a tragic hero in antigone, get a personalized essay in under 3 hours.

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How Egos Compete in Antigone

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441 BC, Sophocles

Play; Tragedy

Antigone, Ismene, Creon, Eurydice, Haemon, Tiresias, Sentry, Leader of the Chorus

In ancient Thebes, after the death of King Oedipus, his two sons, Eteocles and Polynices, vie for the throne. However, a conflict arises as Eteocles assumes power and denies Polynices a proper burial, condemning him to be left unburied on the battlefield. Antigone, the sister of the two brothers, defies the decree and resolves to give Polynices a burial, honoring the sacred duty to her family and the gods. Antigone's act of defiance pits her against King Creon, who has proclaimed the decree. Despite Antigone's pleas and the counsel of his son Haemon, Creon remains steadfast in his decision, believing it necessary to maintain order and authority. As the tension escalates, the chorus, representing the voice of the people, questions the morality of Creon's actions. Tragedy unfolds as Antigone is sentenced to death and her actions set off a chain of events leading to a series of tragic outcomes. The play explores themes of duty, loyalty, and the clash between personal beliefs and the laws of the state. In the end, the consequences of Creon's stubbornness and Antigone's steadfastness bring about profound sorrow and self-reflection.

The ancient Greek tragedy "Antigone is set in the city of Thebes. The play takes place in a time of political turmoil and upheaval following the events of the mythological story of Oedipus. Thebes is portrayed as a city plagued by a curse due to the sins of Oedipus and his family. The specific locations within the setting include the royal palace, where King Creon resides and makes his decrees, and the battlefield where the two brothers, Eteocles and Polynices, have fought and died. The city streets and public spaces serve as the backdrop for the interactions between the characters and the chorus.

One of the main themes is the clash between individual conscience and state authority. Antigone, the protagonist, defies the decree of King Creon by burying her brother Polyneices, despite it being forbidden. This conflict raises questions about the limits of governmental power and the importance of personal ethics. Another prominent theme is the nature of divine law versus human law. Antigone's actions are motivated by her belief in honoring the divine laws and giving proper burial rites to her brother, highlighting the tension between religious and civil obligations. The theme of fate versus free will also emerges as characters grapple with their predetermined destinies and the choices they make. Antigone and Creon are both victims of their own tragic flaws, facing the consequences of their decisions. Other themes include the nature of power and its corrupting influence, the roles of gender and patriarchy, and the consequences of pride and hubris.

Dramatic irony (the audience knows that Antigone's defiance will lead to her downfall, while the characters remain unaware of their impending fate), symbolism (the burial of Polyneices), imagery (vivid descriptions of suffering, death, and familial bonds), dramatic dialogue and monologues.

Sophocles' tragedy "Antigone" has had a profound influence on literature, theater, and even broader aspects of society throughout history. One significant influence of "Antigone" is its exploration of moral and ethical dilemmas. The play raises questions about the clash between individual conscience and societal norms, highlighting the importance of standing up for one's beliefs. This theme resonates with audiences across time, inspiring discussions on topics such as civil disobedience, justice, and the limits of authority. "Antigone" has also left a lasting impact on dramatic techniques. Sophocles' masterful use of dialogue, monologues, and dramatic irony has influenced playwrights for centuries, shaping the development of tragedy as a genre. The play's emphasis on complex characters and their inner struggles has provided a template for character development in theater and literature. Furthermore, "Antigone" has influenced political and social movements. Its themes of rebellion against oppressive regimes and the pursuit of justice have served as rallying cries for activists throughout history. The play's examination of power dynamics, loyalty, and the consequences of unchecked authority continues to resonate in discussions of human rights, democracy, and social justice.

"Nobody likes the man who brings bad news." "I have no love for a friend who loves in words alone." "You are always defying the world, but you're only a girl, after all." "It is the dead, not the living, who make the longest demands." "We have only a little time to please the living.

1. According to accounts, Sophocles is said to have passed away while reciting a part of his play Antigone. 2. In 1944, the French playwright and screenwriter Jean Anouilh released a play titled Antigone, which garnered significant attention despite being staged in Paris under German occupation. 3. Sigmund Freud, the influential figure in psychoanalysis, chose to name his daughter Anna Antigone.

Antigone, the timeless Greek tragedy written by Sophocles, holds immense significance as a topic for essay writing. This profound play explores complex themes that resonate with the human experience across different cultures and time periods. The enduring relevance of Antigone lies in its exploration of fundamental moral dilemmas, the clash between personal convictions and societal norms, and the consequences of individual actions. It delves into themes of justice, loyalty, defiance, and the struggle for autonomy. Antigone's relevance extends beyond its original context, making it a captivating subject for analysis. The play prompts discussions on topics such as civil disobedience, the abuse of power, gender roles, and the role of religion in society. Its multidimensional characters, including the fearless Antigone, the conflicted Creon, and the wise Tiresias, provide rich material for character analysis and interpretation. Furthermore, Antigone's literary and dramatic elements, such as its use of dramatic irony, tragic flaw, and catharsis, make it a compelling work to study. By examining Antigone's themes, characters, and literary techniques, one can gain valuable insights into human nature, ethics, and the complexities of societal structures.

1. Murnaghan, S. (1986). Antigone 904-920 and the Institution of Marriage. The American Journal of Philology, 107(2), 192-207. (https://www.jstor.org/stable/294602) 2. Honig, B. (2009). Antigone's laments, Creon's grief: Mourning, membership, and the politics of exception. Political Theory, 37(1), 5-43. (https://journals.sagepub.com/doi/pdf/10.1177/0090591708326645) 3. Rouse, W. H. D. (1911). The two burials in Antigone. The Classical Review, 25(2), 40-42. (https://www.cambridge.org/core/journals/classical-review/article/abs/two-burials-in-antigone/5F435DF66023E724D84BE90BCA655AAA) 4. Meltzer, F. (2011). Theories of desire: Antigone again. Critical Inquiry, 37(2), 169-186. (https://www.journals.uchicago.edu/doi/abs/10.1086/657289?journalCode=ci) 5. de Fátima Silva, M. (2017). Antigone. In Brill's Companion to the Reception of Sophocles (pp. 391-474). Brill. (https://brill.com/display/book/edcoll/9789004300941/B9789004300941_007.xml) 6. Davis, C. (1995). The Abject: Kristeva and the Antigone. Paroles gelées, 13(1). (https://escholarship.org/uc/item/8qt465qh#main) 7. Margon, J. S. (1970). The Death of Antigone. California Studies in Classical Antiquity, 3, 177-183. (https://online.ucpress.edu/ca/article-abstract/doi/10.2307/25010605/33738/The-Death-of-Antigone?redirectedFrom=PDF) 8. Marini, F. (1992). The uses of literature in the exploration of public administration ethics: The example of Antigone. Public Administration Review, 420-426. (https://www.jstor.org/stable/976801) 9. Benardete, S. (2014). Sacred Transgressions: A Reading of Sophocles' Antigone. (https://philpapers.org/rec/BENSTA-7)

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Home › Drama Criticism › Analysis of Sophocles’ Antigone

Analysis of Sophocles’ Antigone

By NASRULLAH MAMBROL on July 29, 2020 • ( 0 )

Within this single drama—in great part, a harsh critique of Athenian society and the Greek city-state in general—Sophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all. In this magnificent dramatic work, almost incidentally so, we find nearly every reason why we are now what we are.

—Victor D. Hanson and John Heath, Who Killed Homer? The Demise of Classical Education and the Recovery of Greek Wisdom

With Antigone Sophocles forcibly demonstrates that the power of tragedy derives not from the conflict between right and wrong but from the confrontation between right and right. As the play opens the succession battle between the sons of Oedipus—Polynices and Eteocles—over control of Thebes has resulted in both of their deaths. Their uncle Creon, who has now assumed the throne, asserts his authority to end a destructive civil war and decrees that only Eteocles, the city’s defender, should receive honorable burial. Polynices, who has led a foreign army against Thebes, is branded a traitor. His corpse is to be left on the battlefield “to be chewed up by birds and dogs and violated,” with death the penalty for anyone who attempts to bury him and supply the rites necessary for the dead to reach the underworld. Antigone, Polynices’ sister, is determined to defy Creon’s order, setting in motion a tragic collision between opposed laws and duties: between natural and divine commands that dictate the burial of the dead and the secular edicts of a ruler determined to restore civic order, between family allegiance and private conscience and public duty and the rule of law that restricts personal liberty for the common good. Like the proverbial immovable object meeting an irresistible force, Antigone arranges the impact of seemingly irreconcilable conceptions of rights and responsibilities, producing one of drama’s enduring illuminations of human nature and the human condition.

Antigone is one of Sophocles’ greatest achievements and one of the most influential dramas ever staged. “Between 1790 and 1905,” critic George Steiner reports, “it was widely held by European poets, philosophers, [and] scholars that Sophocles’ Antigone was not only the fi nest of Greek tragedies, but a work of art nearer to perfection than any other produced by the human spirit.” Its theme of the opposition between the individual and authority has resonated through the centuries, with numerous playwrights, most notably Jean Anouilh, Bertolt Brecht, and Athol Fugard grafting contemporary concerns and values onto the moral and political dramatic framework that Sophocles established. The play has elicited paradoxical responses reflecting changing cultural and moral imperatives. Antigone, who has been described as “the first heroine of Western drama,” has been interpreted both as a heroic martyr to conscience and as a willfully stubborn fanatic who causes her own death and that of two other innocent people, forsaking her duty to the living on behalf of the dead. Creon has similarly divided critics between censure and sympathy. Despite the play’s title, some have suggested that the tragedy is Creon’s, not Antigone’s, and it is his abuse of authority and his violations of personal, family, and divine obligations that center the drama’s tragedy. The brilliance of Sophocles’ play rests in the complexity of motive and the competing absolute claims that the drama displays. As novelist George Eliot observed,

It is a very superficial criticism which interprets the character of Creon as that of hypocritical tyrant, and regards Antigone as a blameless victim. Coarse contrasts like this are not the materials handled by great dramatists. The exquisite art of Sophocles is shown in the touches by which he makes us feel that Creon, as well as Antigone, is contending for what he believes to be the right, while both are also conscious that, in following out one principle, they are laying themselves open to just blame for transgressing another.

Eliot would call the play’s focus the “antagonism of valid principles,” demonstrating a point of universal significance that “Wherever the strength of a man’s intellect, or moral sense, or affection brings him into opposition with the rules which society has sanctioned, there is renewed conflict between Antigone and Creon; such a man must not only dare to be right, he must also dare to be wrong—to shake faith, to wound friendship, perhaps, to hem in his own powers.” Sophocles’ Antigone is less a play about the pathetic end of a victim of tyranny or the corruption of authority than about the inevitable cost and con-sequence between competing imperatives that define the human condition. From opposite and opposed positions, both Antigone and Creon ultimately meet at the shared suffering each has caused. They have destroyed each other and themselves by who they are and what they believe. They are both right and wrong in a world that lacks moral certainty and simple choices. The Chorus summarizes what Antigone will vividly enact: “The powerful words of the proud are paid in full with mighty blows of fate, and at long last those blows will teach us wisdom.”

As the play opens Antigone declares her intention to her sister Ismene to defy Creon’s impious and inhumane order and enlists her sister’s aid to bury their brother. Ismene responds that as women they must not oppose the will of men or the authority of the city and invite death. Ismene’s timidity and deference underscores Antigone’s courage and defiance. Antigone asserts a greater allegiance to blood kinship and divine law declaring that the burial is a “holy crime,” justified even by death. Ismene responds by calling her sister “a lover of the impossible,” an accurate description of the tragic hero, who, according to scholar Bernard Knox, is Sophocles’ most important contribution to drama: “Sophocles presents us for the first time with what we recognize as a ‘tragic hero’: one who, unsupported by the gods and in the face of human opposition, makes a decision which springs from the deepest layer of his individual nature, his physis , and then blindly, ferociously, heroically maintains that decision even to the point of self-destruction.” Antigone exactly conforms to Knox’s description, choosing her conception of duty over sensible self-preservation and gender-prescribed submission to male authority, turning on her sister and all who oppose her. Certain in her decision and self-sufficient, Antigone rejects both her sister’s practical advice and kinship. Ironically Antigone denies to her sister, when Ismene resists her will, the same blood kinship that claims Antigone’s supreme allegiance in burying her brother. For Antigone the demands of the dead overpower duty to the living, and she does not hesitate in claiming both to know and act for the divine will. As critic Gilbert Norwood observes, “It is Antigone’s splendid though perverse valor which creates the drama.”

Before the apprehended Antigone, who has been taken in the act of scattering dust on her brother’s corpse, lamenting, and pouring libations, is brought before Creon and the dramatic crux of the play, the Chorus of The-ban elders delivers what has been called the fi nest song in all Greek tragedy, the so-called Ode to Man, that begins “Wonders are many, and none is more wonderful than man.” This magnificent celebration of human power over nature and resourcefulness in reason and invention ends with a stark recognition of humanity’s ultimate helplessness—“Only against Death shall he call for aid in vain.” Death will test the resolve and principles of both Antigone and Creon, while, as critic Edouard Schuré asserts, “It brings before us the most extraordinary psychological evolution that has ever been represented on stage.”

When Antigone is brought in judgment before Creon, obstinacy meets its match. Both stand on principle, but both reveal the human source of their actions. Creon betrays himself as a paranoid autocrat; Antigone as an individual whose powerful hatred outstrips her capacity for love. She defiantly and proudly admits that she is guilty of disobeying Creon’s decree and that he has no power to override divine law. Nor does Antigone concede any mitigation of her personal obligation in the competing claims of a niece, a sister, or a citizen. Creon is maddened by what he perceives to be Antigone’s insolence in justifying her crime by diminishing his authority, provoking him to ignore all moderating claims of family, natural, or divine extenuation. When Ismene is brought in as a co-conspirator, she accepts her share of guilt in solidarity with her sister, but again Antigone spurns her, calling her “a friend who loves in words,” denying Ismene’s selfless act of loyalty and sympathy with a cold dismissal and self-sufficiency, stating, “Never share my dying, / don’t lay claim to what you never touched.” However, Ismene raises the ante for both Antigone and Creon by asking her uncle whether by condemning Antigone he will kill his own son’s betrothed. Creon remains adamant, and his judgment on Antigone and Ismene, along with his subsequent argument with his son, Haemon, reveals that Creon’s principles are self-centered, contradictory, and compromised by his own pride, fears, and anxieties. Antigone’s challenge to his authority, coming from a woman, is demeaning. If she goes free in defiance of his authority, Creon declares, “I am not the man, she is.” To the urging of Haemon that Creon should show mercy, tempering his judgment to the will of Theban opinion that sympathizes with Antigone, Creon asserts that he cares nothing for the will of the town, whose welfare Creon’s original edict against Polynices was meant to serve. Creon, moreover, resents being schooled in expediency by his son. Inflamed by his son’s advocacy on behalf of Antigone, Creon brands Haemon a “woman’s slave,” and after vacillating between stoning Antigone and executing her and her sister in front of Haemon, Creon rules that Antigone alone is to perish by being buried alive. Having begun the drama with a decree that a dead man should remain unburied, Creon reverses himself, ironically, by ordering the premature burial of a living woman.

Antigone, being led to her entombment, is shown stripped of her former confidence and defiance, searching for the justification that can steel her acceptance of the fate that her actions have caused. Contemplating her living descent into the underworld and the death that awaits her, Antigone regrets dying without marriage and children. Gone is her reliance on divine and natural law to justify her act as she equivocates to find the emotional source to sustain her. A husband and children could be replaced, she rationalizes, but since her mother and father are dead, no brother can ever replace Polynices. Antigone’s tortured logic here, so different from the former woman of principle, has been rejected by some editors as spurious. Others have judged this emotionally wrought speech essential for humanizing Antigone, revealing her capacity to suffer and her painful search for some consolation.

The drama concludes with the emphasis shifted back to Creon and the consequences of his judgment. The blind prophet Teiresias comes to warn Creon that Polynices’ unburied body has offended the gods and that Creon is responsible for the sickness that has descended on Thebes. Creon has kept from Hades one who belongs there and is sending to Hades another who does not. The gods confirm the rightness of Antigone’s action, but justice evades the working out of the drama’s climax. The release of Antigone comes too late; she has hung herself. Haemon commits suicide, and Eurydice, Creon’s wife, kills herself after cursing Creon for the death of their son. Having denied the obligation of family, Creon loses his own. Creon’s rule, marked by ignoring or transgressing cosmic and family law, is shown as ultimately inadequate and destructive. Creon is made to realize that he has been rash and foolish, that “Whatever I have touched has come to nothing.” Both Creon and Antigone have been pushed to terrifying ends in which what truly matters to both are made starkly clear. Antigone’s moral imperatives have been affirmed but also their immense cost in suffering has been exposed. Antigone explores a fundamental rift between public and private worlds. The central opposition in the play between Antigone and Creon, between duty to self and duty to state, dramatizes critical antimonies in the human condition. Sophocles’ genius is his resistance of easy and consoling simplifications to resolve the oppositions. Both sides are ultimately tested; both reveal the potential for greatness and destruction.

24 lectures on Greek Tragedy by Dr. Elizabeth Vandiver.

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ENG 1002 Writing Resources | R. Rambo Home Page

English Composition 2

Essay questions for sophocles's antigone.

A thesis statement can be regarded as an answer to a question, so coming up with a one-sentence response to one of the questions below could give you a good thesis statement for an essay on Sophocles's Antigone .

• In what ways is Creon responsible for his own downfall?
• Does Creon suffer from excessive pride?
• How would you characterize Creon as a ruler?
• Is Creon deserving of sympathy?
• How might we interpret Creon's character psychologically? What personal characteristics lead to the decisions that he makes?
• What personal characteristics lead Antigone to defy Creon in burying her brother?
• How should we regard the character Antigone? As prideful and reckless? As heroic? As an innocent victim of tyranny? As a martyr? As a masocist? As an idealist?
• In what significant ways are Creon and Antigone similar?
• In what ways is Ismene important to the play?
• In what ways is Haemon important to the play?
• How are women portrayed in the play?
• What does the play say about the place of women in society?
• What does the play Antigone say about absolute power?
• What does the play say about obligations to family and obligations to authority?
• What does the play say about human laws and religious laws?

These are only some of the questions we could ask about the play. Can you think of other questions?

Copyright Randy Rambo , 2022.

Five thesis statement why Antigone is a tragic hero in the play Antigone?

This is for my essay

I can't formulate five in this but here are a few for you:

Antigone has a few tragic flaws going for her, or rather against her. Her loyalty to the gods and her brother's memory means that she will have to be disloyal to King Creon.

Antigone is also pretty stubborn. That is kind of a good trait in a heroic sort of way but unfortunately her stubbornness gets herself in trouble but also risks other characters as well like Ismene and Haemon.

Antigone's modus operandi seems to be a reverence for all things dead, like Polynices, rather than herself or the people alive that she cares about.

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ELA  /  10th Grade  /  Unit 9: Antigone

Students read Antigone , their first exposure to the genre of Greek tragedy, and explore the conflict between loyalty to family and to country that is relevant throughout time.

This unit has been archived. To view our updated curriculum, visit our 10th Grade English course.

• Text and Materials

Composition Projects

Unit summary.

This short unit focuses on Sophocles' classic play Antigone , providing students with exposure to the genre of ancient Greek tragedy. The play follows the story of Antigone, a strong female protagonist who is the daughter of Oedipus and his mother, Jocasta. Short in length but dense in words and difficult syntax, it offers students a challenging two weeks. The plot and themes of the play are both accessible and relatable to modern students, as conflicts between loyalty to family and loyalty to country are relevant throughout time and across cultures. 

At Match, students have a Composition class 4 days per week in addition to English class. Below, we have included Supplementary Composition Projects to reflect the material covered in our Composition course. For teachers who are interested in including these Composition projects but do not have a separate Composition course, we have included a “Suggested Placement” to note where these projects would most logically fit into the English unit. While the Composition projects may occasionally include content unrelated to English 10, most have both a skill and content connection to the work students are doing in their English 10 class.

In these parallel Composition projects, students will write one short narrative and then focus their time crafting an effective literary analysis essay in which they take a stand and defend it. Because this English unit is brief, there are only two Composition projects and the suggested writing focus areas are the same as they were in earlier units. If time allows, the teacher may certainly include other writing projects and/or writing focus areas that respond to students’ interests and/or writing development needs.

Texts and Materials

Some of the links below are Amazon affiliate links. This means that if you click and make a purchase, we receive a small portion of the proceeds, which supports our non-profit mission.

Core Materials

Book:  Antigone by Sophocles; Translated by Robert Fagles (Pearson; First Edition)

Supporting Materials

Article:  “Greek Mythology” by Encyclopedia Britannica

Website:  Greek Mythology by GreekMythology.com

This assessment accompanies Unit 9 and should be given on the suggested assessment day or after completing the unit.

Download Content Assessment

Download Content Assessment Answer Key

Intellectual Prep

Suggestions for how to prepare to teach this unit

• Read and annotate Sophocles’s play Antigone .
• Read and annotate this unit plan. 
• Decide which Greek myth allusions your students will need to be familiar with to get the most out of the unit. Reread those myths in preparation. 
• Take the unit assessment.

Essential Questions

The central thematic questions addressed in the unit or across units

• Loyalty: To which do we owe our ultimate loyalty—our family or our laws?
• Power: How does power corrupt?

Writing Focus Areas

Specific skills to focus on when giving feedback on writing assignments

English Lessons Writing Focus Areas

• Clear and relevant thesis
• Embedded/layered evidence
• Explanations

In this short unit, students will focus mainly on reading and analyzing the play. Written responses will mostly be short target tasks, with the exception of the essay students will write for the end-of-unit exam. Many of the target task responses, as well as the exam essay, are focused on producing a written analysis of theme development.

Composition Projects Writing Focus Areas

Below are the writing focus areas that are recommended for the projects described in this unit. Each focus area comes from a particular row and column of our Composition Writing Rubric, and more detail about each area of focus is provided in the description of the specific writing project. The teacher should feel free to substitute or revise these writing focus areas in order to meet his/her students where they are and help them improve their writing in ways that authentically address the students’ areas for growth.

• Focus on Task: appropriate for task, purpose, and audience 
• Diction: Includes precise language and vocabulary
• Thesis: Includes a clear, relevant, and unique thesis statement
• Analysis: Demonstrates clear and logical reasoning
• Evidence: Draws relevant evidence to support position
• Professional Revised: Adequate revisions

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Grades 9-12 Composition Writing Rubric

Literary terms, text-based vocabulary, idioms and word parts to be taught with the text

Literary Terms

allusion, tragedy, metaphor, personification, mood, tone

Roots and Affixes

frat- (fratricide) (8)

loyalty (whole play), corruption (whole play), perceive (1), proclaim (1), tidings (1), grievous (1), unsepulchred (2), dainty (2), hither (2), abhorred (3), traverse (3), unapt (3), contend (4), detest (4), aureate (5), broil (5), quarrellous (5), eddy (6), resounded (6), twain (7), oblivion (7), divine (7), fratricide (8), vilest (8), promulgated (9), usurp (9), prerogative (9), connive (9), rue (10), induce (10), furrows (13), cunning (14), impiety (15), celestial (15), hapless (15), convict (16), stout (17), knavery (17), discernment (18), reverence (20), piety (20), inveterately (23), indignant (24), anarchy (26), concession (26), discretion (27), desecrate (28), erring (28), revile (29), galled (29), sojourner (31), dowered (31), lofty (32), threshold (32), transgressed (32), infatuate (32), lament (33), lavement (33), sepulchre (33), libations (33), heinous (34), destitute (34), precipitance (34), reviled (36), defied (36)

Idioms and Cultural References

Greek chorus, Oedipus (3), Thebes, King Creon, Tantalus (31), catacomb (33), Danae, Perseus (35), Three Fates (35)

Content Knowledge and Connections

Fishtank ELA units related to the content in this unit.

Some knowledge of ancient Greece and Greek myths will help students access this play more fully.

Previous Fishtank ELA Connections

• Students have tackled Shakespearian tragedy in 9th Grade ELA - Romeo and Juliet  and in tenth grade with Macbeth . This drama will provide students with another exposure to both tragedy and antiquated language.

Future Fishtank ELA Connections

• In 11th Grade ELA - Short Fiction: A Study of Genre , students will read Oedipus Rex , where they will learn the backstory of Antigone’s doomed father. Additionally, students will apply their knowledge of Greek tragedy as a genre to their reading of Oedipus Rex .
• Antigone pp. 1 – 4
• “Greek Mythology”
• Greek Mythology

Explain Antigone’s motivations and the character traits revealed by them.

Explain how Sophocles establishes the conflict between loyalties to family and law early on.

Explain the function of the chorus in a Greek tragedy, both generally and in this specific scene.

Analyze the battle between the brothers and identify the king’s opinion of it.

Characterize King Creon based on his reaction to the Sentinel’s news.

Analyze and explain how Antigone’s dialogue and behavior in this scene contribute to theme. 

Analyze the dialogue between Haemon and Creon in order to explain how it furthers the conflict. 

Hypothesize the purpose of Haemon’s character.

Analyze Antigone’s use of figurative language.

Interpret the purpose of the Chorus’s allusions.

Explain the purpose of the character of Tiresias.

Explain the factors that lead to Creon’s demise.

Articulate Sophocles’s message.

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(ON-DEMAND WRITING)

Write a journal entry from the perspective of Antigone, explaining why you wish to bury your brother’s body and why you believe that defying Creon is the only choice to be made.

An effective journal entry:

• Develops a tone that accurately reflects Antigone’s character
• Includes accurate details from the text about Antigone’s feelings and motivations
• Uses precise vocabulary

L.9-10.3 W.9-10.3.a

(PROCESS WRITING)

Using your knowledge of what it means to be a tragic hero, identify who you believe to be the tragic hero in Sophocles’s Antigone . Defend your selection with evidence from the play and clear criteria for what makes a character a tragic hero.

An effective essay:

• Includes a clear, relevant and complete thesis statement
• Demonstrates clear and logical reasoning
• Draws relevant evidence to support position and provides context
• Uses precise language and advanced vocabulary

W.9-10.1.a W.9-10.1.b W.9-10.4 W.9-10.5 W.9-10.6 W.9-10.9.a

Common Core Standards

Core standards.

The content standards covered in this unit

Language Standards

L.9-10.3 — Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9-10.4 — Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 9—10 reading and content, choosing flexibly from a range of strategies.

L.9-10.6 — Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

Reading Standards for Literature

RL.9-10.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RL.9-10.2 — Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RL.9-10.3 — Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

RL.9-10.9 — Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

Speaking and Listening Standards

SL.9-10.1 — Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9—10 topics, texts, and issues, building on others' ideas and expressing their own clearly and persuasively.

Writing Standards

W.9-10.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.9-10.1.a — Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence.

W.9-10.1.b — Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience's knowledge level and concerns.

W.9-10.3 — Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

W.9-10.3.a — Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.

W.9-10.4 — Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.9-10.5 — Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

W.9-10.6 — Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology's capacity to link to other information and to display information flexibly and dynamically.

W.9-10.9 — Draw evidence from literary or informational texts to support analysis, reflection, and research.

W.9-10.9.a — Apply grades 9—10 Reading standards to literature (e.g., "Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]").

W.9-10.9.b — Apply grades 9—10 Reading standards to literary nonfiction (e.g., "Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning").

W.9-10.10 — Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of discipline-specific tasks, purposes, and audiences.

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Blindness vs. Sight

In Oedipus Rex , Oedipus mocks the blindness of the seer Tiresias , who responds by telling Oedipus that he (Oedipus) is blind to the corruption in his own life, and soon will be literally blind, too. Issues of blindness and sight aren't quite as obvious in Antigone , but the same basic tension is there. Tiresias gives the current king, Creon , a warning, and the king is unable to see the wisdom of…

Natural Law

Creon , as head of state and lawgiver in Thebes, believes in obedience to man-made laws. But in defying Creon's command that no one bury Polynices, Antigone appeals to a different set of guidelines—what is often called "natural law." Whether its source is in nature or in divine order, natural law states that there are standards for right and wrong that are more fundamental and universal than the laws of any particular society.

Antigone believes…

Citizenship vs. Family Loyalty

The concept of citizenship and the duties that citizens owe to the state were subjects of huge importance and debate in fifth-century B.C.E. Athens, where Sophocles lived and where Antigone was first performed. Antigone and Creon represent the extreme opposite political views regarding where a citizen of a city should place his or her loyalties.

In the play, Creon has a strict definition of citizenship that calls for the state to come first: "…whoever places…

Civil Disobedience

Creon says that the laws enacted by the leader of the city "must be obeyed, large and small, / right and wrong." In other words, Creon is arguing that the law is the basis for justice, so there can be no such thing as an unjust law. Antigone , on the other hand, believes that there are unjust laws, and that she has a moral duty to disobey a law that contradicts what she thinks…

Fate vs. Free Will

The ancient Greeks believed that their gods could see the future, and that certain people could access this information. Independent prophets called "seers" saw visions of things to come. Oracles, priests who resided at the temples of gods—such as the oracle to Apollo at Delphi—were also believed to be able to interpret the gods' visions and give prophecies to people who sought to know the future. Oracles were an accepted part of Greek life—famous leaders…

71 pages • 2 hours read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Scene Summaries & Analyses

Scene 1 and 1st Ode

Scene 2 and 2nd Ode

Scene 3 and 3rd Ode

Scene 4 and 4th Ode

Scene 5 and 5th Ode

Scene 6 and 6th Ode

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Discuss the theme of blindness, both literal and metaphorical, in Antigone .

In Scene 1, Antigone and Ismene argue over what is right to do with the body of Polyneikes. In your opinion, who was in the right? Explain with references from the text.

Aside from Teiresias , who has the gift of foresight, who is the wisest character in Antigone ? Explain with references from the text. 

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Related Titles

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The “Antigone” by Sophocles and Its Historical Context Analytical Essay

Introduction, works cited.

While researching texts about Sophocles’ “Antigone”, I found three articles that discussed the historical significance of the story. These articles explored various themes in the story. They explain how Antigone’s past experiences are still relevant in the present. My goal in this paper is to discuss the historical context of the story with regard to its timeless significance.

To achieve this goal, I have organized my paper into three sections and four subsections. In the first section, I give a brief introduction about Sophocles’ “Antigone”. In the second section, I outline three elements that link the story to the present. I explain the reasons that prompt Antigone to defy her king. I discuss Antigone’s actions with regard to present day societies. I end my paper with a third section which explains the timeless themes that are evident in the story.

An understanding of history usually elucidates the present. Antigone’s story is still relevant in the present. Sophocles writes about a fictional king named Oedipus, who rules the city of Thebes (Anouilh 17).

Oedipus is banished from Thebes because he has inadvertently committed incest (Woodruff 92). He has two sons named Polyneices and Eteocles (Braun 62). He also has a daughter named Antigone (Woodruff 22).

After Oedipus is banished, Eteocles banishes his older brother and claims the throne. Polyneices leaves Thebes with plans to overthrow his sibling (Braun 137). He returns and attacks the city with the help of his newfound military. Polyneices and Eteocles kill each other in the midst of the onslaught (Braun 148). Creon, a despot, is later crowned king of Thebes (Woodruff 160).

Creon decrees that Eteocles will be remembered as a hero while his brother will rot in disgrace (Braun 128). Creon is the antagonist in of the story (Woodruff 14). He is a ruthless leader. He can be described as a dictator. His penalty for disobedience is death. Antigone defies Creon by planning to give Polyneices a proper burial (Braun 142).

Sophocles’ opinions about war are evident when the two brothers kill each other in the story (Woodruff 140). Sophocles believes that in war, there are no victories. When countries go to war, every side expects to have casualties. Lives are lost for the sake of petty squabbles. Antigone is also a casualty of war (Anouilh 134). She loses both of her brothers to a conflict that could have easily been resolved.

Failed State

Oedipus represents a failed state (Woodruff 129). He was the king of Thebes. He failed to meet the standards of his people. He was therefore banished shortly after he blinded himself for the atrocities he had committed. He also ruled his father’s kingdom before discovering that he had committed an act of patricide (Braun 31).

Many political leaders have been destroyed by mistakes that they made in the past. For example, a certain Italian minister was accused o having sex with an underage prostitute. Like Oedipus, his statesmen have lost faith in him. His integrity has been compromised.

Freedom of Expression

One of the political elements evident in the story is freedom of expression. Antigone intends to bury her brother in a dignified manner. Creon represents an oppressive regime (Braun 92). He plans to have her punished because her actions are akin to civil disobedience (Woodruff 152).

Creon justifies his cruelty by regarding Polyneices as an enemy of the state (Braun 147). In the present, Polyneices would be regarded as a traitor and a domestic terrorist. Attacking Thebes may be termed as an act of treason (Woodruff 67). However, his sister’s compassion for him is not an act of treason. It is an act of love and honor. Antigone believes in the gods of her people (Anouilh 24). She defies her king because she believes that her actions are justified. She is even willing to die in the name of honor.

Antigone is a symbol of martyrdom (Braun 167). She is willing to die for her beliefs. She believes that she must honor her brother. Creon represents an autocratic government (Woodruff 150). Antigone’s actions drive Creon mad (Anouilh 45). He accuses Antigone’s younger sister, Ismene of committing the same offence (Braun 178). Ismene confesses to burying her brother despite the fact that she was not involved (Woodruff 192).

Ismene’s selfless actions represent family ties. She is willing to die for her sister. Shortly after her confession, Creon discovers the truth. He orders his men to bury Antigone alive in a cave while sparing her sister (Anouilh 67). Creon’s subjects notice a change in his behavior. They assume that he is a lunatic. His son, Haemon is appalled by his actions (Braun 90). Antigone’s simple act of compassion leads to the fall of an empire (Anouilh 78).

Antigone invokes Theban law by stating that Creon’s actions are dishonorable (Braun 126). Antigone’s defiance rallies the people of Thebes (Anouilh 97). Some scholars have argued that Antigone represents the feminist movement (Anouilh 142). She is strong and compassionate. She defies an oppressive king. She also inspires the people of Thebes (Woodruff 165). Sophocles’ story is timeless (Braun 174). It elucidates the present.

Anouilh, Jean. Antigone. Chicago: Illinois, 2004. Print.

Braun, Richard. Antigone: Greek Tragedy in New Translations. New York: New York, 1990. Print.

Woodruff, Paul. Antigone. Los Angeles: California, 2001. Print.

• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2018, September 5). The “Antigone” by Sophocles and Its Historical Context. https://ivypanda.com/essays/antigone/

"The “Antigone” by Sophocles and Its Historical Context." IvyPanda , 5 Sept. 2018, ivypanda.com/essays/antigone/.

IvyPanda . (2018) 'The “Antigone” by Sophocles and Its Historical Context'. 5 September.

IvyPanda . 2018. "The “Antigone” by Sophocles and Its Historical Context." September 5, 2018. https://ivypanda.com/essays/antigone/.

1. IvyPanda . "The “Antigone” by Sophocles and Its Historical Context." September 5, 2018. https://ivypanda.com/essays/antigone/.

Bibliography

IvyPanda . "The “Antigone” by Sophocles and Its Historical Context." September 5, 2018. https://ivypanda.com/essays/antigone/.

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