نمايشنامه هاي انگليسي Antigone

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Creon had already labeled Haemon “the woman’s champion”; now Haemon asserts that Creon is “the woman” for whom he is trying to rescue the situation. Creon is angry with Haemon for showing such impudence. Haemon observes that he (Creon) has spurned the gods. Creon describes his son as an “(a)bominable spirit, woman-led!” He proclaims that Antigone will not live to be his wife. Haemon warns Creon that Antigone’s death will ruin him (Creon). Creon takes this to be a threat and promises that Haemon shall pay for his insolence. He orders Antigone to be brought and put to death immediately in the presence of her lover, Haemon. But Haemon refuses to stay and watch her suffer. He swears that he will never again see his father and walks out

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The Chorus observes that Haemon has left angrily and warns Creon that Haemon’s youthful spirit may, in its present condition, cause him to act irresponsibly. Creon does not care for what Haemon may do, as he has already decided to stand by his decision to destroy both the sisters, Ismene and Antigone. When the Chorus asks whether Creon intends to execute both the sisters, Creon finally concedes that only Antigone, the one who performed the deed, should die. The Chorus asks to be made aware of the means of execution that Creon proposes to use. Creon replies that Antigone will be buried alive in a “cave-like vault” in the desert.

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Notes
Another important player is introduced in the scene: Haemon, the youngest son of Creon. Haemon has been betrothed to Antigone, his cousin, and now comes before his father to challenge his (Creon’s) decision that Antigone must die. This leads to the third major agon (debate) of the play.
At first, Haemon succeeds in pleasing his father, by stating that he would follow his father’s will. Creon then enters into one of his lengthy monologues in which he stresses to Haemon the importance of being obedient to one’s parents. He also dubs Antigone a “wicked consort” who is not fit for Haemon. Besides, Antigone is a threat to the state of Thebes, as she has openly defied Creon’s law. Therefore, she must die. This is Creon’s reasoning, and he wishes to impress upon his son that he (Creon) is right and that Antigone is in the wrong. In a way, Creon now equates Antigone with her brother, Polynices, whom he had also branded a traitor. Such people, pronounces Creon, are a threat to the state, and therefore they should be dealt with firmly. Once again Creon ends one of his monologues by stating that he will not give in to a woman’s will. He fears that his image will be tarnished if he allows a woman to get the better of him. Thus, by justifying Antigone’s punishment, Creon attempts to pacify Haemon

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Haemon continues to address his father with respect. He accepts that his father is in the right, as far as matters of the state are concerned. Then he introduces his first note of dissent. He informs Creon about the unrest among the people of Thebes, who feel that Antigone is being treated unjustly. While common people cannot speak out against Creon for fear of incurring his terrible wrath, Haemon can speak more openly, as he is Creon’s own son. He does not speak as a rebel, but as an advisor, giving Creon fair warning about the situation. Even as he praises his father for carrying out the responsibility of a king, Haemon admonishes Creon for not lending “an ear to reason.” The Chorus had earlier accepted Creon’s words as wise, but now they acknowledge that Haemon, too, is correct. The Chorus, characteristically, does not take a side during this debate. It cannot tell which of the two, father or son, is absolutely correct

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Creon is right in asserting that the law of the state is all-powerful. However, he is morally wrong because his law contradicts that of the gods. Creon’s insensitivity is evident in this scene, as he discredits Antigone’s name while speaking to Haemon, her lover. He does not try to soothe Haemon or calm him down, but instead provokes Haemon to the point where his son is forced to walk away. Creon shows little human understanding here. He is utterly tactless in dealing with his son and altogether brutal in the manner in which he dismisses the idea that Haemon and Antigone could have been man and wife. His obvious insensitivity stands in sharp contrast to Haemon’s deep concern, both for Antigone and his father. Creon sees Haemon’s concern as insolence and swears that he will have Antigone killed in front of Haemon. Creon’s ruthlessness is the last straw for Haemon, who exits in anger, but not before warning his father against acting like a cold-blooded dictator: “No city is property of a single man.”
After Haemon’s exit, Creon states that he wishes to put to death both Antigone and Ismene. However, the Chorus’ question causes him to change his mind, and he decides that only Antigone will die. The painful nature of her death (by live burial) makes the situation appear more tragic and shows Creon in a ruthless light

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Lines 785-803
The Third Stasimon:
The Chorus: “Love unconquered in fight”
Summary
The Chorus sings an ode in praise of love. Love is described as a warrior, who is “never conquered in fight.” Love wreaks havoc on the wealthy and the famous. Love is personified as a human being, or a lover, who keeps watch the whole night long in order to make advances towards a young maiden. Love roams over seas and resides in lonely dwellings in the forest. Nobody can avoid the thrills and pains of love. Humans, as well as the gods, are overcome by love and experience its frenzy

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Love, in a light and frivolous manner, leads “righteous minds” into wrong. Thus love brings about the ruin of those who were once good people. The Chorus blames love for causing the “unkindly quarrel” to erupt between Creon and Haemon. The Chorus asserts that even kings and makers of mighty laws are subordinate to the “heart-compelling eye of winsome bride.”
The Chorus ends with the line, “Madly thou mockest men, dread Aphrodite.” The leader of the Chorus now speaks. He is unable to restrain his tears, for he sees Antigone making her way to her final resting place

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Notes
Haemon’s appearance in the previous scene and his quarrel with Creon has had its effect on the Chorus. The Chorus now sings about love and its ability to rule over all. Love is compared to a soldier who destroys rich, established people. Love keeps watch all night in order to seduce a young maiden. Love exists in every corner of the world and rules over everyone, both mortal and immortal. According to Greek mythology, even the gods had love affairs

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The Chorus sees love as a distraction which draws righteous men to their doom. It conveys the belief that Haemon’s love for Antigone has caused a rift between Creon and Haemon. The Chorus maintains that a beautiful bride can possess more power than a mighty king. Therefore, the Chorus concludes that men are helpless under the spell of the all-powerful emotion of love. Aphrodite, the goddess of love, rules over men’s hearts and sways men so that they are led towards disaster. She is aptly described as “dread Aphrodite.”
The leader of the Chorus is deeply moved when he sees Antigone walking to her place of execution. As a citizen of Thebes, he sympathizes with Antigone and is unable to distance himself from what is happening. Like the Chorus, the audience begins to pity Antigone. They respect and admire her for her fascinating courage.

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Lines 804-944
The Fourth Episode:
Antigone’s Lament
Summary
Antigone is led in by the guards. She addresses the citizens of Thebes, telling them that she goes to her final resting place. She will take her last look at the sunlight. Never more will Antigone see the dawn. Antigone laments that she will never be married and no wedding songs will be sung for her; only an untimely death awaits her.
The Chorus assures Antigone that her death will not be an inglorious one. She will die with great honor and fame. The Chorus observes that she is not to die in battle or due to a terrible disease. Antigone, by contrast, has chosen her own death. Among all mortals, she alone goes alive to the world of the dead, remarks the Chorus