Contents

How to Use This Study Guide With the Text ...... 4Notes & Instructions to Teacher ............................ 5Taking With Us What Matters ............................... 6Four Stages to the Central One Idea ...................... 8Introduction ............................................................ 11Basic Features & Background ............................... 14

Antigone 19Pre-Grammar | Preparation ................................. 20Grammar | Presentation ....................................... 21Logic | Dialectic ..................................................... 31Rhetoric | Expression ............................................ 34

oedipus the king 41Pre-Grammar | Preparation ................................. 42Grammar | Presentation ....................................... 43Logic | Dialectic ..................................................... 52Rhetoric | Expression ............................................ 55

oedipus At Colonus 61Pre-Grammar | Preparation ................................. 62Grammar | Presentation ....................................... 63Logic | Dialectic ..................................................... 72Rhetoric | Expression ............................................ 75

Appendix 81Memorization & Recitation .................................. 82Final Memorized Poem ........................................ 84Use Your Best Penmanship! ................................. 84Master Words-to-Be-Defined List ........................ 85

About the editors

brett Vaden has written for Memoria Press and taught for the Memoria Press Online Academy and Highlands Latin School for seven years. He received his master of divinity degree from the Southern Baptist Theological Seminary, and is currently working on a PhD in Pastoral Theology and Counseling. He is blessed to be married to Rachael and to be the father of Story, Arrow, and Harmony.

kate Janke joined the Highlands Latin School faculty in 2010 and lives in Louisville, KY. She has a BA in History from Hillsdale College and has also completed her MA in Theological Studies from the Southern Baptist Theological Seminary. She teaches Geography and Classical Studies in the Upper School at HLS and has taught Classical Composition online as well. She enjoys teaching private piano lessons and participating in the worship team at her church.

david M. Wright is the Director and Writer of the Upper School literature curriculum at Memoria Press. He has taught AP Literature and English with a focus on the Great Books for the last ten years. He received his master’s degree in English Literature from DePaul University in Chicago, and holds a Classical Teacher certificate from the CiRCE Institute. He is currently working on a PhD in Literature at the University of Louisville. He is the Founder and Director of the annual Climacus Conference in Louisville. His greatest blessings are his wife and five kids, ages 3-12.

3Contents

Antigone

Central Quote: _________________________________________________________________________

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pre-grAMMAr | preparationprepare to think about the play and its Central One Idea

by drawing upon my prior knowledge, experience, or interests.

1. Think of a person in your life who you think is wise. What makes him or her a wise person? What has he or she done that demonstrates wisdom?

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2. In the Bible, a sage once wrote, “Do not be wise in your own eyes” (Proverbs 3:7a). What do you think this saying means? Can you give an example of someone who was “wise in his own eyes” but actually very foolish?

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20 Antigone • Pre-Grammar | Preparation

grAMMAr | presentationDiscover essential facts, elements, and features of the play

through the reading notes, defining words, and comprehension questions.

reAding notes

1. eteocles and polynices (59) — the sons of Oedipus. When they came of age, they were to share the rule of Thebes, each ruling for a year and alternating every year. Eteocles ruled first, but when it came time for Polynices to rule, Eteocles refused. Polynices then attacked Thebes, and the brothers eventually killed each other in combat.

2. glory!—great beam of the sun, brightest of all that ever rose on the seven gates of thebes (65.117) — This line begins the chorus’ first song, which celebrates the victory of Thebes over the Argive army led by Polynices. The chorus describes the battle in figurative language, likening Polynices to an eagle and the Theban army to a dragon. The description concludes with the death of Eteocles and Polynices, who killed each other. The ode ends with the chorus calling Thebes to celebrate the victory in song and dance with the god Dionysus leading. (See Fagles’ note, p. 396.)

3. the dirce’s banks (65.121) — In Greek mythology, Dirce was a nymph who became a spring that flowed in Thebes.

4. lord dionysus, god of the dance (66.171) — Dionysus was the god of wine, festivity, and the theater. The chorus calls upon him to lead them in celebration for the victory over the Argives, and this fits Dionysus’ celebratory personality.

5. king laius (67.185) — the father of Oedipus. See Oedipus’ Family Tree on p. 425 of Fagles’ text.

6. numberless wonders terrible wonders walk the world but none the match for man (76.377) —This line begins the chorus’ first stasimon, which celebrates man. Among the many wonders of the world, man is the greatest because of his domination over the earth, his skill and brilliance, his ingenuity and resourcefulness, and his ruling of the city. The one thing that can stop man is Death. The man who rebels against the laws of the land or of the gods is inhuman and is headed for destruction. (See Fagles’ note, p. 397.)

7. blest, they are the truly blest who all their lives have never tasted devastation. (91.656) — This line begins the chorus’ second stasimon, which bemoans the sad fate of those whom the gods have opposed or destined for ruin.

8. love, never conquered in battle (101.879) — This line begins the chorus’ third stasimon, which blames Love or Eros (i.e., the Greek word for passionate, sensual love) for setting son and father against each other. Love is invincible and cannot be controlled, as is the case with Creon, who tries to force his son Haemon to side with him instead of the girl he loves. Creon’s attempt only pushes Haemon away from him, and Aphrodite, the goddess of love, is the conqueror. (See Fagles’ note, p. 400.)

9. down to the banks of Acheron (102.905) — Acheron was one of the rivers in Hades, the realm of the dead. Souls newly dead were transported by the ferryman Charon across the Acheron into Hades.

10. but think of niobe—well i know her story (102.915) — As Antigone goes to her death, she compares herself to the goddess and Theban queen Niobe, whose tears of sorrow over the loss of her children turned her to stone. (See Fagles’ note, p. 401.)

21Antigone • Grammar | Presentation

Words to be deFined

Definitions Bankanimal’s mouth

deserving praise

dig out

disfiguring by removing

ecstatic joy

extra privileges, advantages

feed excessively

firm in principle

impaired in thinking due to old age

impossible to understand

in pitiful circumstances

intensely excited

lighthearted

offensive indecency

one who has declined

ones who provoke

overwhelming defeat

pouring of wine

prophet

religious ceremonial acts

rotting flesh

rude behavior, speech

society without government

soldiers abreast in lines

something utterly illogical

swaggering display

system of rule

type, sort, breed

uncontrollably emotional

unthinkable

1. Hasn’t Creon graced one with all the rites, disgraced the other? (60.27)

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2. to gouge out his eyes with his own hands (62.64) ____________________________________________

3. mutilating her life in the twisted noose (62.66) ______________________________________________

4. But leave me to my own absurdity (64.111) ________________________________________________

5. his vast maw gaping (65.132) _____________________________________________________________

6. glut his jaws with Theban blood (65.136) ___________________________________________________

7. Zeus hates with a vengeance all bravado (65.140) ____________________________________________

8. mad for attack, ecstatic he breathed his rage (66.149) _________________________________________

9. down the enemy ranks (66.153) ___________________________________________________________

10. rapture of battle (66.155) _________________________________________________________________

11. putting safety to rout (68.208) _____________________________________________________________

12. his corpse carrion for the birds and dogs to tear (68.230) ______________________________________

religious ceremonial acts

dig out

disfiguring by removing

something utterly illogical

animal’s mouth

feed excessively

swaggering display

intensely excited

soldiers abreast in lines

ecstatic joy

overwhelming defeat

rotting flesh

24 Antigone • Grammar | Presentation

CoMprehension Questions

1. The play begins in medias res, or in the midst of dramatic action, with Antigone and Ismene discussing recent events in Thebes. What has been happening in Thebes? What recent law has been enacted?

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2. What does Antigone determine she will do, even though Ismene reluctantly refuses to help her? List some of the reasons Antigone gives for her decision.

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3. During Creon’s first speech (p. 67), whom does he say is “nothing”?

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4. What is Creon’s decree? What does Creon claim to be the reason behind his decree?

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5. How does the Leader of the Chorus respond to the sentry’s news about Polynices’ body? How does Creon respond?

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Creon forbids all citizens of Thebes from dignifying Polynices with burial or mourning. He claims to

have the good of the city in mind: since Polynices threatened Thebes and attacked it, he deserves the

dishonor of a traitor, not the honor of a patriot.

The Leader wonders if the rites done to Polynices’ body might have been the work of the gods (72.315-

316). Creon thinks it had nothing to do with the gods, but was done by some rebellious citizens who

bribed the guards (73.328-334).

Thebes had been under attack by the armies of Argos, but they were recently driven from the city.

Eteocles and Polynices killed each other in combat. Creon is now king of Thebes, and his new law

forbids the city from burying Polynices, upon pain of death.

Creon condemns whoever places a friend above the good of his own country (67.203-204).

Antigone determines to defy Creon’s law and to bury her brother Polynices. Her decision is based on

the obligation she has as Polynices’ sister (61.55-56), her love for him (63.85-87), and the laws of the

gods (63.91-92).

26 Antigone • Grammar | Presentation

logiC | dialecticReason with the facts, elements, and features of the play; sort, arrange, compare, and

connect ideas—and begin to uncover and determine the Central One Idea.

soCrAtiC disCussion Questions:

1. Compare and contrast Ismene and Antigone in their responses to Creon’s edict.

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2. Where do Antigone’s loyalties lie, with her city or family? In your answer, quote from Antigone’s dialogue with Ismene and from her words with Creon.

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3. Which two characters present Creon with the most direct warnings against his law and judgment against Polynices and Antigone? Compare and contrast these characters.

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Antigone is loyal first of all to family. When Ismene asks her if she will really break the city’s law, she

replies, “Yes! He is my brother [ … ]. No one will ever convict me for a traitor” (61.54-57). When Creon

asks if she is not ashamed of her disloyalty, she says, “Not ashamed for a moment, not to honor my

brother, my own flesh and blood” (84.572-573).

Antigone assumes it is their duty to defy the edict for the sake of their brother. While Ismene wishes

she could mourn for Polynices and bury him, she does not wish to break the law but to keep peace.

Haemon and Tiresias give the most direct warnings. Both men advise Creon to listen to correction

from others, and both advise him to pardon Antigone and bury Polynices. Both say they have Creon’s

good at heart. Haemon is younger and less experienced than Tiresias. While Creon ridicules both

counselors, he fully rejects Haemon’s warnings, but eventually heeds Tiresias’.

31Antigone • Logic | Dialectic

rhetoriC | expressionexpress in your own words the Central One Idea with supporting points.

I CentrAl one ideA

1. In a few sentences, briefly summarize the plot of Antigone.

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Ismene refuses to help Antigone bury their brother Polynices, so she does it alone, disobeying Creon’s

edict to the city. Antigone is discovered and boldly defies Creon to his face. Ismene appears and

tries to join Antigone, and Creon binds them both. Creon’s son and Antigone’s betrothed, Haemon,

advises Creon to listen to the people, who desire Antigone freed and Polynices buried, but Creon

scorns this advice. Antigone, mourning her fate, is sealed up in a tomb. The blind seer Tiresias advises

Creon to reconsider, but Creon accuses him of wanting money. So Tiresias pronounces this doom:

for denying Polynices burial and for burying Antigone, Creon will lose a child. Creon soon realizes he

should change course and so he goes to undo his mistakes. It turns out that Antigone had already

hung herself, and Haemon found her first. When Creon arrives at the tomb, Haemon tries to kill him,

but ends up committing suicide. When Eurydice, Haemon’s mother, hears the news, she soon also

commits suicide. Creon is overcome with grief and self-condemnation. It is made clear that his foolish

and prideful deeds have led to his suffering.

34 Antigone • Rhetoric | Expression

2. Write the Central one idea of Antigone in a complete sentence:

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3. List three or four points that support your determination of the Central One Idea.

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4. Choose a quote from Antigone that you think best embodies the Central One Idea. With good penmanship, write it in the Central Quote section.

I CentrAl one ideA (as expressed by the teacher) Coi – particular:

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Coi – Abstract:

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Answers will vary. These points support the Teacher’s Central One Idea:

• Creon’s words reveal that he is not primarily motivated by the desire to govern his city well, but by

his desire for mastery. He places himself above the city, and so he tells Haemon, “Am I to rule this

land for others—or myself? [ … ] This city is the king’s—that’s the law!” (97.823, 825) He also places

himself above the gods: “You’ll never bury that body in the grave, not even if Zeus’s eagles rip the

corpse and wing their rotten pickings off to the throne of god!” (112.1151-1153).

• Creon refuses to acknowledge his error when confronted by Antigone, Haemon, and Tiresias.

It is not until Tiresias pronounces imminent personal loss to him that Creon relents. It turns out

that his repentance comes too late, and he loses his son, wife, and sense of identity.

Creon is motivated most of all by a prideful desire for mastery over all others, even the gods, and this

foolish, prideful preference for his own law over divine law leads to great loss for him.

“Wisdom is by far the greatest part of joy [ … ]. The mighty words of the proud are paid in full with

mighty blows of fate, and at long last those blows will teach us wisdom.” (128.1466. 1468-1470)

35Antigone • Rhetoric | Expression

essAy option

Choose a topic below and respond with a 3-5 paragraph essay that includes an Introduction with a clear thesis; a Body with organized, logical, and specific support of the thesis; and a Conclusion with an amplification of the thesis/support.

The essay should feature appropriate tone, voice, and point of view; correct grammar, usage, and mechanics; a variety of sentence structures enhanced by subordination and parallelism; a balance of general and specific detail; and enhanced rhetorical effect through transition words, appropriate diction, strong verbs, descriptive adjectives, and other rhetorical devices.

1. Write an essay in which you define “fate” as it is presented in Antigone. Your essay should have a clear thesis and explain how fate is related to a person’s deeds, and why or why not it is under a person’s control.

2. Write an essay in which you compare and contrast Tiresias’ encounter with Creon and Nathan’s encounter with King David in 2 Samuel 1:1-15.

3. [Central One Idea] Use the Central One Idea of Antigone as the thesis, and support it with some evidence from your reading of the play and/or your work in the Study Guide.

4. [Open] Write an essay in which you analyze an aspect of Antigone that is of import to you, such as a particular theme, character, setting, element of plot, dialogue, symbol, or other literary or rhetorical motif.

5. [Teacher] Essay prompt:

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student essay:

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36 Antigone • Rhetoric | Expression