Antigone (Sophocles play) - Knowledge (XXG)

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Antigone went back after his body was uncovered and performed the ritual again, an act that seems to be completely unmotivated by anything other than a plot necessity so that she could be caught in the act of disobedience, leaving no doubt of her guilt. More than one commentator has suggested that it was the gods, not Antigone, who performed the first burial, citing both the guard's description of the scene and the chorus's observation. It's possible, however, that Antigone not only wants her brother to have burial rites, but that she wants his body to stay buried. The guard states that after they found that someone covered Polynices' body with dirt, the birds and animals left the body alone (lines 257–258). But when the guards removed the dirt, then the birds and animals returned, and Tiresias emphasizes that birds and dogs have defiled the city's altars and hearths with the rotting flesh from Polynices' body; as a result of which the gods will no longer accept the peoples' sacrifices and prayers (lines 1015–1020). It's possible, therefore, that after the guards remove the dirt protecting the body, Antigone buries him again to prevent the offense to the gods. Even though Antigone has already performed the burial rite for Polynices, Creon, on the advice of Tiresias (lines 1023–1030), makes a complete and permanent burial for his body.

924:, focuses on the chorus' sequence of strophe and antistrophe that begins on line 278. His interpretation is in three phases: first to consider the essential meaning of the verse, and then to move through the sequence with that understanding, and finally to discern what was nature of humankind that Sophocles was expressing in this poem. In the first two lines of the first strophe, in the translation Heidegger used, the chorus says that there are many strange things on earth, but there is nothing stranger than man. Beginnings are important to Heidegger, and he considered those two lines to describe the primary trait of the essence of humanity within which all other aspects must find their essence. Those two lines are so fundamental that the rest of the verse is spent catching up with them. The authentic Greek definition of humankind is the one who is strangest of all. Heidegger's interpretation of the text describes humankind in one word that captures the extremes — 723:, the blind prophet, enters. Tiresias warns Creon that Polynices should now be urgently buried because the gods are displeased, refusing to accept any sacrifices or prayers from Thebes. However, Creon accuses Tiresias of being corrupt. Tiresias responds that Creon will lose "a son of own loins" for the crimes of leaving Polynices unburied and putting Antigone into the earth (he does not say that Antigone should not be condemned to death, only that it is improper to keep a living body underneath the earth). Tiresias also prophesies that all of Greece will despise Creon and that the sacrificial offerings of Thebes will not be accepted by the gods. The leader of the Chorus, terrified, asks Creon to take Tiresias' advice to free Antigone and bury Polynices. Creon assents, leaving with a retinue of men. 1048:

citizenship is based on loyalty. It is revoked when Polynices commits what in Creon's eyes amounts to treason. When pitted against Antigone's view, this understanding of citizenship creates a new axis of conflict. Antigone does not deny that Polynices has betrayed the state, she simply acts as if this betrayal does not rob him of the connection that he would have otherwise had with the city. Creon, on the other hand, believes that citizenship is a contract; it is not absolute or inalienable, and can be lost in certain circumstances. These two opposing views – that citizenship is absolute and undeniable and alternatively that citizenship is based on certain behavior – are known respectively as citizenship 'by nature' and citizenship 'by law.'

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being Haemon's father rather than his king may seem odd, especially in light of the fact that Creon elsewhere advocates obedience to the state above all else. It is not clear how he would personally handle these two values in conflict, but it is a moot point in the play, for, as absolute ruler of Thebes, Creon is the state, and the state is Creon. It is clear how he feels about these two values in conflict when encountered in another person, Antigone: loyalty to the state comes before family fealty, and he sentences her to death.

36: 1002: 917:) and thus protected by Zeus. According to the legal practice of classical Athens, Creon is obliged to marry his closest relative (Haemon) to the late king's daughter in an inverted marriage rite, which would oblige Haemon to produce a son and heir for his dead father in law. Creon would be deprived of grandchildren and heirs to his lineage – a fact that provides a strong realistic motive for his hatred against Antigone. This modern perspective has remained submerged for a long time. 699:, Creon's son, enters to pledge allegiance to his father, even though he is engaged to Antigone. He initially seems willing to forsake Antigone, but when he gently tries to persuade his father to spare Antigone, claiming that "under cover of darkness the city mourns for the girl", the discussion deteriorates, and the two men are soon bitterly insulting each other. When Creon threatens to execute Antigone in front of his son, Haemon leaves, vowing never to see Creon again. 1044:, it is therefore natural that the people of Thebes did not bury the Argives, but very striking that Creon prohibited the burial of Polynices. Since he is a citizen of Thebes, it would have been natural for the Thebans to bury him. Creon is telling his people that Polynices has distanced himself from them, and that they are prohibited from treating him as a fellow-citizen and burying him as is the custom for citizens. 739:, Creon's wife and Haemon's mother, enters and asks the messenger to tell her everything. The messenger reports that Creon saw to the burial of Polynices. When Creon arrived at Antigone's cave, he found Haemon lamenting over Antigone, who had hanged herself. Haemon unsuccessfully attempted to stab Creon, then stabbed himself. Having listened to the messenger's account, Eurydice silently disappears into the palace. 4071: 747:. Creon blames himself for everything that has happened, and, a broken man, he asks his servants to help him inside. The order he valued so much has been protected, and he is still the king, but he has acted against the gods and lost his children and his wife as a result. After Creon condemns himself, the leader of the Chorus closes by saying that although the gods punish the proud, punishment brings wisdom. 4083: 3558: 3589: 3232: 823:, a group of elderly Theban men, is at first deferential to the king. Their purpose is to comment on the action in the play and add to the suspense and emotions, as well as connecting the story to myths. As the play progresses they counsel Creon to be more moderate. Their pleading persuades Creon to spare Ismene. They also advise Creon to take Tiresias's advice. 688:

about the immorality of the edict and the morality of her actions. Creon becomes furious, and seeing Ismene upset, thinks she must have known of Antigone's plan. He summons her. Ismene tries to confess falsely to the crime, wishing to die alongside her sister, but Antigone will not have it. Creon orders that the two women be imprisoned.

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would have happened, and does not take much of a stand in explaining why Antigone returned for the second burial when the first would have fulfilled her religious obligation, regardless of how stubborn she was. This leaves that she acted only in passionate defiance of Creon and respect to her brother's earthly vessel.

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that he pitifully regrets in the play's final lines. Athenians, proud of their democratic tradition, would have identified his error in the many lines of dialogue which emphasize that the people of Thebes believe he is wrong, but have no voice to tell him so. Athenians would identify the folly of tyranny.

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the prophet supports Antigone's claim that the gods demand Polynices' burial. It is not until the interview with Tiresias that Creon transgresses and is guilty of sin. He had no divine intimation that his edict would be displeasing to the Gods and against their will. He is here warned that it is, but

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is the right of the individual to reject society's infringement on one's freedom to perform a personal obligation. Antigone comments to Ismene, regarding Creon's edict, that "He has no right to keep me from my own." Related to this theme is the question of whether Antigone's will to bury her brother

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In the opening of the play, Antigone brings Ismene outside the palace gates late at night for a secret meeting: Antigone wants to bury Polynices' body, in defiance of Creon's edict. Ismene refuses to help her, not believing that it will actually be possible to bury their brother, who is under guard,

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Creon's decree to leave Polynices unburied in itself makes a bold statement about what it means to be a citizen, and what constitutes abdication of citizenship. It was the firmly kept custom of the Greeks that each city was responsible for the burial of its citizens. Herodotus discussed how members

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is largely supportive of Antigone's decision to bury her brother. Here, the chorus is composed of old men who are largely unwilling to see civil disobedience in a positive light. The chorus also represents a typical difference in Sophocles' plays from those of both Aeschylus and Euripides. A chorus

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remains focused on the characters and themes within the play. It does, however, expose the dangers of the absolute ruler, or tyrant, in the person of Creon, a king to whom few will speak freely and openly their true opinions, and who therefore makes the grievous error of condemning Antigone, an act

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Creon decides to spare Ismene and to bury Antigone alive in a cave. By not killing her directly, he hopes to pay minimal respects to the gods. She is brought out of the house, and this time, she is sorrowful instead of defiant. She expresses her regrets at not having married and dying for following

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While he rejects Antigone's actions based on family honor, Creon appears to value family himself. When talking to Haemon, Creon demands of him not only obedience as a citizen, but also as a son. Creon says "everything else shall be second to your father's decision" ("An." 640–641). His emphasis on

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77), because they hold more weight than any ruler, that is the weight of divine law. In the opening scene, she makes an emotional appeal to her sister Ismene saying that they must protect their brother out of sisterly love, even if he did betray their state. Antigone believes that there are rights

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is the current King of Thebes, who views law as the guarantor of personal happiness. He can also be seen as a tragic hero, losing everything for upholding what he believes is right. Even when he is forced to amend his decree to please the gods, he first tends to the dead Polynices before releasing

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Creon enters and seeks the support of the Chorus in the days to come and, in particular, wants them to back his edict regarding the disposal of Polynices' body. The leader of the Chorus pledges his support out of deference to Creon. A sentry enters, fearfully reporting that the body has been given

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J. L. Rose maintains that the problem of the second burial is solved by close examination of Antigone as a tragic character. Being a tragic character, she is completely obsessed by one idea, and for her this is giving her brother his due respect in death and demonstrating her love for him and for

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Creon enters, carrying Haemon's body. He understands that his own actions have caused these events and blames himself. A second messenger arrives to tell Creon and the Chorus that Eurydice has also killed herself. With her last breath, she cursed her husband for the deaths of her sons, Haemon and

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ordered the public honoring of Eteocles and the public shaming of Thebes' traitor Polynices. The story follows the attempts of Antigone, the sister of Eteocles and Polynices, to bury Polynices, going against the decision of her uncle Creon and placing her relationship with her brother above human

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In prohibiting the people of Thebes from burying Polynices, Creon is essentially placing him on the level of the other attackers—the foreign Argives. For Creon, the fact that Polynices has attacked the city effectively revokes his citizenship and makes him a foreigner. As defined by this decree,

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explains Antigone's performance of the second burial in terms of her stubbornness. His argument says that had Antigone not been so obsessed with the idea of keeping her brother covered, none of the deaths of the play would have happened. This argument states that if nothing had happened, nothing

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Once Creon has discovered that Antigone buried her brother against his orders, the ensuing discussion of her fate is devoid of arguments for mercy because of youth or sisterly love from the Chorus, Haemon or Antigone herself. Most of the arguments to save her center on a debate over which course

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The sentry returns, bringing Antigone with him. The sentry explains that the watchmen uncovered Polynices' body and then caught Antigone as she did the funeral rituals. Creon questions her after sending the sentry away, and she does not deny what she has done. She argues unflinchingly with Creon

940:, Heidegger goes further in interpreting this play, and considers that Antigone takes on the destiny she has been given, but does not follow a path that is opposed to that of the humankind described in the choral ode. When Antigone opposes Creon, her suffering the uncanny is her supreme action. 802:

is the son of Creon and Eurydice, betrothed to Antigone. Proved to be more reasonable than Creon, he attempts to reason with his father for the sake of Antigone. However, when Creon refuses to listen to him, Haemon leaves angrily and shouts he will never see him again. He dies by suicide after

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is the problem of the second burial. When she poured dust over her brother's body, Antigone completed the burial rituals and thus fulfilled her duty to him. Having been properly buried, Polynices' soul could proceed to the underworld whether or not the dust was removed from his body. However,

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The contrasting views of Creon and Antigone with regard to laws higher than those of state inform their different conclusions about civil disobedience. Creon demands obedience to the law above all else, right or wrong. He says that "there is nothing worse than disobedience to authority"

775:. Compared with her docile sister, Antigone is portrayed as a heroine who recognizes her familial duty. Her dialogues with Ismene reveal her to be as stubborn as her uncle. She defies Creon's decree despite the consequences she may face, in order to honor her deceased brother Polynices. 816:

is the blind prophet whose prediction brings about the eventual proper burial of Polynices. Portrayed as wise and full of reason, Tiresias attempts to warn Creon of his foolishness and tells him the gods are angry. He manages to convince Creon, but is too late to save the impetuous

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to a theoretical version where Antigone is apprehended during the first burial. In this situation, news of the illegal burial and Antigone's arrest would arrive at the same time and there would be no period of time in which Antigone's defiance and victory could be appreciated.

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Antigone is brought in under guard on her way to execution. She sings a lament. The Chorus compares her to the goddess Niobe, who was turned into a rock, and say it is a wonderful thing to be compared to a goddess. Antigone accuses them of mocking her.

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is the assistant to the King (Creon) and the leader of the Chorus. He is often interpreted as a close advisor to the King, and therefore a close family friend. This role is highlighted in the end when Creon chooses to listen to Koryphaios'

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he defends it and insults the prophet of the gods. This is his sin, and it is this that leads to his punishment. The terrible calamities that overtake Creon are not the result of his exalting the law of the state over the unwritten and

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Antigone's love for family is shown when she buries her brother, Polynices. Haemon was deeply in love with his cousin and fiancée Antigone, and he killed himself in grief when he found out that his beloved Antigone had hanged herself.

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serves as a foil for Antigone, presenting the contrast in their respective responses to the royal decree. Considered the beautiful one, she is more lawful and obedient to authority. She hesitates to bury Polynices because she fears

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what is right. When she sees her brother's body uncovered, therefore, she is overcome by emotion and acts impulsively to cover him again, with no regards to the necessity of the action or its consequences for her safety.

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funeral rites and a symbolic burial with a thin covering of earth, though no one saw who actually committed the crime. Creon, furious, orders the sentry to find the culprit or face death himself. The sentry leaves.

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Antigone's determination to bury Polynices arises from a desire to bring honor to her family, and to honor the higher law of the gods. She repeatedly declares that she must act to please "those that are dead"

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671). Antigone responds with the idea that state law is not absolute, and that it can be broken in civil disobedience in extreme cases, such as honoring the gods, whose rule and authority outweigh Creon's.

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is the Queen of Thebes and Creon's wife. She appears towards the end and only to hear confirmation of her son Haemon's death. In her grief, she dies by suicide, cursing Creon, whom she blames for her son's

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that Antigone vindicates, but are his intemperance that led him to disregard the warnings of Tiresias until it was too late. This is emphasized by the Chorus in the lines that conclude the play.

1912: 913:, brings out a more subtle reading of the play: he focuses on Antigone's legal and political status within the palace, her privilege to be the heiress (according to the legal instrument of the 988:

uses the problem of the second burial as the basis for her claim that Ismene performs the first burial, and that her pseudo-confession before Creon is actually an honest admission of guilt.

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was written at a time of national fervor. In 441 BCE, shortly after the play was performed, Sophocles was appointed as one of the ten generals to lead a military expedition against

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as well as the other Theban Plays, there are very few references to the gods. Hades is the god who is most commonly referred to, but he is referred to more as a personification of

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lies somewhere in between; it remains within the general moral in the immediate scene, but allows itself to be carried away from the occasion or the initial reason for speaking.

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adapted Antigone to modern times. Directed by Polly Findlay, the production transformed the dead Polynices into a terrorist threat and Antigone into a "dangerous subversive."

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sets Sophocles' play in a contemporary world where Creon is the dictator of a fictional Latin American nation, and Antígona and her 'brothers' are dissident freedom fighters.

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Miller, Peter (2014). "Helios, vol. 41 no. 2, 2014 © Texas Tech University Press 163 Destabilizing Haemon: Radically Reading Gender and Authority in Sophocles' Antigone".

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of Aeschylus' almost always continues or intensifies the moral nature of the play, while one of Euripides' frequently strays far from the main moral theme. The chorus in

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is a continuation. In a scene modern scholars believe to have been written after Aeschylus's death in order to make it consonant with Sophocles's play, the chorus in

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with stage direction and choreography by Nanine Linning, premiered on March 9, 2024 at the Dutch National Opera & Ballet in conjunction with Stravinsky’s

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exploring violent and fatal effects of the drug war, draws heavily on Antigone to reflect everyone in Latin America searching for the missing loved one.

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production by director Burny Every together with Pedro Velásquez and Ramon Todd Dandaré. This translation retains the original iambic verse by Sophocles.

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is noteworthy in its attempts to insert the lived religious experience of many Haitians into the content of the play through the introduction of several

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As Teiresias later describes : "... the cities whose mangled sons had the burial-rite from dogs, or from wild beasts, or from some winged bird ..."

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in the sense that he is the terrible, violent one, and also in the sense that he uses violence against the overpowering. Man is twice

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entitled "The Deferred Antigone" where a fictional production of Antigone is presented to television executives who reject it as

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Sophocles: The Plays and Fragments, with critical notes, commentary, and translation in English prose. Part III: The Antigone

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2009 – Tanya Barfield, Karen Hartman, Lynn Nottage, Chiori Miyagawa, Caridad Svich, play adaptation (NoPassport Press, 2009;

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The Chorus sings of the ingenuity of human beings; but add that they do not wish to live in the same city as law-breakers.

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suggests that the only reason for Antigone's return to the burial site is that the first time she forgot the Choaí (

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that are inalienable because they come from the highest authority, or authority itself, that is the divine law.

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throne, which resulted in both brothers dying fighting each other. Oedipus' brother-in-law and new Theban ruler

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In 2004, theatre companies Crossing Jamaica Avenue and The Women's Project in New York City co-produced the

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for the other prisoners, drawing parallels between Antigone herself and black political prisoners held in

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by police in 2014, through a collaboration between Theater of War Productions and community members from

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was inspired by both Sophocles' play and the myth itself. Anouilh's play premièred in Paris at the

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created an adaptation of Sophocles' Antigone at Théâtre de l'Atelier in Paris on December 22, 1922.

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Tycho von Wilamowitz-Moellendorff justifies the need for the second burial by comparing Sophocles'

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2013 – George Porter, verse ("Black Antigone: Sophocles' tragedy meets the heartbeat of Africa",

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was written and directed by Homayoun Ghanizadeh and staged at the City Theatre in Tehran in 2011.

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of the same year. It is thought to be the second oldest surviving play of Sophocles, preceded by

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by Sophocles, and comments on an era of government terrorism that later transformed into the

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adapted the play into a one-actor piece that remains as part of the group's repertoire.

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Antigones: How the Antigone Legend Has Endured in Western Literature, Art, and Thought

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Rose, J. L. (March 1952). "The Problem of the Second Burial in Sophocles' Antigone".

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Sophocles, Volume II: Antigone, The Women of Trachis, Philoctetes, Oedipus at Colonus

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This article is about the play by Sophocles. For the main character in the play, see

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A messenger enters to tell the leader of the Chorus that Haemon has killed himself.

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The Chorus, consisting of Theban elders, enter and cast the background story of the

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The Chorus encourages Antigone by singing of the great women of myth who suffered.

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This contrasts with the other Athenian tragedians, who reference Olympus often.

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of each city would collect their own dead after a large battle to bury them. In

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is based on rational thought or instinct, a debate whose contributors include

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2014 – Marie Slaight and Terrence Tasker, verse and art ('"The Antigone Poems

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Levy, Charles S. (1963). "Antigone's Motives: A Suggested Interpretation".

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for the Pilot Theatre relocates the setting to contemporary street culture.

1156:'s staging of the play in 1841. It includes an overture and seven choruses. 1123:'s 'divine' law to modern peremptory norms of customary international law ( 666:

but she is unable to stop Antigone from going to bury her brother herself.

3452: 4186: 4180: 3929: 3918: 3908: 3891: 3844: 3824: 3809: 3598: 2297: 1686: 1467: 1455: 1083: 1079: 960: 894: 813: 768: 756: 728: 720: 333: 313: 288: 277: 233: 97: 77: 20: 3424:. Translated by Dennis Porter. New York: W.W. Norton. pp. 240–286. 2959:[Take a look at the "Antigone" display of Homayoun Ghanizadeh]. 2455:

The Drama: Its History, Literature and Influence on Civilization, Vol. 1

1655:

is a contemporary political fantasy based upon the Sophocles play, with

1489:, premiered on December 28, 1927, at Théâtre de la Monnaie in Bruxelles. 4168: 4130: 3876: 3834: 3104: 2709: 763:, the exiled king of Thebes and queen Jocasta. Antigone is a sister of 760: 329: 284: 3461: 2860: 2795: 2371:. Sophocles, translated by Jebb Richard Claverhouse. Wikisource. 1080. 2353:

The Three Theban Plays: Antigone, Oedipus the King, Oedipus at Colonus

4198: 3819: 3814: 3603: 2841:

Transactions and Proceedings of the American Philological Association

1877:

1911 – Joseph Edward Harry, verse (Cincinnati: Robert Clarke, 1911) (

1423: 1019: 893:

Both Antigone and Creon claim divine sanction for their actions; but

799: 778: 772: 696: 337: 222: 93: 81: 3422:

The Seminar of Jacques Lacan, Book VII: The Ethics of Psychoanalysis

3063:"Syrian Women Displaced By War Make Tragedy Of 'Antigone' Their Own" 2538: 1005:

Antigone being captured and arrested for the burial of her brother,

3579: 2852: 2787: 2662:

Form and Meaning in Drama: A Study of Six Greek Plays and of Hamlet

2094:

2003 – Reginald Gibbons and Charles Segal, verse (Oxford UP, 2007;

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transposed the story into one of a modern-day immigrant family in

1322: 836: 3128:"'Antigone in the Amazon' Review: The Drama Is Brazil's Land War" 2039:

1997 – George Judy, adaptation for children (Pioneer Drama, 1997)

1829: 4102: 3768: 3607: 1863:

1899 – G. H. Palmer, verse (Boston: Houghton and Mifflin, 1899)

2725:"Ismene's Forced Choice: Sacrifice and Sorority in Sophocles' 1751: 1238: 2355:. Translated by Robert Fagles. New York: Penguin. p. 35. 1712:

directed two television productions of the play, in 1958 for

1302:, features two cellmates who rehearse and ultimately perform 712:

the laws of the gods. She is taken away to her living tomb.

909:, whose translation had a strong impact on the philosopher 196: 190: 4098: 2458:. London: Historical Publishing Company. pp. 112–123. 1772:; the translation was by Anne Carson and the film starred 328:, the new ruler of Thebes and brother of the former Queen 2957:"نگاهی به نمایش "آنتیگونه" نوشته و کار "همایون غنی‌زاده"" 2812:

Sophocles: Oedipus the King, Oedipus at Colonus, Antigone

2571:. Translated by Robert Whitelaw. Oxford: Clarendon Press. 692:

The Chorus sings of the troubles of the house of Oedipus.

187: 184: 172: 3480:

Tragedy and Civilization: An Interpretation of Sophocles

2903:"Bangla director dedicates new film to 1971 war martyrs" 1764:

was a 2015 filmed-for-TV version of a production at the

1356:, Karen Hartman, Chiori Miyagawa, Pulitzer Prize winner 3355:"The Jayne Lecture: Title Deeds: Translating a Classic" 1162:

wrote an adaptation in 1917, inspired by the events of

3387:. New Haven: Yale University Press. pp. 156–176. 3300:"Deutschland Im Herbst – Film (Movie) Plot and Review" 3233:"BU Opera fest's 'Antigone' is a lesson in excellence" 2839:

MacKay, L. (1962). "Antigone, Coriolanus, and Hegel".

948:

An important issue still debated regarding Sophocles'

324:' civil war, died fighting each other for the throne. 3584:– Open Access (CC-BY) verse translation by Robin Bond 3482:. Norman: University of Oklahoma Press. p. 266. 2909:. New Delhi: NDTV Convergence Limited. Archived from 2775:

Transactions of the American Philological Association

2115:– verse adaptation (Farrar, Straus and Giroux, 2005; 205: 193: 175: 3576:– study guide, themes, quotes, and teacher resources 1540:

with a libretto by Gerhard Müller, premiered at the

1390:

In 2000, Peruvian theatre group Yuyachkani and poet

340:

are the sisters of the dead Polynices and Eteocles.

181: 4611: 4555: 4472: 4400: 4362: 4314: 4227: 4220: 4138: 4043: 3953: 3802: 3702: 3642: 1621:publish a speculative fiction version of Antigone, 1559:(2007–2008) by Dominique Le Gendre and libretto by 276:ends. The play is named after the main protagonist 178: 149: 139: 129: 121: 111: 73: 62: 52: 28: 3331: 2267:movement that focuses on Antigone's coming of age. 3884:(second rule) (regent for Eteocles and Polynices) 3362:Proceedings of the American Philosophical Society 3274:"The Deferred Antigone (Germany in Autumn, 1978)" 2263:. A punk rock musical adaptation inspired by the 1927:1949 – Robert Whitelaw, verse (Rinehart Editions) 1383:to parallel the story to the martyrs of the 1971 312:Prior to the beginning of the play, the brothers 232:in (or before) 441 BC and first performed at the 3334:Antigone's Claim: Kinship Between Life and Death 2400:. Translated by E.F. Watling. The Penguin Group. 1519:, on an English libretto by Fitts and Fitzgerald 1337:, is an Argentinian drama heavily influenced by 3044:"Antigone Review – engaging Gangland Sophocles" 2874:Titi, Catharine; Titi, Catharine (2021-06-11). 1035:Natural law and contemporary legal institutions 266:legend that predates it, and it picks up where 2398:Sophocles: The Theban Plays (Penguin Classics) 1933:1950 – W. J. Gruffydd (translation into Welsh) 1924:1947 – E. F. Watling, verse (Penguin classics) 1436:is an adaptation conceived in the wake of the 1245:as voiced entities throughout the performance. 4114: 3780: 3619: 2880:. Oxford, New York: Oxford University Press. 2742:. The Johns Hopkins University Press: 29–68. 2597:. Univ of Massachusetts Press, 1995. p. 190. 2471:Antigone: Sophocles' Art, Hölderlin's Insight 1852:1888 – Sir George Young, verse (Dover, 2006; 8: 2993:. The Royal National Theatre. Archived from 1940:(translated and adapted into Haitian Creole) 1418:Syrian playwright Mohammad Al-Attar adapted 727:The Chorus delivers a choral ode to the god 3565:has original text related to this article: 3185:International Institute of Political Murder 2963:(in Persian). February 1389. Archived from 2877:The Function of Equity in International Law 4224: 4121: 4107: 4099: 3787: 3773: 3765: 3626: 3612: 3604: 2640:. University of Texas Press. p. 173. 2617:. Indiana University Press, 2005. p. 118. 2581: 2411: 2409: 2407: 1728:, respectively, performed the title role. 34: 25: 3460: 2834: 2832: 1970:1962 – Michael Townsend, (Longman, 1997; 1458:in June 2022, directed by Anthony Nicola. 1251:inspired the 1967 Spanish-language novel 1107:Following in the Aristotelian tradition, 3412:. Bloomington: Indiana University Press. 2682:. Cambridge: Cambridge University Press. 1452:State Theatre Company of South Australia 1000: 864:contrasts with the chorus in Aeschylus' 3338:. New York: Columbia University Press. 3042:Hickling, Alfred (September 23, 2014). 2901:Press Trust of India (March 11, 2010). 2767: 2765: 2691: 2689: 2524: 2512: 2343: 2324: 1988:, verse with introduction and notes by 1693:, with additional inspiration from the 41:Antigone in front of the dead Polynices 4699:Political philosophy in ancient Greece 3383:; Gregory Fried; Richard Polt (2000). 2374: 2162:Sophocles' Antigone: A New Translation 1642:, which he also directed. It featured 1333:, written in the period of 1985-86 by 1210:, which was based on a translation by 703:The Chorus sings of the power of love. 4629:Feminist views on the Oedipus complex 2664:. London: Methuen, 1956. pp. 138–178. 1229:into Haitian Creole under the title, 922:The Ode on Man in Sophocles' Antigone 656: 654: 651: 649: 646: 644: 641: 639: 636: 634: 596: 590: 588: 586: 552: 550: 532: 530: 528: 526: 524: 522: 520: 509: 507: 505: 503: 501: 499: 493: 487: 485: 483: 481: 479: 477: 475: 469: 467: 461: 459: 457: 455: 453: 451: 449: 430: 425: 423: 421: 419: 416: 407: 405: 403: 401: 383: 365: 363: 361: 359: 357: 355: 353: 351: 349: 347: 345: 7: 4177:(Jocasta's brother/Laius' successor) 3501:. New Haven: Yale University Press. 3061:Fordham, Alice (December 13, 2014). 3016:Billington, Michael (31 May 2012). 2931:Yuyachkani Cultural Group: Antigone 2926:Grupo Cultural Yuyachkani: Antígona 2123:), also adapted as an opera in 2008 1930:1950 – Theodore Howard Banks, verse 1847:full text on Wikisource, with audio 1795:(1959), both broadcast by the BBC. 1397:An Iranian absurdist adaptation of 936:. In a series of lectures in 1942, 4719:Plays based on classical mythology 4171:/Epicaste (biological mother/wife) 3899:(third rule) (regent for Laodamas) 2136:2006 – George Theodoridis, prose: 1411:Roy Williams's 2014 adaptation of 1221:The Haitian writer and playwright 1214:and was published under the title 14: 3231:Medrek, T.J. (November 6, 1999). 2428:, Nick Hern Books, archived from 1689:. It was adapted and directed by 1111:is also seen as a case-study for 674:into a mythic and heroic context. 4081: 4070: 4069: 3587: 3556: 3353:Heaney, Seamus (December 2004). 1981:1973 – Richard Emil Braun, verse 1733:filmed for Australian TV in 1966 1387:who were denied a proper burial. 1368:and playwright Lisa Schlesinger. 944:The problem of the second burial 890:adheres best to strict justice. 843:, and—with the exception of the 262:first. The story expands on the 168: 4146:Theban kings in Greek mythology 3126:Cappelle, Laura (15 May 2023). 2987:"Antigone: Cast & creative" 2469:Rosenfield, Kathrin H. (2010). 1943:1954 – Elizabeth Wyckoff, verse 885:Significance and interpretation 295:engaged in a civil war for the 4709:Greek plays adapted into films 3385:An Introduction to Metaphysics 2595:Heidegger's Political Thinking 2539:"L'immoralità della Giustizia" 2496:The Life and Work of Sophocles 2302:, verse, Invictus Publishing, 1272:La Pasión según Antígona Pérez 1: 4674:Books in political philosophy 3098:Mead, Rachael (2 June 2022). 2674:Jebb, Sir Richard C. (1900). 2164:. Cambridge University Press. 1921:, (modern French translation) 1900:1931 – Shaemas O'Sheel, prose 1836:Johann Jakob Christian Donner 1714:RAI Radiotelevisione Italiana 1189:in February 1944, during the 1131:in order to correct the law. 3547:Resources in other libraries 3409:Hölderlin's Hymn "The Ister" 3368:(4): 411–426. Archived from 3241:. p. 22. Archived from 2637:A Companion to Greek Tragedy 2563:Collins, J. Churtin (1906). 2543:L'Immoralità della Giustizia 2537:Chiara Casi (January 2018). 2064:2000 – Marianne MacDonald, ( 1890:1926 – Ettore Romagnoli, in 1799:Translations and adaptations 1617:2023 saw bestselling author 1379:also draws inspiration from 1013:A well established theme in 320:, leading opposite sides in 4694:Plays set in ancient Greece 3597:public domain audiobook at 2937:(in Spanish). 11 March 2011 2452:Bates, Alfred, ed. (1906). 2416:McDonald, Marianne (2002), 1683:2019 Canadian film adaption 1569:(2020) oratory composed by 1150:a suite of incidental music 938:Hölderlin's Hymn, The Ister 4735: 3837:(regent for Labdacus) and 3100:"Theatre review: Antigone" 2494:Letters, F. J. H. (1953). 2130:, verse (modern English): 1804:1550 – Georgio Rotallero: 1742:starred as Antigone, with 1385:Bangladeshi Liberation War 1009:. Sébastien Norblin, 1825. 218: 18: 4714:Plays adapted into operas 4588:The Gods Are Not to Blame 4064: 3542:Resources in your library 2615:The Question of Sacrifice 2296:2023 – Edward Alexander, 2144:A. F. Th. van der Heijden 2013:1991 – David Grene, verse 1697:. Antigone was played by 1695:Death of Fredy Villanueva 1597:, a book of prose set in 1438:shooting of Michael Brown 1422:for a 2014 production at 1191:Nazi occupation of France 920:Heidegger, in his essay, 759:, the oldest daughter of 628: 626: 624: 622: 616: 614: 608: 606: 604: 594: 592: 584: 580: 578: 576: 574: 568: 566: 564: 562: 560: 558: 540: 536: 534: 518: 514: 512: 491: 489: 473: 471: 465: 463: 441: 435: 428: 414: 412: 410: 395: 393: 391: 381: 377: 371: 33: 3497:Steiner, George (1996). 3207:"Antigone in the Amazon" 3155:"Antigone in the Amazon" 2748:10.1353/are.2011.a413524 2565:"The Ethics of Antigone" 2252:2017 – Griff Bludworth, 2175:, New Directions Press; 2083:, verse (Hackett, 2001; 1960:1958 – Paul Roche, verse 1884:1912 – F. Storr, verse: 1783:Other TV adaptations of 1762:Antigone at the Barbican 1638:adapted the play into a 1266:Puerto Rican playwright 1204:composed an adaptation, 4513:Funeral Parade of Roses 3478:Segal, Charles (1999). 3406:; Davis, Julia (1996). 2634:Ferguson, John (2013). 2254:ANTIGONE (born against) 2218:, with introduction by 2199:, Altaire Productions; 1879:full text on Wikisource 1872:full text on Wikisource 1533:Antigone oder die Stadt 1225:translated and adapted 287:' self-exile, his sons 4201:(half sister/daughter) 4183:(half sister/daughter) 3921:(regent for Tisamenus) 3081:"Antigone in Ferguson" 2723:Honig, Bonnie (2011). 2381:: CS1 maint: others ( 2222:, Bloomsbury, New York 2026:Loeb Classical Library 1670:features a segment by 1666:The 1978 omnibus film 1649:Liliana Cavani's 1970 1463:Antigone in the Amazon 1406:Royal National Theatre 1010: 803:finding Antigone dead. 4353:The Gospel at Colonus 4087:Portal:Ancient Greece 4075:Category:Theban kings 3841:(regent for Labdacus) 3453:10.1353/hel.2014.0007 3067:National Public Radio 2698:The Classical Journal 2613:Keenan, Dennis King. 2211:2016 – Frank Nisetich 1938:Félix Morisseau-Leroy 1371:Bangladeshi director 1241:from the pantheon of 1223:Félix Morisseau-Leroy 1070:Portrayal of the gods 1004: 4387:The Burial at Thebes 4339:The Infernal Machine 4291:The Phoenician Women 4239:Seven Against Thebes 4056:Necklace of Harmonia 4027:Seven Against Thebes 4020:The Phoenician Women 3739:Odysseus Acanthoplex 3528:Sophocles's Antigone 2259:2017 – Seonjae Kim, 2160:2011 – Diane Rayor, 2112:The Burial at Thebes 1556:The Burial at Thebes 1542:Komische Oper Berlin 1527:Marjorie S. Merryman 1517:Dinos Constantinides 1434:Antigone in Ferguson 1317:was translated into 1308:Robben Island prison 1253:La tumba de Antígona 1187:Théâtre de l'Atelier 874:Seven Against Thebes 868:, the play of which 866:Seven Against Thebes 672:Seven against Thebes 273:Seven Against Thebes 234:Festival of Dionysus 103:Leader of the Chorus 16:Tragedy by Sophocles 4153:(biological father) 3581:Sophocles' Antigone 3402:Heidegger, Martin; 3018:"Antigone – review" 2569:Sophocles' Antigone 2502:. pp. 147–148. 2171:, play adaptation ( 1950:, verse translation 1750:as Tiresias in the 1722:Valentina Fortunato 1544:in 1991, staged by 1377:Rabeya (The Sister) 1268:Luis Rafael Sánchez 1216:Antigonemodell 1948 1212:Friedrich Hölderlin 907:Friedrich Hölderlin 4689:Plays by Sophocles 4679:Civil disobedience 4635:Hamlet and Oedipus 4326:(Dryden & Lee) 4265:Oedipus at Colonus 4195:(half brother/son) 4189:(half brother/son) 4157:Polybus of Corinth 4139:Titles and lineage 4006:Oedipus at Colonus 3861:Amphion and Zethus 3852:(regent for Laius) 3693:Oedipus at Colonus 3133:The New York Times 2809:Sophocles (1991). 2584:, pp. 99–121. 2396:Sophocles (1947). 2351:Sophocles (1986). 2272:Antigone: Antibody 2270:2019 – Niloy Roy, 2245:2017 – Brad Poer, 1843:Edward H. Plumptre 1710:Vittorio Cottafavi 1599:Tamaulipas, Mexico 1442:Ferguson, Missouri 1175:French playwright 1160:Walter Hasenclever 1135:Modern adaptations 1011: 997:Civil disobedience 828:Historical context 793:Eurydice of Thebes 255:Oedipus at Colonus 244:three Theban plays 4661: 4660: 4582:Lille Stesichorus 4396: 4395: 4165:(adoptive mother) 4159:(adoptive father) 4096: 4095: 3762: 3761: 3703:Fragmentary plays 3523:Library resources 3381:Heidegger, Martin 3298:Gillespie, Jill. 3211:Adelaide Festival 3161:. 22 January 2024 2997:on 31 August 2012 2887:978-0-19-886800-2 2247:Antigone: Closure 2089:978-0-87220-571-0 2002:, Methuen Drama; 1909:Robert Fitzgerald 1668:Germany in Autumn 1594:Antígona González 1550:Jörg-Peter Weigle 1548:and conducted by 1507:Salzburg Festival 1375:in his 2008 film 1366:Marianne McDonald 1286:-era play by the 1146:Felix Mendelssohn 663: 662: 159: 158: 140:Original language 4726: 4704:Theban mythology 4505:Oedipus the King 4363:Other (Antigone) 4225: 4133: 4123: 4116: 4109: 4100: 4085: 4073: 4072: 4044:Related articles 3972:(Euripides play) 3789: 3782: 3775: 3766: 3718:Amycos Satyrykos 3665:Women of Trachis 3628: 3621: 3614: 3605: 3591: 3590: 3560: 3512: 3493: 3474: 3464: 3435: 3413: 3404:McNeill, William 3398: 3376: 3374: 3359: 3349: 3337: 3315: 3314: 3312: 3310: 3295: 3289: 3288: 3286: 3284: 3261: 3255: 3254: 3252: 3250: 3245:on July 25, 2012 3228: 3222: 3221: 3219: 3217: 3203: 3197: 3196: 3194: 3192: 3177: 3171: 3170: 3168: 3166: 3151: 3145: 3144: 3142: 3140: 3123: 3117: 3116: 3114: 3112: 3095: 3089: 3088: 3077: 3071: 3070: 3058: 3052: 3051: 3039: 3033: 3032: 3030: 3028: 3013: 3007: 3006: 3004: 3002: 2991:National Theatre 2983: 2977: 2976: 2974: 2972: 2967:on 24 March 2018 2953: 2947: 2946: 2944: 2942: 2921: 2915: 2914: 2913:on 14 July 2011. 2898: 2892: 2891: 2871: 2865: 2864: 2836: 2827: 2826: 2806: 2800: 2799: 2769: 2760: 2759: 2733: 2720: 2714: 2713: 2693: 2684: 2683: 2671: 2665: 2660:Kitto, H. 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F. 2658: 2652: 2651: 2631: 2625: 2611: 2605: 2591: 2585: 2579: 2573: 2572: 2560: 2554: 2553: 2551: 2549: 2534: 2528: 2522: 2516: 2510: 2504: 2503: 2491: 2485: 2484: 2466: 2460: 2459: 2449: 2443: 2442: 2441: 2440: 2434: 2427: 2413: 2402: 2401: 2393: 2387: 2386: 2380: 2372: 2363: 2357: 2356: 2348: 2332: 2329: 2059:Declan Donnellan 2018:Hugh Lloyd-Jones 2000:The Theban Plays 1955:Shahrokh Meskoob 1892:hendecasyllables 1826:hendecasyllables 1822:Vittorio Alfieri 1776:as Antigone and 1774:Juliette Binoche 1756:The Theban Plays 1740:Juliet Stevenson 1716:and in 1971 for 1659:as Antigone and 1636:George Tzavellas 1624:Arch-Conspirator 1350:Antigone Project 1335:Griselda Gambaro 1330:Antigona Furiosa 1255:(English title: 911:Martin Heidegger 905:The German poet 856:Notable features 343: 342: 220: 209: 203: 202: 199: 198: 195: 192: 189: 186: 183: 180: 177: 174: 107:Second Messenger 45:Nikiforos Lytras 38: 26: 4734: 4733: 4729: 4728: 4727: 4725: 4724: 4723: 4664: 4663: 4662: 4657: 4646:Phaedra complex 4641:Jocasta complex 4624:Electra complex 4619:Oedipus complex 4607: 4551: 4468: 4392: 4358: 4315:Other (Oedipus) 4310: 4216: 4134: 4129: 4127: 4097: 4092: 4060: 4039: 3949: 3798: 3796:Kings of Thebes 3793: 3763: 3758: 3698: 3638: 3632: 3588: 3553: 3552: 3551: 3531: 3530: 3526: 3519: 3509: 3496: 3490: 3477: 3438: 3432: 3416: 3401: 3395: 3379: 3372: 3357: 3352: 3346: 3326: 3323: 3321:Further reading 3318: 3308: 3306: 3297: 3296: 3292: 3282: 3280: 3272: 3269:Wayback Machine 3262: 3258: 3248: 3246: 3230: 3229: 3225: 3215: 3213: 3205: 3204: 3200: 3190: 3188: 3187:. 17 April 1996 3179: 3178: 3174: 3164: 3162: 3153: 3152: 3148: 3138: 3136: 3125: 3124: 3120: 3110: 3108: 3097: 3096: 3092: 3079: 3078: 3074: 3060: 3059: 3055: 3041: 3040: 3036: 3026: 3024: 3015: 3014: 3010: 3000: 2998: 2985: 2984: 2980: 2970: 2968: 2955: 2954: 2950: 2940: 2938: 2923: 2922: 2918: 2900: 2899: 2895: 2888: 2873: 2872: 2868: 2838: 2837: 2830: 2823: 2808: 2807: 2803: 2771: 2770: 2763: 2731: 2722: 2721: 2717: 2695: 2694: 2687: 2673: 2672: 2668: 2659: 2655: 2648: 2633: 2632: 2628: 2612: 2608: 2593:Ward, James F. 2592: 2588: 2582:Rosenfield 2010 2580: 2576: 2562: 2561: 2557: 2547: 2545: 2536: 2535: 2531: 2523: 2519: 2511: 2507: 2493: 2492: 2488: 2481: 2468: 2467: 2463: 2451: 2450: 2446: 2438: 2436: 2432: 2425: 2415: 2414: 2405: 2395: 2394: 2390: 2373: 2365: 2364: 2360: 2350: 2349: 2345: 2341: 2336: 2335: 2330: 2326: 2321: 2316: 2128:Ian C. Johnston 2066:Nick Hern Books 1896:text in Italian 1868:Richard C. Jebb 1830:text in Italian 1801: 1707: 1661:Pierre Clémenti 1633: 1586: 1487:Arthur Honegger 1477: 1448:Elena Carapetis 1426:, performed by 1373:Tanvir Mokammel 1300:Winston Nthsona 1257:Antigone's Tomb 1142: 1137: 1105: 1096: 1094:Love for family 1072: 1054: 1037: 999: 994: 967:Gilbert Norwood 957:Richard C. Jebb 946: 887: 858: 830: 753: 310: 207: 171: 167: 130:Place premiered 116: 106: 105:First Messenger 104: 102: 100: 96: 92: 88: 84: 80: 48: 24: 17: 12: 11: 5: 4732: 4730: 4722: 4721: 4716: 4711: 4706: 4701: 4696: 4691: 4686: 4681: 4676: 4666: 4665: 4659: 4658: 4656: 4655: 4648: 4643: 4638: 4631: 4626: 4621: 4615: 4613: 4609: 4608: 4606: 4605: 4598: 4591: 4584: 4579: 4574: 4567: 4559: 4557: 4553: 4552: 4550: 4549: 4541: 4533: 4525: 4517: 4509: 4501: 4493: 4485: 4476: 4474: 4470: 4469: 4467: 4466: 4458: 4451: 4444: 4436: 4428: 4425:Œdipe à Colone 4421: 4413: 4404: 4402: 4398: 4397: 4394: 4393: 4391: 4390: 4383: 4375: 4366: 4364: 4360: 4359: 4357: 4356: 4349: 4342: 4335: 4327: 4318: 4316: 4312: 4311: 4309: 4308: 4307: 4306: 4296: 4295: 4294: 4287: 4280: 4270: 4269: 4268: 4261: 4254: 4244: 4243: 4242: 4231: 4229: 4222: 4218: 4217: 4215: 4214: 4208: 4202: 4196: 4190: 4184: 4178: 4172: 4166: 4160: 4154: 4148: 4142: 4140: 4136: 4135: 4128: 4126: 4125: 4118: 4111: 4103: 4094: 4093: 4091: 4090: 4078: 4065: 4062: 4061: 4059: 4058: 4053: 4047: 4045: 4041: 4040: 4038: 4037: 4030: 4023: 4016: 4009: 4002: 3995: 3988: 3981: 3974: 3966: 3957: 3955: 3951: 3950: 3948: 3947: 3942: 3937: 3932: 3927: 3922: 3916: 3911: 3906: 3900: 3894: 3885: 3879: 3874: 3869: 3863: 3858: 3853: 3847: 3842: 3832: 3827: 3822: 3817: 3812: 3806: 3804: 3800: 3799: 3794: 3792: 3791: 3784: 3777: 3769: 3760: 3759: 3757: 3756: 3749: 3742: 3735: 3728: 3721: 3714: 3706: 3704: 3700: 3699: 3697: 3696: 3689: 3682: 3675: 3668: 3661: 3654: 3646: 3644: 3640: 3639: 3633: 3631: 3630: 3623: 3616: 3608: 3602: 3601: 3585: 3577: 3569: 3550: 3549: 3544: 3539: 3533: 3532: 3521: 3520: 3518: 3517:External links 3515: 3514: 3513: 3507: 3494: 3489:978-0806131368 3488: 3475: 3447:(2): 163–185. 3436: 3430: 3418:Lacan, Jacques 3414: 3399: 3394:978-0300083286 3393: 3377: 3375:on 2011-10-18. 3350: 3344: 3328:Butler, Judith 3322: 3319: 3317: 3316: 3290: 3256: 3223: 3198: 3172: 3146: 3118: 3090: 3085:Theater of War 3072: 3053: 3034: 3008: 2978: 2948: 2916: 2893: 2886: 2866: 2853:10.2307/283759 2828: 2822:978-0226307923 2821: 2801: 2788:10.2307/283641 2761: 2715: 2704:(6): 220–221. 2685: 2666: 2653: 2647:978-0292759701 2646: 2626: 2623:978-0253110565 2606: 2603:978-0870239700 2586: 2574: 2555: 2529: 2527:, p. 147. 2517: 2515:, p. 156. 2505: 2500:Sheed and Ward 2486: 2480:978-1934542224 2479: 2461: 2444: 2403: 2388: 2358: 2342: 2340: 2337: 2334: 2333: 2323: 2322: 2320: 2317: 2315: 2312: 2311: 2310: 2308:979-8393254292 2294: 2287: 2279:Sophie Deraspe 2275: 2268: 2257: 2250: 2243: 2241:978-1408886779 2227:Kamila Shamsie 2223: 2220:Hanif Kureishi 2212: 2209: 2205:978-0980644708 2195: 2192:978-1909183230 2184: 2181:978-0811219570 2165: 2158: 2155:978-0578031507 2147: 2140: 2134: 2124: 2121:978-0374530075 2103: 2100:978-0195143102 2092: 2077: 2074:978-1854592002 2062: 2055: 2040: 2037: 2034:978-0674995581 2028:No. 21, 1994; 2014: 2011: 2008:978-0413424600 1992: 1982: 1979: 1976:978-0810202146 1968: 1965:H. D. F. Kitto 1961: 1958: 1957:(into Persian) 1951: 1944: 1941: 1934: 1931: 1928: 1925: 1922: 1915: 1901: 1898: 1888: 1882: 1875: 1864: 1861: 1858:978-0486450490 1850: 1839: 1838:, German verse 1832: 1818: 1808: 1800: 1797: 1778:Patrick O'Kane 1706: 1703: 1691:Sophie Deraspe 1632: 1629: 1606:Kamila Shamsie 1585: 1582: 1581: 1580: 1564: 1552: 1529: 1520: 1510: 1490: 1476: 1473: 1472: 1471: 1459: 1445: 1431: 1428:Syrian refugee 1416: 1409: 1402: 1395: 1388: 1369: 1354:Tanya Barfield 1346: 1326: 1311: 1275: 1264: 1261:María Zambrano 1246: 1219: 1202:Bertolt Brecht 1194: 1173: 1167: 1157: 1141: 1138: 1136: 1133: 1117:Catharine Titi 1104: 1101: 1095: 1092: 1071: 1068: 1053: 1050: 1036: 1033: 998: 995: 993: 990: 945: 942: 886: 883: 860:The Chorus in 857: 854: 829: 826: 825: 824: 818: 811: 804: 797: 790: 783: 776: 752: 749: 733: 732: 718: 717: 705: 704: 694: 693: 685: 684: 676: 675: 661: 659: 658: 655: 653: 650: 648: 645: 643: 640: 638: 635: 632: 631: 629: 627: 625: 623: 621: 619: 617: 615: 613: 611: 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2309: 2305: 2301: 2300: 2295: 2292: 2288: 2286: 2285: 2280: 2276: 2273: 2269: 2266: 2262: 2261:Riot Antigone 2258: 2255: 2251: 2248: 2244: 2242: 2238: 2234: 2233: 2228: 2224: 2221: 2217: 2213: 2210: 2208: 2206: 2202: 2196: 2193: 2189: 2185: 2182: 2178: 2174: 2170: 2166: 2163: 2159: 2156: 2152: 2148: 2145: 2141: 2139: 2135: 2133: 2129: 2125: 2122: 2118: 2114: 2113: 2108: 2107:Seamus Heaney 2104: 2101: 2097: 2093: 2090: 2086: 2082: 2081:Paul Woodruff 2078: 2075: 2071: 2067: 2063: 2060: 2056: 2053: 2049: 2045: 2044:Ruby Blondell 2041: 2038: 2035: 2031: 2027: 2023: 2019: 2015: 2012: 2009: 2005: 2001: 1997: 1993: 1991: 1987: 1986:Robert Fagles 1983: 1980: 1977: 1973: 1969: 1966: 1962: 1959: 1956: 1952: 1949: 1945: 1942: 1939: 1935: 1932: 1929: 1926: 1923: 1920: 1916: 1914: 1910: 1906: 1902: 1899: 1897: 1893: 1889: 1887: 1883: 1880: 1876: 1873: 1869: 1865: 1862: 1859: 1855: 1851: 1848: 1844: 1840: 1837: 1833: 1831: 1827: 1823: 1819: 1817: 1813: 1809: 1807: 1806:text in Latin 1803: 1802: 1798: 1796: 1794: 1793:Dorothy Tutin 1790: 1787:have starred 1786: 1781: 1779: 1775: 1771: 1767: 1763: 1759: 1757: 1753: 1749: 1746:as Creon and 1745: 1744:John Shrapnel 1741: 1736: 1734: 1729: 1727: 1723: 1719: 1715: 1711: 1704: 1702: 1700: 1696: 1692: 1688: 1684: 1679: 1677: 1676:"too topical" 1673: 1672:Heinrich Böll 1669: 1664: 1663:as Tiresias. 1662: 1658: 1654: 1653: 1647: 1646:as Antigone. 1645: 1641: 1637: 1630: 1628: 1626: 1625: 1620: 1619:Veronica Roth 1615: 1613: 1612: 1607: 1602: 1600: 1596: 1595: 1590: 1583: 1578: 1577: 1572: 1568: 1565: 1562: 1561:Seamus Heaney 1558: 1557: 1553: 1551: 1547: 1543: 1539: 1535: 1534: 1530: 1528: 1524: 1521: 1518: 1514: 1511: 1508: 1504: 1503:Literaturoper 1500: 1496: 1495: 1491: 1488: 1484: 1483: 1479: 1478: 1474: 1469: 1465: 1464: 1460: 1457: 1453: 1449: 1446: 1443: 1439: 1435: 1432: 1429: 1425: 1421: 1417: 1414: 1410: 1407: 1404:In 2012, the 1403: 1400: 1396: 1393: 1392:José Watanabe 1389: 1386: 1382: 1378: 1374: 1370: 1367: 1363: 1362:Caridad Svich 1359: 1355: 1351: 1347: 1345:of Argentina. 1344: 1340: 1336: 1332: 1331: 1327: 1324: 1320: 1316: 1312: 1309: 1305: 1301: 1297: 1293: 1289: 1288:South African 1285: 1281: 1280: 1276: 1273: 1270:'s 1968 play 1269: 1265: 1262: 1258: 1254: 1250: 1247: 1244: 1243:Haitian Vodou 1240: 1236: 1232: 1228: 1224: 1220: 1217: 1213: 1209: 1208: 1203: 1199: 1195: 1192: 1188: 1184: 1183: 1178: 1174: 1171: 1168: 1165: 1161: 1158: 1155: 1151: 1147: 1144: 1143: 1139: 1134: 1132: 1130: 1126: 1122: 1118: 1114: 1110: 1102: 1100: 1093: 1091: 1089: 1085: 1081: 1077: 1069: 1067: 1063: 1060: 1051: 1049: 1045: 1043: 1034: 1032: 1029: 1023: 1021: 1016: 1008: 1003: 996: 991: 989: 987: 983: 979: 976: 971: 968: 964: 962: 958: 954: 951: 943: 941: 939: 935: 931: 927: 923: 918: 916: 912: 908: 903: 901: 896: 891: 884: 882: 880: 875: 871: 867: 863: 855: 853: 850: 846: 842: 838: 834: 827: 822: 819: 815: 812: 808: 805: 801: 798: 794: 791: 787: 784: 780: 777: 774: 770: 766: 762: 758: 755: 754: 750: 748: 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