Oedipus Rex and Antigone: How do Sophocles and Anouilh use Ancient Greek legends to produce effective plays

that fit their historical context and audiences?

Juliana Moreira de Souza

Word Count: 1498

Juliana Moreira de Souza

August 2011

Oedipus Rex and Antigone are two of the plays in Sophocles infamous Theban trilogy, concerning the fate of Thebes during and after King Oedipus reign. The Ancient Greek tragedian based himself on the mythological episode of Oedipus to create a production directed towards proletarian crowds, and made to be performed in the open public theatres of Classical Athens. More than two thousand years later, in 1943, French playwright Jean Anouilh - motivated by the tragic events of World War II - published a contemporary interpretation of Antigone. While Sophocles Oedipus Rex was developed for popular entertainment - though also delivering a philosophical message on the tragedy of human existence -, Anouilhs piece attempted to negatively portray Vichys government and inspire its audiences towards political counteraction. The latter, written in Nazi-occupied France, can be seen as an optimistic provocation in a time of disillusion. This study reveals how each author uses the original Greek legends to produce plays that are effective to their audiences, and that fit their historical contexts. The characterization of the protagonists in both plays tells us much about the authors intentions. Oedipus character is timeless; he perfectly represents mans selfish nature. His unique pride and stubbornness instigate quarrels with characters such as Teiresias and Creon, creating suspense amongst an audience eager to see how they will react with fiery comebacks and melodrama: Teiresias: () You are the cursed polluter of this land. Oedipus: You dare to say it! Have you no shame at all? Do you expect to escape the consequence? Teiresias: I have escaped. The truth is my defence.1

Oedipus Rex pg. 35

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August 2011

The audience expects conflict and paroxysms of strong emotion, because this is what makes an exciting story; what fun would there be if Oedipus instead of scolding Teiresias for his audacity, brutally calling him a shameless and brainless, sightless, senseless sot2 chose to ignore the prophets warning, dismissing him in cool indifference? This would lead to another completely different and perhaps more dull story line. In the beginning, we see the king as a vain power-obsessed man endeavouring ever so hard to look like the peoples saviour, convinced he is exempt from all harm due to his position as ruler. The fair assumption that the audiences of then knew of his alternative outcome makes us think that his pomposity and senselessness were probably regarded as highly humorous. Even today we catch ourselves laughing at the deeply mistaken Oedipus, who is later blinded by Apollo and experiences aidos, forever damned for a crime compounded by all human filthiness3. As we tend to feel no mercy for him showing no compassion even for such lowly a soul we find in ourselves souls just as poor as his. It is because we know of his fate that we are so caught in the storys unfolding; we want to see Oedipus at his worst, at his complete moral and physical devastation. Sophocles pulls out a mirror to us, so that we are no longer distant to the protagonists condition: the irony in Oedipus hamartia is the same as that in our amusement as witnesses of it. Anouilhs adapted version of Antigone shows a character more faithful to reality compared to the one in the original script. The anti-heroine is provided with a strong, intriguing personality; her courageous obstinacy allows her to affront the vile Creon, who - in order to protect his reputation as the new king - wishes to manipulate her. She proves a true idealist, preferring to die in public condemnation than succumbing to authority and denying her brother a dignified funeral. Although determined to defend her principles and free will, Antigone sometimes falters
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Oedipus Rex pg. 36 Oedipus Rex pg. 64

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emotionally, weakened by the oppressive forces against her which proves she is only human. This is evidenced when she submits to her uncles decision about her marrying Haemon4. Anouilh designed a three-dimensional5 imperfect character the audience could relate to. We notice how Antigone and Ismene disagree on how to deal with Creons disregard for Polynices burial: the former insists on having her right claimed, while the latter is hesitant, knowing of the fatal consequences of opposing the antagonist6. This reminds us of peoples reaction to Fascism: one would either arduously fight against it, or accept repression in seeming passivity, due to fear. Ismene calls her sister impulsive, who replies with, Sometimes its better not to think too much7. Antigones words imply that humans should feel a natural repulsion in face of war atrocities, and thus should act to stop them, instead of abandoning their own feelings and omitting ethical concerns intrinsically because those in power suppress these with force. Ismenes almost mechanical response to Antigones questioning Uncle Creon is the king. He has to set an example.7 demonstrates how the majority of the population accepted whatever came from above since it meant not being persecuted or killed8. Antigone does the opposite by embodying the Resistance movement. There are more obvious allusions to the on-going dictatorship, in Antigone. Creon, before Oedipus died, was a kind of art patron9 who loved music and bought rare manuscripts9, spending whole afternoons in antique shops9. His early artistic interest can be associated to that of the young Hitler, who had been known to
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With solemn eyes [she] smiled sort of sadly and said yes. Antigone - pg. 10 Characters with a single facet offer little to look at, () they may catch the eye, but they cannot hold the attention. () By creating characters who feel, act, and react like real people, an author can draw readers into his stories, hopefully deep enough that the line between fantasy and reality begins to blur. From Writing Three-Dimensional Characters, by Bret M. Funk 6 Ismene: I dont want to die. Antigone pg. 18 7 Antigone pg. 19 8 Ismene: Of course he will [put us to death]. Thats what hes here for. He will do what he has to do, and we will do what we have to do. He is bound to put us to death. We are bound to go out and bury our brother. Thats the way it is. Antigone pg. 18 9 Antigone pg. 11
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have a solid architectural perspicacity and appreciation for painting and erudite music, notably Wagners10. Creons way of despising others as inferior animals resembles the Nazi superiority complex; he calls his niece an insect, a trapped animal11, whose heroic act was nothing but hysteria and sentimental weeping12. The piece is rich in parallel ideas concerning the historical events of the time, and is made further relevant to spectators with references to the post-modern world. Guards playing cards and smelling of beer, sports cars and coffee, toast and jam as breakfast are anachronistic features that in this case approximate contemporary audiences to the play, written Before Christ. Serving the same purpose within a different context, the constant mythological references in Oedipus Rex (e.g. Pythian House of Gold, Healer of Delos, Golden Athena, etc.) appeal to the common faith in Greek gods of the period. Especially in Sophocles tragedy, the role of the Chorus is crucial to its overall effect. The Chorus echoes the Theban citizens pleas, acting like a background voice that follows the King and comments on the happenings as they occur. It represents a flat body of simple-minded people whose moods can be detected by exactly what it says. This aids in their function of subtly increasing, maintaining and relieving tension when appropriate, sometimes involving anticipation, as in: They are bringing the prophet in whom, of all men, lives the incarnate truth13. The Chorus minimally affects the plot, and, in addition, adds musicality to the play. It can also be considered an allegory for Conscious and Reason14 communicating some of the basic moral messages. For instance: Show me the man whose happiness was anything more than illusion followed
Wagner and Adolf Hitler had so much in common, that it is difficult, at times, to keep them separate. They were both rabid racists. Both were artists and politicians (Wagner, a would-be politician and Hitler a would-be artist). From Solomons Music.net 11 Antigone pg. 46 12 Antigone pg. 48 13 Oedipus Rex pg. 34 14 Saying things such as Quick thoughts are seldom safest and Consent, O King, (...) be merciful, and learn to yield! Oedipus Rex pg. 42 and 43, respectively.
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by disillusion. () Here is the reason why I will call no mortal creature happy.15 Similarly, in Antigone, metafiction is used to emphasize the greater meaning of the play: In a tragedy, nothing is in doubt and everybodys destiny is known. () Tragedy is restful; the reason is that hope, that foul, deceitful thing, has no part in it. There isnt any hope. Youre trapped. () [Melodrama] is vulgar; its practical. But in tragedy, where there is no temptation to try to escape, argument is gratuitous; its kingly.16 We notice that, inserted in these words - belonging to the Chorus in the narrative - is the alter ego of the French author. This is understood because of the passionate, uncommon tone in which these words are expressed. To me it seems that Oedipus Rex was intended to be a brief yet dynamic performance that would entertain on a superficial level, and, on a more profound one, provoke reflection. The dripping irony in Oedipus search for the murderer of Laius, himself, might at first seem comical, together with his pretentious and, in the end, useless pose for political-correctness. Yet after closer examination, one could find the play to be essentially about fatalism and the tragic human condition. I personally hold that it deals with the impossibility of escaping destiny, meaning there must be other more mysterious and powerful controlling forces in the world we cannot even imagine. Just as Oedipus is blinded in overconfidence, we too ought to be fooled by our notions of power. In Antigone, contrarily, the concept of free choice is approached from the existentialist perspective the idea that man has no predestined fate, but creates his
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Oedipus Rex pg. 59 Antigone pg. 35

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August 2011

own life and holds full responsibility in decision-making. Antigone stood at the crossroads of life and death and had the opportunity of saving herself, but did not. This was meant to encourage an apprehensive Europe not to adhere to conformity, embracing an attitude like Antigones instead - she, who challenged her superior with boldness and skepticism, and who, by choosing death over a noble cause, played her part17.

Word Count: 1498

17

Antigone pg. 71

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August 2011

Bibliography
Sophocles: King Oedipus (in The Theban Plays, Penguin Classics, 1947) Jean Anouilh: Antigone (Methuen Modern Plays, 2000) Solomons Music.net: http://solomonsmusic.net/WagHit.htm.

Accessed on August 10th, 2011.

Writing Three-Dimensional Characters, by Bret M. Funk:

http://www.authorsden.com/visit/viewArticle.asp?id=12513. Accessed on August 11th, 2011