In anger at himself, leant on the blade.
It entered, half its length, into his side,
While he was conscious he embraced the maiden,
Holding her gently. Last, he gasped out blood,
Red blood on her white cheek.
(Lines 1198-1239) Antigone.
The messenger’s speech in Sophocles’ Antigone effectively demonstrates the elements of fate and destiny, arguably two of the most important concepts present in the daily lives of the Ancient Greeks. It contains all of the traditional components of Ancient Greek drama, as it incorporates various religious and cultural rituals, powerful imagery and the foreshadowing of tragic events. Sophocles’ crafty pen brings the myth of Antigone alive for the Greek audience as well as the modern viewers.
The ancient Greeks strongly valued tradition and honour. In Antigone, one of the principal rituals is ignored: the burying of the dead. According to custom, one must be given proper burial if his soul is to gain peace in the underworld. Not burying a body was considered one of the most dishonouring acts that could be done to a person. Greek legends state that the soul of an unburied body is doomed to roam the world, never at rest. Creon has dishonoured Polyneices’ body: “Polyneices’ corpse was lying still unpitied. The dogs had torn him all apart.” (l.1199-1200) by forbidding Antigone to bury it, and has thus angered the gods. One may argue that Haemon is the one that is punished, since he is the one who dies. However, the Greeks believed that if one has lead a good life, then after death, he may be assured a peaceful eternity. Creon is forced to watch his only son die with the knowledge that Creon himself was the cause of the suicide. Thus, it is the greatest punishment that could be handed to him. Creon has dishonoured Polyneices, and because of this, he must now live with the weight of his family’s death on his shoulders. According to the Greeks, this is fate: the justice from the gods.
Powerful imagery is used to increase the audience’s sympathy for Antigone and Haemon, and their distaste for Creon. Since the Greeks did not employ the use of intricate props, words had to suffice. Sophocles uses “rocky bed” to describe Antigone’s grave, where later, the maiden is found “…hanging by the neck, caught in a noose/Of her own linen veiling.” (l.1221-1222). These words are filled with strong connotations of cold, emptiness and despair. These are not the emotions one wishes to associate with the death of a young heroic girl. These shocking images would have outraged the audience. This brave woman has risked her life to honor her brother, an honorable gesture according to the Greeks, only to be buried alive by Creon. Live burial was reserved for criminals, murderers, and traitors. In the eyes of the Greek crowd, this would have been an extremely harsh and undeserved punishment for a girl who believed she was carrying out the wishes of her gods. Now, not only did Creon dishonour Polyneices, but he has also disgraced an innocent girl, the bride of his beloved son. Creon’s decision to do this to Antigone was the direct cause of Haemon’s death. Since Haemon has not previously provoked anger from the audience, any empathy that the audience had for Creon would be extinguished, and replaced by pure hate. Haemon’s pure, emotional act of “…embrac[ing] the maiden /As she hung, and mourn[ing] his bride’s destruction…” (l.1223-1224) would be the final blow. At that moment, the audience fully comprehend that two young lives have been taken due to Creon’s actions. In the minds of the audience, Creon is doomed to suffer; his fate is sealed.
An element of foreshadowing is present through the use of certain sounds. The formal, somber speech of the messenger as he delivers the news is a contrast to the more conversational, familiar tones that are present earlier in the play. Strong consonants such as “p,” “d,” “n” and “g” are plentiful, and are found throughout the entire spiel. Their presence increases and decreases throughout the narrative. This sets a dark atmosphere for the entire deliverance, foreshadowing the unhappy event that burdens the messenger: Haemon’s death. There is a rather smooth sound in the first line, made possible by vowels, which grows increasingly detached, until the rough, jagged climax, the suicide. The lines preceding this event: “The boy looked at him with his angry eyes/Spat in his face and spoke no further word…” (l. 1231-1232) are painful to the ear due to their harsh sounds, which effectively conveys the angry mood of Haemon just before his tragic passing. The speech then returns to more fluent, gentler vowels as Haemon dies, his bride in his hands. However, these soft sounds are not followed by happiness, or even tranquility, as they may be in another context. They lure the reader into a sense of false security, which is shattered at the later revelation of the Eurydice’s suicide.
It is also possible for the Greek audience to foreshadow events by observing the context of this speech. When Creon disobeys the will of the gods, his destruction is imminent. Through myths, the Greeks know the tragic consequences of betraying the wishes of the immortals. Creon has disobeyed the will of the Olympians and thus, every crushing blow that Creon receives becomes part of an expected pattern of events. Although one may expect Creon himself to foresee Haemon’s suicide, I do not believe that Creon was aware of what was in store for him. There is a slight doubt about this when Creon is about to witness his son’s passing, and he proclaims: “Am I a prophet now, and do I tread/the saddest of all roads I ever trod?” (l.1212-1213). However, this doubt is quickly extinguished when Creon questions Haemon: “What sort of suffering is killing you?” (l. 1228) which is ironic considering that Creon is the cause of Haemon’s suffering, and ultimately, his death. It is clear that Creon did not anticipate such a shocking response from his son, judging from Creon’s later reaction to this tragedy. However, although Creon is unaware of his fate, his unintentional comments accurately predict future events. This, combined with the context of this passage makes the ending predictable to the spectators.
Through religious connotations, vivid imagery, and foreshadowing, Sophocles reinforces the audience’s belief in fate and the gods of Olympus. Antigone may serve as a lesson to those who may attempt to follow in Creon’s footsteps: dishonour one, and you will ruin yourself. Containing vital morals to be learned, Antigone sits on a pedestal among the great heritage of the ancient Greek theatre and drama.
To Dishonor Another Is To Doom Yourself
Juliya Iosfin
Mar. 20, 2002
Block H
