Readers and viewers of the play 'Antigone' learn from the first ode that mortals face a challenging choice between good and evil. According to the first ode, a good life is led when a mortal respects the laws of the city and the justice of the gods. But the problem with which the play begins is the contradiction between the laws of mortals and the justice of the gods. In the second ode, readers and viewers learn of another challenging problem. That problem is the mischievous role of the gods. According to the second ode, mortals are lured into offending the gods and therefore into cycles of divine punishment. In fact, their offenses bring upon them and their descendants divine curses from which there's no escape. Such indeed is the case of Antigone, whose great grandfather was the cursed Theban King Labdacus. The lesson that readers and viewers therefore learn from the two odes combined is the inevitability of suffering and death. The gods say that mortals must respect earthly laws and divine justice. The laws of Thebes contradict the justice of the gods. The Theban who respects one law violates the other. Violation of earthly laws is punished with death. Violation of god given justice is punished with curses and death.
Antigone is written by Sophocles. It's about how great man is.Shakespeare didn't write Antigone. Sophocles did.
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An observation on the inevitability of fate is the purpose of the choral ode that follows Antigone's final exit in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the chorus gives examples of three mortals who suffer. One example recounts persecution that is followed by triumph and vengeance. The other two examples relate to less fortunate meetings with Dionysos the wine god and with fate. The ode therefore summarizes that Antigone's suffering fits in with the fate of a god-cursed line.
Curses, fate, flaws and punishment are four themes revealed by the chorus in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the chorus of Theban elders devote the parados and the first ode to the human flaw of pride and recklessness. They discuss the divine curses on Theban Princess Antigone's father Oedipus and great-grandfather King Labdacus in the second ode. They mention fate in the third ode. They refer to punishment throughout all of the odes.
Antigone is written by Sophocles. It's about how great man is.Shakespeare didn't write Antigone. Sophocles did.
This sentence is FALSE
I have no idea I need ur help
An observation on the inevitability of fate is the purpose of the choral ode that follows Antigone's final exit in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the chorus gives examples of three mortals who suffer. One example recounts persecution that is followed by triumph and vengeance. The other two examples relate to less fortunate meetings with Dionysos the wine god and with fate. The ode therefore summarizes that Antigone's suffering fits in with the fate of a god-cursed line.
Curses, fate, flaws and punishment are four themes revealed by the chorus in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the chorus of Theban elders devote the parados and the first ode to the human flaw of pride and recklessness. They discuss the divine curses on Theban Princess Antigone's father Oedipus and great-grandfather King Labdacus in the second ode. They mention fate in the third ode. They refer to punishment throughout all of the odes.
The first choral entrance and ode is the meaning of the word parados in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the term parados comes from the ancient Greek word πάροδος. It literally describes the first entrance of the chorus members onstage. But it also is used to refer to the first ode that the chorus sings while dancing onstage.
The parados isn't an ode. The first ode therefore begins with 'Wonders are many, and none is more wonderful than man...'. The second ode begins with 'Blest are they whose days have not tasted of evil'. It takes up a total of eight paragraphs. It ends with 'But lo, Haemon, the last of thy sons; comes he grieving for the doom, of his promised bride, Antigone, and bitter for the baffled hope of his marriage?' In the second ode, the chorus discusses the staying nature and power of curses. They cite the specific example of the cursed house of the Labdacidae from which Antigone descends through her father, King Oedipus. They explain that the curse levels three of the King's four children: Antigone, Eteocles, and Polyneices. The implication is the application of the curse to the remaining child, Ismene. For the chorus warns that human error always is met with divine punishment, divine retribution.
The word "clanging" is an example of onomatopoeia in the first ode of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.). Specifically, the term onomatopoeia describes a word that spells the sound that it makes. The description fits the word "clanging." It is used in the second systema, when the leader of the chorus of Theban elders uses the phrase "clanging gold" in terms of Polyneices' army of disgruntled Thebans and supportive Argives.
If the laws are broken, the city is broken.
"For seven captains at seven gates, matched against seven..." is an example of assonance in the first ode of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the term assonance describes the repetition of vowel sounds to create internal rhythm. The above mentioned passage fits the description. An internal rhythm is started with the predominant "e" sound throughout the entire line: seven, left, their, set, death.
Love is what the third ode is about in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the third ode begins at the end of the conversation between Theban King Creon and his son Prince Haemon. It ends just before Princess Antigone, the object of Haemon's love and of Creon's hate, processes to her live burial in a remote cave outside Thebes. It identifies love as the cause of a mortal's greatest feelings of glory and worst feelings of rivalry as well as the assistant in the workings of divine will and prophesied fates.
Dionysus, or Iacchus, is mentioned in the Paean, a hymn that appeals to the gods for assistance, as well as in Ode 4.