Antigone

"Oedipus Rex" and "Oedipus at Colonus" are the two plays historically associated with "Antigone."

Specifically, all three plays are the creations of Sophocles (495 B.C.E. - 405 B.C.E.). They form a trilogy in the sense that they present the life and times of disgraced Theban King Oedipus and his four children, one of whom is Princess Antigone. In terms of the chronology of the characters' lives, "Oedipus Rex" is first, "Oedipus at Colonus" second and "Antigone" third although that is not the order of writing by the ancient Greek dramatist.

He wasn't. He was actually happy that the man he knew as his father died, because he thought that it meant the prophecy wasn't true.

He was, however, very concerned with Laius' death, even though he didn't know that Laius was his father. Thebes was cursed by the gods, who demanded that Laius' murderer be brought to justice. Because of this demand by the gods and Oedipus' duty to Thebes and its former kings (as well as Jocasta, who was Laius' widow), he fervently sought to pursue the role he was supposed to fill as the "hero" and bring the murderer to justice.

He was determined to figure out Laius' murderer because, in short, it was his job.

That one is a law breaker and the other a law enforcer is a reason why Antigone and Creon are in conflict in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone buries her brother Polyneices. That act makes her the breaker of a royal edict even though she is in compliance with divine law. It also puts her in conflict with her uncle King Creon, who issues and enforces the law that Antigone breaks.

That Lycurgus is stalked by the gods and that his death resembles that of two of Antigone's ancestors are the references to Lycurgus of Thrace in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Lycurgus of Thrace also is mentioned about one-third of the way through Book VI of "The Iliad" by Homer (fl. 8th century B.C.E.). His lifespan can be considered as straddling the thirteenth to twelfth (13th-12th) centuries B.C.E. That also is the time period from the founding of the Theban royal house to the generation of King Thersander, Princess Antigone's nephew and Polyneices' son.

Edonian King Lycurgus is the son of Dryas, whom he is driven to kill by the workings of divine curses. His offense is his opposition to Dionysos the wine god. His punishment is dismemberment. The same offense is committed and similar punishment therefore is meted out to Antigone's great-grandfather Labdacus and her great-great uncle Pentheus.

That violence cannot be portrayed onstage in ancient Greek theater is the reason why the audience cannot witness Oedipus' blinding or Antigone's death in "Oedipus Rex" and "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the ancient Greeks had a love-hate relationship with the irrational, or uncontrolled passion. For example, death and violence opened up emotional floodgates. The ancient Greeks sought to direct the audience's reactions along certain channels to make sure that the point being made was made without distractions from that purpose. Including emotional response events was a way to get the audience's attention, but setting it offstage focused the attention on whatever universal truth was being emphasized by the dramatist.

The will of the gods is what determines Theban King Oedipus' fate. But it's his own flawed choices and actions that make sure that that fate's carried out. Oedipus is allowed to learn in advance of his unenviable fate by way of the Delphic Oracle. So he learns that he's fated to kill his father and marry his mother.

The two offenses are particularly heinous against the gods and against mortals. The murder of one's father, who also is one's royal sovereign, is seen almost as killing a representative of divine order on earth. The wedding and bedding of one's own mother is seen almost as presuming to behave as the gods.

Specifically, the way that life is started among gods, and among mortals, is through the incestuous relationship of Mother Gaia with her own son, Saturn. But what gods do and what mortals do are two separate issues. Relationships that are considered too close nowadays aren't considered necessarily so in previous times. Ancient and modern peoples nevertheless find common ground in their horrified opposition to the wedding and bedding of mother and son or of daughter and father.

ALL. Because all resident of all States in America is seeking for the American Dream of Wealth and Power. This breaks the Commandment "Thou shalt not Covet"

Answer:

The above answer is wrong, Jesus wants us to prosper, the desire to do what God wants for us is not wrong.

Any state that passes a law contrary to God's will would be breaking God's law. A simple example, same sex marriage since homosexuality is a sin.

The entrance of the chorus and the first example of entertainment and narration are the dramatic functions of the Parados in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the parados is the way by which the chorus members and leader first appear before the audience. They make their appearance after the prologue, which involves the main character with at least one other of the play's personages. They sing and narrate background information and cultural parallels by which the audience better understands and more deeply commits to the play's unfolding drama.

That his own folly and stubbornness are the causes of his massive misfortune is Creon's realization at the end of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon lets himself get carried away in his anger against potential and real rebels and in his insecurity about his time on the throne. He therefore issues an unpopular edict that denies to his perceived enemies cherished god-given rights of all Thebans to below-ground burials and proper funeral rites. This offense insults and angers the gods, who consequently take away from Creon everyone and everything that gives his life meaning: wife, son, reputation, job, home and friends. All this happens through his own stubborn folly in taking on the gods and refusing to be budged until he loses all.

Guardian to ward, king to subject and uncle to niece is the way in which Creon is related to Antigone in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon has custody of his niece, the orphan Princess Antigone. He also is the father of Antigone's husband-to-be, her first cousin Prince Haemon. Additionally, he is Antigone's sovereign.

The disobedience by Antigone of the non-burial edict and by Haemon of two royal commands are examples of civil disobedience in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the term civil disobedience describes non-violent opposition to the current government as well as its laws and officials. The description fits three instances of disrespect to the reigning monarch, Theban King Creon. In the first instance, Princess Antigone goes against the royal edict of non-burial of the disloyal Theban dead. The law clearly indicates that non-burial is the fate of dead Theban traitors and that capital punishment is the unvarying sentence. In the second and third instances, Prince Haemon is ordered to repudiate Antigone, his first cousin and bride-to-be. He then is ordered to watch her die a miserable death. Haemon's father makes it clear what he expects and that is not at all what he gets from his son, who also is his subject.

The deaths of Antigone and Haemon are foreshadowed at the end of the scene between Creon and Haemon in "Antigone" by Sophocles(495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon sentences Princess Antigone to death for breaking his law against burial of the disloyal Theban dead from the recent civil war over the royal succession. Prince Haemon, Creon's son and Antigone's betrothed, makes an effort to get his father to allow the burials and to pardon and release Antigone. He does not succeed and ends with the fateful comment that the death of one life (Antigone) will cause the destruction of another (his own).