Antigone

Go back to check on her work and get arrested for reburial are what Antigone does after burying her brother's body in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone announces to her sister Ismene at the play's beginning that she will break the law, bury her brother, and expect to be caught and punished. She buries her brother, and no one is the wiser. She returns to the burial site, finds her brother's exposed corpse, attempts to rebury him, and accepts her arrest and death sentence.

That she functions as a foil and that she represents one of the two sides in the conflict are reasons why Ismene is an important character in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Ismene functions as a foil when she is the cautious, logical and reasoned opposite to her sister Antigone's emotional outbursts and passionate recklessness. She represents one of two sides in the play's conflict when she defends civic duty over religious devotion. She stands for the separation of church and state whereas her sister Antigone argues for divine will and cherished Theban traditions.

Recognition of Theban King Oedipus as the killer of King Laius is what makes the lone surviving slave of the royal party plead his departure from Thebes. The sole survivor sees Oedipus taking over his royal predecessor's job and wife. This survivor is the most trusted servant of Theban Queen Jocasta. So he knows she'll grant his request for a hasty departure before he possibly may be recognized by Oedipus.

The surviving slave ultimately can draw on knowledge that will ruin the life of the Queen whom he respects. He's a former shepherd whom Jocasta entrusts with the killing of her three day old son. The killing of a child is deemed far less heinous than the killing of one's father and sovereign in ancient Greece. And that's exactly what the child's fated to grow up to do, and more.

So when all the pieces of informaton from the surviving slave are put together, Oedipus also stands to lose all that he cherishes in life: his wife, his sense of self, his reputation, his possessions, his job, his home, and his family. The reason lies in the person that, albeit unknowingly, he really is: a murderer of father and king, and a sex offender with his own mother.

A play by the same name is a modern version of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the modern play is authored by French dramatist Jean Anouilh (June23, 1910 - October 3, 1987). The play is set in Nazi occupied France. Famous cinematic adaptations include a movie in 1946 and a televised stage play in 1974.

"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.