In His Poetics, Aristotle Suggests That Tragedy Purifies Through The Operation Of Pity And Fear. Discuss How Pity And Fear Are Manifested In The Versions Of The Antigone Story By Sophocles And Anouilh

In Sophocles Antigone, the audience s identification with Creon is heightened two fold, by demonstrating that he has free will, my opinion has come round to this, 2 and by upholding the state religion in observing the established laws .3 This is an important statement by Creon because it establishes the exegesis by which the audience can be moved to pity him once he is bereft of his family later on in the play. This pity, by reference, is internalised by the audience as individuals, but more importantly as a society which fears social control, trying to uphold an apparent democracy, admiring rhetoric and the art of persuasion 4. The vehicle for this is the Chorus, which represents the polis in the play, and interacts with the characters in heightened language by commenting on the action, and historically was comprised of ordinary people, taking a prominent position on the ancient Greek stage in Athens. 5

The fifth choral ode, or the fifth stasimon, takes the form of a classical prayer demonstrating a fear of displeasing, and worship, of the gods whilst epitomising a sense of their power, particularly masculine power, in deep-thundering Zeus .6 There is a sense of a need for purification, symbolised by water, the flowing stream, 7 from a dark history:

On the ground sown with the seed

Of the savage dragon. 8

This speaks of the classical myth entailing much bloodshed around the founding of Thebes by Cadmus.9 The language here is quite sexual, and can also serve to remind the audience of another aspect of Greek mythology to fear, and that is the story of Oedipus which plays such an integral backdrop to Antigone, since Oedipus seed incestuously resulted in Antigone.10 It reminds the audience that the characters in the play need to fear the past. There is a sense of evil here, particularly if one examines the Andrew Brown translation, which speaks of a serpent , ,11 rather than dragon this then has the effect of making a twentieth century Christian reader, with the connotation of the temptation by the devil, aware of the serious extent by which fifth century BC audiences would have feared the wrath of the gods. Indeed, as confirmed by the Oedipus myth, incest was a taboo even in ancient Greek culture, and the dramatic irony of the audience being fully cognisant of the myth and associated curse, acts to reinforce this taboo within Greek society, as a great evil, heightening fear of breaking the law, and acting as a social control mechanism in the early days of democracy when the ancient Greeks, as Plato confirms, were shunning dictatorship.12

Greek society feared the power of women, epitomised by men such as Aristotle who upheld socio-biological reasons for this.13 The Chorus reminds the audience of the fallibility of women, in evoking the memory of Semele as lightning-struck mother ,14 and of their sexual danger, night long frenzy, 15 of Bacchus female attendants. This is supported by Sophocles version of Antigone where the main character is essentially Creon, and Antigone is not to be seen in the latter part of the play. Sophocles Antigone was acted by men in masks,16 further distancing from women, and it can be argued that Greek society used Tragedies such as this to control women by affecting and reinforcing societal perception and values.

Indeed, Herodotus also demonstrates that Greece, before and during the time Sophocles was purported to have written Antigone, approximately 441 BC, also had a fear of foreign invasion, strategically making an alliance with neighbours, although always prepared to do battle.17 It is therefore possible to argue that these Tragedies were used to influence, and thereby control, foreign neighbours. Athens was evidently a very militaristic state, and the competition which Sophocles Antigone was written for was judged by Generals,18 and foreigners were invited to the Dionysus festival to watch the play performed alongside shows of sporting might.19 It was a real show of strength and protection for Athens, exemplified by Guardian of the voices of the night ,20 evoking the power and favour of the gods to, firstly place fear into the minds of the foreigners, and secondly assuage the fear felt by Greek society against foreign invasion.

Greek society feared the pollution of death, and needed certain ritual cleansing acts, associated with the gods, to re-balance societal order.21 Sophocles refers to this as a violent plague ,22 reminding us of the need to bury Polyneices properly, but there is also intertextuality with Sophocles Oedipus the King when Creon states Murder sets the plague-storm on the city. 23 reminding the audience of the curse, 24 in the Oedipus bloodline, which impinges upon the whole city. The Chorus in Antigone evokes the healing power of Bacchus and the elevation is inherent within the sibilance of the language:

Over the heights of Parnassus,

Or across the sighing strait. 25

This poetic technique, coupled with the verse structure, and rhythmic iambic metre serve to heighten the false optimism of the Chorus, allowing the audience to be caught in just the right amount of suspense as to the outcome of the play. The audience are forced to immerse themselves in the plot, identify with Creon, in particular, as just the right amount of uncertainty prevents any detachment.

However, it can be argued that the most important aspects are why this play was written, and why these techniques were being used, which evoked such fear and pity in an audience. It is possible to state that the answer lies in the intertextuality of comparing Euripides Antigone, which was crucially written sometime between 420 BC - 406 BC when Athens was at war with Sparta, and Sophocles Antigone, written in a time of peace, around 441 BC. Unlike Sophocles Antigone, Euripides version is not a tragedy, but ends in the marriage of Antigone and Haemon, and the birth of a son to carry on the family line.26 The crucial analysis must stand firmly in the historical context, exemplifying that the dramatic exposition of the Antigone myth was used consciously by the elite Generals, in the militaristic state, to control and influence the population. On the one hand, Sophocles tragedy prevented the people from revolting in a time of peace through the exercise of fear and pity, whilst Euripides drama would have lifted the spirits of the troops, psyching them up to fight hard, in a time of war. Therefore, it is further evident, that Sophocles Antigone, along with other Greek plays, is a masterpiece of social control.

Audience identification is further heightened by the contrasting prose of the Messenger in Fate raises and fate lays low ,27 and once again, an intertextual parallel is drawn with Oedipus the King which speaks of destiny .28 The audience would be comforted by this, as they relate their own trials and tribulations to Creon s, particularly as he is described as previously blessed .29 The audience are told to be happy with their lot and value joy 30 above money. This moralistic tone, imbued with a sense that it is wrong to disobey the gods and the social elite, is a sign that the Greek Generals wanted to control the polis through the plays staged to around fourteen thousand people at the festivals. This was mass propaganda, designed to control Greek society, maintain values through fear and encourage audience identification through pity by a militaristic state whilst democracy remained a convoluted pretence even in its infancy.

Anouilh s Antigone, written in prose, was not censored by the Nazis, who were keen on using the theatre and films for propaganda,31 and one can see that the character of Antigone would be viewed as representing the Resistance, and Creon standing for the Germans, as stated in 1944, that the play was an equivocal illusion to our own time and its problems. 32 Antigone is depicted as weak and confused, helping German propaganda, emphasised by I don t know anymore what I m dying for. 33 This line is repeated by Jonas, using the dramatic technique of repetition found in political rhetoric, for reinforcement. Antigone is a woman, and Hitler categorically viewed French women as shabby and not suitable for marriage by German men.34 Many French collaborators supported Germany and thought it would be better to throw their lot in with the Nazis,35 and Antigone s line It would have been nice and peaceful for you all without me. ,36 underscores the argument that Antigone represents the Resistance in the play. This would evoke pity for Antigone, but conversely, also, love 37 is brought into the equation, heightening the pathos, and encouraging the people of France to identify with her as a character. The question who s it for? 38 remains unanswered, leaving the audience to make up their own minds, but one can argue it suggests the people of France, particularly the Resistance, since it was evident one must choose between Creon and Antigone, 39 in the play, that is to choose firmly between the Resistance and the Nazis. However, Antigone, representing the Resistance, was doomed to die, so pleasing the Nazis.

The ending is anticipated, heightening a sense of foreboding, with Hail then, my grave, my marriage bed, my underground home! 40 This, coupled with the stage directions, She looks very small .She looks cold ,41 stands to foreshadow the eventual death of Antigone, conveying a sense of realism to the audience. Again, marriage bed 42 serves to remind the audience of the Oedipus myth, amplifying that she is cursed and doomed to die. This is supported by the fact that it s a gold 43 ring which Antigone bribes Jonas with, reminding the audience of a wedding ring which should be valued, from the cursed Oedipus line. Also supporting the Nazi belief that the French Resistance, represented by Antigone, are inadequate, don t value life, and die for invalid reasons.44 This heightens the pity the audience can feel for Antigone.

One can argue that Creon is shown in a favourable light, having made every reasonable attempt to save Antigone from herself.45 It is clear that Antigone dies in a sense of confusion, proving Creon right, And Creon was right. :46 she fears death and does not really want to die. She views herself as less than animals ,47 indicating degradation, and also supporting the Nazi worldview on inferior humans who deserved to be exterminated. A very real fear of death is transmuted to the audience, the stark realities slammed home in It d be as if they were to see me naked, touch me, after I was dead. 48 This is a stark warning to the Resistance.

Taking the political analysis further, there is a distinct division between Antigone, representing the Resistance, and Jonas, a guard, representing the army. The Nazis used this division and lack of trust, Fat lot you care 49 to create mayhem within French society.50 All responsibility by others for the death of Antigone is abrogated in the play, as she utters I ve chosen to die .51 Ethnic cleansing is therefore justified in the eyes of the Nazis. One can see that the French people are encouraged to put each other to death in this play, as Jonas starts to shout to keep himself in countenance 52 evoking the audience s pity for Jonas because he obviously resents his lousy job ,53 and many ordinary French people could identify with this sense of disillusion at that time.54

In conclusion, it is therefore possible to argue that Anouilh s Antigone takes the best meaning of Sophocles Antigone because it is outright political, even though it isn t a literal translation. It is evident that Anouilh s version is open to interpretation by the reader, demonstrated by it surviving both Nazi censorship and Allied condemnation after 1944 due to its claimed ambiguities .55 The pity and fear, present in Sophocles Antigone, function in a more complex way in Anouilh s version, with other emotions at play, turning it into a piece of metatheatre where the audience s mind is distanced with foreknowledge , but the range of emotions is captivating and motivating. Sophocles Antigone and Anouilh s Antigone mark intertextuality at its finest in the essence of political propaganda to control the people whether in the fifth century BC or during the Second World War.

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