Need to read “ANTIGONE INTRODUCTORY MATERIAL—PP. XVI-XXXV, 214-16”, “SOPHOCLES’ ANTIGONE” and “HEGEL’S PHILOSOPHY OF FINE ART”, after reading, answer the questions below.
ANTIGONE INTRODUCTORY MATERIAL—PP. XVI-XXXV, 214-16:
1. Discuss some of the contrasts between Thebes and Athens outlined on page xix.
Elaborate on how you think these presuppositions might have influenced the
Athenian male audience’s response to the play.
2. Identify and discuss at least two of the problems for Creon with leaving the body of
Polynices to rot (xix-xx).
3. Identify two or more of the areas in which Creon and Antigone stand in conflict.
These include the various ideas, positions, or groups which each potentially
represents. (xx-xxi)
SOPHOCLES’ ANTIGONE:
1. In the introduction, Woodruff writes, “whatever else it conveys, the play warns
against moral complacency” (xxiv). In the context of the play, what do you think this
means? Is this true, and if it is, how does the play deliver this warning?
2. Woodruff discusses some arguments of interpretation beginning on xxvi. What are
two or three of the critiques mounted against Antigone the character, and how has
she been defended?
3. So whose play is this? Given the critical lack of consensus, what do you think? And
why?
HEGEL’S PHILOSOPHY OF FINE ART:
1. What is the emphasis of Hegel’s arguments about the chorus and its role?
2. Do you agree that “guilt or innocence” is a “false notion” in tragedy? Why or why
not?

Need to read “ANTIGONE INTRODUCTORY MATERIAL—PP. XVI-XXXV, 214-16”, “SOPHOCLES’ ANTIGONE” and “HEGEL’S PHILOSOPHY OF FINE ART”, after reading, answer the questions below.
ANTIGONE INTRODUCTORY MATERIAL—PP. XVI-XXXV, 214-16:
1. Discuss some of the contrasts between Thebes and Athens outlined on page xix.
Elaborate on how you think these presuppositions might have influenced the
Athenian male audience’s response to the play.
2. Identify and discuss at least two of the problems for Creon with leaving the body of
Polynices to rot (xix-xx).
3. Identify two or more of the areas in which Creon and Antigone stand in conflict.
These include the various ideas, positions, or groups which each potentially
represents. (xx-xxi)
SOPHOCLES’ ANTIGONE:
1. In the introduction, Woodruff writes, “whatever else it conveys, the play warns
against moral complacency” (xxiv). In the context of the play, what do you think this
means? Is this true, and if it is, how does the play deliver this warning?
2. Woodruff discusses some arguments of interpretation beginning on xxvi. What are
two or three of the critiques mounted against Antigone the character, and how has
she been defended?
3. So whose play is this? Given the critical lack of consensus, what do you think? And
why?
HEGEL’S PHILOSOPHY OF FINE ART:
1. What is the emphasis of Hegel’s arguments about the chorus and its role?
2. Do you agree that “guilt or innocence” is a “false notion” in tragedy? Why or why
not?