Comparison of Antigone and Sizwe Bansi is Dead - Essay Example

Comparison of Antigone and Sizwe Bansi is Dead. - Prajakta Kanegaonkar Antigone Plot of the play: Antigone is the ic Greek tale, narrated by Sophocles. It is a part of the trilogy written by Sophocles. The play starts at a point where “Seven against Thebes” (written by Sophocles) ends. After King Oedipus leaves Thebes, the reign is handed over to his two sons, Eteocles and Polynices. Both of them are expected to take turns. However Eteocles refuses to hand over the rule to Polynices. Upon which Polynices with the help of Argivan army attacks Thebes. Both the brothers are killed in the war and the rule is now taken over by Creon. Creon upon taking the rule issues a decree, in which he orders burial of Eteocles with full military honors and denies the burial for Polynices. Antigone and Ismene are the sisters to Eteocles and Polynices. Antigone believes that it is against the will of gods to not to give a burial to Polynices and decides to go ahead and perform the rites. Ismene is more timid and refuses to go with Antigone although she agrees with the motives of Antigone. Antigone is caught returning to her brother’s body, and is brought before the king. She proudly accepts her death as the consequence of the act she is convinced is no wrong. However Antigone wants Ismene to be exempted as Ismene is not party to the actual burial. Antigone’s Fiancé, Haemon, who is Creon’s Son, condemns his father. As the people of the state also believe that Antigone is right he decides to be on the side of the state. The blind prophet Tiresias arrives to tell Creon that his actions are not right. Tiersias also tells him to obey the God’s will and wishes, and if these are not complied by soon he would face immeasurable loss. Creon finally yields to the terrible prophecy and decides to let Antigone go. However Antigone has hung herself to death and Haemon who couldn’t bear the loss has killed himself. Listening to the news of her son’s death Eurydice (Haemon’s mother) stabs herself to death. Creon having lost his family lets himself be taken away. He has lost the most valuable people of his life. Historical and Social references of the play: Antigone was written in 440 BCE. Immediately after the play was released Sophocles was appointed as general in military. In the imperial era it is striking that the play does not have any political propaganda, no passing reference to Athens, no comments on the political scene happening. The play significantly focuses only on characters and themes within the play, which gives a timeless quality to it. Characters of the play: Antigone is having six characters in which three play a dominant role. Antigone is the daughter of the accidentally incestuous marriage between King Oedipus and his mother Jocasta. She is the lead character of the play. Antigone has to struggle against Creon, who represents the absolute rule and monarchy. She holds the family values and God’s will over and above everything else, even the law and decrees of the state. She does not deny that Polynices is a traitor. However as per her conviction although not loyal Polynices’ connection with Thebes still cannot be denied. Her determination to bury Polynices also comes from desire to bring honor to her family. She has more than often said that she must act to please “those that are dead” (An.77), she makes fewer references to god, which makes it easy to conclude that by honoring of the laws she means laws of family honor and not divine laws. She is fearless about the consequence of her action as she is completely convinced about her decision of burying Polynices. Creon is the son of Menoeceus. He takes over the Kingdom of Thebes when Eteocles and Polynices both die in the war. He orders burial of Eteocles to be done in full military honor while Polynices corpse to be left unburied. According to Creon the state and the law of the state holds the supreme place in the loyalties of a person. In Greeks it was a custom to bury their citizens. It was considered to be a sign of citizenship and affiliation. It was very natural therefore for the Thebans to bury Polynices. However as he joined hands with the Argivans to attack Thebes, according to Creon it was an act of treason. He comes across as a strong supporter of citizenship by Law. Creon’s conviction becomes interesting when he himself talks about family values to his Haemon. He values family honor of what he talks greatly. This is the only area where Antigone and Creon stand on the same ground. He goes to the extreme of saying, “Everything else shall be second to your father’s decision” (An. 640-641). Creon’s preference cannot be determined if a situation presents itself, if the family and state law clash. But he does hold the family values in high regards, is also determined by the fact that he reverses his decision to kill Antigone. Haemon: Haemon is the son on Creon and betrothed to Antigone. He is caught in a dilemma to choose between his father and his lover. He acknowledges the morally right side of Antigone but cannot cut himself off the strong family ties as well. He kills himself because of this helpless situation. His suicide drives Creon to madness at the end of the play. Ismene: She is Antigone’s sister who supports Antigone’s views about the burial of her brother Polynices. However she doesn’t have the courage to defy the laws as Antigone does. However after Antigone is caught Ismene declares that she aided Antigone although she did not participate in the actual act of burial. Antigone refuses to let Ismene be martyr. She is a reasonable, sympathetic person like Haemon and not a fanatic like Antigone or Creon. Eurydice: She is Creon’s wife who kills herself after listening to the news of her son Haemon’s death. Tiresias: In Greek Mythology Tiersias is the famous blind prophet of Thebes who transformed into a woman for seven years. He participated in fully seven generations at Thebes and was an advisor. He was a prophet of Zeus. Prophecy was gift which was earned or given only to priests and priestesses. Tiresias also earned his gift from Zeus and Hera. His pronouncements were never wrong. The Gods did not approve Creon’s Decision of burying Antigone alive and send Tiresias to convey it to him. Tiersias also tells Creon that he will pay “corpse for corpse and flesh for flesh” if he doesn’t comply by the wishes of the Gods. It is this terrible prophecy due to which Creon reverses his decision of burying Antigone alive. Salient Features: Antigone is one of the rare Greek plays where inside of a palace is shown. Usually all the plays happen in front of the backdrop which depicts palace. All the deaths happen inside the palace. Antigone however happens inside the palace. All the events happen inside the palace. The chorus is another interesting feature in Antigone. In the first part Seven against Thebes which precedes Antigone, Sophocles uses chorus to support Antigone’s decision to bury her brother. In Antigone the chorus is composed of old men who do not wish to see the civil outburst in positive perspective. Sophocles uses chorus effectively in all his plays. In Aeschyles the chorus intensifies the moral nature of the play, in Euripides it strays from the main theme. However in Antigone the chorus remains within general and immediate scene, but allows itself to be carried away for speaking. The chorus is also responsible for release of Ismene in the play. Sizwe Bansi is dead It is written in collaboration with two African actors John Kami and Winston Ntshona. Styles the photographer begins the narrative by telling about himself. He has opened the studio after leaving the menial job at Ford factory. Then arrives Robert, in his new suit and hat who wants a picture to send home to his family. Robert is actually Sizwe Bansi. Sizwe has incorrect stamp in passbook, a document which all the blacks are required to carry. This document does not allow him to stay at Port Elizabeth. He complains against the system which doesn’t allow him to return to the township where he can work and earn and take care of his family. In order to stay and survive he should change his identity. He gets the opportunity by swapping his identity with a dead man’s passbook. So Sizwe Bansi is dead and Robert lives. Historical and Social references of the play: Athol Fugard, writer of Sizwe Bansi was a law clerk in Johannesburg. Every Black and colored citizen aged over sixteen had to carry an identity book that restricted employment and travel within the country. The direct repercussion was the tremendous rise in the number of blacks being sent to jail. During this time Fugard saw a picture of a black, wearing his best suit and carrying a pipe, walking stick and newspaper, hanging outside a photo studio. It struck to him as a representation of a dream and identity. Although the play represents and talks about restrictions in South Africa, it has a universal appeal and identity to it. Characters of the play: Styles: He is the photographer who owns a photo studio. He is a base level worker at the Ford factory. He plays largely a role of a coordinator who tells us of the people who can live out their dreams by coming to him to get a photograph that makes them happy, even if only for a moment. Robert/ Sizwe: Robert is in fact Sizwe Bansi. Sizwe is forced to exile from his own place. Due to incorrect stamping on his passbook he is not able to work in the city where his family is situated. He realizes that in order to survive, he needs t change his identity and so he assumes a dead man’s identity. He is a caring man who wants to stand by his family, take care of them and be with them. Buntu: He comes across as a friend of Sizwe. He adapts himself to the new system. This is evident when he explains the lengthy procedure if acquiring the work permit to Sizwe. He does not see Sizwe’s problem as a personal one but as a social one. He sees the picture on a larger perspective hence also sounds neutral. Salient Features: The play opens with a 45 minute monologue, in which Styles the owner of the photography studio narrates the audience the story of his life, his previous employment, and his dream of opening a photo studio. He also tells of people who want to outlive their dreams by taking a simple picture taken to make them happy even if the happiness is short-lived. This narration presented today is topical and changes as per the locality. This monologue in print is about 15 pages and could stretch from half and hour to one and half hour in performance. Although this monologue changes its shape and style as per changing times and places, its significantly contributes to the character of Styles and his History. It speaks or comments greatly on the society around. This scene opens when Styles is waiting for a customer in his studio. He takes on the reign to explain about his life, his job as a menial worker in the Ford factory. This interaction and connection between the time gone by and the time present helps in building the drama and the story further. It contains a strong political text and talks about harsh realities like, job reservations, laws that define apartheid as a system, the satire and self-amusing humor in which Styles reverses role with his white boss “Baas” Bradley. (We were watching them. Nobody was watching us) and then his own independence through his photo studio. The characters think of such self-employment as a solution to apartheid. This is a significant point established through this monologue. Unlike all the black playwrights Sizwe Bansi is written and performed in English. Even when the workers at the Ford factory make fun of their supervisor Bass Bradley in the local language Xhosa it becomes the source of fun and political power play. The scene holds its importance and point for the English speaking audience, although in print form it is for audiences in white culture. It is fascinating to know that it is a collaboration of black and white writers and actors, primarily for white audience. The role playing used in the play also holds a lot of importance. Any other play which can slip into a simple narrative format while telling a story of this sort, Styles’ role playing comes as a fresh perspective. Styles transforms himself from an individual to group to society which makes the play and the monologue not only catchy but convincing to watch. Both the plays have death featuring prominently in them. In Antigone, it comes as the eventuality of the act committed which is supposedly against the state law. In Sizwe Bansi is dead it also is the eventuality for breaking the law. Both the plays give and stress the importance of the family values to a large extent. Antigone even as the character of the play does not say anything about her brother’s supposed betrayal to the state. All she wants is the acceptance of him in the civilization, a concern due to which she feels he deserves a burial as an honorable member of the family. In Sizwe Bansi, the relocation of Sizwe is in itself due to his desire to take care of his family. It is extremely painful for human being to let go of his identity, his name assume somebody else’s life and name and continue living. Sizwe accepts this as though it is a part of his life. In his letter to his wife he promises “to send some more (money) each week”. In Sizwe Bansi is dead, Buntu explains the procedure of acquiring references from white society in order to get a job or work. The problem is that Sizwe does not know any such reference. Upon this situation Buntu suggests that the only alternative is to work in mines. Sizwe refuses saying “you can die there”. To this statement Buntu asks Sizwe, “You don’t want to die”. Sizwe affirms, “I don’t want to die”. Antigone however acknowledges death and says’ “I know I must die”. In both the plays the certainty of death is associated with breaking the rules or the state laws. Interestingly in both the plays the cause is related to familial issues. The tyranny of the law is apparent in both the plays, which deny the very basic right of existence and happiness in one and the denial of affiliation in the other. Antigone very well establishes the theme of right of the individual to reject society’s infringement on her freedom to perform a personal obligation. She is well aware of the consequences she is going to face. This was and always has been stance of the martyrs in every part of the world and in all eras. It is the conviction of the person about his values, beliefs, motives and principles which makes him or her fearless of the repercussions. Antigone definitely being focused on the characters highlights this very well in all the characters it sketches. Even Creon, who gives an image of being tyrannical, his actions have been regarded as far more well meaning and good-intentioned. He is not anti familial values and rather gives in when he realizes the loss of love he is going to incur. This highlights his reasonable side. Haemon and Ismene are both torn in the defense of people they love and the principles they carry. Interestingly neither of them backs off when it comes to standing by what they believe. In Sizwe Bansi is dead, the omni-presence of death is very noticeable. Few examples: 1. the extermination of cockroaches, 2. the proximity of the studio to funeral parlor, 3. the death of the old man two days after posing for his photograph, 4. Robert’s death which gives new life to Sizwe. In spite of all these examples, the play is not defeatist. It does celebrate various forces of life. The process of role-playing the past itself is identified with death and the theatrical act with re) incarnation, which defines present as life and looks forward to future. The crux of the play’s sociopolitical and philosophical context is in the debate about the significance of adopting the dead man’s identity. Styles demonstrates about survival as a “man” is possible only on the condition of self-respect and dignity of the individual is guaranteed. The argument is supported by Buntu, who states that Sizwe’s only hope of survival lies in the renunciation of that dignity and self-respect embodied in his name. The term “survival” explained by Fugard can involve betrayal of everything- beliefs, values and ideals and even life itself. This is the point of difference in both the plays. Antigone doesn’t care about her life being taken away for what she believes so strongly and Sizwe would assume a dead man’s identity to live his life which may force him to abandon his own set of values. Both the plays are can be easily termed as periodic or could be thought as they belong to a particular era. However when it comes to the struggle of values of life, principles and death the plays transcend to all the eras and ages. This is primarily because these values and these struggles have also transported themselves from period to period. We have seen the representation of Antigone on the histories and freedom struggles of various countries. In the same way we have also heard stories of various struggles of mere survival and right to exist from every nook and corner of the world. Both these plays hence continue to transport themselves from mere prints to the minds of the reader. Bibliography: 1. Antigone 2. Sizwe Bansi is dead 3. Now way out : Sizwe Bansi is Dead and the dilemma of political drama in South Africa-Athol Fugard Issue – Andre Brink Read More

Creon is the son of Menoeceus. He takes over the Kingdom of Thebes when Eteocles and Polynices both die in the war. He orders burial of Eteocles to be done in full military honor while Polynices corpse to be left unburied. According to Creon the state and the law of the state holds the supreme place in the loyalties of a person. In Greeks it was a custom to bury their citizens. It was considered to be a sign of citizenship and affiliation. It was very natural therefore for the Thebans to bury Polynices.

However as he joined hands with the Argivans to attack Thebes, according to Creon it was an act of treason. He comes across as a strong supporter of citizenship by Law. Creon’s conviction becomes interesting when he himself talks about family values to his Haemon. He values family honor of what he talks greatly. This is the only area where Antigone and Creon stand on the same ground. He goes to the extreme of saying, “Everything else shall be second to your father’s decision” (An. 640-641).

Creon’s preference cannot be determined if a situation presents itself, if the family and state law clash. But he does hold the family values in high regards, is also determined by the fact that he reverses his decision to kill Antigone. Haemon: Haemon is the son on Creon and betrothed to Antigone. He is caught in a dilemma to choose between his father and his lover. He acknowledges the morally right side of Antigone but cannot cut himself off the strong family ties as well. He kills himself because of this helpless situation.

His suicide drives Creon to madness at the end of the play. Ismene: She is Antigone’s sister who supports Antigone’s views about the burial of her brother Polynices. However she doesn’t have the courage to defy the laws as Antigone does. However after Antigone is caught Ismene declares that she aided Antigone although she did not participate in the actual act of burial. Antigone refuses to let Ismene be martyr. She is a reasonable, sympathetic person like Haemon and not a fanatic like Antigone or Creon.

Eurydice: She is Creon’s wife who kills herself after listening to the news of her son Haemon’s death. Tiresias: In Greek Mythology Tiersias is the famous blind prophet of Thebes who transformed into a woman for seven years. He participated in fully seven generations at Thebes and was an advisor. He was a prophet of Zeus. Prophecy was gift which was earned or given only to priests and priestesses. Tiresias also earned his gift from Zeus and Hera. His pronouncements were never wrong. The Gods did not approve Creon’s Decision of burying Antigone alive and send Tiresias to convey it to him.

Tiersias also tells Creon that he will pay “corpse for corpse and flesh for flesh” if he doesn’t comply by the wishes of the Gods. It is this terrible prophecy due to which Creon reverses his decision of burying Antigone alive. Salient Features: Antigone is one of the rare Greek plays where inside of a palace is shown. Usually all the plays happen in front of the backdrop which depicts palace. All the deaths happen inside the palace. Antigone however happens inside the palace. All the events happen inside the palace.

The chorus is another interesting feature in Antigone. In the first part Seven against Thebes which precedes Antigone, Sophocles uses chorus to support Antigone’s decision to bury her brother. In Antigone the chorus is composed of old men who do not wish to see the civil outburst in positive perspective. Sophocles uses chorus effectively in all his plays. In Aeschyles the chorus intensifies the moral nature of the play, in Euripides it strays from the main theme. However in Antigone the chorus remains within general and immediate scene, but allows itself to be carried away for speaking.

The chorus is also responsible for release of Ismene in the play. Sizwe Bansi is dead It is written in collaboration with two African actors John Kami and Winston Ntshona. Styles the photographer begins the narrative by telling about himself.

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