Creon has become the new king of Thebes after the deaths of Eteocles and Polyneices. He decrees that Eteocles will receive a proper burial as a loyal soldier, but that Polyneices, as a traitor, will not be buried and will be left to rot and be eaten by animals. Antigone tells her sister Ismene of Creon's decree and plans to defy it by burying Polyneices herself. Ismene refuses to help, fearing Creon's punishment. Antigone insists on burying her brother alone.
ANTIGONE
ANTIGONH
(c. 441 B.C.)
by
Sophocles
(c. 496-406 B.C.)
translated by Dudley Fitts and Robert Fitzgerald
adapted for the Washington Hall mainstage by
Mark Pilkinton
The University of Notre Dame
Department of Film, Television, & Theatre
28 November-2 December 2001
ANTIGONE
by Sophocles
Characters
Antigone, daughter of Oedipus ANTIGONH
Ismene, daughter of Oedipus ISMHNH
Eurydice, wife of Creon EURUDIKH
Creon, King of Thebes KREWN
Haimon, son of Creon AIMWN
Teiresias, A blind seer TEIRESIAS
Sentry FULAX
Messenger AGGELOS
Priest IEREUS
Chorus COROS
Antigone Text http://www.krucli.com/Antigone text.htm
1 of 38 2/8/2011 10:23 AM
Scene: Before the palace of Creon, King of Thebes. A central double door, and two lateral doors. A platform
extends the length of the façade, and from this platform three steps lead down into the orchestra, or dancing
place. Or, simply, in front of the palace at Thebes.
Time: Dawn of the day after the repulse of the Argive army from the assault on Thebes, and the brothers
Eteocles and Polyneices have killed each other.
Prologue
(Antigone and Ismene enter.)
ANTIGONE
You would think that we had already suffered enough for the curse on our father, Oedipus. I cannot imagine
any grief that you and I have not gone through. And now--have they told you of the new decree of our uncle,
King Creon?
ISMENE
I have heard nothing. I know that two sisters lost two brothers, a double death in a single hour; and I know
that the Argive army fled in the night; but beyond this, nothing.
ANTIGONE
I thought so. And that is why I wanted you to come out here with me. This is something we must do.
ISMENE
Why do you speak so strangely?
ANTIGONE
Listen, Ismene: Creon buried our brother, Eteocles, with military honors, gave him a soldier's funeral, and it
was right that he should--but Polyneices, who fought as bravely and died as miserably--they say that Creon
has sworn no one shall bury him, no one mourn for him, but his body must lie in the fields, a sweet treasure
for carrion birds to find as they search for food. That is what they say, and our good Creon is coming here to
announce it publicly; and the penalty--stoning to death in the public square! There it is, and now you can
prove what you are: a true sister, or a traitor to your family.
ISMENE
Antigone, you are mad! What could I possibly do?
ANTIGONE
You must decide whether you will help me or not.
ISMENE
I do not understand you. Help you in what?
ANTIGONE
Ismene, I am going to bury him.
Antigone Text http://www.krucli.com/Antigone text.htm
2 of 38 2/8/2011 10:23 AM
ISMENE
Bury him! You have just said the new law forbids it.
ANTIGONE
He is my brother. And he is your brother, too.
ISMENE
But think of the danger! Think what Creon will do!
ANTIGONE
Creon is not strong enough to stand in my way.
ISMENE
Ah sister! Oedipus died, everyone hating him for what his own search brought to light, his eyes ripped out by
his o.
The document is an adaptation of the play Antigone by Sophocles. It provides background information on the play, including the characters and brief synopsis. The prologue begins with Antigone and Ismene learning of Creon's decree that Polyneices must remain unburied, though his brother Eteocles received a proper burial. Antigone vows to bury her brother anyway, risking death, while Ismene refuses to help for fear of punishment. Creon then enters and announces the decree to the people. A sentry then arrives and reports that someone has buried Polyneices, angering Creon who vows to punish whoever disobeyed him.
P13-5A – P646Changes in various ratios presented below is selec.docxgerardkortney
Creon announces a new decree that Eteocles will receive a proper burial with military honors for dying in battle defending Thebes, but that Polyneices will not be buried or mourned as he attacked Thebes. Antigone tells Ismene of the decree and that she plans to bury Polyneices anyway, risking death, but Ismene refuses to help for fear of Creon. A sentry then reports to Creon that someone has already buried Polyneices, though they do not know who, greatly angering Creon.
Write a three-page, double-spaced research paper summarizing three.docxambersalomon88660
Write a three-page, double-spaced research paper summarizing three (3) scholarly articles that used human subjects in the research. All research articles MUST have been published in the Journal of Consumer Research, theJournal of Marketing Research, or theJournal of Consumer Psychology within the past 15 years (i.e., between January, 2001, and the present). Articles from older publications or journals other than those noted WILL NOT BE ACCEPTED. For each article, explain how human subjects were used in the research, and explain how the use of human subjects provided insight into how consumers think and behave. Include a reference list in proper APA format: Author(s), year published, title of article, name of journal, volume, issue, and pages.
Sophocles
Antigone
______________________________________________
TRANSLATOR'S NOTE
This translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada, has certain copyright restrictions. For information please use the following link: Copyright. For comments or question please contact Ian Johnston.
This translation is available in the form of a published paperback book from Richer Resources Publications and in the form of a Word file for those who would like to print it off as a small book. There is no charge for these files. For details, please use the following link: Word Files.
The translator would like to acknowledge the valuable help provided by Andrew Brown’s edition of Sophocles’ Antigone (Aris & Philips, 1987), especially by his editorial notes.
Note that in this translation the numbers in square brackets refer to the Greek text, and the numbers with no brackets refer to this text. The superscript numbers in the text are links to explanatory notes at the end. These endnotes and the stage directions have been added by the translator.
This text was last revised in May 2005 and last reformatted in April 2014
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier.
10
Antigone
______________________________________________
Sophocles
Antigone
______________________________________________
Translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier serving Creon
MESSENGER
CHORUS: Theban Elders
ATTENDANTS.
[In Thebes, directly in front of the royal palace, which stands in the background, its main doors facing the audience.
Enter Antigone leading Ismene away from the palace]
ANTIGONE
Now, dear Ismene, my own blood sister,
do you have any sense of all the troubles
Zeus keeps bringing on the two of us,
as long as we’re alive? All that misery
which stems from Oedipus? There’s no suffering,
no shame, no ruin—not one dishonour—
which I have not seen in all the troubles
you and I go through. What’s this they’re saying now,
something our general has had proclaimed
throughout the city? Do you know of it? 10
Have you heard? Or have you just missed the news?
Dishonours which better fit our enemies
are now being piled up on the ones we love.
ISMENE
I’ve had no word at all, Antigone,
nothing good or bad about our family,
not since we two lost both our brothers,
killed on the same day by a double blow.
And since the Argive army, just last night,
has gone away, I don’t know any more
if I’ve been lucky or face total ruin. 20
ANTIGONE
I know that. That’s why I brought you here,
outside the gates, so only you can hear.
ISMENE
What is it? The way you look makes it seem
you’re thinking of some dark and gloomy news.
ANTIGONE
Look—what’s Creon doing with our two brothers?
He’s honouring one with a full funeral
and treating the other one disgracefully!
Eteocles, they say, has had his burial
according to our customary rites,
to win him honour with the dead below. .
10
Antigone
______________________________________________
Sophocles
Antigone
______________________________________________
Translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier serving Creon
MESSENGER
CHORUS: Theban Elders
ATTENDANTS.
[In Thebes, directly in front of the royal palace, which stands in the background, its main doors facing the audience.
Enter Antigone leading Ismene away from the palace]
ANTIGONE
Now, dear Ismene, my own blood sister,
do you have any sense of all the troubles
Zeus keeps bringing on the two of us,
as long as we’re alive? All that misery
which stems from Oedipus? There’s no suffering,
no shame, no ruin—not one dishonour—
which I have not seen in all the troubles
you and I go through. What’s this they’re saying now,
something our general has had proclaimed
throughout the city? Do you know of it? 10
Have you heard? Or have you just missed the news?
Dishonours which better fit our enemies
are now being piled up on the ones we love.
ISMENE
I’ve had no word at all, Antigone,
nothing good or bad about our family,
not since we two lost both our brothers,
killed on the same day by a double blow.
And since the Argive army, just last night,
has gone away, I don’t know any more
if I’ve been lucky or face total ruin. 20
ANTIGONE
I know that. That’s why I brought you here,
outside the gates, so only you can hear.
ISMENE
What is it? The way you look makes it seem
you’re thinking of some dark and gloomy news.
ANTIGONE
Look—what’s Creon doing with our two brothers?
He’s honouring one with a full funeral
and treating the other one disgracefully!
Eteocles, they say, has had his burial
according to our customary rites,
to win him honour with the dead below. .
2 FATE / Page 2.3 Oedipus Tyrannus
Oedipus Tyrannus
By Sophocles
Translated by Peter Meineck & Paul Woodruff
SCENE: Before the royal house of Thebes. The great doors of
the house stand upstage center. There are two wing
entrances, one onstage left and one onstage right.
There is a holy altar center stage. A throng of citizens
have gathered there as suppliants.
(Enter Oedipus through the great doors.)
OEDIPUS:
My children, new nurtured by old Thebes,
Why have you come here pleading,
Wearing wreaths and clutching boughs?
The city burns with pungent spice.
Healing hymns echo the sounds of suffering.
To have heard such news from others
Would not have been right.
My children, I am here, famous Oedipus.
(Oedipus addresses an elderly priest.)
Old man, it is your duty to speak for all.
Why are you kneeling in supplication—
What do you fear, what do you want?
I will help. Only a heartless man could bear
To see such sorrow and not feel pity.
ELDER:
Oedipus, master of my country, look.
Every age gathers at your altar: fledglings
Not yet fit to fly, elders bending beneath time,
Ministers of Zeus, as I, and the flower of our youth.
Your people cram the city’s squares
Crowding Athena’s two temples,
The river god’s sacred shrine
And the blood-charred altar of the prophet.
Look, see for yourself: the city is plunged
Headlong into the depths of disaster,
Engulfed by a murderous seething tide.
Desolation wastes away the harvest,
Destroys our herds grazing in the fields,
Blights the women and makes them barren.
Some furious god hurls pestilence and plague,
Draining the house of Cadmus,
As Hades bloats on dirges of death.
We know that you are not a god;
These children came to your hearth to plead
To the man who knows best the trials of life,
For you understand divine power.
You came to Thebes, saved us from the Sphinx,
And without any help, delivered us from despair.
We could do nothing; we knew nothing.
It is said that once you were helped by a god;
We believed it, and you saved all our lives.
Now, Oedipus, our master and greatest power,
We are all in your care, and we beg of you:
Come to our aid.
Have you heard from a god, a man,
Is there something that you know?
You understand what to do at such times,
That is clear; all of us trust your judgment.
Come, noblest of men, save the city.
Come, be true to your fame.
Our country calls you its savior;
You earned the title. Let it never be remembered
That you once raised us up, only to let us fall.
You brought us lucky signs and good days;
Now you need do the same for us again.
If you want to rule as master of this land,
You need men to master, not walls and ships.
A nation of no-one can only be nothing.
OEDIPUS:
My poor children, I understand the hope
That brings you here—how could I not?
I know you are all in pain; ever ...
ANTIGONE
ANTIGONH
(c. 441 B.C.)
by
Sophocles
(c. 496-406 B.C.)
translated by Dudley Fitts and Robert Fitzgerald
adapted for the Washington Hall mainstage by
Mark Pilkinton
The University of Notre Dame
Department of Film, Television, & Theatre
28 November-2 December 2001
ANTIGONE
by Sophocles
Characters
Antigone, daughter of Oedipus ANTIGONH
Ismene, daughter of Oedipus ISMHNH
Eurydice, wife of Creon EURUDIKH
Creon, King of Thebes KREWN
Haimon, son of Creon AIMWN
Teiresias, A blind seer TEIRESIAS
Sentry FULAX
Messenger AGGELOS
Priest IEREUS
Chorus COROS
Antigone Text http://www.krucli.com/Antigone text.htm
1 of 38 2/8/2011 10:23 AM
Scene: Before the palace of Creon, King of Thebes. A central double door, and two lateral doors. A platform
extends the length of the façade, and from this platform three steps lead down into the orchestra, or dancing
place. Or, simply, in front of the palace at Thebes.
Time: Dawn of the day after the repulse of the Argive army from the assault on Thebes, and the brothers
Eteocles and Polyneices have killed each other.
Prologue
(Antigone and Ismene enter.)
ANTIGONE
You would think that we had already suffered enough for the curse on our father, Oedipus. I cannot imagine
any grief that you and I have not gone through. And now--have they told you of the new decree of our uncle,
King Creon?
ISMENE
I have heard nothing. I know that two sisters lost two brothers, a double death in a single hour; and I know
that the Argive army fled in the night; but beyond this, nothing.
ANTIGONE
I thought so. And that is why I wanted you to come out here with me. This is something we must do.
ISMENE
Why do you speak so strangely?
ANTIGONE
Listen, Ismene: Creon buried our brother, Eteocles, with military honors, gave him a soldier's funeral, and it
was right that he should--but Polyneices, who fought as bravely and died as miserably--they say that Creon
has sworn no one shall bury him, no one mourn for him, but his body must lie in the fields, a sweet treasure
for carrion birds to find as they search for food. That is what they say, and our good Creon is coming here to
announce it publicly; and the penalty--stoning to death in the public square! There it is, and now you can
prove what you are: a true sister, or a traitor to your family.
ISMENE
Antigone, you are mad! What could I possibly do?
ANTIGONE
You must decide whether you will help me or not.
ISMENE
I do not understand you. Help you in what?
ANTIGONE
Ismene, I am going to bury him.
Antigone Text http://www.krucli.com/Antigone text.htm
2 of 38 2/8/2011 10:23 AM
ISMENE
Bury him! You have just said the new law forbids it.
ANTIGONE
He is my brother. And he is your brother, too.
ISMENE
But think of the danger! Think what Creon will do!
ANTIGONE
Creon is not strong enough to stand in my way.
ISMENE
Ah sister! Oedipus died, everyone hating him for what his own search brought to light, his eyes ripped out by
his o.
The document is an adaptation of the play Antigone by Sophocles. It provides background information on the play, including the characters and brief synopsis. The prologue begins with Antigone and Ismene learning of Creon's decree that Polyneices must remain unburied, though his brother Eteocles received a proper burial. Antigone vows to bury her brother anyway, risking death, while Ismene refuses to help for fear of punishment. Creon then enters and announces the decree to the people. A sentry then arrives and reports that someone has buried Polyneices, angering Creon who vows to punish whoever disobeyed him.
P13-5A – P646Changes in various ratios presented below is selec.docxgerardkortney
Creon announces a new decree that Eteocles will receive a proper burial with military honors for dying in battle defending Thebes, but that Polyneices will not be buried or mourned as he attacked Thebes. Antigone tells Ismene of the decree and that she plans to bury Polyneices anyway, risking death, but Ismene refuses to help for fear of Creon. A sentry then reports to Creon that someone has already buried Polyneices, though they do not know who, greatly angering Creon.
Write a three-page, double-spaced research paper summarizing three.docxambersalomon88660
Write a three-page, double-spaced research paper summarizing three (3) scholarly articles that used human subjects in the research. All research articles MUST have been published in the Journal of Consumer Research, theJournal of Marketing Research, or theJournal of Consumer Psychology within the past 15 years (i.e., between January, 2001, and the present). Articles from older publications or journals other than those noted WILL NOT BE ACCEPTED. For each article, explain how human subjects were used in the research, and explain how the use of human subjects provided insight into how consumers think and behave. Include a reference list in proper APA format: Author(s), year published, title of article, name of journal, volume, issue, and pages.
Sophocles
Antigone
______________________________________________
TRANSLATOR'S NOTE
This translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada, has certain copyright restrictions. For information please use the following link: Copyright. For comments or question please contact Ian Johnston.
This translation is available in the form of a published paperback book from Richer Resources Publications and in the form of a Word file for those who would like to print it off as a small book. There is no charge for these files. For details, please use the following link: Word Files.
The translator would like to acknowledge the valuable help provided by Andrew Brown’s edition of Sophocles’ Antigone (Aris & Philips, 1987), especially by his editorial notes.
Note that in this translation the numbers in square brackets refer to the Greek text, and the numbers with no brackets refer to this text. The superscript numbers in the text are links to explanatory notes at the end. These endnotes and the stage directions have been added by the translator.
This text was last revised in May 2005 and last reformatted in April 2014
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier.
10
Antigone
______________________________________________
Sophocles
Antigone
______________________________________________
Translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier serving Creon
MESSENGER
CHORUS: Theban Elders
ATTENDANTS.
[In Thebes, directly in front of the royal palace, which stands in the background, its main doors facing the audience.
Enter Antigone leading Ismene away from the palace]
ANTIGONE
Now, dear Ismene, my own blood sister,
do you have any sense of all the troubles
Zeus keeps bringing on the two of us,
as long as we’re alive? All that misery
which stems from Oedipus? There’s no suffering,
no shame, no ruin—not one dishonour—
which I have not seen in all the troubles
you and I go through. What’s this they’re saying now,
something our general has had proclaimed
throughout the city? Do you know of it? 10
Have you heard? Or have you just missed the news?
Dishonours which better fit our enemies
are now being piled up on the ones we love.
ISMENE
I’ve had no word at all, Antigone,
nothing good or bad about our family,
not since we two lost both our brothers,
killed on the same day by a double blow.
And since the Argive army, just last night,
has gone away, I don’t know any more
if I’ve been lucky or face total ruin. 20
ANTIGONE
I know that. That’s why I brought you here,
outside the gates, so only you can hear.
ISMENE
What is it? The way you look makes it seem
you’re thinking of some dark and gloomy news.
ANTIGONE
Look—what’s Creon doing with our two brothers?
He’s honouring one with a full funeral
and treating the other one disgracefully!
Eteocles, they say, has had his burial
according to our customary rites,
to win him honour with the dead below. .
10
Antigone
______________________________________________
Sophocles
Antigone
______________________________________________
Translation by Ian Johnston of Vancouver Island University, Nanaimo, British Columbia, Canada
BACKGROUND NOTE TO THE STORY
When Oedipus, King of Thebes, discovered through his own investigations that he had killed his father and married his mother, Jocasta, he put out his own eyes, and Jocasta killed herself. Once Oedipus ceased being king of Thebes, his two sons, Polyneices and Eteocles, agreed to alternate as king. When Eteocles refused to give up power to Polyneices, the latter collected a foreign army of Argives and attacked the city. In the ensuing battle, the Thebans triumphed over the invading forces, and the two brothers killed each other, with Eteocles defending the city and Polyneices attacking it. The action of the play begins immediately after the battle. Note that Creon is a brother of Jocasta and thus an uncle of Antigone, Ismene, Eteocles, and Polyneices.
DRAMATIS PERSONAE
ANTIGONE: daughter of Oedipus
ISMENE: daughter of Oedipus, sister of Antigone
CREON: king of Thebes
EURYDICE: wife of Creon
HAEMON: son of Creon and Euridice, engaged to Antigone.
TEIRESIAS: an old blind prophet
BOY: a young lad guiding Teiresias
GUARD: a soldier serving Creon
MESSENGER
CHORUS: Theban Elders
ATTENDANTS.
[In Thebes, directly in front of the royal palace, which stands in the background, its main doors facing the audience.
Enter Antigone leading Ismene away from the palace]
ANTIGONE
Now, dear Ismene, my own blood sister,
do you have any sense of all the troubles
Zeus keeps bringing on the two of us,
as long as we’re alive? All that misery
which stems from Oedipus? There’s no suffering,
no shame, no ruin—not one dishonour—
which I have not seen in all the troubles
you and I go through. What’s this they’re saying now,
something our general has had proclaimed
throughout the city? Do you know of it? 10
Have you heard? Or have you just missed the news?
Dishonours which better fit our enemies
are now being piled up on the ones we love.
ISMENE
I’ve had no word at all, Antigone,
nothing good or bad about our family,
not since we two lost both our brothers,
killed on the same day by a double blow.
And since the Argive army, just last night,
has gone away, I don’t know any more
if I’ve been lucky or face total ruin. 20
ANTIGONE
I know that. That’s why I brought you here,
outside the gates, so only you can hear.
ISMENE
What is it? The way you look makes it seem
you’re thinking of some dark and gloomy news.
ANTIGONE
Look—what’s Creon doing with our two brothers?
He’s honouring one with a full funeral
and treating the other one disgracefully!
Eteocles, they say, has had his burial
according to our customary rites,
to win him honour with the dead below. .
2 FATE / Page 2.3 Oedipus Tyrannus
Oedipus Tyrannus
By Sophocles
Translated by Peter Meineck & Paul Woodruff
SCENE: Before the royal house of Thebes. The great doors of
the house stand upstage center. There are two wing
entrances, one onstage left and one onstage right.
There is a holy altar center stage. A throng of citizens
have gathered there as suppliants.
(Enter Oedipus through the great doors.)
OEDIPUS:
My children, new nurtured by old Thebes,
Why have you come here pleading,
Wearing wreaths and clutching boughs?
The city burns with pungent spice.
Healing hymns echo the sounds of suffering.
To have heard such news from others
Would not have been right.
My children, I am here, famous Oedipus.
(Oedipus addresses an elderly priest.)
Old man, it is your duty to speak for all.
Why are you kneeling in supplication—
What do you fear, what do you want?
I will help. Only a heartless man could bear
To see such sorrow and not feel pity.
ELDER:
Oedipus, master of my country, look.
Every age gathers at your altar: fledglings
Not yet fit to fly, elders bending beneath time,
Ministers of Zeus, as I, and the flower of our youth.
Your people cram the city’s squares
Crowding Athena’s two temples,
The river god’s sacred shrine
And the blood-charred altar of the prophet.
Look, see for yourself: the city is plunged
Headlong into the depths of disaster,
Engulfed by a murderous seething tide.
Desolation wastes away the harvest,
Destroys our herds grazing in the fields,
Blights the women and makes them barren.
Some furious god hurls pestilence and plague,
Draining the house of Cadmus,
As Hades bloats on dirges of death.
We know that you are not a god;
These children came to your hearth to plead
To the man who knows best the trials of life,
For you understand divine power.
You came to Thebes, saved us from the Sphinx,
And without any help, delivered us from despair.
We could do nothing; we knew nothing.
It is said that once you were helped by a god;
We believed it, and you saved all our lives.
Now, Oedipus, our master and greatest power,
We are all in your care, and we beg of you:
Come to our aid.
Have you heard from a god, a man,
Is there something that you know?
You understand what to do at such times,
That is clear; all of us trust your judgment.
Come, noblest of men, save the city.
Come, be true to your fame.
Our country calls you its savior;
You earned the title. Let it never be remembered
That you once raised us up, only to let us fall.
You brought us lucky signs and good days;
Now you need do the same for us again.
If you want to rule as master of this land,
You need men to master, not walls and ships.
A nation of no-one can only be nothing.
OEDIPUS:
My poor children, I understand the hope
That brings you here—how could I not?
I know you are all in pain; ever ...
Basically you have to read a text and then answer questions, it woul.docxgarnerangelika
Basically you have to read a text and then answer questions, it would take like 2 hours max to do. Im in highschool first year. This is the text u have to read, every few, there will be a question
CLASSICAL GREEK TRAGEDY
ANTIGONE by SOPHOCLES (496?-406 B.C.)
An English Version by Dudley Fitts and Robert Fitzgerald (adapted)
CHARACTERS:
ANTIGONE
Daughter of Oedipus and Iocasta
Sister of Ismene, Eteocles and Polyneices
Sister of Oedipus
Granddaughter of Iocasta
Niece of Creon
Princess of Thebes
ISMENE
Daughter of Oedipus and Iocasta
Sister of Antigone, Eteocles and Polyneices
Sister of Oedipus
Granddaughter of Iocasta
Niece of Creon
Princess of Thebes
CREON
King of Thebes
Son of Menoikeus
Husband of Eurydice
Father of Haimon
Brother of Iocasta
Uncle of Antigone, Ismene, Eteocles, and Polyneices
EURYDICE
Queen of Thebes
Wife of Creon
Mother of Haimon
HAIMON
Son of Creon and Eurydice
Fiancé of Antigone
TEIRESIAS
Blind prophet of Apollo (one of the most complex and important Greek gods, and is the god of many things, including: music, poetry, art, oracles, archery, plague, medicine, sun, light and knowledge)
A SENTRY
Soldier and messenger
A MESSENGER
CHORUS
Group of old Theban men
Comment on the action of the play, explain the play’s central themes, and connect the play to other myths
CHORAGUS
Leader of the Chorus
PROLOGUE
(INTRODUCTION)
SCENE:
Before the Palace of
Creon, King of Thebes
. A central double door, and two
lateral
(side) doors. A
platform
extends the length of the
façade
(front), and from this platform three steps lead down into the
“orchestra”
(chorus-ground).
TIME:
Dawn
(early morning of the day after the
repulse
(drive back of an attacking army) of the
Argive army
from the
assault
(attack) on Thebes.
DO NOT READ (ALOUD) WHAT’S IN ITALICS OR ALL CAPS.
ALL CHARACTERS ARE UNDERLINED.
[ANTIGONE and ISMENE enter from the central door of the Palace.]
ANTIGONE:
Ismene
, dear sister, 1 You would think that we had already suffered enough
For the
curse
(
call on supernatural to harm/punish someone
) on
Oedipus
:
I cannot imagine any
grief
(
deep sorrow or sadness
)
That you and I have not gone through. And now –– 5
Have they told you of the new
decree
(
official order
) of our
King Creon
?
ISMENE:
I have heard nothing: I know
That two sisters lost two brothers, a double death
In a single hour; and I know that the
Argive army
(
army led by Polyneices
)
Fled
(
ran away
) in the night; but beyond this, nothing. 10
ANTIGONE:
I thought so. And that is why I wanted you
To come out here with me. There is something we must do.
ISMENE:
Why do you speak so strangely?
ANTIGONE:
Listen,
Ismenê
:
Creon
buried our brother
Eteoclês
.
Theatre 383 - A WELL WRITTEN PLAY CRITIQUEA play critique is an .docxchristalgrieg
Theatre 383 - A WELL WRITTEN PLAY CRITIQUE
A play critique is an evaluation of a performance. Using the vocabulary developed in your course of study, construct strong statements of observation and support them with specific details. All work is to be original to you and a result of your viewing the live performance you are writing about. Reference
the MLA and College Level Expectations handouts available in our TITANium course page. Please use the Writing Center on campus if you need assistance to achieve college level success.
Third person is used when a degree of objectivity is intended and is used in academic documents such as theatrical reviews. The third person perspective directs the reader’s attention to the subject being presented and discussed. Third person personal pronouns include he, she, it, they, him, her, them, his, her, hers, its, their and theirs. There is no place for “I” in this type of academic document.
Each of the theatrical elements you will analyze needs to be approached in three different steps.
DESCRIBE what you saw in detail. Make the reader see what you saw. Be specific and thorough. Use adjectives and adverbs that paint a picture for the reader.
ANALYZE and reach conclusions as to what the director or designer was trying to achieve. Why did they design the movements, sets, lights, sound effects, make-up or costumes that way? What emotions were they trying to make the audience feel?
JUDGE how effective their efforts were. Do not be vague. (ie. Don’t say things like: “It was awesome.” They were appropriate to the time.” “It was good.” Arghh….) Give a diplomatic, honest opinion. Give
credit for positives to the individual. If you have something negative to say, do so constructively.
IF YOU CANNOT SUPPORT YOUR OPINION WITH SPECIFIC DETAILS FROM THE SHOW TO ILLUSTRATE YOUR POINTS, THEN YOUR JUDGEMENTS – POSITIVE OR NEGATIVE – ARE NOT REALLY WORTH MENTIONING.
WRITE A STANDARD FIVE PARAGRAPH CRITIQUE.
INTRODUCTORY PARAGRAPH (include answers to these questions)
What is the title of the show? Who wrote it?
Where was the show performed? Who directed it?
When does the play run? What is the main message/theme of the show?
BRIEFLY summarize the plot of the play or musical
PARAGRAPH #2 – The Acting - Explore audience emotional & intellectual experience
What did they do to appear believable? How did they accomplish seeming realistic?
How was their Volume? Articulation? Tone? What specific body movements were effective?
How were specific characters engaging? Who was interesting to watch? Why specifically?
PARAGRAPHS 3 & 4 – Evaluate the technical elements and how they contribute to the performance.
– DIRECTION & DESIGN: SET/SOUND/LIGHTS/PROPS/COSTUME/MAKEUP
What mood was established and how? Describe the direction/set/use of sound/lights?
How was the time period reflected? How did they complement the mood of the play?
How did they/it draw or direct focus? How did they/it contribute to ...
Ehud, a left-handed judge of Israel, assassinated King Eglon of Moab to deliver the Israelites from oppression. The document provides further commentary on this biblical story, including:
- Left-handed people can achieve great things through determination and hard work, despite disadvantages.
- Worldly power and status offer no protection, as Eglon was killed while meeting alone with Ehud in his summer house retreat.
- Death can come unexpectedly, even in places of leisure and comfort like Eglon's summer house, reminding us of our mortality.
The document encourages the reader to have faith and perseverance in their work, as Ehud did, and not to seek worldly gain
1) Antigone informs her sister Ismene that their uncle Creon, who is now king, has decreed that their brother Polyneices is not to receive burial rites and will instead be left to rot, facing the penalty of stoning for anyone who disobeys.
2) Antigone declares that she will bury Polyneices anyway, seeing it as her duty as his sister, but Ismene refuses to help, claiming she must obey the law set by Creon as king.
3) The sisters argue over Antigone's plan, with Ant
Oedipus the King Sophocles Translated by David Grene .docxcherishwinsland
Oedipus the King
Sophocles
Translated by David Grene
CHARACTERS
OEDIPUS, King of Thebes FIRST MESSENGER
JOCASTA, His Wife SECOND MESSENGER
CREON, His Brother-in-Law A HERDSMAN
TEIRESIAS, an Old Blind Prophet A CHORUS OF OLD MEN OF
THEBES
PRIEST
PART I:
Scene: In front of the palace of Oedipus at Thebes. To the
Right of the stage near the altar stands the PRIEST with a
crowd of children.
OEDIPUS emerges from the central door.
OEDIPUS: Children, young sons and daughters of old
Cadmus,
1
why do you sit here with your suppliant crowns?
2
the town is heavy with a mingled burden
of sounds and smells, of groans and hymns and
incense;
5 I did not think it fit that I should hear
of this from messengers but came myself,--
I Oedipus whom all men call the Great.
[He returns to the PRIEST.]
You’re old and they are young; come, speak for them.
What do you fear or want, that you sit here
10 suppliant? Indeed I’m willing to give all
that you may need; I would be very hard
should I not pity suppliants like these.
PRIEST: O ruler of my country, Oedipus,
You see our company around the altar;
15 you see our ages; some of us, like these,
who cannot yet fly far, and some of us
heavy with age; these children are the chosen
among the young, and I the priest of Zeus.
Within the market place sit others crowned
20 with suppliant garlands
3
, at the double shrine
of Pallas
4
and the temple where Ismenus
gives oracles by fire
5
. King, you yourself
have seen our city reeling like a wreck
1
Cadmus n. mythical founder and first king of Thebes, a city in
central Greece where the play takes place
2
suppliant crowns wreaths worn by people who ask favors of
the gods.
3
suppliant garlands branches wound in wool, which were
placed on the altar and left there until the suppliant’s request
was granted.
4
double shrine of Pallas the two temples of Athena.
5
temple where Isemenus gives oracles by fire Temple of
Apollo, located by Ismenus, the Theban river, where the priests
studied patterns in the ashes of sacrificial victims to foretell the
future.
already; it can scarcely lift its prow
25 out of the depths, out of the bloody surf.
A blight is on the fruitful plants of the earth.
A blight is on the cattle in the fields,
a blight is on our women that no children
are born to them; a God that carries fire,
30 a deadly pestilence, is on our town,
strikes us and spears us not, and the house of Cadmus
is emptied of its people while black Death
grows rich in groaning and in lamentation.
6
We have not come as suppliants to this altar
35 because we thought of you as a God,
but rather judging you the first of men
in all the chances of this life and when
we mortals have to do with more that man.
You came and by your coming saved our city,
40 freed us from the tribute which we pa.
Ulysses by Alfred, Lord Tennyson is a dramatic monologue spoken by the character Ulysses. In three stanzas of blank verse, Ulysses expresses his dissatisfaction with his idle life after returning from war. He longs for adventure and exploration, having seen and experienced much in his life. Ulysses prepares to embark on a new voyage with his crew to explore lands beyond what is known, driven by his restless spirit. Though aged, Ulysses maintains that adventure and accomplishment give life meaning over passivity and stagnation.
In Greek mythology, Antigone is the daughter of Oedipus and his mother, Jocasta. The denotement of the designation is, as in the case of the masculine equipollent Antigonus, "worthy of one's parents" or "in lieu of one's parents".
The Battle of Maldon is an Old English poem that describes a real battle between the English and Vikings that took place in 991 AD. The summary is:
The poem describes the battle preparations as the Viking troop advances towards the English shore. Byrhtnoth, the English earl, has his men form a shield wall to defend against the Vikings. A fierce battle ensues, with fighting on both sides. Byrhtnoth is able to kill one of the Vikings who wounded him before being killed himself. His men continue fighting bravely in his honor, but the Vikings ultimately defeat the English forces.
The Battle of Maldon is an Old English poem that describes a real battle between the English and Vikings that took place in 991 AD. The summary is:
The poem describes the battle preparations as the Viking troop advances towards the English forces led by Byrhtnoth. Byrhtnoth orders his men to form a shield wall to defend against the Vikings. A fierce battle ensues, with men from both sides falling as they fight bravely. Though wounded, Byrhtnoth continues to encourage his troops. The poem provides vivid details of the violent clashes between the two sides during the historic Battle of Maldon.
1 Category One Epic of Gilgamesh (109) 1. Urshan.docxtarifarmarie
1
Category One
Epic of Gilgamesh (109)
1. Urshanabi spoke to Gilgamesh, saying:'
"Why are your cheeks emaciated, your expression desolate!
2. Gilgamesh spoke to Urshanabi, saying:
"Urshanabi, should not my cheeks be emaciated, my expression
desolate!
3. My friend who chased wild asses in the mountain, the panther
of the wilderness…
4. My friend, whom I love deeply, who went through every hard-
ship with me,
5. Enkidu, my friend, whom I love deeply, who went through
every hardship with me, has died.
6. Six days and seven nights I mourned over him
and would not allow him to be buried until a maggot fell out of his nose.
7. I was terrified by his appearance(!),
8. I began to fear death, and so roam the wilderness.
9. The issue of my friend oppresses me,
so I have been roaming long trails through the wilderness.
10. The issue of Enkidu, my friend, oppresses me,
so I have been roaming long roads through the wilderness.
11. How can I stay silent, how can I be still!
12. My friend whom I love has turned to clay;
13. Enkidu, my friend whom I love, has turned to clay!
14. Am I not like him! Will I lie down, never to get up again!"
15. Utanapishtim spoke to Gilgamesh, saying:
"Gilgamesh, you came here exhausted and worn out.
What can I give you so you can return to your land?
I will disclose to you a thing that is hidden, Gilgamesh,
a... I will tell you.
16. There is a plant... like a boxthorn,
whose thorns will prick your hand like a rose.
17. If your hands reach that plant you will become a young
man again.”
18. ….He took the plant, though it pricked his hand,
and cut the heavy stones from his feet,
letting the waves(?) throw him onto its shores.
19. Gilgamesh spoke to Urshanabi, the ferryman, saying:
"Urshanabi, this plant is a plant against decay
by which a man can attain his survival.
I will bring it to Uruk-Haven,
and have an old man eat the plant to test it.
20. The plant's name is 'The Old Man Becomes a Young Man.'"
2
21. Then I will eat it and return to the condition of my youth."
At twenty leagues they broke for some food,
at thirty leagues they stopped for the night.
22. Seeing a spring and how cool its waters were,
Gilgamesh went down and was bathing in the water.
23. A snake smelled the fragrance of the plant,
silently came up and carried off the plant.
While going back it sloughed off its casing.'
24. At that point Gilgamesh sat down, weeping,
his tears streaming over the side of his nose.
(109) Academy of Ancient Texts. The Epic of Gilgamesh is in the Public Domain.
Source URL: http://www.ancienttexts.org/library/mesopotamian/gilgamesh/tab11.htm
3
Book of Ecclesiastes (110)
Chapter 3
15 That which is has been long ago, and that which is to be has been long ago. God
seeks again that which is passed away.
16 Moreover I saw under the sun, in the place of justice, that wickedness was there; and
in the place of righteousness, that wickedne.
The document is an author's note by David Feldshuh for his adaptation of the play Antigone by Sophocles. It discusses his goals in adapting the play for a modern audience while staying true to the original text. He studied multiple translations to understand uncertainties and choices translators must make. He chose iambic pentameter to give the dialogue rhythm and tempo for a 90 minute performance. He also made structural changes like having characters narrate parts of the final scene in third person. The adaptation was performed by Cornell University with professional and student actors.
This document discusses deception and trickery as tools used by Odysseus in Homer's Odyssey. It provides examples of how Athena disguises herself and tricks others to help Odysseus. Odysseus also uses deception against the suitors through Athena's tricks and in battling monsters like Polyphemus. The document examines passages from the Odyssey and includes images depicting events like Odysseus battling the suitors and Athena assisting him through transformations.
William Shakespeare was an English playwright and poet widely considered the greatest writer in the English language. He wrote 38 plays, 154 sonnets, and several other poems. His plays are performed frequently and have been translated into every major living language. Shakespeare was born in Stratford-upon-Avon in 1564 and began his career in London in the 1580s as an actor, writer, and part owner of a theater company. He retired to Stratford around 1613 and died three years later.
The document discusses several works that explore themes of death and mortality through literature, art, and film. It references passages from works like Everyman that deal with death and the afterlife. It also analyzes Poe's short story "The Masque of the Red Death" and its themes of humanity's futile attempts to escape mortality. Additionally, it summarizes key scenes and themes from A Christmas Carol and It's a Wonderful Life regarding the protagonists' views on death and the value of life.
The document discusses the concept of the Byronic hero, as exemplified by the poet Lord Byron. It provides context on Byron's life and works, describes his brooding, mysterious personality as depicted in works like Childe Harold's Pilgrimage and Manfred, and explores how he came to define the archetype of the romantic, conflicted hero that was influential for later authors. It also examines the social and literary influences that contributed to the emergence of this new conception of masculinity in the Romantic era.
Electra and her sister Chrysothemis debate who has the stronger claim to righteousness in avenging their father's murder. Electra wants to kill their mother Clytemnestra and stepfather Aegisthus, while Chrysothemis advocates caution. When they think Orestes has died, Electra wants Chrysothemis' help, but Chrysothemis refuses due to the danger. Clytemnestra claims she rightfully killed their father for sacrificing Iphigenia, though Electra disputes this version of events. The play explores competing notions of righteousness, imprudence, prudence, justice, and moral duty.
Mr. Bush, a 45-year-old middle school teacher arrives at the emergen.docxaudeleypearl
Mr. Bush, a 45-year-old middle school teacher arrives at the emergency department by EMS ground transport after he experienced severe mid-sternal chest pain at work. On arrival to the ED:
a. What priority interventions would you initiate?
b. What information would you require to definitively determine what was causing Mr. Bush’s chest pain?
.
Movie Project Presentation Movie TroyInclude Architecture i.docxaudeleypearl
Movie Project Presentation: Movie: Troy
Include: Architecture in the movie. Historical research to figure out if the movie did a good job of representing the art historical past of not. Anything in the movie that are related to art or art history. And provide its outline and bibliography (any website source is acceptable as well)
.
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Similar to Reports of the demise of liberalism are greatly exaggerated .docx
Basically you have to read a text and then answer questions, it woul.docxgarnerangelika
Basically you have to read a text and then answer questions, it would take like 2 hours max to do. Im in highschool first year. This is the text u have to read, every few, there will be a question
CLASSICAL GREEK TRAGEDY
ANTIGONE by SOPHOCLES (496?-406 B.C.)
An English Version by Dudley Fitts and Robert Fitzgerald (adapted)
CHARACTERS:
ANTIGONE
Daughter of Oedipus and Iocasta
Sister of Ismene, Eteocles and Polyneices
Sister of Oedipus
Granddaughter of Iocasta
Niece of Creon
Princess of Thebes
ISMENE
Daughter of Oedipus and Iocasta
Sister of Antigone, Eteocles and Polyneices
Sister of Oedipus
Granddaughter of Iocasta
Niece of Creon
Princess of Thebes
CREON
King of Thebes
Son of Menoikeus
Husband of Eurydice
Father of Haimon
Brother of Iocasta
Uncle of Antigone, Ismene, Eteocles, and Polyneices
EURYDICE
Queen of Thebes
Wife of Creon
Mother of Haimon
HAIMON
Son of Creon and Eurydice
Fiancé of Antigone
TEIRESIAS
Blind prophet of Apollo (one of the most complex and important Greek gods, and is the god of many things, including: music, poetry, art, oracles, archery, plague, medicine, sun, light and knowledge)
A SENTRY
Soldier and messenger
A MESSENGER
CHORUS
Group of old Theban men
Comment on the action of the play, explain the play’s central themes, and connect the play to other myths
CHORAGUS
Leader of the Chorus
PROLOGUE
(INTRODUCTION)
SCENE:
Before the Palace of
Creon, King of Thebes
. A central double door, and two
lateral
(side) doors. A
platform
extends the length of the
façade
(front), and from this platform three steps lead down into the
“orchestra”
(chorus-ground).
TIME:
Dawn
(early morning of the day after the
repulse
(drive back of an attacking army) of the
Argive army
from the
assault
(attack) on Thebes.
DO NOT READ (ALOUD) WHAT’S IN ITALICS OR ALL CAPS.
ALL CHARACTERS ARE UNDERLINED.
[ANTIGONE and ISMENE enter from the central door of the Palace.]
ANTIGONE:
Ismene
, dear sister, 1 You would think that we had already suffered enough
For the
curse
(
call on supernatural to harm/punish someone
) on
Oedipus
:
I cannot imagine any
grief
(
deep sorrow or sadness
)
That you and I have not gone through. And now –– 5
Have they told you of the new
decree
(
official order
) of our
King Creon
?
ISMENE:
I have heard nothing: I know
That two sisters lost two brothers, a double death
In a single hour; and I know that the
Argive army
(
army led by Polyneices
)
Fled
(
ran away
) in the night; but beyond this, nothing. 10
ANTIGONE:
I thought so. And that is why I wanted you
To come out here with me. There is something we must do.
ISMENE:
Why do you speak so strangely?
ANTIGONE:
Listen,
Ismenê
:
Creon
buried our brother
Eteoclês
.
Theatre 383 - A WELL WRITTEN PLAY CRITIQUEA play critique is an .docxchristalgrieg
Theatre 383 - A WELL WRITTEN PLAY CRITIQUE
A play critique is an evaluation of a performance. Using the vocabulary developed in your course of study, construct strong statements of observation and support them with specific details. All work is to be original to you and a result of your viewing the live performance you are writing about. Reference
the MLA and College Level Expectations handouts available in our TITANium course page. Please use the Writing Center on campus if you need assistance to achieve college level success.
Third person is used when a degree of objectivity is intended and is used in academic documents such as theatrical reviews. The third person perspective directs the reader’s attention to the subject being presented and discussed. Third person personal pronouns include he, she, it, they, him, her, them, his, her, hers, its, their and theirs. There is no place for “I” in this type of academic document.
Each of the theatrical elements you will analyze needs to be approached in three different steps.
DESCRIBE what you saw in detail. Make the reader see what you saw. Be specific and thorough. Use adjectives and adverbs that paint a picture for the reader.
ANALYZE and reach conclusions as to what the director or designer was trying to achieve. Why did they design the movements, sets, lights, sound effects, make-up or costumes that way? What emotions were they trying to make the audience feel?
JUDGE how effective their efforts were. Do not be vague. (ie. Don’t say things like: “It was awesome.” They were appropriate to the time.” “It was good.” Arghh….) Give a diplomatic, honest opinion. Give
credit for positives to the individual. If you have something negative to say, do so constructively.
IF YOU CANNOT SUPPORT YOUR OPINION WITH SPECIFIC DETAILS FROM THE SHOW TO ILLUSTRATE YOUR POINTS, THEN YOUR JUDGEMENTS – POSITIVE OR NEGATIVE – ARE NOT REALLY WORTH MENTIONING.
WRITE A STANDARD FIVE PARAGRAPH CRITIQUE.
INTRODUCTORY PARAGRAPH (include answers to these questions)
What is the title of the show? Who wrote it?
Where was the show performed? Who directed it?
When does the play run? What is the main message/theme of the show?
BRIEFLY summarize the plot of the play or musical
PARAGRAPH #2 – The Acting - Explore audience emotional & intellectual experience
What did they do to appear believable? How did they accomplish seeming realistic?
How was their Volume? Articulation? Tone? What specific body movements were effective?
How were specific characters engaging? Who was interesting to watch? Why specifically?
PARAGRAPHS 3 & 4 – Evaluate the technical elements and how they contribute to the performance.
– DIRECTION & DESIGN: SET/SOUND/LIGHTS/PROPS/COSTUME/MAKEUP
What mood was established and how? Describe the direction/set/use of sound/lights?
How was the time period reflected? How did they complement the mood of the play?
How did they/it draw or direct focus? How did they/it contribute to ...
Ehud, a left-handed judge of Israel, assassinated King Eglon of Moab to deliver the Israelites from oppression. The document provides further commentary on this biblical story, including:
- Left-handed people can achieve great things through determination and hard work, despite disadvantages.
- Worldly power and status offer no protection, as Eglon was killed while meeting alone with Ehud in his summer house retreat.
- Death can come unexpectedly, even in places of leisure and comfort like Eglon's summer house, reminding us of our mortality.
The document encourages the reader to have faith and perseverance in their work, as Ehud did, and not to seek worldly gain
1) Antigone informs her sister Ismene that their uncle Creon, who is now king, has decreed that their brother Polyneices is not to receive burial rites and will instead be left to rot, facing the penalty of stoning for anyone who disobeys.
2) Antigone declares that she will bury Polyneices anyway, seeing it as her duty as his sister, but Ismene refuses to help, claiming she must obey the law set by Creon as king.
3) The sisters argue over Antigone's plan, with Ant
Oedipus the King Sophocles Translated by David Grene .docxcherishwinsland
Oedipus the King
Sophocles
Translated by David Grene
CHARACTERS
OEDIPUS, King of Thebes FIRST MESSENGER
JOCASTA, His Wife SECOND MESSENGER
CREON, His Brother-in-Law A HERDSMAN
TEIRESIAS, an Old Blind Prophet A CHORUS OF OLD MEN OF
THEBES
PRIEST
PART I:
Scene: In front of the palace of Oedipus at Thebes. To the
Right of the stage near the altar stands the PRIEST with a
crowd of children.
OEDIPUS emerges from the central door.
OEDIPUS: Children, young sons and daughters of old
Cadmus,
1
why do you sit here with your suppliant crowns?
2
the town is heavy with a mingled burden
of sounds and smells, of groans and hymns and
incense;
5 I did not think it fit that I should hear
of this from messengers but came myself,--
I Oedipus whom all men call the Great.
[He returns to the PRIEST.]
You’re old and they are young; come, speak for them.
What do you fear or want, that you sit here
10 suppliant? Indeed I’m willing to give all
that you may need; I would be very hard
should I not pity suppliants like these.
PRIEST: O ruler of my country, Oedipus,
You see our company around the altar;
15 you see our ages; some of us, like these,
who cannot yet fly far, and some of us
heavy with age; these children are the chosen
among the young, and I the priest of Zeus.
Within the market place sit others crowned
20 with suppliant garlands
3
, at the double shrine
of Pallas
4
and the temple where Ismenus
gives oracles by fire
5
. King, you yourself
have seen our city reeling like a wreck
1
Cadmus n. mythical founder and first king of Thebes, a city in
central Greece where the play takes place
2
suppliant crowns wreaths worn by people who ask favors of
the gods.
3
suppliant garlands branches wound in wool, which were
placed on the altar and left there until the suppliant’s request
was granted.
4
double shrine of Pallas the two temples of Athena.
5
temple where Isemenus gives oracles by fire Temple of
Apollo, located by Ismenus, the Theban river, where the priests
studied patterns in the ashes of sacrificial victims to foretell the
future.
already; it can scarcely lift its prow
25 out of the depths, out of the bloody surf.
A blight is on the fruitful plants of the earth.
A blight is on the cattle in the fields,
a blight is on our women that no children
are born to them; a God that carries fire,
30 a deadly pestilence, is on our town,
strikes us and spears us not, and the house of Cadmus
is emptied of its people while black Death
grows rich in groaning and in lamentation.
6
We have not come as suppliants to this altar
35 because we thought of you as a God,
but rather judging you the first of men
in all the chances of this life and when
we mortals have to do with more that man.
You came and by your coming saved our city,
40 freed us from the tribute which we pa.
Ulysses by Alfred, Lord Tennyson is a dramatic monologue spoken by the character Ulysses. In three stanzas of blank verse, Ulysses expresses his dissatisfaction with his idle life after returning from war. He longs for adventure and exploration, having seen and experienced much in his life. Ulysses prepares to embark on a new voyage with his crew to explore lands beyond what is known, driven by his restless spirit. Though aged, Ulysses maintains that adventure and accomplishment give life meaning over passivity and stagnation.
In Greek mythology, Antigone is the daughter of Oedipus and his mother, Jocasta. The denotement of the designation is, as in the case of the masculine equipollent Antigonus, "worthy of one's parents" or "in lieu of one's parents".
The Battle of Maldon is an Old English poem that describes a real battle between the English and Vikings that took place in 991 AD. The summary is:
The poem describes the battle preparations as the Viking troop advances towards the English shore. Byrhtnoth, the English earl, has his men form a shield wall to defend against the Vikings. A fierce battle ensues, with fighting on both sides. Byrhtnoth is able to kill one of the Vikings who wounded him before being killed himself. His men continue fighting bravely in his honor, but the Vikings ultimately defeat the English forces.
The Battle of Maldon is an Old English poem that describes a real battle between the English and Vikings that took place in 991 AD. The summary is:
The poem describes the battle preparations as the Viking troop advances towards the English forces led by Byrhtnoth. Byrhtnoth orders his men to form a shield wall to defend against the Vikings. A fierce battle ensues, with men from both sides falling as they fight bravely. Though wounded, Byrhtnoth continues to encourage his troops. The poem provides vivid details of the violent clashes between the two sides during the historic Battle of Maldon.
1 Category One Epic of Gilgamesh (109) 1. Urshan.docxtarifarmarie
1
Category One
Epic of Gilgamesh (109)
1. Urshanabi spoke to Gilgamesh, saying:'
"Why are your cheeks emaciated, your expression desolate!
2. Gilgamesh spoke to Urshanabi, saying:
"Urshanabi, should not my cheeks be emaciated, my expression
desolate!
3. My friend who chased wild asses in the mountain, the panther
of the wilderness…
4. My friend, whom I love deeply, who went through every hard-
ship with me,
5. Enkidu, my friend, whom I love deeply, who went through
every hardship with me, has died.
6. Six days and seven nights I mourned over him
and would not allow him to be buried until a maggot fell out of his nose.
7. I was terrified by his appearance(!),
8. I began to fear death, and so roam the wilderness.
9. The issue of my friend oppresses me,
so I have been roaming long trails through the wilderness.
10. The issue of Enkidu, my friend, oppresses me,
so I have been roaming long roads through the wilderness.
11. How can I stay silent, how can I be still!
12. My friend whom I love has turned to clay;
13. Enkidu, my friend whom I love, has turned to clay!
14. Am I not like him! Will I lie down, never to get up again!"
15. Utanapishtim spoke to Gilgamesh, saying:
"Gilgamesh, you came here exhausted and worn out.
What can I give you so you can return to your land?
I will disclose to you a thing that is hidden, Gilgamesh,
a... I will tell you.
16. There is a plant... like a boxthorn,
whose thorns will prick your hand like a rose.
17. If your hands reach that plant you will become a young
man again.”
18. ….He took the plant, though it pricked his hand,
and cut the heavy stones from his feet,
letting the waves(?) throw him onto its shores.
19. Gilgamesh spoke to Urshanabi, the ferryman, saying:
"Urshanabi, this plant is a plant against decay
by which a man can attain his survival.
I will bring it to Uruk-Haven,
and have an old man eat the plant to test it.
20. The plant's name is 'The Old Man Becomes a Young Man.'"
2
21. Then I will eat it and return to the condition of my youth."
At twenty leagues they broke for some food,
at thirty leagues they stopped for the night.
22. Seeing a spring and how cool its waters were,
Gilgamesh went down and was bathing in the water.
23. A snake smelled the fragrance of the plant,
silently came up and carried off the plant.
While going back it sloughed off its casing.'
24. At that point Gilgamesh sat down, weeping,
his tears streaming over the side of his nose.
(109) Academy of Ancient Texts. The Epic of Gilgamesh is in the Public Domain.
Source URL: http://www.ancienttexts.org/library/mesopotamian/gilgamesh/tab11.htm
3
Book of Ecclesiastes (110)
Chapter 3
15 That which is has been long ago, and that which is to be has been long ago. God
seeks again that which is passed away.
16 Moreover I saw under the sun, in the place of justice, that wickedness was there; and
in the place of righteousness, that wickedne.
The document is an author's note by David Feldshuh for his adaptation of the play Antigone by Sophocles. It discusses his goals in adapting the play for a modern audience while staying true to the original text. He studied multiple translations to understand uncertainties and choices translators must make. He chose iambic pentameter to give the dialogue rhythm and tempo for a 90 minute performance. He also made structural changes like having characters narrate parts of the final scene in third person. The adaptation was performed by Cornell University with professional and student actors.
This document discusses deception and trickery as tools used by Odysseus in Homer's Odyssey. It provides examples of how Athena disguises herself and tricks others to help Odysseus. Odysseus also uses deception against the suitors through Athena's tricks and in battling monsters like Polyphemus. The document examines passages from the Odyssey and includes images depicting events like Odysseus battling the suitors and Athena assisting him through transformations.
William Shakespeare was an English playwright and poet widely considered the greatest writer in the English language. He wrote 38 plays, 154 sonnets, and several other poems. His plays are performed frequently and have been translated into every major living language. Shakespeare was born in Stratford-upon-Avon in 1564 and began his career in London in the 1580s as an actor, writer, and part owner of a theater company. He retired to Stratford around 1613 and died three years later.
The document discusses several works that explore themes of death and mortality through literature, art, and film. It references passages from works like Everyman that deal with death and the afterlife. It also analyzes Poe's short story "The Masque of the Red Death" and its themes of humanity's futile attempts to escape mortality. Additionally, it summarizes key scenes and themes from A Christmas Carol and It's a Wonderful Life regarding the protagonists' views on death and the value of life.
The document discusses the concept of the Byronic hero, as exemplified by the poet Lord Byron. It provides context on Byron's life and works, describes his brooding, mysterious personality as depicted in works like Childe Harold's Pilgrimage and Manfred, and explores how he came to define the archetype of the romantic, conflicted hero that was influential for later authors. It also examines the social and literary influences that contributed to the emergence of this new conception of masculinity in the Romantic era.
Electra and her sister Chrysothemis debate who has the stronger claim to righteousness in avenging their father's murder. Electra wants to kill their mother Clytemnestra and stepfather Aegisthus, while Chrysothemis advocates caution. When they think Orestes has died, Electra wants Chrysothemis' help, but Chrysothemis refuses due to the danger. Clytemnestra claims she rightfully killed their father for sacrificing Iphigenia, though Electra disputes this version of events. The play explores competing notions of righteousness, imprudence, prudence, justice, and moral duty.
Similar to Reports of the demise of liberalism are greatly exaggerated .docx (20)
Mr. Bush, a 45-year-old middle school teacher arrives at the emergen.docxaudeleypearl
Mr. Bush, a 45-year-old middle school teacher arrives at the emergency department by EMS ground transport after he experienced severe mid-sternal chest pain at work. On arrival to the ED:
a. What priority interventions would you initiate?
b. What information would you require to definitively determine what was causing Mr. Bush’s chest pain?
.
Movie Project Presentation Movie TroyInclude Architecture i.docxaudeleypearl
Movie Project Presentation: Movie: Troy
Include: Architecture in the movie. Historical research to figure out if the movie did a good job of representing the art historical past of not. Anything in the movie that are related to art or art history. And provide its outline and bibliography (any website source is acceptable as well)
.
Motivation and Retention Discuss the specific strategies you pl.docxaudeleypearl
Motivation and Retention
Discuss the specific strategies you plan to use to motivate individuals from your priority
population to participate in your program and continue working on their behavior change.
You can refer to information you obtained from the Potential Participant Interviews. You
also can search the literature for strategies that have been successfully used in similar
situations; be sure to cite references in APA format.
.
Mother of the Year In recognition of superlative paren.docxaudeleypearl
The document discusses Facebook's decision in 2015 to change the "like" button on the platform. It describes how Chris Cox, Facebook's chief product officer, led discussions about overhauling the button. The like button had become a blunt tool, and Cox wanted to expand the range of emotions that users could express beyond just "liking" something. This would become the "Reactions" feature, allowing responses like love, haha, wow, sad, and angry. The change took over a year to develop and test before being publicly launched.
Mrs. G, a 55 year old Hispanic female, presents to the office for he.docxaudeleypearl
Mrs. G, a 55 year old Hispanic female, presents to the office for her annual exam. She reports that lately she has been very fatigued and just does not seem to have any energy. This has been occurring for 3 months. She is also gaining weight since menopause last year. She joined a gym and forces herself to go twice a week, where she walks on the treadmill at least 30 minutes but she has not lost any weight, in fact she has gained 3 pounds. She doesn’t understand what she is doing wrong. She states that exercise seems to make her even more hungry and thirsty, which is not helping her weight loss. She wants get a complete physical and to discuss why she is so tired and get some weight loss advice. She also states she thinks her bladder has fallen because she has to go to the bathroom more often, recently she is waking up twice a night to urinate and seems to be urinating more frequently during the day. This has been occurring for about 3 months too. This is irritating to her, but she is able to fall immediately back to sleep.
Current medications:
Tylenol 500 mg 2 tabs daily for knee pain. Daily multivitamin
PMH:
Has left knee arthritis. Had chick pox and mumps as a child. Vaccinations up to
date.
GYN hx:
G2 P1. 1 SAB, 1 living child, full term, wt 9lbs 2 oz. LMP 15months ago. No history of abnormal Pap smear.
FH:
parents alive, well, child alive, well. No siblings. Mother has HTN and father has high cholesterol.
SH:
works from home part time as a planning coordinator. Married. No tobacco history, 1-2 glasses wine on weekends. No illicit drug use
Allergies
: NKDA, allergic to cats and pollen. No latex allergy
Vital signs
: BP 129/80; pulse 76, regular; respiration 16, regular
Height 5’2.5”, weight 185 pounds
General:
obese female in no acute distress. Alert, oriented and cooperative.
Skin
: warm dry and intact. No lesions noted
HEENT:
head normocephalic. Hair thick and distribution throughout scalp. Eyes without exudate, sclera white. Wears contacts. Tympanic membranes gray and intact with light reflex noted. Pinna and tragus nontender. Nares patent without exudate. Oropharynx moist without erythema. Teeth in good repair, no cavities noted. Neck supple. Anterior cervical lymph nontender to palpation. No lymphadenopathy. Thyroid midline, small and firm without palpable masses.
CV
: S1 and S2 RRR without murmurs or rubs
Lungs
: Clear to auscultation bilaterally, respirations unlabored.
Abdomen
- soft, round, nontender with positive bowel sounds present; no organomegaly; no abdominal bruits. No CVAT.
Labwork:
CBC
:
WBC 6,000/mm3 Hgb 12.5 gm/dl Hct 41% RBC 4.6 million MCV 88 fl MCHC
34 g/dl RDW 13.8%
UA:
pH 5, SpGr 1.013, Leukocyte esterase negative, nitrites negative, 1+ glucose; small protein; negative for ketones
CMP:
Sodium 139
Potassium 4.3
Chloride 100
CO2 29
Glucose 95
BUN 12
Creatinine 0.7
GFR est non-AA 92 mL/min/1.73 GFR est AA 101 mL/min/1.73 Calcium 9.5
Total protein 7.6 Bilirubin, total 0.6 Alkaline.
Mr. Rivera is a 72-year-old patient with end stage COPD who is in th.docxaudeleypearl
Mr. Rivera is a 72-year-old patient with end stage COPD who is in the care of Hospice. He has a history of smoking, hypertension, obesity, and type 2 Diabetes. He is on Oxygen 2L per nasal cannula around the clock. His wife and 2 adult children help with his care. Develop a concept map for Mr. Rivera. Consider the patients Ethnic background (he and his family are from Mexico) and family dynamics. Please use the
concept map
form provided.
.
Mr. B, a 40-year-old avid long-distance runner previously in goo.docxaudeleypearl
Mr. B, a 40-year-old avid long-distance runner previously in good health, presented to his primary provider for a yearly physical examination, during which a suspicious-looking mole was noticed on the back of his left arm, just proximal to the elbow. He reported that he has had that mole for several years, but thinks that it may have gotten larger over the past two years. Mr. B reported that he has noticed itchiness in the area of this mole over the past few weeks. He had multiple other moles on his back, arms, and legs, none of which looked suspicious. Upon further questioning, Mr. B reported that his aunt died in her late forties of skin cancer, but he knew no other details about her illness. The patient is a computer programmer who spends most of the work week indoors. On weekends, however, he typically goes for a 5-mile run and spends much of his afternoons gardening. He has a light complexion, blonde hair, and reports that he sunburns easily but uses protective sunscreen only sporadically.
Physical exam revealed: Head, neck, thorax, and abdominal exams were normal, with the exception of a hard, enlarged, non-tender mass felt in the left axillary region. In addition, a 1.6 x 2.8 cm mole was noted on the dorsal upper left arm. The lesion had an appearance suggestive of a melanoma. It was surgically excised with 3 mm margins using a local anesthetic and sent to the pathology laboratory for histologic analysis. The biopsy came back Stage II melanoma.
1. How is Stage II melanoma treated and according to the research how effective is this treatment?
250 words.
.
Moving members of the organization through the change process ca.docxaudeleypearl
Moving members of the organization through the change process can be quite difficult. As leaders take on this challenge of shifting practice from the current state to the future, they face the obstacles of confidence and competence experienced by staff. Change leaders understand the importance of recognizing their moral purpose and helping others to do the same. Effective leaders foster moral purpose by building relationships, considering other’s perspectives, demonstrating respect, connecting others, and examining progress (Fullan & Quinn, 2016). For this Discussion, you will clarify your own moral perspective and how it will impact the elements of focusing direction.
To prepare:
· Review the Adams and Miskell article. Reflect on the measures taken in building capacity throughout the organization.
· Review Fullan and Quinn’s elements of Focusing Direction in Chapter 2. Reflect on aspects needed to build capacity as a leader.
· Analyze the two case examples used to illustrate focused direction in Chapter 2.
· Clarify your own moral purpose, combining your personal values, persistence, emotional intelligence, and resilience.
A brief summary clarifying your own moral imperative.
· Using the guiding questions in Chapter 2 on page 19, explain your moral imperative and how you can use your strengths to foster moral imperative in others.
· Based on Fullan’s information on change leadership, in which areas do you feel you have strong leadership skills? Which areas do you feel you need to continue to develop?
Learning Resources
Required Readings
Fullan, M., & Quinn, J. (2016).
Coherence: The right drivers in action for schools, districts, and systems
. Thousand Oaks, CA: Corwin.
Chapter 2, “Focusing Direction” (pp. 17–46)
Florian, L. (Ed.). (2014).
The SAGE handbook of special education
(2nd ed.). London, England: Sage Publications Ltd.
Chapter 23, “Researching Inclusive Classroom Practices: The Framework for Participation” (389–404)
Chapter 31, “Assessment for Learning and the Journey Towards Inclusion” (pp. 523–536)
Adams, C.M., & Miskell, R.C. (2016). Teacher trust in district administration: A promising line of inquiry. Journal of Leadership for Effective and Equitable Organizations, 1-32. DOI: 10.1177/0013161X1665220
Choi, J. H., Meisenheimer, J. M., McCart, A. B., & Sailor, W. (2016). Improving learning for all students through equity-based inclusive reform practices effectiveness of a fully integrated school-wide model on student reading and math achievement. Remedial and Special Education, doi:10.1177/0741932516644054
Sailor, W. S., & McCart, A. B. (2014). Stars in alignment. Research and Practice for Persons with Severe Disabilities, 39(1), 55-64. doi: 10.1177/1540796914534622
Required Media
Grand City Community
Laureate Education (Producer) (2016c).
Tracking data
[Video file]. Baltimore, MD: Author.
Go to the Grand City Community and click into
Grand City School District Administration Offices
. Revie.
Mr. Friend is acrime analystwith the SantaCruz, Califo.docxaudeleypearl
Mr. Friend is a
crime analyst
with the Santa
Cruz, California,
Police
Department.
Predictive Policing: Using Technology to Reduce Crime
By Zach Friend, M.P.P.
4/9/2013
Nationwide law enforcement agencies face the problem
of doing more with less. Departments slash budgets
and implement furloughs, while management struggles
to meet the public safety needs of the community. The
Santa Cruz, California, Police Department handles the
same issues with increasing property crimes and
service calls and diminishing staff. Unable to hire more
officers, the department searched for a nontraditional
solution.
In late 2010 researchers published a paper that the
department believed might hold the answer. They
proposed that it was possible to predict certain crimes,
much like scientists forecast earthquake aftershocks.
An “aftercrime” often follows an initial crime. The time and location of previous criminal activity helps to
determine future offenses. These researchers developed an algorithm (mathematical procedure) that
calculates future crime locations.1
Equalizing Resources
The Santa Cruz Police Department has 94 sworn officers and serves a population of 60,000. A
university, amusement park, and beach push the seasonal population to 150,000. Department personnel
contacted a Santa Clara University professor to apply the algorithm, hoping that leveraging technology
would improve their efforts. The police chief indicated that the department could not hire more officers.
He felt that the program could allocate dwindling resources more efficiently.
Santa Cruz police envisioned deploying officers by shift to the most targeted locations in the city. The
predictive policing model helped to alert officers to targeted locations in real time, a significant
improvement over traditional tactics.
Making it Work
The algorithm is a culmination of anthropological and criminological behavior research. It uses complex
mathematics to estimate crime and predict future hot spots. Researchers based these studies on
In Depth
Featured Articles
- IAFIS Identifies Suspect from 1978 Murder Case
- Predictive Policing: Using Technology to Reduce
Crime
- Legal Digest Part 1 - Part 2
Search Warrant Execution: When Does Detention Rise to
Custody?
- Perspective
Public Safety Consolidation: Does it Make Sense?
- Leadership Spotlight
Leadership Lessons from Home
Archive
- Web and Print
Departments
- Bulletin Notes - Bulletin Honors
- ViCAP Alerts - Unusual Weapons
- Bulletin Reports
Topics in the News
See previous LEB content on:
- Hostage Situations - Crisis Management
- School Violence - Psychopathy
About LEB
- History - Author Guidelines (pdf)
- Editorial Staff - Editorial Release Form (pdf)
Patch Call
Known locally as the
“Gateway to the Summit,”
which references the city’s
proximity to the Bechtel Family
National Scout Reserve. More
The patch of the Miamisburg,
Ohio, Police Department
prominently displays the city
seal surroun.
Mr. E is a pleasant, 70-year-old, black, maleSource Self, rel.docxaudeleypearl
Mr. E is a pleasant, 70-year-old, black, male
Source: Self, reliable source
Subjective:
Chief complaint:
“I urinate frequently.”
HPI:
Patient states that he has had an increase in urination for the past several years, which seems to be worsening over the past year. He estimates that he urinates clear/light yellow urine approximately every 1.5-2 hours while awake and is up 2-4 times at night to urinate. He states some urgency and hesitancy with urination and feeling of incomplete voiding. He denies any pain or blood. Denies any head trauma. Denies any increase in thirst or hunger. He denies any unintentional weight loss.
Allergies
: NKA
Current Mediations
:
Multivitamin, daily
Aspirin, 81 mg, daily
Olmesartan, 20 mg daily
Atorvastatin, 10 mg daily
Diphenhydramine, 50 mg, at night
Pertinent History:
Hypertension, hyperlipidemia, insomnia
Health Maintenance. Immunizations:
Immunizations up to date
Family History:
No cancer, cardiac, pulmonary or autoimmune disease in immediate family members
Social History:
Patient lives alone. He drinks one cup of caffeinated coffee each morning at the local diner. He denies any nicotine, alcohol or drug use.
ROS:
Incorporated into HPI
Objective:
VS
– BP: 118/68, HR: 86, RR: 16, Temp 97.6, oxygenation 100%, weight: 195 lbs, height: 70 inches.
Mr. E is alert, awake, oriented x 3. Patient is clean and dressed appropriate for age.
Cardiac: No cardiomegaly or thrills; regular rate and rhythm, no murmur or gallop
Respiratory: Clear to auscultation
Abdomen: Bowel sounds positive. Soft, nontender, nondistended, no hepatomegaly
Neuro: CN 2-12 intact
Renal/prostate: Prostate enlarged, non-tender. No asymmetry or nodules palpated
Labs:
Test Name
Result
Units
Reference Range
Color
Yellow
Yellow
Clarity
Clear
Clear
Bilirubin
Negative
Negative
Specific Gravity
1.011
1.003-1.030
Blood
Negative
Negative
pH
7.5
4.5-8.0
Nitrite
Negative
Negative
Leukocyte esterase
Negative
Negative
Glucose
Negative
mg/dL
Negative
Ketones
Negative
mg/dL
Negative
Protein
Negative
mg/dL
Negative
WBC
Negative
/hpf
Negative
RBC
Negative
/hpf
Negative
Lab
Pt’s Result
Range
Units
Sodium
137
136-145
mmol/L
Potassium
4.7
3.5-5.1
mmol/L
Chloride
102
98-107
mmol/L
CO2
30
21-32
mmol/L
Glucose
92
70-99
mg/dL
BUN
7
6-25
mg/dL
Creat
1.6
.8-1.3
mg/dL
GFR
50
>60
Calcium
9.6
8.2-10.2
mg/dL
Total Protein
8.0
6.4-8.2
g/dL
Albumin
4.5
3.2-4.7
g/dL
Bilirubin
1.1
<1.1
mg/dL
Alkaline Phosphatase
94
26-137
U/L
AST
25
0-37
U/L
ALT
55
15-65
U/L
Pt’s results
Normal Range
Units
WBC
9.9
3.4 - 10.8
x10E3/uL
RBC
4.0
3.77 - 5.28
x10E6/uL
Hemoglobin
11.5
11.1 - 15.9
g/dL
H.
Motor Milestones occur in a predictable developmental progression in.docxaudeleypearl
Motor Milestones occur in a predictable developmental progression in young children. They begin with reflexive movements that develop into voluntary movement patterns. For the motor milestone of independent walking, there are many precursor reflexes that must first integrate and beginning movement patterns that must be learned. Explain the motor progression of walking in a child, starting with the integration of primitive reflexes to the basic motor skills needed for a child to walk independently. Discuss at which time frame each milestone occurs from birth to walking (12-18 months of age). What are some reasons why a child could be delayed in walking? At what age is a child considered delayed in walking and in need of intervention? What interventions are available to children who are having difficulty walking? Please be sure to use APA citations for all sources used to formulate your answers.
.
Most women experience their closest friendships with those of th.docxaudeleypearl
Most women experience their closest friendships with those of the same sex. Men have suffered more of a stigma in terms of sharing deep bonds with other men. Open affection and connection is not actively encouraged among men. Recent changes in society might impact this, especially with the advent of the meterosexual male. “The meterosexual male is less interested in blood lines, traditions, family, class, gender, than in choosing who they want to be and who they want to be with” (Vernon, 2010, p. 204).
In this week’s reading material, the following philosophers discuss their views on this topic: Simone de Beauvoir, Thomas Aquinas, MacIntyre, Friedman, Hunt, and Foucault. Make sure to incorporate their views as you answer each discussion question. Think about how their views may be similar or different from your own. In at least 250 words total, please answer each of the following, drawing upon your reading materials and your personal insight:
To what extent do you think women still have a better opportunity to forge deeper friendships than men? What needs to change to level the friendship playing field for men, if anything?
How is the role of the meterosexual man helping to forge a new pathway for male friendships?
.
Most patients with mental health disorders are not aggressive. Howev.docxaudeleypearl
Most patients with mental health disorders are not aggressive. However, it is important for nurses to be able to know the signs and symptoms associated with the five phases of aggression, and to appropriately apply nursing interventions to assist in treating aggressive patients. Please read the case study below and answer the four questions related to it.
Aggression Case Study
Christopher, who is 14 years of age, was recently admitted to the hospital for schizophrenia. He has a history of aggressive behavior and states that the devil is telling him to kill all adults because they want to hurt him. Christopher has a history of recidivism and noncompliance with his medications. One day on the unit, the nurse observes Christopher displaying hypervigilant behaviors, pacing back and forth down the hallway, and speaking to himself under his breath. As the nurse runs over to Christopher to talk, he sees that his bedroom door is open and runs into his room and shuts the door. The nurse responds by attempting to open the door, but Christopher keeps pulling the door shut and tells the nurse that if the nurse comes in the room he will choke the nurse. The nurse responds by calling other staff to assist with the situation.
1. What phase of the aggression cycle is Christopher in at the beginning of this scenario? What phase is he in at the end the scenario? (State the evidence that supports your answers).
2. What interventions could have been implemented to prevent Christopher from escalating at the beginning of the scenario?
3. What interventions should the nurse take to deescalate the situation when Christopher is refusing to open his door?
4. If a restrictive intervention (restraint/seclusion) is used, what are some important steps for the nurse to remember?
SCHOLAR NURSING ARTICLE>>>APA FORMAT>>>
.
Most of our class readings and discussions to date have dealt wi.docxaudeleypearl
Most of our class readings and discussions to date have dealt with the issue of ethics and ethical behavior. Various philosophers have made contributions to jurisprudence including how to apply ethical principles (codes of conduct?) to ethical dilemma.
Your task is to watch the Netflix documentary ‘The Social Dilemma.’ If you cannot currently access Netflix it offers a free trial opportunity, which you can cancel after viewing the documentary. Should this not be an option for whatever reason, then please email me and we will create an alternative ethics question.
DUE DATE: Tuesday, Sept. 29, 2020 by noon
SEND YOUR NO MORE THAN 5 PAGE DOUBLE SPACED RESPONSE TO MY EMAIL ADDRESS. LATE PAPERS SUBJECT TO DOWNGRADING
As critics have written, the documentary showcases ways our minds are twisted and twirled by social media companies like Facebook, Twitter, and Google through their platforms and search engines, and the why of what they are doing, and what must be done to stop it.
After watching the movie, respond to the following questions in the order given. Use full sentences and paragraphs, and start off each section by stating the question you are answering. Be succinct.
What are the critical ethical issues identified?
What concerns are raised over the polarization of society and promulgation of fake news?
What is the “attention-extraction model” of software design and why worry?
What is “surveillance capitalism?”
Do you agree that social media warps your perceptions of reality?
Who has the power and control over these social media platforms – software designers, artificial intelligence (Ai), CEOs of media platforms, users, government?
Are social media platforms capable of self-regulation to address the political and ethical issues raised or not? If not, then should government regulate?
What other actions can be taken to address the basic concern of living in a world “…where no one believes what’s true.”
.
Most people agree we live in stressful times. Does stress and re.docxaudeleypearl
Stress may contribute to illness according to some research cited in textbooks. The question asks whether stress and reactions to stress can lead to health issues, and opinions should be supported by evidence from course materials. References in APA format are required.
Most of the ethical prescriptions of normative moral philosophy .docxaudeleypearl
Most of the ethical prescriptions of normative moral philosophy tend to fall into one of the following three categories: deontology, consequentialism, and virtue ethics. These categories in turn put an emphasis on different normative standards for judging what constitutes right and wrong actions.
Moral psychologists and behavioral economists such as Jonathan Haidt and Dan Ariely take a different approach: focusing not on some normative ethical framework for moral judgment, but rather on the psychological foundations of moral intuition and on the limitations that our human frailty places on real-world honesty, decency, and ethical commitments.
In this context, write a short essay (minimum 400 words) on what you see as the most important differences between the traditional normative philosophical approaches and the more recent empirical approach of moral psychology when it comes to ethics. As part of your answer also make sure that you discuss the implications of these differences.
Deadline reminder:
this assignment is
due on June 14th
. Any assignments submitted after that date will lose 5 points (i.e., 20% of the maximum score of 25 points) for each day that they are submitted late. Accordingly, after June 14th, any submissions would be worth zero points and at that time the assignment inbox will close.
.
Most healthcare organizations in the country are implementing qualit.docxaudeleypearl
Most healthcare organizations in the country are implementing quality improvement programs to save lives, enhance customer satisfaction, and reduce the cost of healthcare services. Limited human and material resources often undermine such efforts. Zenith Hospital in a rural community has 200 beds. Postsurgical patients tend to contract infections at the surgical site, requiring extended hospitalization. Mr. Jones—75 years old—was admitted to Zenith Hospital for inguinal hernia repairs. He was also hypertensive, with a compromised immune system. Two days after surgery, he acquired an infection at the surgical site, with elevated temperature, and then he developed septicemia. His condition worsened, and he was moved to isolation in the intensive care unit (ICU). A day after transfer to the ICU, he went into ventricular arrhythmia and was placed on a respirator and cardiac monitoring machine. Intravenous fluids, antibiotics, and antipyretics could not bring the fever down, and blood analysis continued to deteriorate.
The hospital infection control unit got involved. The team confirmed that postsurgical infections were on the increase, but the hospital was unable to identify the sources of infection. The surgery unit and surgical team held meetings to understand possible sources of infection. The team leader had earlier reported to management that they needed to hire more surgical nurses, arguing that nurses in the unit were overworked, had to go on leave, and often worked long hours without break.
Mr. Jones’ family members were angry and wanted to know the source of his infection, why he was on the respirator in isolation, and why his temperature was not coming down. Unfortunately, his condition continued to deteriorate. His daughter invited the family’s legal representative to find out what was happening to her father and to commence legal proceedings.
Then, the healthcare manager received information that two other patients were showing signs of postsurgical infection. The healthcare manager and care providers acknowledged the serious quality issues at Zenith Hospital, particularly in the surgical unit. The healthcare manager wrote to the Chairman of the Hospital Board, seeking approval to implement a quality improvement program. The Board held an emergency meeting and approved the manager’s request. The healthcare manager has invited you to support the organization in this process.
Please address the following questions in your response:
What are successful approaches for gaining a shared understanding of the problem?
How can effective communication be implemented?
What is a qualitative approach that helps in identifying the quality problem?
What tools can provide insight into understanding the problem?
In quality improvement, what does appreciative inquiry help do?
What is a benefit of testing solutions before implementation?
What is a challenge that is inherent in the application of the plan, do, study, act (PDSA) method?
What .
More work is necessary on how to efficiently model uncertainty in ML.docxaudeleypearl
More work is necessary on how to efficiently model uncertainty in ML and NLP, as well as how to represent uncertainty resulting from big data analytics.
Pages - 4
Excluding the required cover page and reference page.
APA format 7 with an introduction, a body content, and a conclusion.
No Plagiarism
.
Mortgage-Backed Securities and the Financial CrisisKelly Finn.docxaudeleypearl
Mortgage-Backed Securities and the Financial Crisis
Kelly Finn
FNCE 4302
Mortgage-Backed Securities (MBS) are “pass-through” bundles of housing debt sold as investment vehicles
A mortgage-backed security, MBS, is a type of asset-backed security that pays investors regular payments, similar to a bond. It gets the title as a “pass-through” because the security involves several entities in the origination and securitization process (where the asset is identified, and where it is used as a base to create a new investment instrument people can profit off of).
Key Players involved in the MBS Process
[Mortgage] Lenders: banks who sell mortgages to GSE’s
GSE: Government Sponsored Entities created by the US Government to make owning property more accessible to Americans
1938: Fannie Mae (FNMA): Federal National Mortgage Assoc.
1970: Freddie Mac (FHLMC): Federal Home Loan Mortgage Corp.
Increase mortgage borrowing
Introduce competitor to Fannie Mae
1970: Ginnie Mae (GNMA): Government National Mortgage Assoc.
US Government: Treasury: implicit commitment of providing support in case of trouble
The several entities involved in the process make MBS a “pass-through”. Here we have 3 main entities that we’ll call “Key Players” for the purpose of this presentation which aims to provide you with a basic and simple explanation of MBS and their role in the financial crisis.
GSE’s created by the US Government in 1938
Part of FDR’s New Plan during Great Depression
Purpose: make owning property more accessible to more Americans
GSE (ex. Fannie Mae) buys mortgages (debt) from banks, & then pools mortgages into little bundles investors can buy (securitization)
Bank’s mortgage is exchanged with GSE’s cash
Created liquid secondary market for mortgages
Result:
1) Bank has more cash to lend out to people
2) Now all who want to a house (expensive) can get the money needed to buy one!
Where MBS came from & when
Yay for combatting homelessness and increasing quality of life for the common American!
Thanks Uncle Sam!
MBS have been around for a long time. Officially in the US, they have their origins in government. During the Great Depression in the 1930s, President Franklin Delano Roosevelt signed into creation Fannie Mae that was brought about to help ease American citizen’s difficulty in becoming homeowners. The sole purpose of a GSE thus was to not make profit, but to promote citizen welfare in regards to housing. Seeing that it was created by regulatory government powers, it earned the title of Government Sponsored Entity, which we will abbreviate as GSE. 2 other GSE’s in housing were created in later decades like Freddie Mae, to further stimulate the mortgage market alongside Fannie, and Ginnie which did a similar thing but only for certain groups of people (Veterans, etc) and to a much smaller scale.
How MBS works: Kelly is a homeowner looking to borrow a lot of money
*The Lender, who issued Kelly the mor.
Moral Development Lawrence Kohlberg developed six stages to mora.docxaudeleypearl
Moral Development:
Lawrence Kohlberg developed six stages to moral behavior in children and adults. Punishment and obedience orientation, interpersonal concordance, law and order orientation, social contract orientation, and universal ethics orientation. All or even just one of these stages will make a good topic for your research paper or you could just do the research paper on Kohlberg.
.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
বাংলাদেশের অর্থনৈতিক সমীক্ষা ২০২৪ [Bangladesh Economic Review 2024 Bangla.pdf] কম্পিউটার , ট্যাব ও স্মার্ট ফোন ভার্সন সহ সম্পূর্ণ বাংলা ই-বুক বা pdf বই " সুচিপত্র ...বুকমার্ক মেনু 🔖 ও হাইপার লিংক মেনু 📝👆 যুক্ত ..
আমাদের সবার জন্য খুব খুব গুরুত্বপূর্ণ একটি বই ..বিসিএস, ব্যাংক, ইউনিভার্সিটি ভর্তি ও যে কোন প্রতিযোগিতা মূলক পরীক্ষার জন্য এর খুব ইম্পরট্যান্ট একটি বিষয় ...তাছাড়া বাংলাদেশের সাম্প্রতিক যে কোন ডাটা বা তথ্য এই বইতে পাবেন ...
তাই একজন নাগরিক হিসাবে এই তথ্য গুলো আপনার জানা প্রয়োজন ...।
বিসিএস ও ব্যাংক এর লিখিত পরীক্ষা ...+এছাড়া মাধ্যমিক ও উচ্চমাধ্যমিকের স্টুডেন্টদের জন্য অনেক কাজে আসবে ...
ISO/IEC 27001, ISO/IEC 42001, and GDPR: Best Practices for Implementation and...PECB
Denis is a dynamic and results-driven Chief Information Officer (CIO) with a distinguished career spanning information systems analysis and technical project management. With a proven track record of spearheading the design and delivery of cutting-edge Information Management solutions, he has consistently elevated business operations, streamlined reporting functions, and maximized process efficiency.
Certified as an ISO/IEC 27001: Information Security Management Systems (ISMS) Lead Implementer, Data Protection Officer, and Cyber Risks Analyst, Denis brings a heightened focus on data security, privacy, and cyber resilience to every endeavor.
His expertise extends across a diverse spectrum of reporting, database, and web development applications, underpinned by an exceptional grasp of data storage and virtualization technologies. His proficiency in application testing, database administration, and data cleansing ensures seamless execution of complex projects.
What sets Denis apart is his comprehensive understanding of Business and Systems Analysis technologies, honed through involvement in all phases of the Software Development Lifecycle (SDLC). From meticulous requirements gathering to precise analysis, innovative design, rigorous development, thorough testing, and successful implementation, he has consistently delivered exceptional results.
Throughout his career, he has taken on multifaceted roles, from leading technical project management teams to owning solutions that drive operational excellence. His conscientious and proactive approach is unwavering, whether he is working independently or collaboratively within a team. His ability to connect with colleagues on a personal level underscores his commitment to fostering a harmonious and productive workplace environment.
Date: May 29, 2024
Tags: Information Security, ISO/IEC 27001, ISO/IEC 42001, Artificial Intelligence, GDPR
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Executive Directors Chat Leveraging AI for Diversity, Equity, and InclusionTechSoup
Let’s explore the intersection of technology and equity in the final session of our DEI series. Discover how AI tools, like ChatGPT, can be used to support and enhance your nonprofit's DEI initiatives. Participants will gain insights into practical AI applications and get tips for leveraging technology to advance their DEI goals.
How to Add Chatter in the odoo 17 ERP ModuleCeline George
In Odoo, the chatter is like a chat tool that helps you work together on records. You can leave notes and track things, making it easier to talk with your team and partners. Inside chatter, all communication history, activity, and changes will be displayed.
The simplified electron and muon model, Oscillating Spacetime: The Foundation...RitikBhardwaj56
Discover the Simplified Electron and Muon Model: A New Wave-Based Approach to Understanding Particles delves into a groundbreaking theory that presents electrons and muons as rotating soliton waves within oscillating spacetime. Geared towards students, researchers, and science buffs, this book breaks down complex ideas into simple explanations. It covers topics such as electron waves, temporal dynamics, and the implications of this model on particle physics. With clear illustrations and easy-to-follow explanations, readers will gain a new outlook on the universe's fundamental nature.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Natural birth techniques - Mrs.Akanksha Trivedi Rama University
Reports of the demise of liberalism are greatly exaggerated .docx
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CC
CLASSICAL GREEK TRAGEDY
4. Sophocles
ANTIGONE
SOPHOCLES (496?-406 B.C.)
Antigone
An English Version by Dudley Fitts and Robert Fitzgerald
Person Represented
ANTIGONE
ISMENE
EURYDICE
CREON
HAIMON
TEIRESIAS
A SENTRY
A MESSENGER
CHORUS
SCENE: Before the Palace of Creon, King of Thebes. A central
double door, and two
lateral doors. A platform extends the length of the façade, and
from this platform
three steps lead down into the “orchestra”, or chorus-ground.
TIME: Dawn of the
day after the repulse of the Argive army from the assault on
Thebes.
5. PROLOGUE
[ANTIGONE and ISMENE enter from the central door of the
Palace.]
ANTIGONE:
Ismene, dear sister,
You would think that we had already suffered enough
For the curse on Oedipus:1
I cannot imagine any grief
That you and I have not gone through. And now –– 5
Have they told you of the new decree of our King Creon?
ISMENE:
I have heard nothing: I know
That two sisters lost two brothers, a double death
In a single hour; and I know that the Argive army
Fled in the night; but beyond this, nothing. 10
ANTIGONE:
I thought so. And that is why I wanted you
To come out here with me. There is something we must do.
1 Oedipus, once King of Thebes, was the father of Antigone and
Ismene, and of their brothers Polyneices and Eteocles. Oedipus
unwittingly killed his father, Laios, and married his own
mother, Iocaste. When he learned what he had done, he blinded
himself and left Thebes. Eteocles and Polyneices quarreled,
Polyneices was driven out but returned to assault Thebes. In the
battle each brother killed the other; Creon became king and
6. ordered that Polyneices be left to rot unburied on the battlefield
as a
traitor. [Editors’ note]
ISMENE:
Why do you speak so strangely?
ANTIGONE:
Listen, Ismenê:
Creon buried our brother Eteoclês 15
With military honors, gave him a soldier’s funeral,
And it was right that he should; but Polyneicês,
They fought as bravely and died as miserably,--
They say that Creon has sworn
No one shall burry him, no one mourn for him, 20
But this body must lie in the fields, a sweet treasure
For carrion birds to find as they search for food.
That is what they say, and our good Creon is coming here
To announce it publicly; and the penalty ––
Stoning to death I the public squarel
There it is, 25
And now you can prove what you are:
A true sister, or a traitor to your family.
ISMENE:
Antigone, you are mad! What could I possibly do?
ANTIGONE:
You must decide whether you will help me or not.
7. ISMENE:
I do not understand you. Help you in what? 30
ANTIGONE:
Ismene, I am going to bury him. Will you come?
ISMENE:
Bury him! You have just said the new law forbids it.
ANTIGONE:
He is my brother. And he is your brother, too.
ISMENE:
But think of the danger! Think what Creon will do!
ANTIGONE:
Creon is not enough to stand in my way. 15
ISMENE:
Ah sister!
Oedipus died, everyone hating him
For what his own search brought to light, his eyes
Ripped out by his own hand; and Iocaste died,
8. His mother and wife at once: she twisted the cords 40
That strangled her life; and our two brothers died,
Each killed by the other’s sword. And we are left:
But oh, Antigone,
Think how much more terrible than these
Our own death would be if we should go against Creon 45
And do what he has forbidden! We are only women,
We cannot fight with men, Antigone!
The law is strong, we must give in to the law
In this thing, and in worse. I beg the Dead
To forgive me, but I am helpless: I must yield 50
To those in authority. And I think it is dangerous business
To be always meddling.
ANTIGONE:
If that is what you think,
I should not want you, even if you asked to come.
You have made your choice, you can be what you want to be.
But I will bury him; and if I must die, 55
I say that this crime is holy: I shall lie down
With him in death, and I shall be as dear
To him as he to me.
It is the dead
Not the living, who make the longest demands:
We die for ever…
You may do as you like
Since apparently the laws of the god mean nothing to you.
ISMENE:
They mean a great deal to me, but I have no strength
9. To break laws that were made for the public good.
ANTIGONE:
That must be your excuse, I suppose. But as for me,
I will bury the brother I love.
ISMENE:
Antigone,
I am so afraid for you!
ANTIGONE:
You need not be:
You have yourself to consider, after all.
ISMENE:
But no one must hear of this, you must tell no one!
I will keep it a secret, I promise!
ANTIGONE:
Oh tell it! Tell everyone
Think how they’ll hate you when it all comes out 70
If they learn that you knew about it all the time!
10. ISMENE:
So fiery! You should be cold with fear.
ANTIGONE:
Perhaps. But I am doing only what I must.
ISMENE:
But can you do it? I say that you cannot.
ANTIGONE
Very well: when my strength gives out, I shall do no more. 75
ISMENE:
Impossible things should not be tried at all.
ANTIGONE:
Go away, Ismene:
I shall be hating you soon, and the dead will too,
For your words are hateful. Leave me my foolish plan:
I am not afraid of the danger; if it means death, 80
It will not be the worst of deaths ––death without honor.
ISMENE:
Go then, if you feel that you must.
You are unwise,
But a loyal friend indeed to those who love you.
[Exit into the Palace. ANTIGONE goes off, L. Enter the
11. CHORUS.]
PARODOS
CHORUS:
Now the long blade of the sun, lying [Strophe 1] 85
Level east to west, touches with glory
Thebes of the Seven Gates. Open, unlidded
Eye of golden day! O marching light
Across the eddy and rush of Dirce’s stream, 2
Striking the white shields of the enemy 90
Thrown headlong backward from the blaze of morning!
2 Dirce: a stream west of Thebes. [Editor’s note]
CHORAGOS: 3
Polyneices their commander
Roused them with windy phrases,
He the wild eagle screaming
Insults above our land, 95
His wings their shields of snow,
His crest their marshaled helms.
CHORUS: [Antistrophe 1]
Against our seven gates in a yawning ring
The famished spears came onward in the night;
But before his jaws were sated with our blood, 100
Or pine fire took the garland of our towers,
He was thrown back; and as he turned, great Thebes––
No tender victim for his noisy power––
12. Rose like a dragon behind him, shouting war.
CHORAGOS:
For God hates utterly 105
The bray of bragging tongues;
And when he beheld their smiling,
Their swagger of golden helms,
The frown of his thunder blasted
Their first man from our walls 110
CHORUS: [Strophe 2]
We heard his shout of triumph high in the air
Turn to a scream; far out in a flaming are
He fell with his windy torch, and the earth struck him.
And others storming in fury no less than his
Found shock of death in the dusty joy of battle 115
CHORAGOS:
Seven captains at seven gates
Yielded their clanging arms to the god
That bends the battle-line and breaks it.
These two only, brothers in blood,
Face to face in matchless rage, 120
Mirroring each the other’s death,
Clashed in long combat.
CHORUS: [Antistrophe 2]
But now in the beautiful morning of victory
13. Let Thebes of the many chariots sing for joy!
With hearts for dancing we’ll take leave of war: 125
Our temples shall be sweet with hymns of praise,
3 Leader of the Chorus. [Editors’ note]
And the long night shall echo with our chorus.
SCENE I
CHORAGUS:
But now at last our new King is coming:
Creon of Thebes, Menoikeus’ son.
In this auspicious dawn of his reign 130
What are the new complexities
That shifting Fate has woven for him?
What is his counsel? Why has he summoned
The old men to hear him?
[Enter CREON from the Palace, C. He addresses the CHORUS
from the top step.]
CREON:
Gentlemen: I have the honor to inform you that our Ship of
State, which recent storms have threatened to destroy, has come
safely to harbor at last, guided by the merciful wisdom of
Heaven. I
have summoned you here this morning because I know that I
can
depend upon you: your devotion to King Laios was absolute;
14. you
never hesitated in your duty to our late ruler Oedipus; and when
Oedipus died, your loyalty was transferred to his children.
Unfortunately, as you know, his two sons, the princes Eteocles
and
Polyneices, have killed each other in battle, and I, as the next in
blood, have succeeded to the full power of the throne.
I am aware, of course, that no Ruler can expect complete
loyalty from his subjects until he has been tested in office.
Nevertheless, I say to you at the very outset that I have nothing
but
contempt for the kind of Governor who is afraid, for whatever
reason,
to follow the course that he knows is best for the State; and as
for the
man who sets private friendship above the public welfare, ––I
have
no use for him, either. I call God to witness that if I saw my
country
headed for ruin, I should not be afraid to speak out plainly; and
I need
hardly remind you that I would never have any dealings with an
enemy of the people. No one values friendship more highly than
I;
but we must remember that friends made at the risk of wrecking
our
Ship are not real friends at all.
These are my principles, at any rate, and that is why I have
made the following decision concerning the sons of Oedipus:
Eteocles, who died as a man should die, fighting for his
country, is to
be buried with full military honors, with all the ceremony that is
usual
when the greatest heroes die; but his brother Polyneices, who
15. broke
his exile to come back with fire and sword against his native
city and
the shrines of his fathers’ gods, whose one idea was to spill the
blood
of his blood and sell his own people into slavery–– Polyneices,
I say,
is to have no burial: no man is to touch him or say the least
prayer for
135
140
145
150
155
16. 160
165
170
him; he shall lie on the plain, unburied; and the birds and the
scavenging dogs can do with him whatever they like.
This is my command, and you can see the wisdom behind it. As
long as I am King, no traitor is going to be honored with the
loyal
man. But whoever shows by word and deed that he is on the side
of
the State,––he shall have my respect while he is living and my
reverence when he is dead.
175
CHORAGOS:
If that is your will, Creon son of Menoikeus,
You have the right to enforce it: we are yours. 180
17. CREON:
That is my will. Take care that you do your part.
CHORAGOS:
We are old men: let the younger ones carry it out.
CREON:
I do not mean that: the sentries have been appointed.
CHORAGOS:
Then what is t that you would have us do?
CREON:
You will give no support to whoever breaks this law. 185
CHORAGOS:
Only a crazy man is in love with death!
CREON:
And death it is; yet money talks, and the wisest
Have sometimes been known to count a few coins too many.
[Enter SENTRY from L.]
SENTRY:
I’ll not say that I’m out of breath from running, King, because
18. every
time I stopped to think about what I have to tell you, I felt like
going
back. And all the time a voice kept saying, “You fool, don’t you
know you’re walking straight into trouble?”; and then another
voice:
“Yes, but if you let somebody else get the news to Creon first,
it will
be even worse than that for you!” But good sense won out, at
least I
hope it was good sense, and here I am with a story that makes
no
sense at all; but I’ll tell it anyhow, because, as they say, what’s
going
to happen’s going to happen, and––
190
195
CREON:
Come to the point. What have you to say?
SENTRY:
I did not it. I did not see who did it. You must not punish me for
what someone
else has done.
19. CREON:
A comprehensive defense! More effective, perhaps,
If I knew its purpose. Come: what is it?
SENTRY:
A dreadful thing… I don’t know how to put it––
CREON:
Out with it!
SENTRY:
Well, then;
The dead man–––
Polyneices––
[Pause. The SENTRY is overcome, fumbles for words. CREON
waits impassively.]
out there––
someone, –– 205
new dust on the slimy flesh!
[Pause. No sign from CREON.]
Someone has given it burial that way, and
Gone …
[Long pause. CREON finally speaks with deadly control.]
CREON:
20. And the man who dared do this?
SENTRY:
I swear I 210
Do not know! You must believe me!
Listen:
The ground was dry, not a sign of digging, no,
Not a wheel track in the dust, no trace of anyone.
It was when they relieved us this morning: and one of them,
The corporal, pointed to it.
There it was, 215
The strangest––
Look:
The body, just mounded over with light dust: you see?
Not buried really, but as if they’d covered it
Just enough for the ghost’s peace. And no sign
Of dogs or any wild animal that had been there. 220
And then what a scene there was! Every man of us
Accusing the other: we all proved the other man did it,
We all had proof that we could not have done it.
We were ready to take hot iron in our hands,
Walk through fire, swear by all the gods,
It was not I! 225
I do not know who it was, but it was not I!
[CREON’s rage has been mounting steadily, but the SENTRY
is too intent upon his story to notice it.]
And then, when this came to nothing, someone said
A thing that silenced us and made us stare
Down at the ground: you had to be told the news,
21. And one of us had to do it! We threw the dice, 230
And the bad luck fell to me. So here I am,
No happier to be here than you are to have me:
Nobody likes the man who brings bad news.
CHORAGOS:
I have been wondering, King: can it be that the gods have done
this? 235
CREON: [Furiously.]
Stop!
Must you doddering wrecks
Go out of your heads entirely? “The gods!”
Intolerable!
The gods favor this corpse? Why? How had he served them?
240
Tried to loot their temples, burn their images,
Yes, and the whole State, and its laws with it!
Is it your senile opinion that the gods love to honor bad men?
A pious thought! ––
No, from the every beginning
There have been those who have whispered together, 245
Stiff-necked anarchists, putting their heads together,
Scheming against me in alleys. These are the men,
And they have bribed my own guard to do this thing.
Money! [Sententiously.]
There’s nothing in the world so demoralizing as money. 250
Find that man, bring him here to me, or your death
Will be the least of your problems: I’ll string you up
Alive, and there will be certain ways to make you
Discover your employer before you die;
22. And the process may teach you e lesson you seem to have
missed 260
The dearest profit is sometimes all too dear:
That depends on the source. Do you understand me?
A fortune won is often misfortune.
SENTRY:
King, may I speak?
CREON:
Your very voice distresses me.
SENTRY:
Are you sure that it is my voice, and not your conscience? 265
CREON:
By God, he wants to analyze me now!
SENTRY:
It is not what I say, but what has been done, that hurts you.
CREON:
You talk too much.
SENTRY:
23. Maybe; but I’ve done nothing.
CREON:
Sold your soul for some silver: that’s all you’ve done.
SENTRY:
How dreadful it is when the right judge judges wrong! 270
CREON:
Your figures of speech
May entertain you now; but unless you bring me the man,
You will get little profit from them in the end.
[Enter CREON into the Palace.]
SENTRY:
“Bring me the man” ––!
I’d like nothing better than bringing him the man! 275
But bring him or not, you have seen the last of me here.
At any rate, I am safe! [Exit SENTRY.]
ODE I
CHORUS: [Strophe 1]
Numberless are the world’s wonders, but none
More wonderful than man; the stormgray sea
Yields to his prows, the huge crests bear him high; 280
Earth, holy and inexhaustible, is graven
24. With shining furrows where his plows have gone
Year after year, the timeless labor of stallions.
[Antistrope 1]
The lightboned birds and beasts that cling to cover, 285
The lithe fish lighting their reaches of dim water,
All are taken, tamed in the net of his mind;
The lion on the hill, the wild horse windy-maned,
Resign to him; and his blunt yoke has broken
The sultry shoulders of the mountain bull.
[Strophe 2]
Words also, ant thought as rapid as air, 290
He fashions to his good use; statecraft is his,
And his the skill that deflect the arrows of snow,
The spears of winter rain: from every wind
He has made himself secure––from all but one:
In the late wind of death he cannot stand.
[Antistrophe 2]
O clear intelligence, force beyond all measure! 295
O fate of man, working both good and evil!
When the laws are kept, how proudly his city stands!
When the laws are broken, what of his city then?
Never may the anarchic man find rest at my hearth,
Never be it said that my thoughts are his thoughts. 330
SCENE II
[Re-enter SENTRY leading ANTIGONE.]
CHORAGOS:
What does this mean? Surely this captive woman
Is the Princess, Antigone. Why should she be taken?
25. SENTRY:
Here is the one who did it! We caught her
In the very act of burying him. ––Where is Creon?
CHORAGOS:
Just coming from the house.
[Enter CREON, C.]
CREON:
What has happened? 305
Why have you come back so soon?
SENTRY:
O King,
A man should never be too sure of anything:
I would have sworn
That you’d not see me here again: your anger
Frightened me so, and the things you threatened me with; 310
But how could I tell then
That I’d be able to solve the case so soon?
No dice-throwing this time: I was only too glad to come!
Here is this woman. She is the guilty one:
We found her trying to bury him. 315
Take her, then; question her; judge her as you will.
26. I am through with the whole thing now, and glad of it.
CREON:
But this is Antigone! Why have you brought her here?
SENTRY:
She was burying him, I tell you!
CREON: [Severely.]
Is this the truth?
SENTRY:
I saw her with my own eyes. Can I say more? 320
CREON:
The details: come, tell me quickly!
SENTRY:
It was like this:
After those terrible threats of yours King.
We went back and brushed the dust away from the body.
The flesh was soft by now, and stinking, 325
So we sat on a hill to windward and kept guard.
No napping happened until the white round sun
Whirled in the center of the round sky over us:
Then, suddenly,
A storm of dust roared up from the earth, and the sky 330
Went out, the plain vanished with all its trees
In the stinging dark. We closed our eyes and endured it.
27. The whirlwind lasted a long time, but it passed;
And then we looked, and there was Antigone!
I have seen 335
A mother bird come back to a stripped nest, heard
Her crying bitterly a broken note or two
For the young ones stolen. Just so, when this girl
Found the bare corpse, and all her love’s work wasted,
She wept, and cried on heaven to damn the hands 340
That had done this thing
And then she brought more dust
And sprinkled wine three times for her brother’s ghost.
We ran and took her at once. She was not afraid,
Not even when we charged her with what she had done.
She denied nothing.
And this was a comfort to me, 345
And some uneasiness: for it is a good thing
To escape from death, but it is no great pleasure
To bring death to a friend.
Yet I always say
There is nothing so comfortable as your own safe skin!
CREON: {Slowly, dangerously.]
And you, Antigone, 350
You with your head hanging––do you confess this thing?
ANTIGONE:
I do. I deny nothing.
CREON: [To SENTRY:]
28. You may go.
{Exit SENTRY. To ANTIGONE:]
Tell me, tell me briefly:
Had you heard my proclamation touching this matter?
ANTIGONE:
It was public. Could I help hearing it? 355
CREON:
And yet you dared defy the law.
ANTIGONE:
I dared.
It was not God’s proclamation. That final Justice
That rules the world below makes no such laws.
Your edict, King, was strong,
But all your strength is weakness itself against 360
The immortal unrecorded laws of God.
They are not merely now: they were, and shall be,
Operative for ever, beyond man utterly.
I knew I must die, even without your decree:
I am only mortal. And if I must die 365
Now, before it is my time to die,
Surely this is no hardship: can anyone
Living, as I live, with evil all about me,
Think Death less than a friend? This death of mine
29. Is of no importance; but if I had left my brother 370
Lying in death unburied, I should have suffered.
Now I do not.
You smile at me. Ah Creon,
Think me a fool, if you like; but it may well be
That a fool convicts me of folly.
CHORAGOS:
Like father, like daughter: both headstrong, deaf to reason! 375
She has never learned to yield.
She has much to learn.
The inflexible heart breaks first, the toughest iron
Cracks first, and the wildest horses bend their necks
At the pull of the smallest curb.
Pride? In a slave?
This girl is guilty of a double insolence, 380
Breaking the given laws and boasting of it.
Who is the man here,
She or I, if this crime goes unpunished?
Sister’s child, or more than sister’s child,
Or closer yet in blood––she and her sister 385
Win bitter death for this!
[To servants:]
Go, some of you,
Arrest Ismene. I accuse her equally.
Bring her: you will find her sniffling in the house there.
Her mind’s a traitor: crimes kept in the dark 390
Cry for light, and the guardian brain shudders:
But now much worse than this
Is brazen boasting of barefaced anarchy!
30. ANTIGONE:
Creon, what more do you want than my death?
CREON:
Nothing.
That gives me everything.
ANTIGONE:
Then I beg you: kill me.
This talking is a great weariness: your words 395
Are distasteful to me, and I am sure that mine
Seem so to you. And yet they should not seem so:
I should have praise and honor for what I have done.
All these men here would praise me
Were their lips not frozen shut with fear of you. 400
[Bitterly.]
Ah the good fortune of kings,
Licensed to say and do whatever they please!
CREON:
You are alone here in that opinion.
ANTIGONE:
No, they are with me. But they keep their tongues in leash.
CREON:
31. Maybe. But you are guilty, and they are not. 405
ANTIGONE:
There is no guilt in reverence for the dead.
CREON:
But Eteocles––was he not your brother too?
ANTIGONE:
My brother too.
CREON:
And you insult his memory?
ANTIGONE: [Softly.]
The dead man would not say that I insult it.
CREON:
He would: for you honor a traitor as much as him. 410
ANTIGONE:
His own brother, traitor or not, and equal in blood.
CREON:
32. He made war on his country. Eteocles defended it.
ANTIGONE:
Nevertheless, there are honors due all the dead.
CREON:
But not the same for the wicked as for the just.
ANTIGONE:
Ah Creon, Creon, 415
Which of us can say what the gods hold wicked?
CREON:
An enemy is an enemy, even dead.
ANTIGONE:
It is may nature to join in love, not hate.
CREON: {Finally losing patience.]
Go join them, then; if you must have your love,
Find it in hell! 420
CHORAGOS:
But see, Ismene comes:
[Enter ISMENE, guarded.]
33. Those tears are sisterly, the cloud
That shadows her eyes rains down gentle sorrow.
CREON:
You too, Ismene,
Snake in my ordered house, sucking my blood 425
Stealthily––and all the time I never knew
That these two sisters were aiming at my throne!
Ismene,
Do you confess your share in this crime, or deny it?
Answer me.
ISMENE:
Yes, if she will let me say so. I am guilty. 430
ANTIGONE: [Coldly.]
No, Ismene. You have no right to say so.
You would not help me, and I will not have you help me.
ISMENE:
But now I know what you meant; and I am here
To join you, to take my share of punishment.
ANTIGONE:
The dead man and the gods who rule the dead 435
Know whose act this was. Words are not friends.
34. ISMENE:
Do you refuse me, Antigone? I want to die with you:
I too have a duty that I must discharge to the dead.
ANTIGONE:
You shall not lessen my death by sharing it.
ISMENE:
What do I care for life when you are dead? 440
ANTIGONE:
Ask Creon. You’re always hanging on his opinions.
ISMENE:
You are laughing at me. Why, Antigone?
ANTIGONE:
It’s a joyless laughter, Ismene.
ISMENE:
But can I do nothing?
ANTIGONE:
Yes. Save yourself. I shall not envy you.
35. There are those who will praise you; I shall have honor, too.
445
ISMENE:
But we are equally guilty!
ANTIGONE:
No more, Ismene.
You are alive, but I belong to Death.
CREON: {To the CHORUS:]
Gentlemen, I beg you to observe these girls:
One has just now lost her mind; the other,
It seem, has never had a mind at all. 450
ISMENE:
Grief teaches the steadiest minds to waver, King.
CREON:
Yours certainly did, when you assumed guild with the guilty!
ISMENE:
But how could I go on living without her?
36. CREON:
You are.
She is already dead.
ISMENE:
But your own son’s bride!
CREON:
There are places enough for him to push his plow. 455
I want no wicked women for my sons!
ISMENE:
O dearest Haimon, how your father wrong you!
CREON:
I’ve had enough of your childish talk of marriage!
CHORAGOS:
Do you really intend to steal this girl from your son?
CREON:
No; Death will do that for me.
CHORAGOS:
Then she must die? 460
CREON: [Ironically.]
37. You dazzle me.
––But enough of this talk!
[To GUARDS:]
You, there, take them away and guard them well:
For they are but women, and even brave men run
When they see Death coming.
[Exeunt ISMENE, ANTIGONE, and GUARDS.]
ODE II
CHORUS: [Strophe 1]
Fortunate is the man who has never tasted God’s vengeance!
465
Where once the anger of heaven has struck, that house is shaken
For ever: damnation rises behind each child
Like a wave cresting out of the black northeast,
When the long darkness under sea roars up
And bursts drumming death upon the windwhipped sand. 470
[Antistrophe 1]
I have seen this gathering sorrow from time long past
Loom upon Oedipus’ children: generation from generation
Takes the compulsive rage of the enemy god.
So lately this last flower of Oedipus’ line
Drank the sunlight! but now a passionate word 475
And a handful of dust have closed up all its beauty
38. What mortal arrogance [Strophe 2]
Transcends the wrath of Zeus?
Sleep cannot lull him, nor the effortless long months
Of the timeless gods: but he is young for ever, 480
And his house is the shining day of high Olympos.
All that is and shall be,
And all the past, is his.
No pride on earth is free of the curse of heaven.
The straying dreams of men [Antistrophe 2] 485
May bring them ghosts of joy:
But as they drowse, the waking embers burn them;
Or they walk with fixed eyes, as blind men walk.
But the ancient wisdom speaks for our own time:
Fate works most for woe 490
With Folly’s fairest show.
Man’s little pleasure is the spring of sorrow.
SCENE III
CHORAGOS:
But here is Haimon, King, the last of all your sons.
Is it grief for Antigone, that brings him here,
And bitterness at being robbed of his bride? 495
[Enter HAIMON.]
CREON:
We shall soon see, and no need of diviners.
––Son,
You have heard my final judgment on that girl:
Have you come here hating me, or have you come
39. With deference and with love, whatever I do?
HAIMON:
I am your son, father. You are my guide. 500
You make things clear for me, and I obey you.
No marriage means more to me than your continuing wisdom.
CREON:
Good. That is the way to behave: subordinate
Everything else, my son, to your father’s will
This is what a man prays for, that he may get 505
Sons attentive and dutiful in his house,
Each one hating his father’s enemies,
Honoring his father’s friends. But if his sons
Fail him, if they turn out unprofitably,
What has he fathered but trouble for himself 510
And amusement for the malicious?
So you are right
Not to lose your head over this woman.
Your pleasure with her would soon, grow cold, Haimon,
And then you’d have a hellcat in bed and elsewhere.
Let her find her husband in Hell! 515
Of all the people in this city, only she
Has had contempt for my law and broken it.
Do you want me to show myself weak before the people?
Or to break my sworn word? No, and I will not.
The woman dies. 520
I suppose she’ll plead “family ties.” Well, let her.
If I permit my own family to rebel,
40. How shall I earn the world’s obedience?
Show me the man who keeps his house in hand,
He’s fit for public authority.
I’ll have no dealings 525
With law-breakers, critics of the government:
Whoever is chosen to govern should be obeyed––
Must be obeyed, in all things, great and small,
Just and unjust! O Haimon,
The man who knows how to obey, and that man only, 530
Knows how to give commands when the time comes.
You can depend on him, no matter how fast
The spears come: he’s a good soldier, he’ll stick it out.
Anarchy, anarchy! Show me a greater evil!
This is why cities tumble and the great houses rain down, 535
This is what scatters armies!
No, no: good lives are made so by discipline.
We keep the laws then, and the lawmakers,
And no woman shall seduce us. If we must lose,
Let’s lose to a man, at least! Is a woman stronger than we? 540
CHORAGOS:
Unless time has rusted my wits,
What you say, King, is said with point and dignity.
HAIMON: [Boyishly earnest.]
Father:
Reason is God’s crowing gift to man, and you are right
To warn me against losing mine. I cannot say––
I hope that I shall never want to say! ––that you 545
Have reasoned badly. Yet there are other men
41. Who can reason, too; and their opinions might be helpful.
You are not in a position to know everything
That people say or do, or what they feel:
Your temper terrifies them––everyone 550
Will tell you only what you like to hear.
But I, at any rate, can listen; and I have heard them
Muttering and whispering in the dark abut this girl.
They say no woman has ever, so unreasonably,
Died so shameful a death for a generous act: 555
“She covered her brother’s body. Is this indecent?
She kept him from dogs and vultures. Is this a crime?
Death? ––She should have all the honor that we can give her!”
This is the way they talk out there in the city.
You must believe me: 560
Nothing is closer to me than your happiness.
What could be closer? Must not any son
Value his father’s fortune as his father does his?
I beg you, do not be unchangeable:
Do not believe that you alone can be right. 565
The man who thinks that,
The man who maintains that only he has the power
To reason correctly, the gift to speak, to soul––
A man like that, when you know him, turns out empty.
It is not reason never to yield to reason! 570
In flood time you can see how some trees bend,
And because they bend, even their twigs are safe,
While stubborn trees are torn up, roots and all.
And the same thing happens in sailing:
Make your sheet fast, never slacken,––and over you go, 575
Head over heels and under: and there’s your voyage.
Forget you are angry! Let yourself be moved!
I know I am young; but please let me say this:
42. The ideal condition
Would be, I admit, that men should be right by instinct; 580
But since we are all too likely to go astray,
The reasonable thing is to learn from those who can teach.
CHORAGOS:
You will do well to listen to him, King,
If what he says is sensible. And you, Haimon,
Must listen to your father. ––Both speak well. 585
CREON:
You consider it right for a man of my years and experience
To go to school to a boy?
HAIMON:
It is not right
If I am wrong. But if I am young, and right,
What does my age matter?
CREON:
You think it right to stand up for an anarchist? 590
HAIMON:
Not at all. I pay no respect to criminals.
43. CREON:
Then she is not a criminal?
HAIMON:
The City proposes to teach me how to rule?
CREON:
And the City proposes to teach me how to rule?
HAIMON:
Ah. Who is it that’s talking like a boy now? 595
CREON:
My voice is the one voice giving orders in this City!
HAIMON:
It is no City if it takes orders from one voice.
CREON:
The State is the King!
HAIMON:
Yes, if the State is a desert.
[Pause.]
CREON:
44. This boy, it seems, has sold out to w woman.
HAIMON:
If you are a woman: my concern is only for you. 600
CREON:
So? Your “concern”! In a public brawl with your father!
HAIMON:
How about you, in a public brawl with justice?
CREON:
With justice, when all that I do is within my rights?
HAIMON:
You have no right to trample on God’s right.
CREON: [Completely out of control.]
Fool, adolescent fool! Taken in by a woman! 605
HAIMON:
You’ll never see me taken in by anything vile.
CREON:
Every word you say is for her!
45. HAIMON: [Quietly, darkly.]
And for you.
And for me. And for the gods under the earth.
CREON:
You’ll never marry her while she lives.
HAIMON:
Then she must die. ––But her death will cause another. 610
CREON:
Another?
Have you lost your senses? Is this an open threat?
HAIMON:
There is no threat in speaking to emptiness.
CREON:
I swear you’ll regret this superior tone of yours!
You are the empty one!
HAIMON:
If you were not my father, 615
46. I’d say you were perverse.
CREON:
You girlstruck fool, don’t play at words with me!
HAIMON:
I am sorry. You prefer silence.
CREON:
Now, by God––!
I swear, by all the gods in heaven above us,
You’ll watch it, I swear you shall
[To the SERVANTS:]
Bring her out! 620
Bring the woman out! Let her die before his eyes!
Here, this instant, with her bridegroom beside her!
HAIMON:
Not here, no; she will not die here, King.
And you will never see my face again.
Go on raving as long as you’ve a friend to endure you. 625
[Exit HAIMON.]
CHORAGOS:
Gone, gone.
Creon, a young man in a rage is dangerous!
CREON:
Let him do, or dream to do, more than a man can.
47. He shall not save these girls from death.
CHORAGOS:
These girls?
You have sentenced them both?
CREON:
No, you are right 630
I will not kill the one whose hands are clean.
CHORAGOS:
But Antigone?
CREON: [Somberly.]
I will carry her far away
Out there in the wilderness, and lock her
Living in a vault of stone. She shall have food,
As the custom is, to absolve the State of her death. 635
And there let her pray to the gods of hell:
They are her only gods:
Perhaps they will show her an escape from death,
Or she may learn,
though late,
That piety shown the dead is pity in vain. 640
[Exit CREON.]
48. ODE III
CHORUS:
Love, unconquerable [Strophe]
Waster of rich men, keeper
Of warm lights and all-night vigil
In the soft face of a girl:
Sea-wanderer, forest-visitor!
Even the pure Immortals cannot escape you,
And mortal man, in his one day’s dusk,
Trembles before your glory.
Surely you swerve upon ruin [Antistrope]
The just man’s consenting heart, 650
As here you have made bright anger
Strike between father and son––
And none has conquered but Love!
A girl’s glance working the will of heaven:
Pleasure to her alone who mock us, 655
Merciless Aphrodite.4
SCENE IV
CHORAGOS: [As ANTIGONE enter guarded.]
But I can no longer stand in awe of this,
Nor, seeing what I see, keep back my tears.
Here is Antigone, passing to that chamber
Where all find sleep at last 660
49. ANTIGONE:
Look upon me, friends, and pity me [Strophe 1]
Turning back at the night’s edge to say
Good-by to the sun that shines for me no longer;
Now sleepy Death
Summons me down to Acheron,5 that cold shore: 665
There is no bridesong there, nor any music.
4 Goddess of Love. [Editors’ note]
5 A river of the underworld, which was ruled by Hades.
[Editors’ note]
CHORUS:
Yet not unpraised, not without a kind of honor,
You walk at last into the underworld;
Untouched by sickness, broken by no sword.
What woman has ever found your way to death? 670
ANTIGONE:
[Antistrophe 1]
How often I have heard the store of Niobe,6
Tantalos’ wretched daughter, how the stone
Clung fast about her, ivy-close: and they say
The rain falls endlessly
And rifting soft snow; her tears are never done. 675
I feel the loneliness of her death in mine.
CHORUS:
50. But she was born of heaven, and you
Are woman, woman-born. If her death is yours,
A mortal woman’s, is this not for you
Glory in our world and in the world beyond? 680
ANTIGONE:
You laugh at me. Ah, friends, friends, [Strophe2]
Can you not wait until I am dead? O Thebes,
O men many-charioted, in love with Fortune,
Dear spring of Dirce, sacred Theban grove,
Be witnesses for me, denied all pity, 685
Unjustly judge! and think a word of love
For her whose path turns
Under dark earth, where there are no more tears.
CHORUS:
You have passed beyond human daring and come at last
Into a place of stone where Justice sits 690
I cannot tell
What shape of your father’s guilt appears in this.
ANTIGONE:
[Antistrophe 2]
You have touched it at last: that bridal bed
Unspeakable, horror of son an mother mingling: 695
Their crime, infection of all our family!
O Oedipus, father and brother!
Your marriage strikes from the grave to murder mine.
I have been a stranger here in my own land:
51. 6 Niobe boasted of her numerous children, provoking Leto, the
mother of Apollo, to destroy them. Niobe wept profusely, and
finally was turned into a stone on Mount Sipylus, whose streams
are her tears. [Editors’ note]
All my life
The blasphemy of my birth has followed me. 700
CHORUS:
Reverence is a virtue, but strength
Lives in established law: that must prevail.
You have made your choice,
Your death is the doing of your conscious hand.
ANTIGONE:
[Epode]
Then let me go, since all your words are bitter, 705
And the very light of the sun is cold to me.
Lead me to my vigil, where I must have
Neither love nor lamentation; no song, but silence.
[CREON interrupts impatiently.]
CREON:
If dirges and planned lamentations could put of death,
Men would be singing for ever.
[To the SERVANTS:]
Take her, go! 710
52. You know your orders: take her to the vault
And leave her alone there. And if she lives or dies,
That’s her affair, not ours: our hands are clean.
ANTIGONE:
O tomb, vaulted bride-bed in eternal rock,
Soon I shall be with my own again 715
Where Persephone 7 welcome the thin ghost underground:
And I shall see my father again, and you, mother,
And dearest Polyneices––
dearest indeed
To me, since it was my hand
That washed him clean and poured the ritual wine: 720
And my reward is death before my time!
And yet, as men’s hearts know, I have done no wrong,
I have not sinned before God. Or if I have,
I shall know the truth in death. But if the guilt
Lies upon Creon who judged me, then, I pray, 725
May his punishment equal my own.
CHORAGOS:
O passionate heart,
Unyielding, tormented still by the same winds!
7 Queen of the underworld. [Editors’ note]
CREON:
Her guards shall have good cause to regret their delaying.
53. ANTIGONE:
Ah! That voice you no reason to think voice of death!
CREON:
I can give you no reason to think you are mistaken. 730
ANTIGONE:
Thebes, and you my fathers’ gods,
And rulers of Thebes, you see me now, the last
Unhappy daughter of a line of kings,
Your kings, led away to death. You will remember
What things I suffer, and at what men’s hands, 735
Because I would not transgress the laws of heaven.
[To the GUARDS, simply:]
Come: let us wait no longer.
[Exit ANTIGONE, L., guarded.]
ODE IV
CHORUS:
All Danae’s beauty was locked away {Strophe 1]
In a brazen cell where the sunlight could not come:
A small room, still as any grave, enclosed her. 740
Yet she was a princess too,
And Zeus in a rain of gold poured love upon her.
O child, child,
No power in wealth or war
Or tough sea-blackened ships 745
54. Can prevail against untiring Destiny!
{Antistrophe 1]
And Dryas’ son 8 also, that furious king,
Bore the god’s prisoning anger for his pride:
Sealed up by Dionysos in deaf stone,
His madness died among echoes. 750
So at the last he learned what dreadful power
His tongue had mocked:
For he had profaned the revels,
And fired the wrath of the nine
Implacable Sisters9 that love the sound of the flute. 755
8 Drays’ son: Lycurgus, King of Thrace. [Editors’ note]
9 The Muses. [Editors’ note]
[Strophe 2]
And old men tell a half-remembered tale
Of horror done where a dark ledge splits the sea
And a double surf beats on the gray shores:
How a king’s new woman, 10 sick
With hatred for the queen he had imprisoned, 760
Ripped out his two son’s eyes with her bloody hands
While grinning Ares 11 watched the shuttle plunge
Four times: four blind wounds crying for revenge,
[Antistrophe 2]
Crying, tears and blood mingled, ––Piteously born,
Those sons whose mother was of heavenly birth! 765
Her father was the god of the North Wind
And she was cradled by gales,
She raced with young colts on the glittering hills
55. And walked untrammeled in the open light:
But in her marriage deathless Fate found means 770
To build a tomb like yours for all her joy.
SCENE V
[Enter blind TEIRESIAS, led by a boy. The opening speeches
of TEIRESIAS
should be in singsong contrast to the realistic lines of CREON.]
TEIRESIAS:
This is the way the blind man comes, Princes, Princes,
Lock-step, two heads lit by the eyes of one.
CREON:
What new thing have you tell us, old Teiresias?
TEIRESIAS:
I have much to tell you: listen to the prophet, Creon. 775
CREON:
I admit my debt to you. But what have you to say?
TEIRESIAS:
Listen, Creon:
I was sitting in my chair of augury, at the place
Where the birds gather about me. They were all a-chatter,
As is their habit, when suddenly I heard
A strange note in their jangling, a scream, a 785
56. 10 Eidothea, second wife of King Phineus, blinded her stepsons.
(Their mother, Cleopatra, had been imprisoned in a
cave.).Phineus was the son of a king, and Cleopatra, his first
wife, was the daughter of Boreas, the North Wind; but this
illustrious ancestry could not protect his sons from violence and
darkness. [Editors’ note]
11 God of war. [Editors’ note]
Whirring fury; I knew that they were fighting,
Tearing each other, dying
In a whirlwind of wings clashing. And I was afraid.
I began the rites of burnt-offering at the altar,
But Hephaistos 12 failed me: instead of bright flame, 790
There was only the sputtering slime of the fat thigh-flesh
Melting: the entrails dissolved in gray smoke,
The bare bone burst from the welter. And no blaze!
This was a sign from heaven. My boy described it,
Seeing for me as I see for others. 795
I tell you, Creon, you yourself have brought
This new calamity upon us. Our hearths and altars
Are stained with the corruption of dogs and carrion birds
That glut themselves on the corpse of Oedipus’ son.
The gods are deaf when we pray to them, their fire 800
Recoils from our offering, their birds of omen
Have no cry of comfort, for they are gorged
With the thick blood of the dead.
O my son,
These are no trifles! Think: all men make mistakes,
But a good man yields when he knows his course is wrong, 805
57. And repairs the evil. The only crime is pride.
Give in to the dead man, then: do not fight with a corpse––
What glory is it to kill a man who is dead?
Think, I beg you:
It is for your own good that I speak as I do. 810
You should be able to yield for your own good.
CREON:
It seems that prophets have made me their especial province.
All my life long
I have been a kind of butt for dull arrows
Of doddering fortune-tellers!
No, Teiresias: 815
If your birds––if the great eagles of God himself
Should carry him stinking bit by bit to heaven,
I would not yield. I am not afraid of pollution:
No man can defile the gods.
Do what you will,
Go into business, make money, speculate 820
In India gold or that synthetic gold from Sardis,
Get rich otherwise than by my consent to bury him.
Teiresias, it is a sorry thing when a wise man
12 God of fire. [Editors’ note]
Sells his wisdom, lets out his words for hire!
TEIRESIAS:
Ah Creon! Is there no man left in the world–– 825
58. CREON:
To do what? ––Come, let’s have the aphorism!
TEIRESIAS:
No man who knows that wisdom outweighs any wealth?
CREON:
As surely as bribes are baser than any baseness.
TEIRESIAS:
You are sick, Creon! You are deathly sick!
CREON:
As you say: it is not my place to challenge a prophet. 830
TEIRESIAS:
Yet you have said my prophecy is for sale.
CREON:
The generation of prophets has always loved gold.
TEIRESIAS:
The generation of kings has always loved brass.
CREON:
You forget yourself! You are speaking to your King.
59. TEIRESIAS:
I know it. You are a king because of me. 835
CREON:
You have a certain skill; but you have sold out.
TEIRESIAS:
King, you will drive me to words that––
CREON:
Say them, say them!
Only remember: I will not pay you for them.
TEIRESIAS:
No, you will find them too costly.
No doubt. Speak:
Whatever you say, you will not change my will.
TEIRESIAS:
Then take this, and take it to heart!
The time is not far off when you shall pay back
Corpse for corpse, flesh of your own flesh.
You have thrust the child of this world into living night,
You have kept from the gods below the child that is theirs: 845
60. The one on a grave before her death, the other,
Dead, denied the grave. This is your crime:
And the Furies and the dark gods of Hell
Are swift with terrible punishment for you.
Do you want to buy me now, Creon?
Not many days, 850
And your house will be full of men and women weeping,
And curses will be hurled at you from far
Cities grieving for sons unburied, left to rot
Before the walls of Thebes.
These are my arrows, Creon: they are all for you. 855
[To BOY:]
But come, child: lead me home.
Let him waste his fine anger upon younger men.
Maybe he will learn at last
To control a wiser tongue in a better head.
[Exit TEIRESIAS.]
CHORAGOS:
The old man has gone, King, but his words 860
Remain to plague us. I am old, too,
But I cannot remember that he was ever false.
CREON:
That is true… . It troubles me.
Oh it is hard to give in! but it is worse
To risk everything for stubborn pride. 865
61. CHORAGOS:
Creon: take my advice.
CREON:
What shall I do?
CHORAGOS:
Go quickly: free Antigone from her vault
And build a tomb for the body of Polyneices.
CREON:
You would have me do this?
CHORAGOS:
Creon, yes!
And it must be done at once: God moves 870
Swiftly to cancel the folly of stubborn men.
CREON:
It is hard to deny the heart! But i
Will do it: I will not fight with destiny.
CHORAGOS:
62. You must go yourself, you cannot leave it to others.
CREON:
I will go.
––Bring axes, servants: 875
Come with me to the tomb. I buried her, i
Will set her free.
Oh quickly!
My mind misgives––
The laws of the gods are mighty, and a man must serve them
To the last day of his life! 880
[Exit CREON.]
PAEN 13
CHORAGOS:
God of many names [Strophe 1]
CHORUS:
O Iacchos
son
of Kadmeian Semele
O born of the Thunder!
Guardian of the West
Regent
of Eleusis’ plain
O Prince of maenad Thebes
13 A hymn here dedicated to Iacchos (also called Dionysos).
63. His father was Zeus, his mother was
Semele, daughter of Kadmos. Iacchos’ worshippers were the
Maenads, whose cry was “Evohe evohe.’
[Editors’ note]
and the Dragon Field by rippling Ismenos:14 885
CHORAGOS:
God of many names [Antistrophe 1]
CHORUS:
the flame of torches
flares on our hills
the nymphs of Iacchos
dance at the spring of Castalia: 15
from the vine-close mountain
come ah come in ivy:
Evohe evohe! Sings through the streets of Thebes 890
CHORAGOS:
God of many names [Strophe 2]
CHORUS:
Iacchos of Thebes
heavenly Child
of Semele bride of the Thunderer!
The shadow of plague is upon us:
64. come
with clement feet
oh come from Parnasos
down the long slopes
across the lamenting water 895
CHORAGOS:
[Antistrophe 2]
Io Fire! Chorister of the throbbing stars!
O purest among the voices of the night!
Thou son of God, blaze for us!
CHORUS:
Come with choric rapture of circling Maenads
Who cry Io Iacche! 900
God of many names!
EXODOS
[Enter MESSENGER, L.]
14 A river east of Thebes. From a dragon’s teeth (sown near the
river) there sprang men who became the ancestors of the Theban
nobility. [Editors’ note]
15 A spring on Mountain Parnasos. [Editors’ note]
65. MESSENGER:
Men of the line of Kadmos 16you who live
Near Amphion’s citadel:
I cannot say
Of any condition of human life “This is fixed,
This is clearly good, or bad.” Fate raises up,
And Fate casts down the happy and unhappy alike: 905
No man can foretell his Fate.
Take the case of Creon:
Creon was happy once, as I count happiness:
Victorious in battle, sole governor of the land,
Fortunate father of children nobly born.
And now it has all gone from him! Who can say 910
That a man is still alive when his life’s joy fails?
He is a walking dead man. Grant him rich,
Let him live like a king in his great house:
If his pleasure is gone, is would not give
So much as the shadow of smoke for all he owns. 915
CHORAGOS:
Your words hint at sorrow: what is your news for us?
MESSENGER:
They are dead. The living are guilt of their death.
CHORAGOS:
Who is guilty? Who is dead? Speak!
66. MESSENGER:
Haimon.
Haimon is dead; and the land that killed him
Is his own hand.
CHORAGOS:
His father’s? or his own? 920
MESSENGER:
His own, driven mad by the murder his father had done.
CHORAGOS:
Teiresias, Teiresias, how clearly you saw it all!
MESSENGER:
This is my news: you must draw what conclusions you can from
it.
16 Kadmos, who sowed the dragon’s teeth, was the founder of
Thebes; Amphion played so sweetly on his lyre that he charmed
stones to form a wall around. [Editors’ note]
CHORAGOS:
But look: Eurydice, our Queen:
Has she overheard us? 925
[Enter UERYDICE from the Palace, C.]
67. EURIDICE:
I have heard something, friends:
As I was unlocking the gate of Pallas’ 17 shrine,
For I needed her help today, I heard a voice
Telling of some new sorrow. And I fainted
There at the temple with all my maidens about me. 930
But speak again: whatever it is, I can bear it:
Grief and I are no strangers.
MESSENGER:
Dearest Lady,
I will tell you plainly all that I have seen.
I shall not try to comfort you: what is the use,
Since comfort could lie only in what is not true? 935
The truth is always best.
I went with Creon
To the outer plain where Polyneices was lying,
No friend to pity him, his body shredded by dogs.
We made our prayers in that place to Hecate
And Pluto, 18 that they would be merciful. And we bathed 940
The corpse with holy water, and we brought
Fresh-broken branches to burn what was left of it,
And upon the urn we heaped up a towering barrow
Of the earth of his own land.
When we are done, we ran
To the vault where Antigone lay on her couch of stone. 945
One of the servants had gone ahead,
And while he was yet far off he heard a voice
Grieving within the chamber, and he came back
And told Creon. And as the King went closer, 950
The air was full of wailing, the words lost,
68. And he begged us to make all haste. “Am I a prophet?”
He said, weeping, “And must I walk this road,
The saddest of all that I have gone before?
My son’s voice calls me on. Oh quickly, quickly!
Look through the crevice there, and tell me 955
If it is Haimon, or some deception of the gods!”
We obeyed; and in the cavern’s farthest corner
We saw her lying:
17 Pallas Athene, goddess of wisdom. [Editors’ note]
18 Hecate and Pluto (also known as Hades) were deities of the
underworld. [Editors’ note]
She had made a noose of her fine linen veil
And hanged herself. Haimon lay beside hers, 960
His arms about her waist, lamenting her,
His love lost under ground, crying out
That his father has stolen her away from him.
When Creon saw him the tears rushed to his eyes
And he called to him: “What have you done, child? Speak to
me. 965
What are you thinking that makes your eyes so stranger?
O my son, my son, I come to you on my knees!”
But Haimon spat in his face. He said not a word,
Staring––
And suddenly drew his sword
And lunged. Creon shrank back, the blade missed; and the boy,
970
Desperate against himself , drove it half its length
Into his own side, and fell. And as he died
He gathered Antigone close in his arms again.
69. Choking, his blood bright red on her white cheek.
And now he lies dead with the dead, and she is his 975
At last, his bride in the houses of the dead.
[Exit EURDICE into the Palace.]
CHORAGOS:
She has left us without a word. What can this mean?
MESSENGER:
It troubles me, too; yet she knows what is best,
Her grief is too great for public lamentation,
And doubtless she has gone to her chamber to weep 980
For dead son, leading her maidens in his dirge.
CHORAGOS:
It may be so: but I fear this deep silence.
MESSENGER: [Pause.]
I will see what she is doing. I will go in.
[Exit MESSENGER into the Palace.]
[Enter CREON with attendants,
bearing HAIMON’S body.]
CHORAGOS:
But here is the King himself: oh look at him,
Bearing his own damnation in his arms. 985
70. CREON:
Nothing you say can touch me any more.
My own blind heart has brought me
From darkness to final darkness. Here you see
The father murdering, the murdered son––
And all my civic wisdom! 990
Haimon my son, so young, so young to die,
I was the fool, not you; and you died for me.
CHORAGOS:
That is the truth; but you were late in learning it.
CREON:
This truth is hard to bear. Surely a god
Has crushed me beneath the hugest weight of heaven, 995
And driven me headlong a barbaric way
To trample out the thing I held most dear.
The pains that men will take to come to pain!
[Enter MESSENGER from the Palace.]
MESSENGER:
The burden you carry in your hands is heavy,
But it is not all: you will find more in your house. 1000
71. CREON:
What burden worse than this shall I find there?
MESSENGER:
The Queen is dead.
CREON:
O port of death, deaf world,
Is there no pity for me? And you, Angel of evil,
I was dead, and your words are death again.
Is it true, boy? Can it be true? 1005
Is my wife dead? Has death bred death?
MESSENGER:
You can see for yourself.
[The doors are opened, and the body
of EURDICE is disclosed within.]
CREON:
Oh pity!
All true, all true, and more than I can bear! 1010
O my wife, my son!
MESSENGER:
She stood before the altar, and her heart
72. Welcome the knife her own hand guided.
And a great cry burst from her lips for Megareus 19 dead,
And for Haimon dead, her sons; and her last breath 1015
Was a curse for their father, the murdered of her sons.
And she fell, and the dark flowed in through her closing eyes.
CREON:
O God, I am sick with fear.
Are there no swords here? Has no one a blow for me?
MESSENGER:
Her curse is upon you for the deaths of both. 1020
CREON:
It is right that it should be. I alone am guilty.
I know it, and I say it. Lead me in,
Quickly, friends.
I have neither life nor substance. Lead me in.
CHORAGOS:
You are right, if there can be right in so much wrong. 1025
The briefest way is best in a world of sorrow.
CREON:
Let it come,
Let death come quickly, and be kind to me.
I would not ever see the sun again.
73. CHORAGOS:
All that will come when it will; but we, meanwhile, 1030
Have much to do. Leave the future to itself.
CREON:
All my heart was in that prayer!
CHORAGOS:
Then do not pray any more: the sky is deal
CREON:
Lead me away. I have been rash and foolish.
I have killed my son and my wife. 1035
I look for comfort; my comfort lies here dead.
Whatever my hands have touched has come to nothing.
Fate has brought all my pride to a thought of dust.
19 Megareus, brothe of Haimon, had died in the assault on
Thebes. [Editors’ note]
[As CREON is being led into the house, the CHORAGOS
advances and speaks
directly to the audience.]
CHORAGOS:
74. There is no happiness where there is no wisdom;
No wisdom but in submission to the gods. 1040
Big words are always punished,
And proud men in old age learn to be wise.
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The Many Lives of Liberalism
David A. Bell JANUARY 17, 2019 ISSUE
Musée du Louvre, Paris
Eugène Delacroix: Liberty Leading the People, 1830
77. Can Democracy Work?: A Short History of a Radical Idea, from
Ancient Athens to Our World
by James Miller
Farrar, Straus and Giroux, 306 pp., $27.00
The Lost History of Liberalism: From Ancient Rome to the
Twenty-First Century
by Helena Rosenblatt
Princeton University Press, 348 pp., $35.00
On the Spirit of Rights
by Dan Edelstein
University of Chicago Press, 325 pp., $40.00
While the collapse of communism did not
bring history to an end, it did, briefly, seem
to establish a worldwide consensus of sorts.
Had one particular social and political
system, by dint of hard experience, proven
superior to all its rivals? Apparently yes.
That system was what could be called the
liberal ideal, constructed around
representative democracy, human rights,
and free-market capitalism complemented
by a strong social safety net. If this system
did not turn out to be the inevitable, placid,
posthistorical future of all mankind, as
predicted in Francis Fukuyama’s notorious
1989 essay, it nonetheless stood as a goal
toward which all humanity was now going
to strive.
That consensus seemed to hold even after the bloody
disintegration of Yugoslavia and the
September 11 attacks. Now, however, it is fracturing. Around
the world, populist politicians
78. on the right are winning elections by warning demagogically
that representative democracy
and human rights policies are too weak to protect hardworking,
native-born families against
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S
threats from beyond their national borders—especially terrorists
and migrant hordes. At the
same time, a resurgent socialist left is gaining support by
warning that liberal social
democracy is too fragile to protect ordinary people from the
ever more disruptive forces of
global capitalism. While today’s ideological cleavages are not
as wide as those of the 1930s,
they are nonetheless more pronounced than at any time since the
cold war.
As always, when the ideological landscape changes, so does our
sense of the history behind it.
Take, for instance, the subject of human rights. Back in the
distant past of 2007—before the
financial crisis, before President Trump—the historian Lynn
Hunt published a pioneering
study that presented the ascent of universal human rights as
79. inexorable. She recognized that
it took time for the concept to achieve its full, mature shape.
But once it did so in the
eighteenth century, the “bulldozer force of the revolutionary
logic of rights” propelled it
irresistibly forward.
Three eventful years later, Samuel Moyn directly challenged
Hunt’s account. In The Last
Utopia: Human Rights in History, he argued that modern human
rights politics, far from
following this inexorable path, had coalesced into their
contemporary form and taken on their
contemporary salience only in the 1970s thanks to
disillusionment with socialism,
nationalism, anti-colonialist struggles, and the internationalism
represented by the United
Nations. Last year, Moyn’s new book, Not Enough, extended
the case, suggesting that
contemporary human rights activism serves the purposes of
“neoliberal” free-market
fundamentalism all too well. This activism may try to make
free-market policies more
humane, but it does little to challenge the enormous inequalities
they produce, and in fact
diverts political energies from such challenges.
Each of the three books under review makes a renewed case for
elements of the liberal ideal,
but with a powerfully heightened sense of its fragility and of
the contingent factors behind its
historical development. James Miller, whose earlier work has
ranged from political
philosophy to histories of rock and roll to a biography of Michel
Foucault, offers an
attractively broad and accessible account of democracy from the
80. Greeks to the present.
Helena Rosenblatt, a historian of European political thought,
writing in a more scholarly vein,
argues that liberalism has been thoroughly misunderstood by
nearly everyone and proposes to
set the record straight by exposing its deep roots reaching all
the way back to ancient Rome.
Dan Edelstein, a literary scholar who has written important
studies of the Enlightenment and
the French Revolution, challenges Moyn’s account of the
origins of human rights and offers
his own original interpretation. All three authors guide readers
through the masses of difficult
material with enviable clarity.
trikingly, while the authors go about their tasks in very
different ways, they each look
above all to the same place for inspiration: revolutionary
France. Past histories of liberal free-
market democracy have tended to find its origins and fullest
expression in the Anglo-
American political tradition, with particular attention to the
seventeenth-century English
1
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81. F
political writer John Locke. His arguments that men had a
natural right to life, liberty, and
property, and to resist tyranny, are easily cast as an origin point
of the modern liberal ideal.
These histories treated continental Europe as a place of great
liberal hopes but even greater,
indeed catastrophic failures: the French Revolutionary Terror,
fascism, and many other
varieties of political extremism. Miller, Rosenblatt, and
Edelstein by contrast all urge us to
look away from what Edelstein arrestingly calls the “strange
and atypical” Anglo-American
story. Miller barely mentions Locke, and Rosenblatt and
Edelstein both try to knock him off
the perch on which earlier histories placed him. Rosenblatt
states categorically: “Liberalism
owes its origins to the French Revolution.”
Taken together, the three books suggest that the Western liberal
tradition may indeed have the
strength and the resources necessary to withstand the political
storms now gathering. But we
should not conflate this tradition with the narrower set of
mostly Anglo-American ideas that
has been conventionally identified as its core, and labeled
(mistakenly, according to
Rosenblatt) “classical liberalism.” All three authors clearly
believe that this narrower tradition
has concerned itself too heavily with individual rights—above
all, economic rights—as
opposed to the common good. It has not paid enough attention
to moral values and moral
education, and it has not done enough to encourage broad
82. democratic participation. Such
arguments are not entirely new, but these books offer
impressive new evidence and analyses.
And at a moment when liberal democracy has shown itself
rather more resilient in France and
Germany (even with their current travails) than in Brexit Britain
and Trumpist America, the
case for looking to Continental sources for inspiration is
particularly timely.
or James Miller, a veteran of 1960s protests and Students for a
Democratic Society, the
democratic ideal is one that allows citizens not merely to vote
for representatives but to
participate as actively as possible in ruling themselves. He
therefore starts his book with
Athens, the first great experiment in direct democracy. At the
same time, though, the
Athenian city-state limited the category of citizen to a free,
male minority and enforced “the
complete subjection of the individual to the community.”
Miller’s enthusiasm for it is
distinctly muted.
Nor did Athens launch a durable democratic tradition. After its
fall, democracy as a concept
fell into long centuries of discredit and eclipse, with most
leading Western commentators, up
to and including the American Founding Fathers, seeing it as
barely superior to mob rule.
America, Miller reminds us, was not founded as a democracy
but as a republic in which wise
elites would restrain unruly expressions of the popular will.
Only with the French Revolution
did an ideal of egalitarian, participatory government again gain
prominence. Miller here
83. singles out the urban sans-culotte movement, which briefly
turned the local electoral districts
of some French cities into democratic assemblies, open to all
male residents and meeting in
permanent session. And he has particular praise for the Marquis
de Condorcet’s draft
constitution of 1793, which would have given local assemblies
unprecedented power to
challenge and curb the actions of a national legislature (the
draft was never approved, still less
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implemented).
Miller argues that this French plan represents perhaps the most
promising model for
democracy ever devised. In a set of short, clear chapters, he
holds it up as a model against
which to measure various later attempts to give citizens greater
participation in governance.
These include the British Chartist movement of the 1830s and
1840s, the Paris Commune of
1871, and even, in the West, early-twentieth-century hopes that
opinion polling might give
ordinary people more of a political voice. Miller also recognizes
that today, profound social
84. transformations have left the democratic ideal more imperiled
than ever. Increasing inequality
makes it more difficult for people to have their voices heard;
government secrecy deprives
them of the information necessary for political participation;
and in an age of globalization
many of the most pressing problems, such as climate change,
require global, not local,
solutions.
America’s current plight spurs Miller (drawing on F. Scott
Fitzgerald) to some passionate and
anguished prose:
This is what democracy in America often seems like: an elusive
fantasy, forever out of
reach, forever unrealized, even as its most eloquent bards,
trapped in their own
prejudices, are “borne back ceaselessly into the past.”
But he still holds out hope that some version of the
Condorcetian ideal of local democratic
restraints on national governance might yet continue to inspire
contemporary democratic
movements.
ith Helena Rosenblatt’s ambitious study, we turn from the vexed
story of democracy to
the vexed story of liberalism. The word, of course, is
notoriously confusing. In America, it
generally means something vaguely akin to European social
democracy. In Europe, it comes
close to American free-market conservatism. “Neoliberalism,”
before acquiring its current
meaning of free-market fundamentalism, most commonly
referred in the US to a set of
85. reform-minded Democrats associated with Senator Gary Hart.
Then there is “classical
liberalism,” by which scholars often mean, in the words of the
historian Isaac Kramnick, a
“modern, self-interested, competitive, individualistic ideology
emphasizing private rights”—
the ideology behind laissez-faire capitalism. They trace its
origins back to early modern
Britain, giving particular attention to John Locke.
It is this last definition that Rosenblatt takes aim at. She begins
by noting that in ancient
Rome, the terms “liberal” and “liberality” (liberalitas) had no
connection with individual
freedom but signified a noble, high-minded generosity and
carried strong moral connotations.
In the eighteenth century “liberality” also came to be associated
with freedom from bias,
especially religious bias. The word “liberalism,” denoting a
coherent system of thought, only
appeared in the nineteenth century, originally as a term of abuse
for opponents of traditional
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religion and monarchy. Locke never called himself a “liberal.”
Most of this material is well known, but Rosenblatt builds upon
it to argue that even in the
86. nineteenth century, the supposed heyday of “classical
liberalism,” the individualistic, laissez-
faire ideology discussed in recent decades by so many scholars
did not actually exist in
anything like a coherent form. While some relatively obscure
writers and politicians came
close to it (Frédéric Bastiat in France, John Smith Prince in
Germany), most self-described
“liberals” did not. John Stuart Mill, the author of On Liberty,
edged close to socialism in
many of his opinions, and considered the label “liberal” largely
meaningless (“the libéraux
comprise every shade of political opinion”).
To the extent that a self-conscious “liberal” movement existed,
according to Rosenblatt, it
was not to be found in Britain and America but on the European
continent, starting in the
French Revolution. While respectful of individual rights, this
liberalism was moralizing,
elitist, and concerned with the classic philosophical question of
how to construct a stable,
enduring, moderate regime. In France, the writers Benjamin
Constant and Germaine de Staël,
who came to prominence in the Revolution’s last stages,
developed a political program that
remained much closer to the earlier meanings of “liberty,” with
an emphasis on a paternalistic
“government of the best.” In the nineteenth century, German
thinkers led the way in
developing a “liberal” Protestant theology as well as economic
ideas that anticipated the
policies of modern welfare states. These self-proclaimed
liberals, Rosenblatt notes, were
emphatically not democrats. They mistrusted the common
people and advocated limited
87. suffrage. Nor were they libertarians. They generally did not
consider property a core right,
and while they warned against government becoming tyrannical,
they did not seek to
minimize its powers. Constant defended laissez-faire in the
economic realm; many others did
not.
By the end of the nineteenth century, people who called
themselves liberals had mostly made
their peace with democracy, but remained deeply divided over
other issues, including laissez-
faire economics. Prominent British Liberal Party members like
Leonard Hobhouse even
argued that “true socialism serves to complete rather than to
destroy the leading Liberal
ideals.” While some liberals decried European imperialism,
others defended a version of it
that would spread “civilization” to supposedly benighted areas
of the globe. Many defended
eugenics and opposed women’s suffrage. The uniting factors,
insofar as they existed,
remained a strong moralism and an emphasis on education as
essential to political progress.
These same factors also pervaded the American liberalism that
took shape in the early
twentieth century under the influence of Woodrow Wilson, John
Dewey, and the young
intellectuals who banded together in 1914 to found The New
Republic. It therefore makes
little sense to posit a sharp distinction between this American
liberalism and Europe’s
supposedly more libertarian variety.
If this is the true (“lost”) history of liberalism, then where did
the idea of liberalism as an
88. individualistic ideology tied to laissez-faire capitalism come
from? In a fascinating epilogue,
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Rosenblatt argues that historians only established this
misleading intellectual genealogy very
late, in the mid-twentieth century. Critics had long tried to
discredit liberalism by associating
it with narrow material self-interest, but after World War II
liberals themselves, seeking to
distinguish their beliefs as sharply as possible from Communist
totalitarianism, came close to
agreeing with their detractors. Only a strong emphasis on
individual rights, argued political
philosophers like Isaiah Berlin, could save liberal states from
sliding into totalitarian
extremism. For the same reason these thinkers downplayed the
contributions of French and
German liberals, who had shown such a distressing inability to
halt extremism in their own
countries. Soon, “genealogies based on a canon of great thinkers
were constructed and
anthologies published. Founding fathers of liberalism were
discovered.” And the true,
complex history was forgotten.
89. Rosenblatt has written one of those rare academic books that,
for all its brilliance, needed to
be longer. For someone seeking to reevaluate Britain’s place in
the history of liberalism, she
devotes little sustained attention to British thought and politics.
Locke, one of the prime
targets of her revisionism, gets just three pages of close
analysis. The epilogue, at only
thirteen pages, cannot be more than suggestive. At times,
Rosenblatt’s argument becomes so
compressed that she fails to distinguish adequately between the
history of the word “liberal”
and the ideas we now associate with it. The two are, after all,
separable.
an Edelstein covers his own large subject in even fewer pages
than Rosenblatt, but in a
more focused manner. Although his book, its title paying
homage to Montesquieu’s The Spirit
of the Laws, addresses the broad tapestry of the history of
human rights, it tugs most
insistently at a single thread: the idea that rights are
“unalienable.” According to this idea,
which Edelstein dubs “preservationist,” certain rights are
bestowed on us by nature or God
and remain with us (are “preserved”) always. We cannot
willingly surrender them, and we
also have the responsibility to defend the rights of others, even
if they live beyond our
borders. Moyn’s influential The Last Utopia suggested that this
last corollary, which forms
the basis for much contemporary human rights politics, is only
of very recent vintage. Like
Hannah Arendt before him, Moyn argued that even a document
like the French Declaration of
the Rights of Man and of the Citizen of 1789 made rights
90. dependent upon citizenship. As
Arendt put it in a famous phrase, only within the bounds of
citizenship in a particular state do
people have “the right to have rights.”
In a superb, erudite piece of intellectual excavation, Edelstein
argues persuasively that already
in the late Middle Ages, Catholic theologians had established
that humans possessed
inalienable rights, and that these rights did not depend on
belonging to a particular state. In
the sixteenth century, driven by the passions of religious
warfare and the spectacle of Spanish
conquests in the Americas, another series of writers added that,
if necessary, rights could be
defended by force, from beyond the boundaries of the state in
question. So already by 1572, a
conception of human rights broadly similar to what exists today
had taken shape.
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Edelstein’s skill as an intellectual historian lies especially
in his ability to situate ideas in their broadest cultural and
political setting. He recognizes that, by themselves, ideas
possess no inexorable logic dictating how, and for what
purposes, they will actually function in political debate.
91. Like tools in a toolkit, ideas can have many different uses,
depending on the purposes of the political actors who
deploy them. In the sixteenth century, the idea of
inalienable universal rights justified revolts against alleged
tyrants and even the murder of supposedly unjust kings.
Some writers also invoked it to decry the Spanish
treatment of Native Americans. The burgeoning African
slave trade, on the other hand, drew no condemnations for
human rights violations. That
would only come two bloody centuries later, in very different
circumstances.
The early modern story Edelstein tells about human rights is a
complex and surprising one.
Although the preservationist regime of rights had come into
existence by the late sixteenth
century, it did not immediately become dominant in the Western
world. To the contrary, many
of the most sophisticated and influential writers of the day,
associating it with the horrors of
Reformation-era religious warfare, sought either to refute it or
to establish the right to resist
oppression on other, less volatile grounds. Thomas Hobbes
argued that we in fact abandon our
“natural rights” to a sovereign once we leave the state of nature
and enter political society.
Locke, by contrast, suggested that on leaving the state of nature
we actually “transfer” our
rights to the political community as a whole—but still do not
preserve them. When American
and French revolutionaries declared that men (but not women)
possessed inalienable,
universal rights, they were not building on Hobbes and Locke.
They were reactivating a very
different concept of rights that had arisen on the European
continent two centuries earlier.
92. To prove this point, Edelstein conducts a bravura piece of
“archaeological” investigation,
which challenges a great deal of conventional intellectual
history. He shows that in France,
the bridge back to the concept of inalienable rights was
furnished by the early economic
theorists known as the Physiocrats, in the middle decades of the
eighteenth century. They
entirely rejected Hobbes’s distinction between the state of
nature and civil society and
returned to the older natural law tradition, but with a more
explicit articulation of what were
coming to be called “the rights of man.” The point of a proper
constitution, they maintained,
was not to transcend nature but to establish formal laws and
rights as close to those of nature
as possible. Americans, meanwhile, arrived at the same
destination by an entirely different
route. They turned to English legal scholars—especially
William Blackstone (1723–1780)—
who interpreted the “rights of Englishmen” as natural rights
preserved and guaranteed by the
unwritten English constitution.
Neither the Physiocrats nor the English lawyers had any desire
to challenge the prevailing
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93. political order in their countries. But as Edelstein wittily puts
it, they could develop ideas
“with radical implications precisely because those implications
were so far from their minds,”
fashioning intellectual tools that revolutionaries would soon put
to unexpectedly radical
purposes. Edelstein acknowledges that before 1776, Americans
chafing at the rule of the
mother country frequently invoked Locke’s authority—he was,
after all, the most famous
English-language philosopher of the century. But in doing so
they tended to rewrite Locke in
a way that he and his closest followers would not have
recognized.
While the French and American revolutionaries did not invent
the preservationist rights
regime that prevails today, it was their enshrinement of it in
their founding documents that
sealed its triumph over its Hobbesian and Lockean competitors
and established it as a
foundation for two centuries of democratic experimentation.
The Declaration of the Rights of
Man and of the Citizen did less to guarantee individual rights
than its American counterparts,
since it also stipulated that the sovereign nation could place
strict limits on the exercise of
those rights. In this respect, it helped to enable the ferocious
political repression of the Terror
of 1793–1794. Nonetheless, it was this document—and not the
American Declaration of
Independence or Bill of Rights—that remained the reference
point for a vein of international
legal scholarship that continued to present human rights as
“supranational restraints on
94. government action” through the nineteenth and early twentieth
centuries. This scholarship in
turn lay directly behind the Universal Declaration of Human
Rights of 1948 and the human
rights politics of the present day.
Since the 1970s, the idea of human rights as the basis for how
states should behave has
profoundly transformed international politics. (Donald Trump is
the first American president
in decades not to make the idea at least the rhetorical
centerpiece of his foreign policy.) But as
Edelstein demonstrates, this shift did not actually involve much
intellectual innovation. Like
the American and French revolutionaries before them,
contemporary officials and activists
have reached deep into the toolkit of Western political thought
and turned old tools to new
and more prominent purposes. The rise of human rights politics
in the past few decades, in
other words, was not, as Samuel Moyn’s work suggests, a
seismic break with older political
patterns, requiring a seismic correction that will return issues of
social equality to a central
position in political debate. The “preservationist regime” is not
a recent invention. It is part of
the intellectual atmosphere that surrounds us, and that we
cannot do without.
Anyone reading these three books, particularly in the current
grim political moment, will
come away convinced of the fragile nature of the ideas
underlying rights-based liberal
democracy. They will grasp more clearly than ever that this
liberal ideal, which seemed to
triumph in the late twentieth century, had a tortuous history,
95. with its successes dependent on a
host of contingent factors. Readers will also be left in no doubt
about some of the less savory
things that often accompanied it. Miller pays due attention to
the “carnival of atrocities”
during the French Revolutionary Terror, even as France
undertook its first grand experiment
with democracy. Rosenblatt emphasizes the elitist, exclusionary
tendencies inherent in the
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2
3
history of liberalism. Edelstein notes that, thanks to the concern
with property of both the
French Physiocrats and English common lawyers, the ideal of
rights that triumphed in the
eighteenth century can be seen as “the intellectual forefather of
free-market fundamentalism.”
Yet at the same time readers will come away with the
realization that the liberal ideal has a
much richer, deeper, more varied past than they might imagine
from accounts that stress only
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19th & 20th Century Anarchism
Possibilities and Practice
GLOBAL 120, OCTOBER 8, 2019
PROFESSOR KAI M. THALER
SECTION LEADERS NATHANIEL BUROLA, T INA
GUIRGUIS , EUGENE RIORDAN
Anarchism: General Principles
• Liberation from political and economic oppression
• No government
• “Where industry is everything and man is nothing begins the
realm of a ruthless economic despotism
whose workings are no less disastrous than those of any
political despotism.” – Bakunin
• Worker control
• No hierarchies
• Ending social discrimination
• Gender, race, religion, sexual orientation, etc.
98. • Freely forming community ties and confederations
• Free speech, education, and individual choice
• Solidarity and mutual exchange among individuals & larger
unions
Early Anarchist Thought and Practice
• Indigenous societies
• Lao Tzu and Zhuang Zhou’s Taoism
• Zeno of Citium’s Republic
• “we should look upon all people in general to be our fellow-
countryfolk and citizens,
observing one manner of living and one kind of order, like a
flock feeding together
with equal right in one common pasture” – Plutarch on Zeno’s
vision
• Peasant revolts and communal formations
The Diggers
• Mid-16th century England around Civil War
• Gerrard Winstanley and the ‘True Levellers’
• “the earth was not made purposely for you, to be Lords of it,
and we to be your Slaves, Servants, and Beggers; but it was
made
to be a common Livelihood to all, without respect of persons:
99. And that your buying and selling of Land, and the Fruits of it,
one to another, is The cursed thing.” – Winstanley, et al.
• Land occupation and cultivation
Godwin’s Next-Level Liberalism
• Inspired by earlier Enlightenment Liberals and French
Revolution
• Government authority inhibits human nature
• People naturally communal, cooperative, and peaceful
• Liberation only comes with economic freedom
• Economic freedom through collective ownership and free
cooperation
Paris Commune of 1871
• Emerged after Napoleon III defeat in Franco-Prussian War
• March 1871 retreat of central government from Paris
• Election of Commune Council
Paris Commune of 1871
• Proudhonism
• New policies
• Religious freedom and seizing Church property
100. • Abolishing child labor
• Abolishing interest on debts
• Employees could take over abandoned businesses
• Free education and social services
• Brief, two month existence: defeat by government forces in
May 1871
Mikhail Bakunin
• Equity blocked by state, capitalism, and Church
• Authority is one thing, domination another
• On experts’ authority
• “I listen to them freely and with all the respect merited by
their intelligence, their character, their knowledge, reserving
always my incontestable right of criticism and censure.”
Kropotkin and Mutualism
• Challenge to social Darwinism
• “that capacity for sympathy with others in which all social
ethics,
all ideas of social justice, have their origin, develop best in
freedom”
•Anarchism vs. conservative libertarianism
101. • How do Kropotkin’s ideas clash with the right-wing
libertarianism of market fundamentalists like Friedrich
Hayek and Milton Friedman?
Anarchism and Violence
• ‘Propaganda of the deed’
• Justification: “capitalist society was a place of constant
violence: every law, every church, every
paycheck was based on force. In such a world, to do nothing, to
stand idly by while millions suffered,
was itself to commit an act of violence.” - Gage
• Terrorism in Europe and US
• Debates about extent to which violence necessary or not
Trial of Goldman and Berkman
• Anarchist activists and journalists
• Strongly egalitarian
• Goldman advocating sexual freedom, birth control
• Opposed to US intervention in WWI and conscription
• “I believe the war is merely for the purpose of furthering
capitalistic
interests. I believe the people have nothing to gain from this
war, neither
102. the people of Europe nor the people of America. I believe in
universal peace.”
•Show trial with Goldman and Berkman poking holes in
prosecution
• “We stand here accused of being Anarchists. A vain
accusation! We are Anarchists...”
• “Emma Goldman and Alexander Berkman are, beyond doubt,
two of the most dangerous anarchists
in this country and return to the community will result in undue
harm.” – J. Edgar Hoover
Anarchism in Civil War Spain
• Republican government included anarchist, socialist, and
moderate politicians
• After Nationalist invasion, anarchists seizing initiative
• “It is we [the workers] who built these palaces and cities, here
in Spain and in America and everywhere.
We, the workers. We can build others to take their place. And
better ones!” – Durruti
• New anarchist organization in urban Catalunya and rural
Aragón
Spanish Anarchism: Failures and Contradictions
• Violence against ‘enemies’
• Failure of large-scale coordination
103. • Inability to cooperate and coordinate with other Republican
forces
• Difficulties of discipline in a non-hierarchical organization
• “One day a man suddenly refused to go to a certain post,
which he said quite truly was exposed to
enemy fire. He was a feeble creature, and I seized hold of him
and began to drag him towards his
post. This roused the feelings of the others against me, for
Spaniards, I think, resent being touched
more than we do. Instantly I was surrounded by a ring of
shouting men:’ Fascist! Fascist! Let that
man go! This isn't a bourgeois army. Fascist!’” - Orwell
• Machismo and failure to challenge patriarchy
Beyond the Spanish Civil War
• Repression of anarchism in Europe and US during Cold War
• Revival in 1950s and 1960s
• Can anarchism only emerge at large scale during a war?
First Short Paper
• 1250-1500 words, double spaced
• Citations for references to readings or lectures
• Your choice of citation format
104. • Due in class October 15 with cover page and rubric
• Talk to section leaders ASAP about extension requests
Next Class: Marxism
• What is ‘historical materialism’?
• What different socioeconomic classes are there?
• How should workers gain control of production?
• What role does the state play in a Marxist society?
• Does Marxism lead to gender equality?
• Does communism align with indigenous communal ideas?
LIBERALISM A N D
WORLD POLITICS
MICHAEL W. DOYLE
Johns Hopkins University
fuilding on a growing literature in international political
science, I
reexamine the traditional liberal claim that governments
founded on a respect for
individual liberty exercise "restraint" and "peaceful intentions"
in their foreign policy. I
look at three distinct theoretical traditions of liberalism,
attributable to three theorists:
105. Schumpeter, a democratic capitalist whose explanation of
liberal pacifism we often
invoke; Machiavelli, a classical republican whose glory is an
imperialism we often
practice; and Kant, a liberal republican whose theory of
internationalism best accounts
for what we are. Despite the contradictions of liberal pacifism
and liberal imperialism, I
find, with Kant and other democratic republicans, that
liberalism does leave a coherent
legacy on foreign affairs. Liberal states are different. They are
indeed peaceful. They are
also prone to make war. Liberal states have created a separate
peace, as Kant argued
they would, and have also discovered liberal reasons for
aggression, as he feared they
might. I conclude by arguing that the differences among liberal
pacifism, liberal
imperialism, and Kant's internationalism are not arbitrary. They
are rooted in differing
conceptions of the citizen and the state.
1 romoting freedom
will produce peace, we have often been
told. In a speech before the British Parlia-
ment in June of 1982, President Reagan
proclaimed that governments founded on
a respect for individual liberty exercise
"restraint" and "peaceful intentions" in
their foreign policy. He then announced a
"crusade for freedom" and a "campaign
for democratic development" (Reagan,
June 9, 1982).
In making these claims the president
joined a long list of liberal theorists (and
106. propagandists) and echoed an old argu-
ment: the aggressive instincts of
authoritarian leaders and totalitarian rul-
ing parties make for war. Liberal states,
founded on such individual rights as
equality before the law, free speech and
other civil liberties, private property, and
elected representation are fundamentally
against war this argument asserts. When
the citizens who bear the burdens of war
elect their governments, wars become im-
possible. Furthermore, citizens appreciate
that the benefits of trade can be enjoyed
only under conditions of peace. Thus the
very existence of liberal states, such as the
U.S., Japan, and our European allies,
makes for peace.
Building on a growing literature in in-
ternational political science, I reexamine
the liberal claim President Reagan re-
iterated for us. I look at three distinct
theoretical traditions of liberalism, at-
tributable to three theorists: Schumpeter,
a brilliant explicator of the liberal
pacifism the president invoked; Machia-
velli, a classical republican whose glory is
an imperialism we often practice; and
Kant.
Despite the contradictions of liberal
pacifism and liberal imperialism, I find,
with Kant and other liberal republicans,
that liberalism does leave a coherent
legacy on foreign affairs. Liberal states are
107. AMERICAN POLITICAL SCIENCE REVIEW
VOL. 80 NO. 4 DECEMBER, 1986
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American Political Science Review Vol. 80
different. They are indeed peaceful, yet
they are also prone to make war, as the
U.S. and our "freedom fighters" are now
doing, not so covertly, against Nicaragua.
Liberal states have created a separate
peace, as Kant argued they would, and
have also discovered liberal reasons for
aggression, as he feared they might. I con-
clude by arguing that the differences
among liberal pacifism, liberal im-
perialism, and Kant's liberal interna-
tionalism are not arbitrary but rooted in
differing conceptions of the citizen and
the state.
Liberal Pacifism
There is no canonical description of
liberalism. What we tend to call liberal
resembles a family portrait of principles
and institutions, recognizable by certain
characteristics—for example, individual
freedom, political participation, private
property, and equality of opportunity—
that most liberal states share, although