Moral Law vs King's Law
I really enjoyed reading the dialogue between Creon and Antigone. Really nice stuff that I'm going to have to go through again to soak up.
Anyway, Antigone puts forth the argument that the burial of Polynices was for herself. She was upset at the idea that Polynices would wander forever, and it would put her at ease to help him out. That and she felt that as a sister, it would only be right to do this.
Creon argues that the burial, even if done properly, was rather pointless in the end. That and his choice to not bury Polynices was due to needing to satisfy the common people. He needed a martyr and a scapegoat, and so he picked the body that was less damaged to bury properly and left the other one to continue rotting.
The difference between moral law and the King's law is that the King's law applies the same to everyone and is enforced. In reality, moral laws don't really matter. There are no guaranteed negative consequences for having a different set of laws compared to someone else, whereas in the case of Polynices, anyone who buried his body regardless of intention would be put to death.
Morality and Law actually tie into each other very tightly. Morality is defined as "principles concerning the distinction between right and wrong or good and bad behavior". Laws take those principals and make the answers clear cut. As in 'this is absolutely wrong, or this is absolutely right'. My best guess is that Anouilh contrasted Moral and King's law to raise the question of should the law always be followed even if it conflicts with what an individual believes in?
Thursday, November 17, 2011
Antigone - Journal #2
Events in order presented:
1. Antigone returns home in the morning and is caught by the Nurse
2. Antigone and Ismene argue on the topic of burying Polynices
3. Antigone speaks to Nurse about a few desires
4. Antigone visits Haemon to discuss the previous night
5. Antigone tells Ismene that she buried Polynices
Events in Chronological (?) Order:
1. Antigone and Ismene argue on the topic of burying Polynices
2. Antigone goes to Haemon with the intention to 'become his wife'. Fails
3. Antigone buries Polynices
4. Antigone returns home in the morning and is caught by the Nurse
5. Antigone visits Haemon to discuss the previous night
6. Antigone speaks to Nurse about a few desires
7. Antigone tells Ismene that she buried Polynices
1. Antigone returns home in the morning and is caught by the Nurse
2. Antigone and Ismene argue on the topic of burying Polynices
3. Antigone speaks to Nurse about a few desires
4. Antigone visits Haemon to discuss the previous night
5. Antigone tells Ismene that she buried Polynices
Events in Chronological (?) Order:
1. Antigone and Ismene argue on the topic of burying Polynices
2. Antigone goes to Haemon with the intention to 'become his wife'. Fails
3. Antigone buries Polynices
4. Antigone returns home in the morning and is caught by the Nurse
5. Antigone visits Haemon to discuss the previous night
6. Antigone speaks to Nurse about a few desires
7. Antigone tells Ismene that she buried Polynices
Monday, November 14, 2011
Antigone - Journal #1
First thing I had to figure out was exactly how many members were in the Chorus. Of course, this is all opinion work, but I came to the conclusion that only one actor should play the role. I remember discussing the very first thing the Chorus says, which is: "Well, here we are." (Anouilh 3) This can be seen as indicating that there is more than one Chorus member, but I disagree as the 'we' could imply that Chorus is including the audience. He/she is addressing the audience after all. Also part of my reasoning for Chorus being singular, is the mention that Chorus is "leaning, at this point, against the left proscenium arch" (Anouilh 6)
It took a little research, but a proscenium arch is part of a proscenium theater. It can actually be rectangular, but the important point is that the arch is small. It would be hard to get fifty people leaning against an arch at once, and would actually look rather ridiculous.
Moving on to the actual construction of the stage: Nothing extravagant. This is not a movie, so onstage props such as the stairs will be rather crude and most likely constructed out of wood and painted a white color. White to contrast the darkness of the theater, and the overall 'dark' theme of the tragedy itself.
Other than that, the characters should be behaving as described in the novel.
It took a little research, but a proscenium arch is part of a proscenium theater. It can actually be rectangular, but the important point is that the arch is small. It would be hard to get fifty people leaning against an arch at once, and would actually look rather ridiculous.
Moving on to the actual construction of the stage: Nothing extravagant. This is not a movie, so onstage props such as the stairs will be rather crude and most likely constructed out of wood and painted a white color. White to contrast the darkness of the theater, and the overall 'dark' theme of the tragedy itself.
Other than that, the characters should be behaving as described in the novel.
Thursday, November 3, 2011
1984 - Journal #3
Structure of Society
Oceania is run by a group called 'The Party', and uses Ingsoc (English Socialism) as the form of government.
One of the primary goals of the Party is to remain in command. It does this through the never ending accumulation of 'power'. As stated by O'Brien, "The Party seeks power entirely for its own sake. Not wealth or luxury or long life or happiness: only power, pure power" (152).
This power is gained through mind control. By controlling the mind, the Party is able to 'control matter'. This essentially means they are able to control everything. This is accomplished through torrents of propaganda, conditioning from childhood, and altering of the past.
There are four Ministries in Oceania, the Ministry of Plenty, Peace, Truth and Love. They each deal with a specific aspect of Oceanic society, but are misnomers. For example, the Ministry of Peace is in charge of the war effort, and the Ministry of Love is in charge of torture and reform. Three of the Ministries serve to deceive and pacify the general public, and one serves to deal with those who are not deceived or pacified. Lying and brute force is method by which The Party controls the minds of the people and the country itself.
The population of Oceania is divided into three groups, the Inner Party(Upper), the Outer Party(Middle), and the Proletariat(Low). According to Goldstein's book, each class has specific goals. The High aim to remain in power, the Middle hope to replace the High, and the Low is forced to live for survival. The Party knows this, so the logical conclusion would be that allowing social classes to exist symbolically represents that overthrowing the Upper class has been rendered impossible.
Oceania is run by a group called 'The Party', and uses Ingsoc (English Socialism) as the form of government.
One of the primary goals of the Party is to remain in command. It does this through the never ending accumulation of 'power'. As stated by O'Brien, "The Party seeks power entirely for its own sake. Not wealth or luxury or long life or happiness: only power, pure power" (152).
This power is gained through mind control. By controlling the mind, the Party is able to 'control matter'. This essentially means they are able to control everything. This is accomplished through torrents of propaganda, conditioning from childhood, and altering of the past.
There are four Ministries in Oceania, the Ministry of Plenty, Peace, Truth and Love. They each deal with a specific aspect of Oceanic society, but are misnomers. For example, the Ministry of Peace is in charge of the war effort, and the Ministry of Love is in charge of torture and reform. Three of the Ministries serve to deceive and pacify the general public, and one serves to deal with those who are not deceived or pacified. Lying and brute force is method by which The Party controls the minds of the people and the country itself.
The population of Oceania is divided into three groups, the Inner Party(Upper), the Outer Party(Middle), and the Proletariat(Low). According to Goldstein's book, each class has specific goals. The High aim to remain in power, the Middle hope to replace the High, and the Low is forced to live for survival. The Party knows this, so the logical conclusion would be that allowing social classes to exist symbolically represents that overthrowing the Upper class has been rendered impossible.
Tuesday, November 1, 2011
1984 - Journal #2
"The mask was closing on his face. The wire brushed his cheek. And then - no, it was not relief, only hope, a tiny fragment of hope. Too late, perhaps too late. But he had suddenly understood that in the whole world there was just one person to whom he could transfer his punishment - one body that he could thrust between himself and the rats. And he was shouting frantically, over and over: 'Do it to Julia! Do it Julia! Not me! Julia! I don't care what you do to her. Tear her face off, strip her to the bones. Not me! Julia! Not me!'" (Orwell 236)
This paragraph closes Winston's stay in the Ministry of Love, and is set in 'Room 101'. A room where the victim's deepest fear is thrust upon him or her. It is the last part of Winston's re-education in the sense that the last form of rebellion he held towards the Party, his loyalty to Julia, was stamped out.
Significant: Conflict
Through his entire stay in the Ministry of Love, Winston clings to the fact that he has not betrayed Julia. Although technically untrue since he confessed to just about anything and everything about her when asked. Hanging onto this, Winston refused to acknowledge that the Party has succeeded. His capitulation scrapped the last sense of rebellion and left him with nothing left to hang onto other than what the Party wanted him to.
Significant: Imagery and Setting
Although a little bit of context is required, Winston is about to have a cage of rats affixed to his face inside of Room 101. Room 101 contains the deepest fear of the victim. The imagery created a dramatic mood that increased in intensity until Winston's final outburst.
Significant: Structure
The sentences in this selection are very short and close in word length. Orwell did this to complement the terrifying imagery present. When scared, many people begin to breath sharp and shallow breaths, and Orwell was attempting to emulate this.
This paragraph closes Winston's stay in the Ministry of Love, and is set in 'Room 101'. A room where the victim's deepest fear is thrust upon him or her. It is the last part of Winston's re-education in the sense that the last form of rebellion he held towards the Party, his loyalty to Julia, was stamped out.
Significant: Conflict
Through his entire stay in the Ministry of Love, Winston clings to the fact that he has not betrayed Julia. Although technically untrue since he confessed to just about anything and everything about her when asked. Hanging onto this, Winston refused to acknowledge that the Party has succeeded. His capitulation scrapped the last sense of rebellion and left him with nothing left to hang onto other than what the Party wanted him to.
Significant: Imagery and Setting
Although a little bit of context is required, Winston is about to have a cage of rats affixed to his face inside of Room 101. Room 101 contains the deepest fear of the victim. The imagery created a dramatic mood that increased in intensity until Winston's final outburst.
Significant: Structure
The sentences in this selection are very short and close in word length. Orwell did this to complement the terrifying imagery present. When scared, many people begin to breath sharp and shallow breaths, and Orwell was attempting to emulate this.
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