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Works of Lorca, Federico?

Anybody out there know of resources (books, websites, etc …) to discover interesting things in the works Federico García Lorca (other than their own works), in particular, his' Rural Trilogy "Blood Wedding, Yerma and The House of Alba Fernando. Feedback would be much appreicate. Ta.

A critical work on the works of García Lorca's "Lorca: Living in the Theatre by Gwynne Edwards. London: Peter Owen, Chester Springs, PA: Distributed in the U.S. by Dufour Editions, 2003. It is available in some public libraries, especially larger and could be achieved through interlibrary loan in a small library. There is a critical article in "Blood Wedding" on the web at http://www.ciao.co.uk/Blood_Wedding_Federico_Garcia_Lorca__Review_5051489 There is also a pdf file that deals with his life and the three plays, among other works in http://www.repertorio.org/education/pdfs/lorca.pdf I hope these are helpful. This response has been provided by a librarian in Pittsburgh, PA.

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Divine Intervention behind human conflict in Antigone

Conflict is the essence of the tragedy. In both form and meaning in Drama Kitto says that "there is a series of personal conflicts in Antigone is located behind which a major conflict," ie, conflict with the gods. To illustrate this point of view, I begin to Greek attitude to the funeral because Antigone revolves around the grave of his brother's Antigone Polynices rebels and their consequences. And as chronologically explore human conflicts that arise out of it conflicts with divine intervention: for example, Antigone with Ismene, Creon with the clock, Creon in Antigone, Creon with Haemon, Creon, Tiresias, Creon with the top and the infernal gods Aphrodite and Eros. In my analysis, also focus on the socio-cultural, political and religious implications of this pathetic story of conflict. In addition, I would trace in male-female or gender role conflict from the feminist viewpoint, and conflicts of the individual against the State, against the right of conscience, moral or divine law versus human law.

Before proving the issue, you must have a vision of the Theban legend of Antigone background. A war broke out between two rival sons Oedipus on ascending the throne. Eteocles faction was rooted in the power of Thebes. And Polynices was the upstart, a returned exile and took an army invader against their homeland. In the course of the battle, the two brothers were killed "by his hands trying mutual death" (1.16), but the army Eteocles finally triumphed. Ascending to the throne, Eteocles Creon said that it should be given a full and honorable funeral, while the body of Polynices to leave animals and the sun. Here comes the importance of the Greek attitude to the funeral. Funeral rites were very important to the Greeks. So the burial or abuse of the bodies was a common theme in Greek literature, for example, the meaning of "abuse of Achilles the body of Hector in The Iliad. In other words, die like an animal and not be buried was the worst humiliation and denial of a Greek. In fact, the rite of the supreme law of the Greek state. And human rights and dignity that requires a human being should be buried for the peace of his soul in the Underworld. It was believed that the Greeks that unless a body was buried, literally or symbolically, the soul of the dead can not find rest in Hades, which explains why so much importance is given in this work for the burial of Polynices. Now Creon's decree is that anyone who tries perform the proper funeral rites for Polynices – are being killed by public stoning.

Now, the argument develops over Antigone conflict between "two daughters of Oedipus and Antigone Ismene in their attitude toward the advertisement of Creon. Antigone asks Ismene to help her bury Polynices, Ismene, but fear refuses pretext of being a woman. Antigone tells Ismene –

"And now You Can prove what they are:

A true sister, or a traitor to his family. "

Withdrawals Ismene, Antigone warning to "think of the danger" regarding his plan to break state law, and is not going to disobey the State, because "the extravagant action is not wise" (1.78). As a result, he begins his ideological conflict. Antigone responds –

"If that's what You Think,

I do not want, but asked him to come. You have made your choice, you can be what we want to be. But I buried him, and if I have to die, I say that this crime is holy … .

The root behind the conflict between Antigone and Ismene is Antigone is more dedicated to his brother, doggedly intent on self-proclaimed mission. Moreover, Ismene is more fragile, fearful of what her sister's stubbornness may cause to happen. However, it recognizes Ismene where his duty lies, not stake his life on what she thinks is a crazy business. Meanwhile, Antigone reasons that another world is importantly than this:

"The time I have to please those who are dead is more than it should please those of this world. For there I shall be for forever. "(p. 86-88)

Ismene is not even able to convince Antigone to be discreet: Antigone does not attempt to perform the rites in secret, but "shout it out. I hate you worse / / to silence" (p. 99-100). In reality, love, loyalty, humanity, religion etc, Antigone intends to challenge all the king's forces. His conviction is that the dead person is not under the control of Creon more. So that tells Ismene Creon's edict on – is not for I keep in my mind. "Therefore, Ismene and Antigone are as sheets and rivals. Ismene is 'reasonable', timid and obedient to the law of the state patriarchal. By contrast, Antigone is stubborn, impulsive, moody and strongly resistant to be a girl like the others. It is governed by conscience or instinct and obeys to the divine will "unwritten law", as clashes with human law. Ismene is developing another form of rivalry between the sisters regarding femininity. Whereas that Ismene is the right girl, beautiful, Antigone curses his childhood. Antigone becomes evident in his hatred of the feminine ideal embodied in its infancy Ismene.

Then comes the conflict between Creon and the guard. One breath comes off guard, hesitating before he gives the news that Creon body has been buried Polynices. Creon angry soldiers accused of having accepted a bribe to neglect their duty and threatens to execute him if the rebel is not found. In fact Creon outbreak of rage against the clock is a enigma unjust and unreasonable, and left without explanation. Creon alert the guard, it is notable that "bribery" existed in Greece as well. A Again, in charge Watchman's vehement protest against the king, is a seed of democracy and individuality:

Creon: Oh, born to argue, Right?

Sentinel: It may be so;

But still not guilty in the business.

Creon: Doubly so if you have sold his soul for money.

Sentry: And to think that] the men thought [king I wrong!

The Sentry Creon tries to convince of his innocence, saying that the event was not their fault, but Creon is imperious and inflexible. In fact, the indignant reaction of Creon and the Sentry urgent threat to show some of their weaknesses. Prone to anger and scored from a tyrant.

The most important issue in the play is the conflict of values between Creon and Antigone. And it starts when Antigone is stopped by the guard in charge of burying Polynices – the soil sprinkled on his body. Creon angrily lashes out in a fit of anger and dealing with Antigone asks incredulously: "You dare to defy the law?" Antigone's response on this is calm –

"I dared

It was the proclamation of God. That final justice

That rules the world below do not have that right.

His edict, the king, was strong,

But all your strength against it is the weakness

The immortal unrecorded laws of God. "

In fact, the logic of Antigone is that his dead brother is no longer the obligation of Creon. And she laughs without knowing Creon. She is angry again speaking generally a king does not like. In fact she is strong and courageous, because she is his niece, promised his son and part of the royal blood. In this sense, is detected and has other through language. From a feminist perspective, women's Antigone is not the traitor, which is to disobey Creon. However, in affirming the individuality of Antigone, another seed of democracy and individuality emancipated. Ultimately Creon orders Antigone destiny is to be immured in a cave to death by starvation.

Once more, with the meeting between Antigone and Creon, the tragedy has often been regarded as the classic statement of the struggle between the law of individual conscience and the power of state control. On the one hand, Creon symbolizes civic order and the supremacy of reason. On the other hand, Antigone symbolizes the role of heart over the head and intuition hardened by faith. It should be noted that is not no reason, but the justification in intuition. Creon advocates obedience to man-made laws while Antigone stresses laws higher tax and the family gods. Creon demands obedience to the law above all, good or bad. He says that "there is nothing worse than disobedience to authority." Antigone responds with the idea that state law is not absolute and can be changed in civil disobedience in extreme cases. Thus, the concept of citizenship appears most clearly in the clash between the values of Creon and Antigone. Creon defines citizenship as extreme obedience to the will of the state, and therefore condemns Antigone to death when he feels that she has abandoned her citizenship for having disobeyed. Antigone allows more room for individualism in the role of citizens. He accuses Creon of tyranny while on duty applications:

"Obedience is

For official state small and large

Fair and commandments unfair. "

In this case, begins with Creon's reasoning, emphasizing the responsibility of a king to maintain order and discipline by executing the rule strictly. Although Antigone and Polynices are his relatives, he has to deal with them according to state law, lest they become traitors in absentia or must himself be called a traitor by the people.

Again, the feminist aspect, is that King Creon of Antigone: he is also her future father-in-law, and the man in charge of their welfare since the exile of Oedipus. His duties not only the state are abstract, but a man that is intimately connected. In this case, the struggle against patriarchy is literal, as Antigone clashes with the man who has had the authority of a father over her since she was a child, the same man who is her future father-in-law. The result is that Antigone is restricted and governed not only by a distant state, but by the closest family relationship: Indeed, the State is embodied in the man she has these relationships. Meanwhile, Creon says that "when I am alive no woman shall act" (p. 577-8). And "I swear I'm not her man and man / / if she can win this and not pay for it" (p. 528-9). At this point, Creon has equated masculinity with the victory and a commitment to defeat. Gender Antigone makes it even more important than imposing its will Creon.

From the religious position, Creon is challenging the gods for not burying the corpse. Antigone is defying the gods for not obeying the king. On the other hand, Antigone and Creon are people extremely proud and proud part of Antigone is his unwillingness to yield to the laws of man. In your case, pride is an affront to the state, while Creon's pride is a insult to the divine law. When asked how Antigone Creon would dare to disobey the law, which calls for the supremacy of the law of God – "" unwritten and secure. The tone of his speech is fierce and unyielding, showing disapproval of the choirs.

From a political perspective, Creon is equally fierce in his reply, saying that Antigone's pride or bragging about his work is an insult, added to the work itself. Suggests that Antigone is a tyrant Creon and Creon says that she alone thinks so. She answers that others keep their mouths shut in fear. Quickly discuss who is right, the fierce exchange of words to defend their action against the other attacks. Significantly, though Antigone claims to be an agent of divine will, she is also to face the trials of individual conscience against the dictates of human law, human law and defended here symbolized by Creon. Creon also shows how he personally interprets the fight against Antigone. He merged his own person with the sanctity of law and the state. The proclamation was his disobedience and disrespect to the media Creon, which means the lack of respect for the law. But it is worth mentioning that Antigone defies state law only when it clashes with the divine law that she believes very much in obedience, especially when it comes to your family. Similarly, Creon action is in public welfare, although it suppresses individuality and belief in ritual.

Once again the conflict between Antigone and Creon is what the entire book is basically everything. Charles Paul Segal wrote in his essay, "Sophocles' Praise of Man and conflicts of Antigone" that the character as the game itself, have many levels that organically fuse, sometimes interchangeably, in a complex unit, and here the clashes of the two protagonists believe increasing interaction between interlocking branch enlargement of topics. The problems that Antigone and Creon have between them are what this book tie it all together and the theme is developed with the use of their problems between themselves and what they believe in. On the one hand, Antigone is a woman ruled more by their instincts and emotions, their rational faculties. Moreover, the new king feels that if you let their citizens to disobey his proclamation, the people do not respect their authority. In fact, there is a clash of heads. Your appeal is what we should call the primary demand for natural love and common humanity, to him, but this is not disobedience, anarchy and madness, with the added disgrace. Therefore, an impossible gap is between Creon and Antigone.

The conflict between Creon and his son Haemon, to whom Antigone is betrothed, begins when he tries to champion the cause of Antigone. On the side of Creon is the argument that no other man, however wise, can be absolutely sure of the rightness of their judgments. "The state is the king!" – Grita Creon, which Haemon answer is "Yes, if the state is a desert." The monarch remains firm about his confinement decree Antigone to death in the cave. In chorus' point of view, the power of the love of the intellect is the force that has made dare Haemon brave wrath of his father. It is subjective when talking occurred Antigone.

Moreover, with great caution and courtesy, Haemon Creon says that the people of Thebes sympathize with Antigone. And rumor Haemon hearing is "politically about the decree indicates the beginning of democracy in the Greek community. Through Haemon, Sophocles tells us what you think the average citizen of Antigone: she does not deserve punishment, but a gold crown, to prevent his brother's body being eaten by wild dogs and birds. But nothing moves Creon, Antigone does not appeal to the laws of Zeus and the gods infernal, or implicit appeal to her love for Haemon in Antigone and its explicit call for restraint and common sentence of Thebes. When Haemon says that part of wisdom is the ability to recognize other points of view and accept advice, Creon is furious. He asks: "Do I need to be taught by a lad? And wondered if the king should reward a rebel wicked. Haemon replies that the people of Thebes do not believe Antigone to be bad. Given this, Creon responds urgently, "If the city tell me how I am to govern? (I. 794).

Thus, the two men have a heated exchange of words, which accuses her father of Haemon and Creon defends stupidity in dictatorial terms. The fight grows more intense and accusatory, until both men are angry. In fact, Creon anxieties about the power to behave as a tyrant: "Is not that the city seems to be the ruler? (I. 800). In this conviction, claiming full ownership of Thebes – a feeling that they have not gone over well in democratic Athens. Haemon gives the reply populist: "No city or possessed by one man" (p. 801). Here lies the seed of democracy again. On the other hand is the arrogance of Creon not being willing to seek advice from anyone. It also works in his conviction that it is an administrative policy and the divine power given to him to rule the country as he like. He is too proud and inflexible to be insisting on its own way. On the other hand, rejects moderate advice of his son out of stubbornness and inflexible attachment to a certain set virtues.

After that, Creon Haemon speaks urgently about the need to defeat Antigone, especially because she is a woman and may usurp the condition Greek man. A universal conflict lies in the fact that Antigone Creon wants to be a woman (submission, locked inside, obedient, defeated, and so forth) and should ensure that he lives as a man (dominant, free, authoritative, victorious and so on). Gender should be maintained along the traditional lines division is an integral part of the order seen Creon.

Creon is at its most barbaric when he tells the servants to carry for her Antigone may die while Haemon watches. Creon's love of order and the rule is carried to an extreme immoral, it violates the bonds of family. This use of Antigone's death hurt his own son, abusing his authority for the sake of gratuitous cruelty. Creon believes that love for Antigone Haemon is something that can be ignored for ordering them. However, your child has been reduced to fury and despair without hope, without understanding its brutal treatment and the love of his son. Finally, Haemon angry shouts that his father never see again and rushes to die along with his girlfriend.

Antigone has just been brought to his cell before the old Tiresias, the blind prophet, Creon approaches. He asks the king to heed their advice, as it had in the past. Interestingly, this conflict with Creon Tiresias reveals his conflict with the gods. In accordance Tiresias, the natural signs that the gods do not approve of mistreatment of Creon with the corpse of Polynices. On the altars, there is "meat and carrion birds dogs / / ripped from the flesh of the poor son of Oedipus "(p. 1074-5). The gods do not take no prayers or sacrifices of the Thebans, and the birds muffled cries are down the throats of the birds are fed up with the blood of Polynices. Warns that angry gods punish the city for this sacrilege, and that Creon is "a again on the brink of destiny. "He also talks about the importance of having a lawyer and says that a man who makes a mistake and corrected it then brings no shame on himself:

"Pay to the dead in due time. Herida not fallen.

There is a glory to kill and kill again. "

Again Tiresias tells Creon:

"Because … you have a child thrust of the earth below

And made a living soul dishonorably

Inside the tomb, but keep the land,

Unburied and profane, for a time

For them this rule in hell, where you

Neither authorities have previously serving. For your work

You have made so much noise to Heaven and Hell. "

Creon says he has violated Dam. So says the prophet, the Furies, the agent of the dam, is still waiting for him and, inevitably, will punish him. However, the purpose of prophecy of Tiresias "is not just to break Creon's stubbornness, but also to understand the law that has the effect of universal everything follows. It also clarifies the divine intervention in human conflict.

However, Creon Tiresias suspected of making a false prophecy for personal gain and refuses to heed the warning. He even goes to the point of accusing Teiresias of being corrupt and greedy manipulator. Then Tiresias gives a prophecy: within a few days, one of her babies will die and the city are contaminated – if not end the desecration of the body and to free Antigone. Once again we see that Creon fails to recognize that someone else could be right and I could be wrong. He can not admit that there is a higher law than the state. Indeed, arrogance as it leads to his tragic end in life-death.

Even though no supernatural beings appear between other dramatic characters, the gods have gone mysteriously close to the action, as a force in conflict with Creon. It is said that Creon is full of sin. It honors the laws of the land, but says that the laws of the gods swore him in that position to the throne. From this angel, he deserves what he gets, though greatly. Because Zeus hates above all, the presumed strong like him. According to CM Bowra, Creon is revealed as trying to do something that the gods are not supported.

In an instant, the choir shows us where the truth: the gods are working with Antigone and Creon is revealed as one who is setting himself in opposition to them. He is challenging both the top and the gods hell by the application of his wrath, even against the dead. What he has done in refusing burial is an offense against nature, against the laws of the gods, against the constitution of the universe. Thus, Antigone is a story that confronts the law of "unwritten law of God" against the laws of humanity.

In denying the love of Haemon and Antigone, Creon is involved in another conflict with Aphrodite, goddess of love. The chorus says, on his way Aphrodite is invincible. Love, says the choir, is invincible, a power that moves through the universe, their willingness to work.

"Love is sitting on his throne, one of the great powers;

Nothing can prevail against invincible Aphrodite. "

Love is one of the ordinances, one of the powers that be in life not only men but also of animals and gods. Love really is a Theos. We can not help suspecting that it is Creon who is placed in opposition desperate to this god, and the sequel will confirm this suspicion. The instinctive respect that humanity feels about a dead body is, in the words of Antigone, "a law that rewards God "(519)," something that the gods place great importance "(77). Creon does not understand this means more than power, the" character sacred love. In fact, the disasters that exceed those that come directly from this. Similarly, discharges Erinys function where Creon is caught in the consequences natural madness of his own lack of understanding and humanity.

In conclusion, what we have seen is a passionate story of conflict and suffering. However, is framed within a religious framework for the treatment of Sophocles with divine intervention and thereby universal. And the centerpiece of any kind of conflict is no doubt Creon. Throughout the entire work runs the refrain, the refrain of the two laws. For Creon, business and civic order are paramount. While for Antigone directed by faith and emotion, the spiritual order is everything. Although Sophocles apparently maintains an even course between the conflicting forces, with the side of Antigone appears to be more good than harm, held even by the end Creon. Thus, the play is about a war between different values as an individual against state law, the conscience against law, moral or divine compared to human rights, etc. proudly Antigone defies the laws of men and suffering at the hands of those laws. Creon, in his hamartia pride, defies the laws of the gods and the unwritten moral. It is therefore susceptible to the holding of destination or suffer divine punishment and ultimately to bring a life-in-the-death. In the above circumstances, we can say that there is a range of human conflict in Antigone is located behind an intervention which divine or major conflict, or conflict with the gods. All conflicts involve human suffering for which must be wise.

Jobs cited

Kitto, HDF Form and Meaning in Drama. London: Methuen & Co. Ltd., 1956.

Milch, Robert J. Oedipus King, Oedipus at Colonus, Antigone. New York: Cliffs, 1965.

Sophocles. The Theban Plays. Trans. EFWatling. Middlesex: Penguin, 1947.

www.sparknotes.com/antigone/

About the Author

M.A in English Literature

Lecturer in English, Green University of Bangladesh

Former Lecturer, Dept. of English, Darul Ihsan University, Bangladesh

E-mail: ruman31@yahoo.com

Phone: +8801722198344