1. Identify Creon’s hamartia. What is Antigone’s?
2. In Greek tragedy, what are the purposes of the Chorus? How accurately are these purposes fulfilled in Antigone?
3. What does it mean to call Tiresias a seer?
4. Identify the Aristotelian unities in Antigone.
5. According to Aristotle, what two emotions do we experience as a result or a catharsis? Why do these occur at the end of Antigone?
6. A major theme in the play is the importance of being true to oneself. Each of the characters in the play, for better or worse, are true to themselves. What does it mean to say that the following characters are true to themselves: Creon, Antigone, Tiresias, Ismene, Haemon, Eurydice, Chorus?
THE DOLL HOUSE
1. What does it mean to say that the “fourth wall” has been removed? How does this fact help us to follow and understand the dramatic action on stage?
2. Playwrights often overturn or modify our expectations or character to surprise us, or to make a character a deeper, more interesting subject. Explain how Ibsen achieves this with Nora’s character by comparing what Nora seems to be early in the play to what she does become as the play draws to a close.
3. What does it mean to say that every production of The Doll House is an interpretation?
4. Explain the importance of Mrs. Linde’s complex past (and her involvement with Krogstad) to the play.
5. Explain the cultural and social significance of the end of the play when Nora leaves everything behind and slams the door.
Do some research on the elements of a well-made play as developed in 19th century French drama. What elements of the well-made play do you find in Susan Glaspll’s play, Trifles? Where do you find these? What effect do they have upon the reader/audience?