David
Vrooman
Antigone Unit Plan
Week 1
Day 1
Day 2
Day 3
Day 4
Day 5
Context Intro &
History
Lesson/Dramatic
Structure
Summary of
Theban
Trilogy up
to
“Antigone”
and
Aristotle’s
“Poetics”
Initial
Discussion
of the Play
Text
Major
Themes and
Characters
Differences
in
Translation
Hemingway
short story
“HLWE”
Homework:
Homework:
1. Students will
read pages 2324, 69-70, and
125 of The
Theban Legend.
Week 2
DoubleEntry
Journals
2. Vocab list
Homework:
3. 2 Qs and
comments
(2+3 are
ongoing)
Students
will read
Antigone,
pages 126132 (up to
the Sentry’s
entrance).
Day 6
Day 7
The Prophet
The
Tragedy
Homework:
Students will
read pages 157162, and finish
the play.
Homework:
Students
will read
pages 132142 (up to
the Chorus).
Day 8
Going Over
Key Terms
and Themes
Homework: from the
Play in
1 Students
Preparation
will write
for the
their
introductory Exam
paragraph
Homework:
as to who
they think
Review for
the tragic
Exam
hero is and
why.
Homework:
Students
will read
pages 142152 (up to
Teiresias’s
entrance).
Students will
read pages
152-157 (up
to “Enter
Messenger”).
Day 9
Day 10
More
Review and
Essay
Assignment
Exam
Homework:
Prepare for
Exam
Homework:
Students
should
continue
working on
their papers.
Overarching
Essential
Questions:
1.
How
do
the
themes
in
mythologies
from
the
past
still
apply
today?
Essential
Unit
Questions:
1.
How
does
human
and
divine
law
function
in
Antigone,
and
how
does
it
relate
to
your
life?
2.
What
is
a
tragedy
in
the
Classical/Aristotelian
sense,
and
how
do
we
define
tragedy
today?
3.
Who
is/are
the
tragic
figure(s)
in
Antigone
and
why?
STATE
STANDARDS
(CONNECTICUT
COMMON
CORE
OF
TEACHING):
I.
Composing,
Responding,
and
Interpreting
English
language
arts
teachers
use
their
knowledge
of
the
ways
people
build
understandings
through
reading
and
writing,
speaking
and
listening,
viewing
and
acting,
when
they
design
instruction,
interpret
student
performance
and
evaluate
their
teaching
to
help
students
reach
understandings.
II.
Writing
English
language
arts
teachers
help
students
consider
the
many
elements
which
influence
a
writing
process
–
among
them
the
writer’s
purpose
and
audience,
models
in
the
genre,
and
conventions
of
standard
written
English
–
and
work
through
the
steps,
which
are
part
of
a
complex
composing
process.
III.
Reading
Literature
English
language
arts
teachers
help
students
respond
to
a
variety
of
texts,
ideas,
perspectives
and
styles
as
they
study
literature
and
expand
their
knowledge
of
themselves
and
the
world.
IV.
Reading
for
Information
English
language
arts
teachers
help
students
develop,
recognize,
and
expand
their
reading
strategies
and
adjust
them
to
suit
the
purpose,
task,
and
text.
V.
Language
Study
English
language
arts
teachers
help
students
understand
the
nature
of
language,
apply
the
conventions
of
standard
English
language
in
oral
and
written
communications,
and
adapt
their
use
of
language
to
meet
the
needs
of
different
situations.
VI.
Materials
for
Instruction
English
language
arts
teachers
select
and
create
materials
based
on
instructional
purpose,
literary
merit,
impact
of
the
medium,
parameters
of
the
curriculum,
and
students’
developmental
needs.
VII.
Knowledge
of
Students
English
language
arts
teachers
use
their
knowledge
of
the
development,
backgrounds,
interests,
and
abilities,
which
influence
students’
thinking,
learning,
and
use
of
language
to
make
decisions.
VIII.
Teaching
Strategies
English
language
arts
teachers
use
a
variety
of
teaching
strategies
to
guide
students
in
developing
literacy,
critical
thinking,
and
problem‐solving
abilities.
IX.
Curriculum
English
language
arts
teachers
help
students
develop
concepts
and
skills
that
make
them
better
able
to
respond,
interpret,
and
compose
with
increasing
degrees
of
control
and
responsibility
for
their
own
learning.
X.
Environment
English
language
arts
teachers
maintain
environments
that
provide
students
with
opportunities
to
work
together
to
build
understandings
as
they
provide
experiences
with
language
similar
to
those
they
may
encounter
outside
the
classroom.
Note:
Standards
are
noted
next
to
each
objective
(I‐X).
Daily
Schedule:
Day
1:
Context
Intro,
History,
&
Dramatic
Structure/Elements
of
Greek
Tragedy
Lesson
Note:
Each
objective
will
correlate
to
one
of
the
six
Facets
of
Understanding
listed
in
parentheses.
Daily
Objectives:
1.
Students
will
be
able
to
explain
why
an
understanding
of
context
is
important
when
reading
(III).
2.
Students
will
be
able
to
identify
Sophocles
and
explain
why
he
was
writing
plays
(III).
3.
Students
will
be
able
to
differentiate
that
though
Antigone
is
chronologically
last
in
a
cycle
of
three
plays,
Sophocles
wrote
it
first
(I).
4.
Students
will
be
able
to
discuss
the
dilemmas
associated
with
Sophocles
having
written
the
sequence
of
plays
out
of
order
(I).
5.
Students
will
be
able
to
discuss
the
dramatic
structure
so
they
can
later
relate
it
to
the
play
text
(I,
VIII,
IX).
Activities:
1.
(Perspective)
Introductory
activity
focusing
on
the
importance
of
context.
2.
(Perspective)
PowerPoint
presentation
of
Classical
Greek
society
and
play
festivals.
3.
(Perspective)
Discussion
will
be
held
about
the
plays
Oedipus
Rex
and
Oedipus
at
Colonus,
and
their
relation
to
Antigone,
and
why
this
relationship
is
significant.
Summary:
Class
will
begin
with
an
activity
demonstrating
the
importance
of
context
and
how
without
it
a
person
can
easily
be
confused.
This
will
flow
into
a
history
lesson
about
Classical
Greece
in
the
time
of
the
playwright
Sophocles
and
the
festivals
he
competed
in.
The
class
will
then
be
informed
about
how
plays
were
often
written
in
trilogies
and
that
though
Antigone
is
last
in
the
trilogy,
it
was
written
first,
and
that
there
are
anachronisms
in
the
trilogy
because
of
this.
This
will
lead
to
a
lesson
on
dramatic
structure
and
elements
of
Greek
tragedy,
which
will
be
part
of
the
framework
of
comprehending
the
play
text.
Resources:
1.
Laptop
for
PowerPoint
presentation
2.
Copies
of
The
Theban
Legend
for
the
students
to
be
passed
out.
3.
Index
cards
for
context
activity
with
names
of
obscurely
famous
people
written
on
them.
4.
Dramatic
Structure
and
Greek
vocabulary
Inspiration
handouts.
Homework:
1.
Students
will
read
pages
23‐24,
69‐70,
and
125
of
The
Theban
Legend.
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals.
3.
Each
student
will
write
down
two
questions
from
the
reading
Day
2:
Summary
of
Theban
Trilogy
up
to
“Antigone,”
Aristotle’s
“Poetics,”
and
Double­
Entry
Journals
Lesson
Daily
Objectives:
1.
Students
will
be
able
to
define
and
discuss
key
terms
from
Aristotle’s
Poetics,
including,
but
not
limited
to,
tragedy,
hubris,
hamartia,
and
catharsis
(I,
IV).
2.
Students
will
contrast
the
Classical
idea
of
tragedy
with
how
the
word
is
used
in
contemporary
times
(I,
V,
X).
3.
Students
will
demonstrate
they
have
done
their
homework
by
explaining
the
events
preceding
Antigone
in
a
group/teacher‐directed
discussion
(I,
VIII).
4.
Students
will
be
able
to
describe
a
double‐entry
journal
and
will
apply
their
knowledge
by
keeping
them
while
doing
their
homework
readings
(VI,
VIII).
Activities:
1.
(Explanation)
There
will
be
a
question
and
answer
session
about
the
reading
where
students
will
be
able
to
demonstrate
they
have
interpreted
the
text
and
try
to
predict
what
they
think
might
happen.
2.
(Interpretation)
Next
students
will
try
to
collectively
illustrate
the
events
preceding
Antigone
together
in
a
discussion.
3.
(Explanation)
Aristotle
and
the
Poetics
will
be
discussed
and
students
will
begin
to
derive
meaning
about
what
he
is
trying
to
convey
by
use
of
key
terms
and
their
relation
to
the
text.
4
(Application)
Students
will
go
through
the
process
of
the
double‐entry
journal
to
familiarize
them
with
a
during
reading
study
technique.
Summary:
Any
questions
about
the
text
will
be
addressed
and
then
students
will
work
in
groups
and
try
to
piece
as
many
of
the
events
preceding
Antigone
together
by
memory.
The
class
will
then
regroup
to
talk
about
Aristotle’s
Poetics
and
the
key
terms
from
it.
Homework:
1.
Students
will
read
Antigone,
pages
126‐132
(up
to
the
Sentry’s
entrance).
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals
(double‐entry
style
now)
along
with
the
terms
from
Aristotle’s
Poetics.
Day
3:
Initial
Discussion
of
the
Play
Text
Daily
Objectives:
1.
Students
will
be
able
to
ask
any
questions
they
have
about
the
reading
(I).
2.
Students
will
answer
several
non‐assessed
questions
including
some
questions
that
ask
their
opinion
regarding
the
text
in
order
for
them
to
comprehend
what
is
expected
of
them
in
reading
assignments
(I,
II,
III).
3.
Students
will
judge
what
drives
both
Antigone
and
Ismene
(I).
Activities:
1.
(Self‐Knowledge)
There
will
be
a
chance
for
students
to
ask
questions
about
the
reading.
2.
(Interpretation)
Students
will
try
to
make
sense
of
what
they
have
read
thus
far
through
several
short/paragraph‐length
writing
prompts.
3.
(Perspective)
Students
will
split
in
to
pairs
and
analyze
why
Antigone
acts
one
way
and
Ismene
another.
Summary:
Class
will
start
with
a
question
and
answer
session
about
the
reading
assignment.
Then
students
will
be
given
a
series
of
short
answer
questions
that
they
will
have
to
write
responses
to.
After
the
writing
prompt,
students
will
pair
up
to
discuss
the
differences
between
the
sisters
Antigone
and
Ismene,
which
they
will
already
have
written
about
for
one
of
their
questions.
Homework:
1.
Students
will
read
pages
132‐
142
(up
to
the
Chorus).
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals
along
with
the
terms
from
Aristotle’s
Poetics.
3.
Students
will
write
two
questions
they
have
and
make
two
short
comments
about
the
reading.
Day
4:
Major
Themes
and
Characters
and
Ernest
Hemingway’s
short
story
“Hills
Like
White
Elephants.”
Daily
Objectives:
1.
Students
will
make
sense
of
why
the
Sentry
is
afraid
of
Creon
and
what
Creon
represents
(I,
III).
2.
Students
will
propose
ideas
as
to
what
ideas
Antigone
embodies,
and
ask
whether
these
are
qualities
they
should
embody
and
why
(I,
VII).
3.
Students
will
be
able
to
distinguish
the
difference
between
human
and
divine
law
as
it
relates
to
Antigone
as
well
as
order
versus
civil
disobedience
as
it
relates
to
their
lives
(I,
III,
VII).
4.
Students
will
read
and
discuss
the
short
story
“Hills
Like
White
Elephants”
and
how
a
director
might
stage
the
story
for
a
film
to
get
students
thinking
about
how
Antigone
might
be
staged
(I,
VII,
VIII).
Activities:
1.
(Perspective)
The
class
will
circle
up
to
talk
about
the
differences
between
Creon
and
Antigone.
2.
(Self‐Knowledge)
Students
will
independently
write
about
how
they
feel
they
relate
to
Creon
and/or
Antigone
and
why.
3.
(Perspective)
The
class
will
be
split
in
half
for
an
activity
that
will
help
to
shed
light
on
the
idea
of
human
versus
divine
law,
as
well
as
the
idea
of
order
versus
civil
disobedience.
4.
(Application)
Students
will
read
“Hills
Like
White
Elephants”
and
will
put
on
a
production
of
the
short
story
in
class.
Summary:
Class
will
start
with
a
discussion
in
the
round
as
to
the
differences
between
Creon
and
Antigone.
Each
student
will
then
write
independently
about
how
they
feel
they
do
or
do
not
relate
to
Creon
and/or
Antigone.
After
the
solo
writing
activity,
the
class
will
be
split
in
half
for
an
activity
that
will
address
the
ideas
of
human
versus
divine
law
as
well
as
order
versus
civil
disobedience
and
how
these
themes
relate
to
specific
characters.
From
here,
class
will
begin
work
on
the
short
story
and
acting
it
out.
Homework:
1.
Students
will
read
pages
142‐152
(up
to
Teiresias’s
entrance).
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals
along
with
the
terms
from
Aristotle’s
Poetics.
3.
Students
will
write
two
questions
they
have
and
two
short
comments
about
the
reading.
Day
5:
Differences
in
Translation
Daily
Objectives:
1.
Students
will
be
able
to
critique
how
a
translator’s
translation
of
a
foreign
text
can
impact
the
reader
(V,
VI).
2.
Students
will
read
two
different
translations
of
a
passage
from
Antigone
in
order
to
compare
the
similarities
and
differences
(I,
VI).
3.
Students
will
adapt
a
passage
from
the
play
so
that
it
is
different
from
how
it
was,
but
still
resembles
the
passage
(II,
VI).
4.
Students
will
demonstrate
how
a
translator
has
choice
when
translating
and
what
that
entails
(I,
VIII).
5.
Students
will
read
between
the
lines
of
the
argument
between
Creon
and
Haemon
and
try
to
predict
what
will
happen
(I,
III).
Activities:
1.
(Perspective)
There
will
be
a
direct
instruction
lecture
about
translating
and
choice.
2.
(Perspective)
Half
the
class
will
be
given
one
translation
of
a
speech
from
the
play
while
the
other
half
will
be
given
a
different
translation.
One
student
will
read
his/her
translation
out
loud
while
the
other
students
try
to
follow
along
reading
their
own.
This
activity
will
be
repeated
by
a
student
with
the
other
translation
so
that
each
student
will
get
to
see
what
happens
from
both
perspectives.
3.
(Application)
Students
will
take
a
passage
from
the
play
and
rewrite
it
so
that
it
is
different,
but
still
can
be
inserted
back
into
the
play
and
work.
4.
(Interpretation)
Students
will
then
make
sense
of
the
problems
associated
with
translation
based
on
the
prior
activity
in
a
discussion.
5.
(Application)
Students
will
propose
an
ending
for
the
play
after
discusses
the
argument
between
Creon
and
Haemon.
Summary:
Class
will
start
with
a
short
direct‐instruction
lecture
about
translations
and
how
translators
make
decisions
that
impact
the
outcome
of
a
text.
Class
will
then
be
given
two
different
translations
of
the
same
passage,
which
will
be
read
aloud,
and
thereby
elucidate
the
ideas
talked
about
within
the
lecture.
After
this
there
will
be
a
discussion
of
the
father
and
son
argument
between
Creon
and
Haemon
respectively.
Students
will
make
proposals
as
to
how
they
think
the
play
might
end.
Homework:
1.
Students
will
read
pages
152‐157
(up
to
“Enter
Messenger”).
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals
along
with
the
terms
from
Aristotle’s
Poetics.
3.
Students
will
write
two
questions
they
have
and
two
short
comments
about
the
reading.
Resources:
1.
Enough
copies
of
two
translations
of
the
play
introduction
for
each
student.
2.
Students
will
need
their
Antigone
texts.
Day
6:
The
Prophet
Daily
Objectives:
1.
Students
will
evaluate
the
effect
the
prophet
Teiresias
has
on
Creon
(I,
II).
2.
Students
will
discuss
whether
they
find
Creon’s
change
of
heart
believable
when
he
has
spent
the
majority
of
the
play
arguing
the
same
ideas
with
others.
They
will
ask
why,
or
why
not,
and
what
makes
Teiresias’s
impact
different
to
Creon
(I,
VII)).
3.
Students
will
analyze
the
role
of
the
prophet
in
the
play
and
how
he
showed
Creon
his
mistake
(I).
Activities:
1.
(Explanation)
Class
will
start
with
a
question
and
answer
session
about
the
reading.
2.
(Self‐Knowledge)
Students
will
write
individually
about
how
they
think
Teiresias
impacted
Creon,
and
if
they
can
think
of
a
situation
in
their
own
life
when
they
either
held
onto
their
opinion
or
had
it
swayed
and
what
happened
as
a
result.
3.
(Interpretation)
In
small
groups,
students
will
discuss
whether
they
find
Creon’s
change
of
heart
believable,
why
or
why
not.
4.
(Application)
Students
will
share
the
ideas
from
their
small
groups
with
the
class.
5.
(Interpretation)
Their
will
be
a
final
class
discussion
on
the
role
of
the
prophet.
Summary:
After
the
question
and
answer
session
from
the
reading,
students
will
write
individually
on
the
impact
of
the
prophet
on
Creon
as
well
as
a
about
a
situation
in
there
own
life
where
the
held
onto
an
idea
or
were
swayed
and
what
resulted.
Then
in
small
groups
students
will
discuss
whether
they
find
Creon’s
change
of
heart
believable.
Students
will
share
their
small
group
ideas
with
the
class.
Finally
the
class
will
discuss
what
they
think
Teiresias’s
role
is
in
the
play.
Homework:
1.
Students
will
read
pages
157‐162,
and
finish
the
play.
2.
Students
will
list
all,
if
any,
unfamiliar
words
from
the
reading
in
their
vocabulary
list
in
their
journals
along
with
the
terms
from
Aristotle’s
Poetics.
3.
Students
will
write
two
questions
they
have
and
two
short
comments
about
the
reading.
Day
7:
The
Tragedy
Daily
Objectives:
1.
Students
will
evaluate
why
they
think
that
the
Messenger
tells
what
happened
to
Antigone
and
Haemon
instead
of
the
scene
where
they
die
being
acted
out
(I).
2.
Students
will
describe
how
Creon
is
illuminated
at
the
play’s
end
(I,
IX).
3.
Students
will
pick
a
character
they
think
is
the
tragic
hero
and
will
begin
backing
their
argument
up
in
a
writing
(I,
II,
IX).
4.
Students
will
demonstrate
an
initial
sense
of
what
happened
at
the
end
of
the
play
and
why
through
short
answer
quiz
(VI).
Activities:
1.
(Interpretation)
There
will
be
a
short‐answer
quiz
on
what
happened
at
the
end
of
the
play.
2.
(Explanation)
There
will
be
a
discussion
on
what
happened
to
Creon
at
the
end
of
the
play
specifically.
3.
(Interpretation)
Students
will
discuss
who
the
tragic
hero(es)
is/are
and
why.
4.
(Application)
There
will
be
an
individual
writing
session
where
students
will
begin
arguing
as
to
who
they
think
the
tragic
hero
is
whether
it
is
an
outline,
an
introductory
paragraph
to
an
essay,
or
a
flow
chart
of
some
kind.
Summary:
Class
will
begin
with
a
short‐answer
quiz
on
the
final
reading.
The
class
will
then
discuss
the
end
of
the
play
and
specifically
what
happened
to
Creon.
The
discussion
will
segway
into
another
discussion
of
who
the
tragic
hero
is
and
why.
Students
will
then
have
the
rest
of
the
class
to
begin
working
on
an
essay
about
who
they
feel
the
tragic
hero
is
and
why
so
that
individual
students
can
begin
organizing
their
thoughts.
Homework:
1.
Students
will
write
their
introductory
paragraph
as
to
who
they
think
the
tragic
hero
is
and
why.
2.
Students
should
study
the
key
terms
from
Aristotle’s
Poetics
and
should
spend
time
reflecting
as
to
how
they
apply
to
the
play.
Day
8:
Going
Over
Key
Terms,
Characters,
and
Themes
from
the
Play
in
Preparation
for
the
Exam
Daily
Objectives:
1.
Students
will
exhibit
and
build
meaning
on
the
themes
of
the
play
(I,
IX).
2.
Students
will
relate
the
key
terms
from
the
Poetics
to
Antigone
(I,
IX).
3.
Students
will
reflect
on
the
classical
idea
of
tragedy
versus
how
students
feel
the
word
is
used
today
(IX).
Activities:
1.
(Explanation)
There
will
be
a
class
review
session
as
to
what
will
be
on
the
exam
and
a
discussion
of
the
major
themes
from
the
play.
2.
(Application)
As
part
of
the
review,
students
will
take
key
terms
from
the
Poetics
and
apply
them
to
the
play.
3.
(Application)
Each
student
will
write
about
how
s/he
feels
the
word
tragedy
is
used
today
and
whether
that
is
different
or
similar
to
Aristotle’s
definition.
Summary:
Today
is
set
aside
as
a
review
session
for
the
exam,
which
will
reexamine
the
major
themes,
key
words,
and
how
they
relate
to
the
play.
Students
will
also
work
on
the
idea
of
tragedy
today
and
how
it
relates
to
Aristotle’s
definition.
Homework:
1.
Review
for
Exam
Day
9:
More
Review
and
Essay
Assignment
Daily
Objectives:
1.
Students
will
review
and
revisit
the
problems
with
translation
ideas
(II,
VI).
2.
Students
will
produce
questions
they
have
left
in
a
review
session
(I).
3.
Students
will
decide
on
a
few
choices
of
topics
for
papers
(I,
II).
Activities:
1.
(Interpretation)
Students
will
then
make
sense
of
the
problems
associated
with
translation
based
on
the
prior
activity
in
a
discussion.
2.
(Self‐Knowledge)
Students
will
work
together
as
a
class
for
a
final
review
so
that
each
student
knows
where
he/her
is
at
and
what
questions
they
still
have.
3.
(Application)
The
class
will
be
given
their
essay
assignment,
which
will
be
due
during
the
next
unit.
Summary:
The
class
will
review
problems
associated
with
translating.
Students
will
either
review
for
the
exam
or
begin
working
on
their
essay
assignments.
This
will
be
a
last
minute
chance
for
students
to
get
clarification
and
to
ask
questions.
Homework:
1.
Prepare
for
Exam
Day
10:
Exam
Daily
Objectives:
1.
Students
will
demonstrate,
make
sense
of,
and
use
their
knowledge
of
Antigone
by
composing
responses
to
essay
questions.
Activity:
1.
Exam
Summary:
There
will
be
an
exam.
Homework:
1.
Students
should
continue
working
on
their
papers.
Essay:
Choose
the
character
you
think
best
exemplifies
the
tragic
hero
as
defined
by
Aristotle
and
write
a
persuasive
essay
using
your
knowledge
of
Antigone
and
the
Poetics.
Be
sure
to
use
examples
from
these
texts
when
making
your
argument.
There
is
no
right
or
wrong
answer
so
long
as
you
back
up
your
position,
though
choosing
a
character
like
the
Sentry
would
be
considerably
off
target.
Part
II
–
Turn
your
paper
into
a
podcast,
or
work
with
another
student
and
create
a
debate
on
who
is
the
tragic
hero
and
why,
or
both
if
you
feel
so
inclined.
If
you
choose
to
do
the
debate
section
consider
working
with
a
student
who
chose
a
different
tragic
hero.
This
way
both
of
you
can
use
your
papers
as
the
background
for
who
you
think
is
the
tragic
hero
and
why
and
thereby
considerably
reducing
your
workload.
The
debate
would
work
best
in
podcast
form,
but
can
be
done
as
written
dialog.
Note:
Class
time
will
be
taken
during
the
next
unit
on
poetry
so
that
students
can
work
together
and
have
access
to
the
recording
software
to
make
the
podcasts.
I.
Antigone
Identification
Choose
ten
of
eleven
and
identify
the
following
terms
and
people
(30
points):
A)
catharsis
‐
B)
poetry
vs.
history
‐
C)
chorus
–
D)
epic
poetry
–
E)
Eurydice
–
F)
Ismene
–
G)
Haemon
–
H)
Polyneices
–
I)
Thebes
–
J)
mimesis
–
K)
Dionysia
–
I.
Antigone
Identification
(Answers)
Choose
ten
of
eleven
and
identify
the
following
terms
and
people:
A)
catharsis
–
the
purging
and
cleansing
of
an
audience’s
pity
and
fear
brought
about
in
drama
to
produce
pleasure
B)
poetry
vs.
history
–
Poetry
is
concerned
with
events
that
are
universal
and
could
therefore
happen
to
anyone
while
history
is
concerned
with
a
specific
event
that
is
narrow
in
whom
it
effects
C)
chorus
–
the
expository
element
of
drama
that
explains
what
is
happening,
moves
the
action
forward,
acts
as
a
combined
agent,
and
makes
omens
as
to
the
events
that
will
still
come.
It
also
makes
moral
judgments,
usually
as
a
group
of
citizens
D)
epic
poetry
–like
Homer’s
Iliad
and
Odyssey
are
different
from
tragedy
in
that
it
is
narrative,
not
scripted
dialogs,
which
was
told
or
sung
by
a
bard
and
not
acted,
and
takes
place
over
a
wide
range
of
time
unlike
drama,
which
usually
occurs
within
a
twenty‐four
hour
period.
E)
Eurydice
–the
wife
of
Creon
who
kills
herself
when
she
learns
her
son
Haemon
has
committed
suicide.
Her
death
adds
to
Creon’s
suffering
F)
Ismene
–
the
sister
of
Antigone,
and
the
symbol
of
moderation
and
prudence,
who
is
too
afraid
to
go
against
Creon’s
edict
not
to
bury
their
brother,
Polyneices.
She
is
considered
an
appropriate
character
because
a
woman
is
supposed
to
be
obedient
and
fearful
in
the
ancient
Greek
world.
G)
Haemon
–
is
the
son
of
Creon
who
is
betrothed
to
Antigone.
Haemon
defies
his
father’s
edict
and
tries
to
dissuade
his
father’s
tyrannical
pride
in
order
to
save
Antigone.
Creon
is
not
moved.
Haemon
kills
himself
upon
finding
Antigone’s
dead
body
thereby
bringing
about
Creon’s
suffering
H)
Polyneices
–
the
brother
of
Antigone
who
was
left
unburied.
He
came
to
Thebes
with
a
foreign
wife
to
take
his
rightful
place
as
king
of
Thebes,
which
he
was
supposed
to
share
with
his
brother
Eteocles
by
switching
every
year.
Polyneices
ended
up
leading
an
attack
on
the
seven
gates
of
Thebes
wit
seven
warriors.
The
attack
was
repulsed,
but
the
two
brothers
ended
up
killing
each
other.
Power
then
passed
to
Creon
who
declared
Polyneices
a
traitor.
I)
Thebes
–
is
the
setting
of
Antigone.
Creon
was
made
ruler
of
Thebes
after
the
two
brothers
Eteocles
and
Polyneices
killed
each
other
for
the
throne
where
Oedipus
and
Jocasta
had
ruled.
J)
mimesis
–
the
imitation
of
an
action
or
representation
of
reality
K)
Dionysia
–
an
annual
festival
to
the
god
Dionysus
where
playwrights
had
their
works
acted.
‐it
was
held
during
the
Spring
so
people
could
sail
there
‐its
political
significance
was
that
it
affirmed
the
Athenian
citizens
as
a
collective
democratic
body
II.
Antigone
Short­Answers
1.
What
deed
sets
the
action
of
the
play?
2.
Identify
and
discuss
the
role
of
Teiresias
–
3.
What
is
the
conflict
inherent
in
this
tragedy?
II.
Antigone
Short­Answer
(Answers)
(30)
1.
What
deed
sets
the
action
of
the
play?
Antigone’s
decision
to
bury
Polyneices
because
t
defies
Creon’s
edict.
2.
Identify
and
discuss
the
role
of
Teiresias
–
Teiresias
is
a
blind
prophet
who
comes
to
tell
Creon
that
he
is
not
steering
the
ship
of
state
well.
He
tells
Creon
to
make
amends
for
what
he
has
done
wrong,
but
Creon
takes
this
news
as
an
insult
to
his
pride
and
insults
Teiresias
by
saying
he
is
only
out
for
money.
Teiresias
is
angered
and
tells
Creon
that
his
mistakes
will
twice
haunt
him
and
be
the
downfall
of
him
and
those
he
cares
about.
Teiresias
predicts
what
will
happen
when
Creon
goes
in
the
cave.
Shortly
after
Teiresias
exits
Creon
realizes
his
mistake
and
repents.
Creon
decides
to
set
things
right,
but
he
ends
up
being
too
late.
3.
What
is
the
conflict
inherent
in
this
tragedy?
Civil
authority
versus
divine
authority
Order
versus
civil
disobedience
Human
law
versus
divine
law
Or
Or
III.
Antigone
Essay
Exam
Directions:
Choose
one
of
the
two
topics
from
Section
A
below
and
write
a
five
paragraph
essay.
Make
sure
you
use
examples
from
the
text,
and
key
terms
whenever
necessary.
You
must
do
essay
number
three.
Each
of
the
two
essays
should
use
at
least
one
of
the
terms:
hubris,
hamartia,
and
catharsis,
in
a
manner
that
shows
what
the
words
mean.
Section
A:
1.
How
does
human
and
divine
law
function
in
Antigone?
2.
How
are
the
themes
of
order
and
civil
disobedience
portrayed
in
Antigone?
Section
B:
3.
What
is
a
tragedy
in
the
Classical/Aristotelian
sense,
and
how
do
we
define
tragedy
today?
Note:
Points
will
not
be
deducted
for
minor
punctuation
errors
such
as
commas
so
long
as
your
writing
is
able
to
be
understood.
III.
Antigone
Essay
Exam:
The
Holistic
Guide
to
Assessing
Directions:
Choose
one
of
the
two
topics
from
Section
A
below
and
write
a
persuasive
essay.
Make
sure
you
use
examples
from
the
text,
and
key
terms
whenever
necessary.
You
must
do
essay
number
three.
Each
of
the
two
essays
you
write
should
use
at
least
one
of
the
terms:
hubris,
hamartia,
and
catharsis,
in
a
manner
that
shows
what
the
words
mean.
Section
A:
(20
points)
1.
How
does
human
and
divine
law
function
in
Antigone,
and
how
do
these
themes
apply
to
the
tragic
hero?
­Answers
should
include
what
is
meant
by
human
and
divine
law,
and
which
characters
are
the
embodiment
of
which
law
and
why.
‐An
answer
to
the
second
part
of
the
essay
should
include
either
human
and
divine
law
and
how
it
brings
about
the
associated
hero’s
downfall.
2.
How
are
the
themes
of
order
and
civil
disobedience
portrayed
in
Antigone,
and
how
do
these
themes
apply
to
the
tragic
hero?
‐The
key
to
this
essay
is
the
writing
of
a
character
contrast
between
Creon
and
Antigone.
‐The
second
part
of
the
essay
should
Section
B:
(20
points)
3.
What
is
a
tragedy
in
the
Classical/Aristotelian
sense,
and
how
do
we
define
tragedy
today
either
similarly
or
differently?
This
essay
should
be
done
in
no
more
than
five
paragraphs
and
should
have
at
least
two
comparisons
between
Classical
and
contemporary
views
of
tragedy.
An
“A”
example
answer
to
what
is
a
tragedy
in
the
Classical/Aristotelian
sense
would
be:
‐Tragedy
as
defined
in
Aristotle’s
Poetics
is
the
imitation
of
an
action
told
in
a
pleasurable
form
that
is
serious,
has
magnitude,
is
complete
in
itself,
is
told
in
language
with
the
pleasurable
excess
of
rhythm
and
harmony,
and
takes
the
form
of
drama
with
incidents
of
undeserved
misfortune
brought
about
by
the
hero’s
error
in
judgment,
hamartia,
that
cleanse
and
purge
the
audience/reader’s
emotions
of
pity
and
fear
producing
pleasure.
‐The
second
part
will
be
opinion
based
and
students
will
get
more
points
the
more
they
can
compare
or
contrast
tragedy
today
versus
Aristotle’s
view.
Note:
Points
will
not
be
deducted
for
minor
punctuation
errors
such
as
commas
so
long
as
your
writing
is
able
to
be
understood.
Direct
Instruction
Plan
for
Antigone
Unit
Day
5:
‐Objectives
and
Standards:
1.
Students
will
be
able
to
critique
how
a
translator’s
translation
of
a
foreign
text
can
impact
the
reader
(V,
VI).
2.
Students
will
read
two
different
translations
of
a
passage
from
Antigone
in
order
to
compare
the
similarities
and
differences
(I,
VI).
3.
Students
will
adapt
a
passage
from
the
play
so
that
it
is
different
from
how
it
was,
but
still
resembles
the
passage
(II,
VI).
4.
Students
will
demonstrate
how
a
translator
has
choice
when
translating
and
what
that
entails
(I,
VIII).
‐Anticipatory
Set:
Students
will
be
each
be
handed
a
printout
of
the
same
set
of
passages
from
the
play.
Half
of
the
class
will
be
given
one
translation
of
a
speech
from
the
play
while
the
other
half
will
be
given
a
different
translation.
One
student
will
read
his/her
translation
out
loud
while
the
other
students
try
to
follow
along
reading
their
own.
There
should
be
some
confusion
amongst
the
students
as
the
texts
will
not
correspond.
This
is
intentional.
This
activity
will
be
repeated
by
a
student
with
the
other
translation
so
that
each
student
will
get
to
see
what
happens
from
both
perspectives.
‐Input:
I
will
illuminate
what
is
going
on
and
expose
why
this
has
happened.
I
will
then
take
a
passage
and
rewrite
it
so
that
it
is
slightly
different,
but
maintains
the
integrity
of
the
passage.
Note:
in
case
of
my
absence
the
substitute
will
skip
this
section
as
it
is
not
completely
necessary.
Students
will
be
prompted
to
work
with
a
partner
with
the
other
passage
and
to
discuss
what
kinds
of
differences
they
see
and
why
they
think
these
differences
occur.
The
will
write
their
responses
to
these
questions
down
and
submit
it
at
the
end
of
class.
‐Modeling:
Students
will
then
select
a
different
passage
from
their
books
and
also
rewrite
it
in
similar
fashion.
‐Check
for
Understanding:
Students
will
talk
about
and
identify
the
passage
they
changed,
and
then
read
their
passage
out
loud
and
other
students
will
critique
what
they
did
well
and
what
could
be
improved.
‐Closure:
There
will
be
a
class
discussion
focusing
on
how
translators
make
choices
that
impact
the
translation,
and
the
implications
of
these
choices.
What
could
go
right
or
wrong?
‐Independent
Practice:
Students
will
continue
their
rewrite
of
a
play
passage
and
pass
it
in
at
the
end
of
class.
1.
Antigone:
Ismene,
my
sister,
true
child
of
my
own
mother,
do
you
know
any
evil
out
of
all
the
evils
bequeathed
by
Oedipus
that
Zeus
will
not
fulfill
for
the
two
of
us
in
our
lifetime?
There
is
nothing‐‐no
pain,
no
ruin,
[5]
no
shame,
nor
dishonor‐‐that
I
have
not
seen
in
your
sufferings
and
mine.
And
now
what
is
this
new
edict
that
they
say
the
general
has
just
decreed
to
all
the
city?
Do
you
know
anything?
Have
you
heard?
Or
does
it
escape
you
that
[10]
evils
from
our
enemies
are
on
the
march
against
our
friends?
Ismene:
To
me
no
word
of
our
friends,
Antigone,
either
bringing
joy
or
bringing
pain
has
come
since
we
two
were
robbed
of
our
two
brothers
who
died
in
one
day
by
a
double
blow.
[15]
And
since
the
Argive
army
has
fled
during
this
night,
I
have
learned
nothing
further,
whether
better
fortune
is
mine,
or
further
ruin.
Antigone:
I
knew
it
well,
so
I
was
trying
to
bring
you
outside
the
courtyard
gates
to
this
end,
that
you
alone
might
hear.
Ismene:
[20]
Hear
what?
It
is
clear
that
you
are
brooding
on
some
dark
news.
Antigone:
Why
not?
Has
not
Creon
destined
our
brothers,
the
one
to
honored
burial,
the
other
to
unburied
shame?
Eteocles,
they
say,
with
due
observance
of
right
and
custom,
he
has
laid
in
the
earth
[25]
for
his
honor
among
the
dead
below.
As
for
the
poor
corpse
of
Polyneices,
however,
they
say
that
an
edict
has
been
published
to
the
townsmen
that
no
one
shall
bury
him
or
mourn
him,
but
instead
leave
him
unwept,
unentombed,
for
the
birds
a
pleasing
store
[30]
as
they
look
to
satisfy
their
hunger.
Such,
it
is
said,
is
the
edict
that
the
good
Creon
has
laid
down
for
you
and
for
me‐‐
yes,
for
me‐‐and
it
is
said
that
he
is
coming
here
to
proclaim
it
for
the
certain
knowledge
of
those
who
do
not
already
know.
They
say
that
he
does
not
conduct
this
business
lightly,
[35]
but
whoever
performs
any
of
these
rites,
for
him
the
fate
appointed
is
death
by
public
stoning
among
the
entire
city.
This
is
how
things
stand
for
you,
and
so
you
will
soon
show
your
nature,
whether
you
are
noble‐minded,
or
the
corrupt
daughter
of
a
noble
line.
2.
Antigone:
O
sister!
Ismene
dear,
dear
sister
Ismene!
You
know
how
heavy
the
hand
of
God
is
upon
us;
How
we
who
are
left
must
suffer
for
our
father,
Oedipus.
There
is
no
pain,
no
sorrow,
no
suffering,
no
dishonour
We
have
not
shared
together,
you
and
I.
And
now
there
is
something
more.
Have
you
heard
this
order,
This
latest
order
that
the
King
has
proclaimed
to
the
city?
Have
you
heard
how
our
dearest
are
being
treated
like
enemies?
Ismene:
I
have
heard
nothing
about
any
of
those
we
love,
Neither
good
nor
evil
–
not,
I
mean,
since
the
death
Of
our
two
brothers,
both
fallen
in
a
day.
The
Argive
army,
I
hear,
was
withdrawn
last
night.
I
know
no
more
to
make
me
sad
or
glad.
Antigone:
I
thought
you
did
not.
That’s
why
I
brought
you
out
here,
Where
we
shan’t
be
heard,
to
tell
you
something
alone.
Ismene:
What
is
it,
Antigone?
Black
news,
I
can
see
already.
Antigone:
O
Ismene,
what
do
you
think?
Our
two
brothers…Creon
had
given
funeral
honours
to
one,
And
not
to
the
other;
nothing
but
shame
and
ignominy.
Eteocles
has
been
buried,
they
tell
me,
in
state,
With
all
honourable
observances
due
to
the
dead.
But
Polynices,
just
as
unhappily
fallen
–
the
order
Says
he
is
not
to
be
buried,
not
to
be
mourned;
To
be
left
unburied,
unwept,
a
feast
of
flesh
For
keen‐eyed
carrion
birds.
The
noble
Creon!
It
is
against
you
and
me
he
has
made
this
order.
Yes,
against
me.
And
soon
he
will
be
here
himself
To
make
it
plain
to
those
that
have
not
heard
it,
And
to
enforce
it.
This
is
no
idle
threat;
The
punishment
for
disobedience
is
death
by
stoning.
So
now
you
know.
And
now
is
the
time
to
show
Whether
or
not
you
are
worthy
of
your
high
blood.
Vocabulary
Lesson
Plan
(Day
1
of
unit
plan)
I.
Objectives:
1.
Students
will
be
able
to
identify
the
elements
of
Gustav
Freytag’s
Dramatic
Structure
(I,
III).
2.
Student
will
view
a
music
video
in
order
to
identify
the
elements
of
Dramatic
Structure
(I,
VI,
IX)
3.
Students
will
be
able
to
explain
the
elements
of
Greek
tragedy
(I,
III).
4.
Students
will
work
in
small
groups
and
apply
the
elements
of
Greek
tragedy
to
the
same
music
video
as
before
in
order
to
develop
deeper
appreciation
for
the
new
vocabulary
within
a
context
(I,
VI,
IX,
X).
II.
Standards:
The
standards
cited
in
parentheses
above
reflect
the
standards
within
the
Connecticut
Common
Core
of
Teaching.
III.
Anticipatory
Set:
Students
will
be
told
they
are
going
to
watch
a
music
video,
but
that
before
they
can
watch
the
video
I
will
go
through
explaining
Freytag’s
outline
of
the
Dramatic
Structure,
which
students
will
have
a
handout
for.
We
will
then
watch
the
video
and
they
will
be
able
to
discuss
where
they
think
they
saw
the
different
elements
of
the
dramatic
structure
within
the
video
if
they
see
them
at
all.
IV.
Input:
Students
will
also
be
given
a
handout
with
terminology
(vocabulary
words)
from
Greek
tragedy.
I
will
go
over
the
terms
with
the
students,
and
they
will
try
to
recall
the
music
video
and
if
they
can
apply
these
terms
to
it.
If
students
want
they
will
be
able
to
view
the
music
video
again
and
discuss
it
together.
V.
Checking
for
Understanding:
There
will
be
a
third
handout
incorporating
the
Dramatic
Structure
and
the
students
will
have
to
apply
the
Greek
terminology
to
it.
Students
will
work
in
pairs
and
watch
the
video
filling
in
where
the
Greek
terminology
fits
within
the
Dramatic
Structure.
Whether
or
not
the
students
are
able
to
fill
out
the
last
handout
together
will
reveal
whether
the
have
understood
not
only
the
vocabulary
from
Greek
tragedy,
but
also
the
dramatic
structure.
VI.
Materials:
The
music
video
can
be
found
at
http://www.youtube.com/watch?v=Sq3HYT4Bry4
Dramatic
Structure
(according
to
Gustav
Freytag):
Exposition
–
plot;
In
the
exposition,
the
background
information
that
is
needed
to
properly
understand
the
story
is
provided.
Such
information
includes
the
protagonist,
the
antagonist,
the
basic
conflict,
the
setting,
and
so
forth.
The
exposition
ends
with
the
inciting
moment,
which
is
the
single
incident
in
the
story’s
action
without
which
there
would
be
no
story.
The
inciting
moment
sets
the
remainder
of
the
story
in
motion
beginning
with
the
second
act,
the
rising
action.
Rising
Action
‐
During
rising
action,
the
basic
conflict
is
complicated
by
the
introduction
of
related
secondary
conflicts,
including
various
obstacles
that
frustrate
the
protagonist’s
attempt
to
reach
their
goal.
Secondary
conflicts
can
include
adversaries
of
lesser
importance
than
the
story’s
antagonist,
who
may
work
with
the
antagonist
or
separately,
by
and
for
themselves.
Climax
(high
point/turning
point)‐
The
third
act
is
that
of
the
climax,
or
turning
point,
which
marks
a
change,
for
the
better
or
the
worse,
in
the
protagonist’s
affairs.
If
the
story
is
a
comedy,
things
will
have
gone
badly
for
the
protagonist
up
to
this
point;
now,
the
tide,
so
to
speak,
will
turn,
and
things
will
begin
to
go
well
for
him
or
her.
If
the
story
is
a
tragedy,
the
opposite
state
of
affairs
will
ensue,
with
things
going
from
good
to
bad
for
the
protagonist.
Falling
Action
‐
During
the
falling
action,
the
conflict
between
the
protagonist
and
the
antagonist
unravels,
with
the
protagonist
winning
or
losing
against
the
antagonist.
The
falling
action
might
contain
a
moment
of
final
suspense,
during
which
the
final
outcome
of
the
conflict
is
in
doubt.
Denouement
or
Catastrophe/Resolution
‐The
comedy
ends
with
a
dénouement
(a
conclusion)
in
which
the
protagonist
is
better
off
than
at
the
story’s
outset.
The
tragedy
ends
with
a
catastrophe
in
which
the
protagonist
is
worse
off
than
at
the
beginning
of
the
narrative.
Elements
of
Greek
Tragedy
hamartia
–
a
mistake
tragic
flaw
–
the
quality
of
a
character
that
brings
about
that
person’s
downfall
hubris
–
excessive
pride
or
arrogance;
the
quality
in
a
character
that
most
often
brings
about
their
downfall
in
tragedy
anagnorisis
–
the
tragic
hero’s
recognition
of
his/her
mistake
peripeteia
–
the
reversal
of
fortune
from
high
to
low
catharsis
–
the
emotions
of
pity
and
fear
in
the
audience,
which
the
play
resolves,
in
order
to
produce
pleasure.
“Hills
Like
White
Elephants”
Lesson
Plan
(Day
4
of
unit
plan)
I.
Objectives:
1.
Students
will
identify
what
the
issue
the
man
and
woman
in
the
story
are
talking
about
and
discuss
who
they
think
‘won’
the
argument
(I).
2.
Students
will
discuss
how
they
think
they
would
stage
this
play
for
a
performance
or
to
be
filmed
(I,
VIII).
3.
Students
will
experiment
with
what
they
discussed
about
how
they
would
perform
the
story
by
doing
an
in‐class
skit
of
the
play
(I,
VII,
VIII).
4.
Students
will
relate
what
they
did
to
how
they
predict
they
might
stage
Antigone
(I,
VIII).
II.
Standards:
The
standards
cited
in
parentheses
above
reflect
the
standards
within
the
Connecticut
Common
Core
of
Teaching.
III.
Anticipatory
Set:
Students
will
first
be
told
that
they
will
be
able
to
do
some
acting
or
directing
today.
The
class
will
silently
read
the
Ernest
Hemingway
short
story
“Hills
Like
White
Elephants.”
The
class
will
then
discuss
what
they
think
happened
in
the
brief
story
and
how
the
use
of
dialog
drives
the
action
of
the
story.
IV.
Input:
Students
will
be
told
that
they
will
stage
the
short
story
in
class.
They
will
decide
who
the
actors
are
going
to
be
and
everyone
else
will
get
to
add
their
directorial
input.
The
class
will
decide
whether
they
want
to
work
as
one
large
group
or
be
split
into
smaller
groups
and
have
several
productions.
V.
Checking
for
Understanding:
Students
will
work
on
and
then
perform
their
production
in
class.
The
assessment
of
the
students’
work
will
be
informal
and
will
take
into
account
participation
and
student
interaction
with
the
short
story.
VI.
Closure:
Students
will
guide
the
closing
assignment
with
an
analytical
discussion
of
what
the
challenges
were
of
taking
a
text
and
trying
to
make
it
‘come
to
life.’
They
will
also
discuss
how
they
think
this
lesson
may
relate
to
Antigone.
VII.
Materials:
Copies
of
“Hills
Like
White
Elephants”
for
the
class.
Double‐Entry
Journal
Lesson
Plan
(Day
2
of
unit
plan)
I.
Objectives:
1.
Students
will
be
better
able
to
both
organize
their
thoughts
from
homework
readings
and
interpret
what
they
have
read
(I,
VI).
2.
Students
will
be
able
to
apply
the
skill
of
the
double‐entry
journal
to
their
homework
reading
assignments
for
the
semester
(VI,
VIII).
3.
Students
will
increase
their
repertoire
of
note
taking
skills
to
help
them
become
better
readers
(I,
VI,
VIII)
II.
Standards:
The
standards
cited
in
parentheses
above
reflect
the
standards
within
the
Connecticut
Common
Core
of
Teaching.
III.
Anticipatory
Set:
Instead
of
trying
to
hook
my
students,
I
will
rather
bluntly
tell
students
that
we
are
about
to
run
through
a
method
that
will
help
them
with
their
reading
homework
assignments.
IV.
Input/Modeling:
Students
will
have
the
double‐entry
journal
demonstrated
to
them
so
that
they
can
see
an
example
of
what
one
should
look
like.
I
will
read
aloud
a
short
selection
from
the
previous
night’s
reading
homework
and
students
can
follow
along
in
their
books.
I
will
distinguish
between
important
and
minor
ideas
from
the
reading
and
restate
them
in
my
own
words
in
the
first
column.
I
will
think
out
loud
for
students
to
be
able
to
see
how
and
why
I
chose
to
write
what
I
did
and
then
place
that
in
column
two.
V.
Checking
for
Understanding:
Students
will
then
practice
the
double‐entry
journal
with
their
homework
reading
for
that
night,
which
they
will
begin
in
class.
VI.
Continued
Practice:
This
during
reading
skill
will
go
along
with
homework
reading
assignments
for
the
remainder
of
the
unit.
VII.
Materials:
Students
will
need
their
Antigone
texts,
a
piece
of
paper,
and
something
to
write
with.
Summary
of
Unit
Plan
The
Antigone
unit
will
begin
with
a
history
lesson
about
how
theater
developed,
the
Greek
god
Dionysus,
some
art
and
architecture,
a
short
biography
of
the
playwright
Sophocles,
and
an
introduction
to
the
ideas
surrounding
tragedy.
The
ideas
surrounding
tragedy
will
be
greatly
expanded
upon
in
an
introductory
vocabulary
lesson
on
both
dramatic
structure
and
the
elements
of
Greek
tragedy
so
that
students
can
see
how
the
Greek
terms
apply
from
the
onset.
Included
in
this
lesson
will
be
a
music
video,
which
students
will
be
able
to
apply
the
dramatic
structure
they
just
learned
and
the
Greek
vocabulary
to
immediately.
From
this
point
students
will
read
the
background
story
leading
up
to
the
beginning
of
the
play,
and
then
begin
the
play
itself.
A
double‐entry
journal
technique
will
be
taught
and
used
by
the
students
for
each
reading
assignment
of
the
play
text.
Students
will
talk
about
the
ideas
of
tragedy
as
put
forth
by
Aristotle
in
the
Poetics,
but
special
emphasis
will
be
placed
on
related
Classical
ideas
about
tragedy
to
ideas
of
tragedy
today.
Due
to
the
difficult
nature
of
the
text
itself
plenty
of
time
will
be
devoted
to
discussion
about
the
play
and
the
meaning
within.
This
discussion
time
will
include
applying
the
terms
from
the
Poetics
and
how
they
manifest
in
the
play,
as
these
terms
are
highly
abstract
and
not
relating
them
to
the
text
will
render
them
meaningless.
Students
will
also
read
a
Hemingway
short
story
and
then
attempt
to
stage
it
so
that
they
can
begin
to
see
what
it
takes
to
make
a
text
come
to
life.
A
short
day
project
on
translation
will
be
included
in
the
unit
as
well.
This
project
will
provide
students
with
a
grasp
of
the
artistic
and
interpretative
nature
of
translating
a
text.
The
paper
will
focus
on
the
essential
unit
question
of
who
is
the
tragic
hero
and
why.
Students
will
write
a
persuasive
essay
on
the
subject
and
back
up
their
opinions
with
examples
from
the
text.
The
exam
will
be
in
three
parts,
and
due
to
its
length
the
identification
and/or
short
answer
section
may
potentially
be
given
as
take
home
exam
work.
The
classroom
setting
that
this
unit
will
be
used
within
will
be
a
10th
grade
urban
magnet
school.
The
entire
school
centers
around
a
Classical
curriculum
whereby
students
are
required
to
take
Latin
and
have
the
option
of
taking
ancient
Greek.
A
great
emphasis
is
also
placed
on
Classical
literature
such
as
epic
and
drama.
Due
to
the
fundamental
nature
of
the
Classical
curriculum,
teaching
the
play
Antigone
in
a
10th
grade
classroom
is
highly
appropriate.
The
essential
questions
for
the
unit
are
listed
after
the
calendar
and
each
day’s
objectives
are
fleshed
out
within
the
unit
instead
of
in
the
calendar.
The
reason
for
this
will
be
addressed
in
the
unit
reflection.
Unit
Reflection
Overall
I
am
please
with
the
unit.
I
feel
there
are
many
valuable
activities,
which
hopefully
are
effective
and
engaging.
I
manage
to
incorporate
reading
skills,
writing,
acting,
and
history
as
well
as
various
individual,
group,
and
class
activities
with
some
direct
instruction
when
and
where
necessary,
but
not
too
much
in
order
to
reflect
a
constructivist
approach
to
teaching.
My
largest
issue
with
the
creation
of
the
unit
is
that
it
is
supposed
to
be
designed
for
a
ten‐day
period
whereas
I
have
two
months
slotted
for
teaching
the
unit
and
am
working
in
a
seventy‐five
minute
block
scheduling
framework.
Therefore,
creating
a
calendar
that
is
ten
days
long
only
served
as
a
reference
to
say
what
part
of
the
unit
goes
where
chronologically
if
it
even
stays
in
that
order
once
I
get
to
the
classroom.
So
I
definitely
had
reservations
about
placing
everything
within
ten
days
when
I
need
to
actually
begin
planning
for
two
months.
This
is
why
the
unit
appears
to
have
far
too
much
content
crammed
into
the
ten
day
period.
I
am
not
planning
for
ten
days
here.
Also
I
included
the
objectives
within
each
fleshed
out
day
of
the
unit.
This
is
because:
one,
I
was
supposed
to
for
the
first
semester
of
working
on
this
unit
and
decided
to
continue
doing
it
that
way
instead
of
erasing;
and
two,
because
I
decided
spending
the
time
placing
the
objectives
into
the
actual
calendar
would
likely
prove
to
be
a
large
waste
of
time
as
I
expect
all
manner
of
changes
occurring
to
the
unit
in
the
Fall
that
I
cannot
at
the
moment
foresee.
I
find
it
valuable
to
be
able
to
foresee
that
there
are
likely
going
to
be
things
I
cannot
foresee.
The
essential
questions
are
listed
after
the
calendar,
and
the
assessments
are
also
contained
within
the
fleshed
out
days
where
appropriate
and
at
the
end
of
the
unit.