Morning journal and courier., 1891-01-13
sonREYNoLD,s LECTURE

PROFESSOR RAEXNOLDsSL LECTURE A Brief Hut scholarly Address Upon the Antfgone of Sophocles Yester- day Afternoon.
 The last of the series of s.familiar talksn upon the subject matter of the Greek play tsAntigone" was given by Professor H. M. Divinity hall, yesterday afternnon. An unusually large audience was present, large portion of which was composed of cast and chorus which have so far been se- lected to participate in the coming pro- duction of the play in this city. Tester days talk was perhaps the most interest ing of the series to the general public and | was listened to with rapt attention by those present. Professor Reynolds com menced his lecture by briefly outlining the l play, particularly with the view of bring ing out the dramatic situation in each scene and also the choruses, the issues clearly defined in the opening scene, the fundamental thought of the play and the conflict between the divine and human | laws which remained the central interest l throughout.
 | The action of the play, he said, was l among the simplest of Greek dramas and | was varied by masterly characters, drawing persons There is no halting in the march of the drama. There is dramatic blem- ish, perhaps, in Creon's fatal delay to res cue Antigone after his change of purpose The play excels in simplicity of plot and fineness of character drawing. More than any other poet, Sophocles knows how to ] depict a heroine by contrast with foil as well as by an opponent. In contrast of situation as well as in contrast of eharac- ters he shows masterly power in gradations of light and shade. Few other poets have known how to depict extreme pain by si- lent withdrawal from the stage. He shows this in more than one play.
 The characters were then considered by the lecturer. Antigone, he said, is fulfill ing one of the most sacred duties of the l Greek religion. The issue between divine and human law is forced upon her. The situation of Antigone was like that of the Christian martyr under the Roman empire. It was impossible for her to act otherwise than she did as it was impossible for the Christian maiden to avoid 8 martyrs death in the arena by laying incense on the altar of Diana. There are two principles at the basis of her character-a passionate en- thusiasm for the right, an intense tender ness of domestic love.
 The character of Creon is the counter part to that of Antigone. The poet makes him state his case more strongly than per, haps modern playwright would do. He is full of honest principles, but by his nar- row-minded and passionate use of them he falls into folly There is progress in his wrath. In turn he utters words of a des- pot, insults the chorus, derides Antigone and enters false suspicious against all. His anger leads him to extravaganza, to threats of useless cruelty, as, for example, that he will compel his own son to witness the death of his betrothed. Later he islanders the prophet and blasphemes the gods.
 Eurydice appears upon the scene but { moment, but leaves a deep and abiding i'm pression. The chorus at first, while not fully approving Creon, condemns Antigone but as the action of the play proceeds they change about and, sympathizing with An tigone, condemn Creon. The theological aspect of the play was then considered briefly by the lecturer in closing his re |