You will use this notes packet throughout our Antigone unit.

  Students are responsible for

completing sections highlighted in yellow.  You will complete these sections on an ongoing
basis.  For example, after we discuss the Oedipus myth and some common allusions, you can
complete those sections.  After we read the prologue and parados, you can complete those
sections.  

The due date for this packet is at the end of our unit; however, you should complete the
highlighted parts as we go through each section.  

Suggested update deadlines:

 WED 2/2 - Allusions/Idioms/Cultural References (6 points); Oedipus myth (12 points)

 FRI 2/4 - Prologue/Parados - comp questions (12 points)
 WED 2/9 - section summary, character chart, E1/O1 comp questions (11 points)
 FRI 2/11 - section summary, character chart, E2/O2 comp questions (9 points)
 TUES 2/15 - section summary, character chart, E3/O3 comp questions (11 points)
 THURS 2/17 - section summary, character chart, E4/O4 comp questions (11 points)
 WED 2/23 - section summary, character chart, E5/O5/Exodus comp questions (10 points)
 FRI 2/25 - final deadline for SGN completion - section summaries (24 points); character
chart (24 points)

Note:  You will do much better throughout the course of this unit if you stay on top of Student
Guided Notes.  On-going grades will be posted in Skyward based on suggested deadlines;
however, the final deadline is FRI 2/25.  

Please keep in mind the MHS Academic Code of Conduct - any copied notes (from/to peers or
online sources) would fall under plagiarism policies (as outlined in the MHS Student Handbook
and HON 10 English Syllabus) and students violating the policy would receive a zero for the
entire packet (130 total points).  

ANTIGONE – STUDENT GUIDED NOTES

PG. 1 – ANTIGONE: GUIDED NOTES

Essential Questions
How do our moral and social values shape our interactions with others?

Do we have an obligation to be disobedient when laws go against our moral conscience?

What does our response to conflict teach us about ourselves?

The Art of Tragic Drama: The Importance of Tragedy

It is important to note that the dramatic performances of the ancient Greek theater were part of
the annual religious and civic celebration known as the City Dionysia: an annual festival in
Athens, commemorating Dionysus, the god of wine, fertility, and ritual madness. The theatrical
performances were the central focus of the festival and included two major types of
drama: tragedy and comedy (also known as satyr plays). Although it is difficult to tell when
tragic drama first emerged, many scholars suggest that it was formally introduced by the actor
Thespis in 533 BCE. The word tragedy comes from the ancient Greek word tragodia, which
literally translates as “goat song.” This is important because scholars have speculated that tragic
drama, as a religious ritual, originated in the sacrificial killing of a goat, or scapegoat. The song
may have functioned as a kind of prayer, as well as a commemoration of the life of the sacrificial
animal.

The ancient Greek philosopher Aristotle (384-322 BC) provided one of the earliest accounts of
the formal elements of tragic drama in his treatise entitled POETICS. According to Aristotle,
tragedies involved a main character of high social standing falling out of favor or perpetrating
his or her own demise through hubris (excessive pride or self-conceit, in Greek tragedy often in
defiance of the gods) or a tragic flaw that leads to a substantial error in judgment (what the
Greeks called hamartia). Most importantly, the suffering of the tragic figure provoked strong
feelings of both pity and fear on the part of the audience. The notion of the tragic scapegoat,
then, relates to the role of the sacrificial animal in ancient religious rituals of sacrifice. According
to Aristotle, when the dramatic performance reaches its resolution, the audience experiences a
therapeutic release of these feelings of pity and fear. He termed this therapeutic aspect of
tragedy catharsis. Many scholars maintain the theater continues to serve this therapeutic
function today.

In the media, the word “tragedy” is commonly used to describe accidents, natural disasters, and
even acts of seemingly random violence. Is there any relationship between this common use of
the word tragedy and tragedy as a dramatic form?

Theatrical performances in ancient Greece were not simply, or even primarily, for the purposes
of entertainment. Tragic drama provided the audience with an opportunity to reflect on its own
social, political, and religious values. Likewise, whenever so-called “tragic” events occur in our
contemporary world, they often lead us to ask searching questions about the nature of our
society, the possibility of justice, and perhaps they even cause us to reflect upon our own
mortality. In works of ancient Greek tragedy, there is always a chorus, a group of actors who
sing and provide commentary on the action taking place in the play. The chorus serves as kind

PG. 2 – ANTIGONE: GUIDED NOTES

of substitute for the audience and often express ideas or opinions that both reflect and also
guide the interpretations of the audience.

Antigone will provide a vivid portrayal of the lasting literary - as well social and political -
importance of tragedy and the idea of the tragic in everyday life. In consideration of tragic
drama as a metaphor, it can be argued that the theater provides its audience with a
metaphorical space for making sense of the darkest and often most difficult aspects of human
life.

Mythological Background: The Oedipus Myth

(briefly summarize based on ppt lecture)

Literary and Rhetorical Devices

Allusion – A type of figurative language that indirectly references a person, place, event, or
thing outside of its context. Reference to something famous or well known, without additional
explanation. The item being referenced is usually of historical, cultural, or political significance.
should be recognizable by the intended audience and is used to a “paint a picture” in your head
using something you are already familiar with.

Examples:
 He’s a real Romeo.
 The challenge of solving the global pandemic is very complex and demands herculean
efforts to tackle it adequately.
 I didn’t have any bus fare, but fortunately some good Samaritan helped me out!

Allusions  Idioms/Cultural References (from ppt lecture)

Greek chorus
Oedipus
Thebes
King Creon
Tantalus
catacomb

PG. 3 – ANTIGONE: GUIDED NOTES

Tragedy

All men make mistakes, but a good man yields when he knows his course is wrong,
and repairs the evil. The only crime is pride. – Antigone (Sophocles)

Tragedy is a literary device signifying a story or drama that presents an admirable or

courageous character that confronts powerful forces inside and/or outside of themselves. These
characters do so with a dignity that reveals the nature of human spirit in the face of failure,
defeat, and even death. In a tragedy, a protagonist is undone or brought to ruin by a critical
character flaw, error in judgment, or by the cruelty of fate. Literary tragedies recount a tragic
hero’s downfall in that the protagonist typically begins in “high” position or esteem and ends
“low,” in despair, ruin, or destruction.

Metaphor – describes an object or action in a way that isn't literally true but helps explain an
idea or make a comparison. A metaphor states that one thing is another thing. It is a direct
comparison, and it equates those two things not because they actually are the same, but for the
sake of comparison or symbolism.

Personification – human attributes given to nonhuman things/inanimate objects/ideas

Mood – emotional setting – evokes feelings in reader through words/descriptions (created

through setting, theme, tone, word choice)

Tone – author’s attitude toward or feelings about subject matter/audience

Characterization – step by step process to highlight and explain details about character in a
story.
After introducing the character, the writer often talks about his behavior; then, as the story
progresses, the thought-processes of the character. The next stage involves the character
expressing his opinions, ideas, and getting into conversations with the rest of the characters.
The final part shows how others in the story respond to the character’s personality.

 Direct Characterization – when the author tells the audience the personality of the
character

 Indirect Characterization – when the author shows attributes that reveal the character’s
personality

Aristotle argued that “tragedy is a representation, not of men, but of action and life.”
This assertion of the dominance of plot over characters is termed “plot-driven narrative.” This
literary approach characterized most literature until the 19th century.

To analyze character, use a STEAL analysis.

 Speech – What does the character say? How do they speak? What is revealed in
dialogue?
 Thoughts/Emotions – What is revealed by their personal thoughts? What do they think
of others, circumstances, and events surrounding them?

PG. 4 – ANTIGONE: GUIDED NOTES

  Effect on Others: How do others react to the character? What impact does the character
have on others?
 Actions: What does the character do? How do they behave? What are the
consequences of their actions?
 Looks: What are their distinguishing characteristics? How do they dress?

As always, attention to the use of figurative language and rhetorical devices - whether
presented in dialogue between characters or in monologue or soliloquy - will add layers of
depth and compelling specificity to any analysis and a robust consideration of the historical
context including relevant social issues or cultural norms (or resistance to those norms)
represented directly or indirectly in the play (e.g., allusions) will demonstrate a more advanced
level of critical thinking.

Additional Drama Terms

When analyzing character, the terms dialogue, monologue , and soliloquy take on increased
importance. Conversation between two or more characters is referred to as dialogue (usually the
majority of speech in plays consists of dialogue). A monologue is when one character delivers a
speech to convey his or her thoughts, although other characters may remain on stage in scene.
Similar to a monologue, a soliloquy is a speech made by one character but delivered when he
or she is alone on stage. Knowing the root words of each term can help clarify the distinction.
Monologue comes from the Greek word smonos (single) and legein (to speak); soliloquy comes
from the Latin words solus (alone) and Ioqui (to speak).

Aside - Words spoken by an actor directly to the audience, which are not "heard" by the other
characters on stage during a play.

Catharsis - The purging of the feelings of pity and fear that, according to Aristotle, occur in the
audience of tragic drama. The audience experiences catharsis at the end of the play, following
the catastrophe.

Choragos - The chorus leader who often speaks on behalf of the chorus. Serves as another
actor.

Chorus - A group of characters in Greek tragedy (and in later forms of drama), who comment
on the action of a play, usually without participation in it. The earliest may have consisted of as
many as 50 members but was later reduced to 12 to 15. It generally has the following roles: 1) to
explain the action. 2)to interpret the action in relation to the law of the state and the law of the
Olympian gods. 3) to foreshadow the future. 4) to serve as additional actor(s) in the play. 5) to
sing and/or dance. 6) to give the author's views

Dramatic Foil - A character who contrasts another character in a play/literature in order to

highlight certain qualities. Example: Montresor and Fortunado

Verbal Irony – sarcasm; saying the opposite of what you mean

PG. 5 – ANTIGONE: GUIDED NOTES

Situational Irony – the opposite of what is expected or normal

Dramatic Irony – when the audience knows something the characters do not. Clearly the
setting of a play takes on extra importance as readers can pay close attention to the staging,
costuming, and other directorial notes included in the text of the play. For example, the content
of one scene can be set in an incongruous location or a character might be wearing a costume
that contradicts the actions he is performing, thus resulting in dramatic irony .

Pathos - A quality of a play's action that stimulates the audience to feel pity for a character.
Pathos is always an aspect of tragedy and may be present in comedy as well.

Soliloquy - A speech in a play that is meant to be heard by the audience but not by other
characters on the stage. If there are no other characters present, the soliloquy represents the
character thinking aloud.

Tragic hero - A privileged, exalted character of high repute, who, by virtue of a tragic flaw and
fate, suffers a fall from glory into suffering.

Tragic/Fatal Flaw/Hamartia - A weakness or limitation of character, resulting in the fall of the

tragic hero. Hamartia is a Greek term which means "missing the mark"; the character flaw or
error in judgement of a tragic hero that leads to his downfall.

BACKGROUND OF GREEK TRAGEDY

A. ORIGINS
1) Tragedies performed in Athens at the 3 festivals of Dionysius
2) Each performance (tetralogy) had 3 plays and a satyr-play
i. included dancing and dialogue between leader & chorus--at
first, more satire
ii. then became more serious--philosophical, religious, moral
3) free admission; people were expected to come--civic and religious obligation

B. PLOTS--from Greek mythology and heroic legends

C. THEATRE AND EQUIPMENT

1) orchestra--where chorus sang and danced (after marching through the right or
left entrance--the parados)
2) theatron---where audience sang
3) actors wore masks to emphasize the dominant traits they impersonated: all were
male who knew how to sing since many lines were lyrics chanted
4) chorus-----acted like the ideal spectator usually. Typically, the chorus marched
into the orchestra and chanted the parados

D. FORM AND STRUCTURE OF GREEK TRAGEDY

1) prologue: opening scene, background of play and conflict provided by single
actor or dialogue of two actors; presents tragedy’s topic
2) parados: entrance of chorus, providing backstory; representing “the people”
3) five dramatic scenes consisting of episode and ode

PG. 6 – ANTIGONE: GUIDED NOTES

 i. episode: act or scene that develops plot; chorus sometimes played
minor role
ii. ode: choral passage, alternating with the episodes of the plot of the
drama.
4) exodus: final scene – climax and conclusion

Pictorial representation of the structure of the play

Prologue and parados, followed by five episodes (scenes). In between each episode is an ode.
This is where the chorus comments on the action of the scene the audience just watched. The
play ends with an exodus – like an epilogue – the final scene or departure.

E. ARISTOTLE'S TRAGEDY
1) "TRAGEDY is an imitation of action & life, happiness & misery"; plot is the most
important element, character is second.
i. Its length is such that it can be clearly understood 'without difficulty';
should have a single central theme
ii. protagonist is character experiencing most change
iii. its AIM is to arouse pity and fear for protagonist
2) PROTAGONIST is tragic hero whose error in judgment leads to downfall or
subjects that person to retribution. Often, however, fate lays with cosmic moral
order and role of chance in his/her affairs

F. CHARACTERS:

ANTIGONE: Oedipus' younger daughter ISMENE, Oedipus' eldest daughter

CREON, king of Thebes, Antigone’s uncle EURYDICE, Creon's wife
HAEMON, son of Creon and Eurydice TIRESIAS, blind prophet

PG. 7 – ANTIGONE: GUIDED NOTES

SENTRY MESSENGER
CHORUS of THEBAN ELDERS and LEADER

Antigone Character Chart

Character Description Relationships(s) Characterization (provide
STEAL analysis/flaw(s)) and
analysis of
dialogue/monologue/soliloquy
Antigone Hero; has a tragic Daughter of Jocasta and Oedipus;
flaw; wants to bury engaged to Haemon; sister of
her brother; defies Ismene, Polynieces and Eteocles
Creon
Oedipus Leaves Thebes prior Son/Husband of Jocasta; father of
to Antigone; killed his Antigone, Ismene, Polynieces, and
dad, married his mom Eteocles
Ismene Wants to follow Daughter of Jocasta and Oedipus;
Creon’s orders; sister of Antigone, Polynices, and
weaker than Antigone Eteocles
Creon Current King of Brother of Queen Jocasta;
Thebes; rules on who husband of Eurydice, father of
is honored and Haemon, uncle to Antigone, etc.
disgraced
Eteocles Late King of Thebes; Son of Jocasta and Oedipus;
dies battling brother; brother of Antigone, Ismene,
given a proper burial Polynices; nephew of Creon
Polynieces Dies battling his Son of Jocasta and Oedipus;
brother; not given a brother of Antigone, Ismene,
proper burial Eteocles; nephew of Creon
Haemon Fights for Antigone to Son of Creon and Eurydice;
live after she commits engaged to Antigone
a crime
Eurydice Hates the fighting; Wife of Creon; mother of
ultimately cannot Haemon; would-be mother-in-
handle others’ deaths law/aunt of Antigone
Jocasta Dies prior to Wife of Laius; wife/mother of
Antigone; commits Oedipus; grandmother/aunt of
suicide after learning Antigone, Ismene, Polynieces, and
the truth Eteocles
Laius Dies prior to Husband of Jocasta; father of
Antigone; late King of Oedipus; killed by Oedipus
Thebes
Tiresias Prophet who reveals Met with Oedipus when Thebes
important was wracked by plague – his
information; warns insights caused Oedipus to
Creon not to execute gouge out his eyes to deny
Antigone himself the truth

PG. 8 – ANTIGONE: GUIDED NOTES

 Antigone Family Tree

Antigone Section Summaries

Section Line Summary
Numbers
Prologue 1-116 Antigone has brought her sister, Ismene, outside of the palace to tell her
privately the news that Creon has forbidden the burial of their brother
Polyneices…Antigone asks Ismene to help bury Polyneices, although the
punishment for disobeying Creon is death. Ismene dreads the consequences
of this action; she decides she cannot help Antigone.
Parados 117-179 Backstory of terrible battle – Polyneices attacked, both brothers died, but
Thebes overcame (victory song)
Episode 1 180-376
Ode 1 377-416
Episode 2 417-655
Ode 2 656-700
Episode 3 701-878
Ode 3 879-899
Episode 4 900-1034
Ode 4 1035-1089
Episode 5 1090-1237
Ode 5 1238-1272
Exodus 1274-1470

PG. 9 – ANTIGONE: GUIDED NOTES

Prologue & Parados (lines 1-179)
NOTES:
 In ancient Greece, funeral rites were the privilege and duty of women.
 Antigone and Ismene are the last of Oedipus' family; thus, Antigone takes it personally
when Ismene refuses to help
 The status of women in ancient Greece looked something like this: they married at age
13 or 14, often to men twice their age; wealthy women were secluded in homes with no
legal or property rights. If a husband died, a family member (sometimes dictated in the
will) would try to find her another husband. A husband was considered "his wife's
guardian."
 Creon views the state's laws as the HIGHEST.
 Creon believes his decision re: Polynices is BEST for the state, the common good
 Conflict: Antigone belief in religious law as being superior to that of the state; Creon's
belief that state law supersedes all. Polynices has attempted to destroy the state; hence,
to defile his body would be to make an example of him for others who might try a
similar action.

Comprehension Questions:
1. How are Antigone and Ismene related?

2. Who are the two brothers mentioned in the prologue?

3. How did the two brothers die?

4. What is King Creon’s decree?

5. What does Antigone plan to do?

6. What is Ismene’s decision regarding the king’s decree?

7. According to the Chorus, what is the Dragon none can master?

8. According to the Chorus, what does Zeus hate?

9. Explain these literary techniques:

PG. 10 – ANTIGONE: GUIDED NOTES

 a) Antigone’s verbal irony (line 37)

b) Ismene's tone (lines 60-80)

c) metaphor of Polyneices (125-137)

EPISODE 1, ODE 1 (lines 180-416)

NOTES:
 Greek tragedies were based on old myths and legends the people already knew; some
parts were changed to suit the author's purpose.
 Greek Tragedy's purpose was not entertainment, but moral instruction. Even slaves,
women & prisoners were released to attend these plays.
 The Chorus would chant and they moved back and forth across the stage
 No violence was ever shown on stage
 Greek hero: part god, part human--trying to do good, but hindered by flaws in human
judgment OR overwhelming forces of society

Comprehension Questions:
1. How did Creon, the new King of Thebes claim heir to the throne?

2. What does Creon think of those who place friends above the good of their own country?

3. What is the king’s opinion of Eteocles and the way he died?

4.. What crime has Polynices committed in the eyes of the king and how shall he be punished?

5. What news does the Sentry bring to Creon?

6. Why is the Sentry nervous to approach Creon?

7. Who does Creon believed buried Polynices and what motivated them to do so?

8. What does Creon demand the Sentry do?

9. According to the Chorus, what is the most wonderful of all the world’s wonders?

10. According to the Chorus, what is the one thing man will not find rescue from?

11. List four accomplishments of man, according to the Chorus.

PG. 11 – ANTIGONE: GUIDED NOTES

EPISODE 2, ODE 2 (lines 417-700)
NOTES:
 The Chorus, made up of Theban elders, will articulate the opinion of the general public.
Sometimes they are mistaken, ambivalent, and wise.
 Chorus can provide for audience the playwright’s ideas, explain the significance of
certain actions, provide background when needed, set mood, emphasize the play's
theme.
 Once in a while, Chorus functions as a character.

Comprehension Questions:
1.Who has the sentry captured and brought before King Creon?

2. How did the guards manage to capture Antigone?

3. How did Antigone react to being captured by the sentries?

4. What reason does Antigone give for defying Creon’s decree?

5. Who else does Creon have arrested in connection with the crime of burying Polynices?

6. Why is Antigone angry with Ismene?

7. Besides being Antigone’s uncle, how else are Creon and Antigone related?

8. What is to be Antigone’s punishment for burying her brother?

9. According to the Chorus, who is the god who must not be made angry?

PG. 12 – ANTIGONE: GUIDED NOTES

EPISODE 3, ODE 3:
NOTES:
 Note several examples of irony in character development in this scene
 The Greek concept of justice: Greeks believed that all justice must be tempered with
compassion, mercy, love.
 In scene 1, Creon claimed to represent the State; in this scene, Creon refuses to
recognize the public's plea that Antigone has not committed a crime. He moves more
and more toward a tyranny. In ancient Athens, people despised tyrants, mainly because
their history painfully reminded them of their rule.
 Haemon's love for Antigone's family centers on conflicting realities: Creon's 'fortune'
and "continuing wisdom." He therefore wants no anger from the gods.
 Ode 3 on the 'power of love' is considered one of the greatest, most moving portrayals
of love--note the imagery and metaphorical language.

Comprehension Questions:
1. What is Haemon’s initial response when his father asks how he feels about the king’s decision
to execute Antigone?

2. What does Creon say men pray for?

3. Why is Creon intent on harshly punishing, even family members, all those who break the law?

4. According to Haemon, what is the finest of all the gifts the gods give to man?

5. What does Haemon say the citizens of Thebes are saying behind the King’s back?

6. Which side, Haemon or Creon, does the leader of the Chorus support?

7. While Creon is ranting at his son, what does the king threaten to do?

8. Describe how Creon plans to perform his death sentence upon Antigone.

9. According to the Chorus, what is it that “not even the deathless gods can flee”?

10. Provide an analysis of a paraphrasing of a character’s lines.

a) Consider Haemon’s lines 764-769. If one paraphrased Haemon as saying, "Reason is

God's crowning gift to man" would this be an accurate recounting of his assertions?
Explain.

PG. 13 – ANTIGONE: GUIDED NOTES

 b) Consider Creon’s lines 724-730. If one paraphrased Creon as saying, "...you are right/Not
to lose your head over this woman" would this be an accurate recounting of his
assertions? Explain.

EPISODE 4, ODE 4
NOTES
 The references to the many gods are from literature, history, mythology, religion, politics,
sports, science, or culture. ALLUSIONS draw comparisons.
 Note the character change in Antigone: she is suffering, quiet, sad, resigned to her fate,
sensitive to criticism, looking for and needing words of praise and love. (Previously, she
was strong-willed, resistant to and confident in responding to criticism, determined,
almost arrogant).

Comprehension Questions:
1. Whose fate does Antigone allude to in comparison to her own?

2. What does Antigone want the people of Thebes to bear witness to?

3. Who does Antigone blame for her terrible misfortune?

4. Research the following allusions:

a) “…the god of death…/takes me down to the banks of ACHERON alive” (904-905)

b) “But think of NIOBE” (915)

c) “TANTALUS’ daughter, stranger queen from the east” (917)

d) “PERSEPHONE has received among her ghosts” (982)

e) “the savage ARES thrilled to watch” (1072)

f) “…the FATES/the gray everlasting FATES rode hard” (1088-1089)

5. Interpreting Allusions:
a) Read the Choral Ode (lines 1035-1089) as well as the footnotes on page 37. Identify and
explain all the similarities you find between Antigone, Danae, and Cleopatra as well as
those between Creon and Lycurgus. Do they share a similar fate? What other parallels

PG. 14 – ANTIGONE: GUIDED NOTES

 exist?

b) Oedipus Myth. See lines 945-957 and line 1079: these sections refer to the curse of the
Oedipus myth--that all of Oedipus' descendants will pay for his sin of incest (though it
was unintentional). What are the specific words of these lines? How do you know they
allude to the Oedipus myth?

EPISODE 5, ODE 5, EXODUS (lines 1238-1470)

NOTES:
 One of Sophocles' main themes is the significance of SUFFERING – which people suffer
in many ways, and from that suffering, grow spiritually. Note this with Antigone and
Creon as the remainder of the play unfolds.
 In this final scene, Antigone does not have an active part; however, the resolution of the
plot and her conflict develop the theme and conflict.
 Note the importance and reverence given to prophets, namely Teiresias. Their word is
unquestioned: belief in the power of the gods overshadows any man-made law, an idea
to which Creon eventually relents.
 Eurydice, Creon's wife, places a curse on him before her death.
 Creon's demeanor changes radically by the play's end. He prays for his own death so
that his suffering might end.
 Consider who is the tragic hero - Antigone or Creon? It is debatable.

Comprehension Questions:
1. The Chorus prays to a “god of a hundred names.” List five names for this god.

2. Who does the messenger claim is “a living corpse”?

3. How has Teiresias’ prophecy that Creon would pay to the gods “flesh of [his] own flesh” come
true?

4. Who is Eurydice?

5. What were Creon and the messenger doing when they prayed to Hecate and Pluto?

6. Describe what Creon saw when he looked through the crevice into Antigone’s tomb.

7. Describe Haemon’s reaction when Creon entered Antigone’s tomb.

PG. 15 – ANTIGONE: GUIDED NOTES

8. According to the messenger, what is the worst ill that affects men?

9. What happened to Eurydice after the messenger relayed the news about Haemon and
Antigone to her?

10. At the end of the play, Eurydice blames Creon for the tragic events, and Creon willingly
accepts, saying, "I alone am guilty." Explain how any of these people might be responsible:
Creon, Haemon, Antigone, Ismene, Teiresias, the Greek gods.

PG. 16 – ANTIGONE: GUIDED NOTES