Category: Antigone

Introduction

People make mistakes in life despite doing everything right and per the rules set. Over the years, there have been endless debates regarding who the tragic hero is in Sophocles Antigone. Many people view Antigone as a character who doubles up as a hero and a victim in a story. On the other hand, some individuals claim that he is a person who arises from being the main character to being the sympathetic victim. Some readers are convinced that Antigone best fits the tragic hero role. For instance, she claims that Polyneices should not be unburied. It is considered a noble action since she tries to maintain her faith and love for her family. Furthermore, her suicidal act makes the readers believe she is a form of loyalty. However, Antigone cannot be considered the hero since she lacks Aristotles characteristics of a tragic hero. Thus, various aspects, such as the characteristics he has, his flaws, and how he brought along his downfall, can show that Creon is a tragic hero.

The Reason Why Creon is the Tragic Hero

Aristotles definition of a tragic hero was based on Sophocles characters in Antigone. According to him, the tragic hero faces not only the death of the loved ones and mistakes one makes but also a great downfall (Segal 137). Another aspect is that a tragic hero controls his fate. In Antigone, each character suffers some tragedies, but only one tragic hero suffers the most. A terrible flaw is a mistake on such heros part that brings his disgrace, vital to the heros character (Koulouris 60). Consequently, this definition justifies Creon as a tragic hero. He exhibits good characteristics and intentions, he is dependable, he is true to life, and he is responsible for his downfall.

The Loyalty

From Creons past life, it is clear that he was loyal to Thebes. First, his loyalty is revealed when he joins the Theban army to fight the Argive Military. Sophocles tries to tell the readers that joining the war meant that Creon was putting his life in danger by risking death. He takes a significant risk in the battle, which many people would not accept. He is viewed as the rescuer of Thebes through his efforts to protect the people and his success in fighting the Argive Army (Rayor 50). Additionally, the messenger in the play also recognizes him as the savior, which supports the argument that he played a crucial role in Thebes victory in the war. It also implies that he was loyal to his people and protected them.

Furthermore, the text shows Creons loyalty to Thebes when he guarantees that he will always respect the nation. Although he has other priorities like family and religious interests, Creon focuses on the states interests as his highest priority. Creon states, Im not the man to sit quietly by and watch my country sliding towards the precipice ruins (Rayor 11). The audience can learn from the text that Creon believes in the integrity of the state. Other than being loyal to his country, he is also faithful to the nations laws. To encourage devotion, he has to be strict with the rules and regulations of Thebes. He sets an excellent example to the citizens by obeying the commands himself. Creon promises to punish individuals who disobey the laws, such as the rule to leave Polyneices body unburied. After Antigone breaks the law by burying her brother, Creon is determined to punish her despite peoples appeal to undo the policy.

The Noble Character

Creon is a noble character, as seen in the play. First, he is conscientious from birth since he comes from a royal family. He is the elder brother of Jocasta and a close friend to the former ruler of Thebes. Creon also inherits the noble blood since he is the blood brother of Jocasta. He is the uncle of the two brothers and the dead queens brother, becomes the king of Thebes, a wonderful city of seven gates (Zetti 90). Second, Creons noble character is seen since he belongs to the upper-class social class. The highest level of society is held by people from the empire in Antigone (Rayor 10). Consequently, Creon becomes a noble person since he originates from the kingdom of Antigone.

Third, he has moral characteristics that best define him as noble. Nobility can be associated with high moral values and excellent moral character. Creons moral personality is seen when he tells the plan to unbury Polyneices body (Rayor 4). By revealing the approach, he educates Theban citizens on the prominence of decency and faithfulness. He clarifies that he would not betray his country for money because such decisions can ruin the nation and make his citizens suffer. These characteristics further explain that Creon was not money-oriented. Coming from a noble family, he has much money, and he is not greedy. He is not willing to gain more money through corruption. He further goes on to explain that even God cannot accept the soul of a betrayer. He urges the citizens not to follow the footsteps of Polyneices, who betrayed his motherland.

From Aristotelian theory, one aspect of the tragic hero is that he must be a noble person. Correspondingly, he stated that nobility is the place a leader falls from. For a tragic hero to satisfy catastrophe, he must be brought from his success to his misfortune. Creon has been noble; he can oppress people below him with no objection. For example, the guards had to obey his rule to unbury Polyneices (Rayor 22). By repressing people with minor nobility, he is brought to his downfall. It is signified by the deaths of those close to him, such as Antigone, Haemon, and Eurydice. Creons breakdown raises the audiences pity since individuals from his social class deserve a happy and wonderful life. In contrast to that, he is leading a miserable life after the death of his loved ones. Thus, one can argue that these events make him a tragic hero.

Tragic Flaws

No human is perfect, and people make different mistakes in life. In this case, Creon encounters some challenges in society that cause him to make poor judgments. One of his downfalls is the oppression of the fewer nobility citizens. When made king of Thebes, his loyalty grew more significant than before. Nonetheless, the domination done by him turns this loyalty into self-centered. His struggle to prove his loyalty makes him ignore other essential things like family and religion. Antigone plays a significant role in representing the oppressed people in the play. However, the conflict between Creon and Antigone has its starting point in law and justice problems (Segal 139). For instance, Antigone is furious about Creons command to unbury the body of Polyneices for betraying Thebes. She is motivated by her love for the family and strongly disagrees with the policy (Rayor 21). Antigones second oppression is when Creon reveals another policy to punish her for disobeying his first rule (Rayor 22). She is punished by being sentenced to a desert without food.

Creon is brought to diversity since his oppression resulted in the deaths of his people. The loss makes him suffer since he has to live with the responsibility for their deaths. For instance, Haemon commits suicide because Creon punished Antigone. Creon claims that he has caused many deaths, whereby some have been experienced in his family (Rayor 28). One can argue that all these issues finally lead him to his downfall, which is an aspect that must exist on the heros part. The disaster might not end with the heros death, but his breakdown from his prosperity shows how he has lost much. Aristotle argued that many heroes experience such challenges to become stronger, which is revealed in Creons case.

Creons weak characteristics, such as pride, strict rules, arrogance, self-centeredness, and authoritarianism, are the leading causes of his downfall. In Aristotles theory, the heros disgrace results from his tragic flaws, which can be his weakness in characteristics (Koulouris 60). From the play, being the king of Thebes is Creons tragic flaw. The title gives him a demanding aspect as a hero. He is also a victim of the system that forces him to have the weakness to oppress the less noble. The oppression finally causes his downfall, as revealed by Aristotle. No matter how a hero tries to prevent his fate, it still happens, and he realizes it. For instance, Creon is forced to bury Polyneices and free Antigone to prevent his disgrace. However, he knows that it would not be stopped, and it was destined to happen anyway.

Conclusion

In conclusion, Creon is the real tragic hero that meets Aristotles requirements in Antigone. This disqualifies Antigone, who is believed to be loyal to her family, by burying Polyneices against Creons policy. Aristotle argued that a tragic hero has to be from noble birth and has a flaw that leads to his downfall. Creon inherited nobility from Oedipus, his sisters husband, who was the former King of Thebes. Correspondingly, he possesses loyal characteristics that qualify him as a hero. Creon joins the Theban army to protect and serve his people. Through his loyalty, he is viewed as the savior of Thebes. Correspondingly, he puts the states interests as his most significance above the other priorities, such as family and religious interests.

Unfortunately, his flaws caused his downfall, impacting how people viewed him in society. When he became the king, he oppressed the less noble, including Antigone. For instance, she buried her brother against the kings policy, and she was sent to the desert without food. The deaths of his loved ones bring him misery and suffering and, eventually, his downfall. The audience can learn that Creon comes through his destruction with a better understanding of the wrong deeds he had done. Thus, one can argue that Creon is Antigones tragic hero since his character meets Aristotles requirements for a tragic hero.

Works Cited

Koulouris, Theodore. Neither Sensible nor Moderate: Revisiting the Antigone. Humanities, vol. 7, no. 2. 2018, pp. 60-77.

Rayor, Diane J. Sophocles Antigone: A new translation. Cambridge University Press, 2011.

Segal, Charles. 5. Sophocles Praise of Man and the Conflicts of the Antigone. Interpreting Greek Tragedy, Ithaca, NY: Cornell University Press, 2019, pp. 137-162.

Zetti, Rossana. Sophocles Antigone Reworked in the Twentieth Century: The Case of Casenclevers Antigone (1917).New Voices in Classical Reception Studies, no. 12, 2018, pp. 88-107.

Introduction

Sophocles tragedy Antigone addresses various moral dilemmas, but the major conflict is associated with the rule of law. The clash between Antigone and Creon serves as the setting for the discussion of the superiority of state over the family or secular over divine values (De Luigi 35). After becoming the ruler, Creon tries to exercise his power by showing that any unlawful activities will result in punishment. The prohibition to bury Polynices body is the chosen punishment. Antigone fails to obey the law and buries her brother trying to follow the existing traditions and divine laws (Young 99). The conflict between Creon and Antigone can serve as the platform for the discussion of the relationship between divine and secular laws.

Main body

The conflict between individual and common interests can lead to personal dramas or even the fall of countries (Etxabe 86). Creons position is associated with the power of the state and secular laws. However, they can sometimes be inconsistent with cultural norms, divine laws, and ethical choices. Creon concentrates on the interests of the majority of citizens as he wants to prevent any attacks or actions that can harm the whole city. Whereas, Antigone puts her individual interests ahead and makes sure that her brother is buried according to the existing traditions.

Conclusion

In conclusion, the relationship between divine and secular laws is apparent in the clash between Antigone and Creon. People create regulations that help them exist in the existing environment. State regulations often serve the majority while cultural norms are meaningful at the individual level. In a democratic society, secular laws seem to have more power, but family and traditions should always be taken into account when addressing issues and conflicts.

Works Cited

De Luigi, Alberto. Justice as Equality and Neutrality. CreateSpace Independent Publishing Platform, 2015.

Etxabe, Julen. The Experience of Tragic Judgment. Routledge, 2013.

Young, Julian. The Death of God and the Meaning of Life. 2nd ed., Routledge, 2014.

Introduction

Sophocles wrote the play Antigone in the classic year 442BC. Antigone continues to draw interests and literary debates in the postmodernism era. Chief among the discussions in the play revolves around theories, obsessions and new perspectives of the classic play. It has been observed that, as a point of fact, the play has been an obsession in the 18th century to date. Indeed, scholastic interest and analysis explain the relationship between Antigone and the modern political, controversial and conflict laden times.

Nonetheless, other quarters are of the view that Antigone presents nothing to be thought about in the modern hence dismissing its relevance to modern interests and applications. This paper takes the modern approach in referring to the relevancy of the play by critically giving an insight on the perspectives of the theories of desire. It is argued that desire in Antigone is greater than the confines of men and laws.

Theories of Desire

Desire in this context is used to describe the obsession that people have in the society. Obsession takes different shapes in the society because people have different experiences. An attempt to understand Antigone must be backed by modern adaptations of the play by the likes of Jean Cocteau, Bertolt Brecht, Jean Anouilh and Heaney. In the Anouilhs text, the greatest concern revolves around an attack of the family, youth, lofty, ideals and love and friendship.

Contrary to Sophocles play, Anouilh leaves the powerful illustration of the philosophy of the desire for death, foreignness and mixed registers. An analysis of these differences between the modern and classical texts helps to understand the mystery surrounding the philosophy of death in Sophocless Antigone. In the classical Antigone, Sophocles clearly illustrates that Antigone as a character is foreign to the land of Thebes as indicated by her words to her father shortly before his death. In the play, her nature of desire is hard to understand and is coupled with her religious concerns.

This is different from Anouilh texts that espouse that Antigone choice of death is a motivation by the dullness and lack of passion in life due to loneliness. This life according to Anouilh is one that repeats itself in a cycle explained by boredom from one lack of compelling life cycle to another meaningless in the other. A reference to Anouilh may partly explain the recent happenings of the uprisings in the Muslim and Arab worlds (Sophocles and Johnston, p. 5).

By analogy, the ideal held by the toppled governments represents Creons actions in some respects. The young and the old in these states represent the Antigone in Anouilhs text. Years of state neglect to the necessary and basic requirements of the people found desires and insistence to live better lives embedded in the daily struggle and hearts of the citizens of these countries.

Therefore, it is from one basic act of denying the necessary needs required for better lives in the future that finds form in a forceful nature. This is through sacrifice of lives and blood shedding, just like in Antigone.

According to Sophocles the idea of foreignness shadows Antigones actions and desires. Recapping the view of the Muslim and Arab worlds, it is also clear that the citizens modern approach to things is extremely foreign to the age old perspectives of the older order.

Fueled by the modern use of technology especially, social media, the youth in these countries have the connection of a family with ideals and views that those in power are not privy to and do not even understand. For the old order, it is their home ground register; however, for the new generations, this is their point of action hence particularly foreign to what has already been established.

The insistence on religiosity is a constant reminder of the value of belief in what is right and justice to follow. For Antigone, this bordered the belief she had in her traditions and hence her religion. For the youth in these countries, the belief in change for a better life and the need to chart new courses resembles what was in Antigone.

However, Anouilhs text must guide this view in the analysis that the Arab world uprising is not about the choice of death as Creon observes. Therefore, it becomes crucial to note that Anouilhs text at this juncture departs from the tenets of the Arab life and its consequences to the modern people.

It is the desire to right what is wrong in order that the future generations may reap the benefits of the philosophy of death. This is captured by Sophocles in Antigone of which later Creon finds truth in. In this sense then Antigone from Anouilh becomes a stranger to what Sophocles intended.

The misrepresentation of Anouilh, thus, allows an understanding of the real impact of tragedy one that is well captured by Sophocles. In the words of Marcel Anouilhs work lacks the quality needed to explain human drama. According to him, Antigones by Sophocles, actions and desires can only be explained by invoking the ideas in religion just like Kierkegaard. Therefore, in this view, Anouilhs text is a secularization of the actions in the tragedy Antigone (Sophocles and Johnston, p. 15).

Sophocles tragedy is a clear emphasis on the absolute contradiction and irreconcilability between Antigone and Creon. Clearly from their perspectives they are both right in a powerful cancellation between the state and kinship. The problem is that they cannot comprehend one anothers moral point of view and power in Sophocles text.

Conflict, as Sophocles espouses appears as a first layer of disharmony through antinomy in that between the two no one is ready to cede ground for the other of which Anouilh fails to indicate just Jean Racines text. In these two texts, Antigones world is characterized as a doubt between the living and the dead through biological explanations. Creon and Antigone as presented Racine and Antigone indicate that they both had options, but they clearly intended to be antagonistic.

On Antigones insistence on foreignness and Kierkegaard rendition of the extent of subjectivity, it becomes clear that conflict between the state and the subject is a guaranteed occurrence. The fact lies in the view that taboos and transgressions in the society act in unison to decide the fate of those who uphold them at the expense of the state. Lacking commensurability in the above view again is a source of conflict between the subject and the state based on guilt held by the subject. In this view Antigone, qualifies for both options in Sophocles classic Antigone.

By extension, this explains the modern relationship between governments and their subjects. While religion states equality and democracy, just like the flowing waters; a deep surgical analysis reveals that even the most democratic governments have instances of conspicuous treatment just like in Creons rule. Thus, Kierkegaards observation that deviating from aesthetics is a necessity brings truth home in the case of modernity.

This reinforces his assertion that it is the rebirth of modern tragedy. Taking the example of the declaration of emergency situations in any nation, it can be noted that not all subjects behave in a certain way to call for such measures. On the contrary, there are citizens who are good at least in light of the situation while their brothers and sisters are on the wrong side of the law. However, in this case, the good suffer without any attempt to rationalize the boundaries.

On the second note, the subjects desire in favor of her point of view clearly puts the state and the subject on a collision path. A subject has the obligation to follow what the state requires of for effective and efficient governance. In addition, democracy defines that the voice of the majority should be heard. If the subject is not given his or her due demands, then necessary suffering is taken as justice.

This is aimed at restoring the state under the invisible power of the subject. Further, this may translate to blood letting by a few who appear not realistic. In the end justice is achieved by the action of a few who deny their lives for a better cause. Therefore, in this desire, politics and what is necessary right governs the occurrence of such tragedy. Suffering can be in the form of death or even exile.

In Sophocles Antigone, there is the displacement of things from their normal order. In terms of gender and religion, Antigone as a character goes overboard of what is Athenian for her gender. Secondly, Antigone does not represent the state or the kinship and neither the living nor the dead.

This intermixing of desires lacks from Anouilhs text. The fact that the play supports Antigone, though an outsider to the happenings; Teireisia, reveals that Sophocles view of the state as a static entity should be questioned under the guidance of principles not easily settled on common human understanding (Sophocles and Johnston, p. 39).

Antigones desire is absent according to Hegel. She represents what is admirable and what is acceptable in excess is too good to live. She represents those who cannot allow the state to carry own its activities without regard to whether right or wrong. This excess leads to Antigone showing that the way to gods who live in such excess.

The occurrence of such needs for balance of equality on laws to all things under mankind is explained by this excess. Therefore, Sophocles text is a powerful reference to modernity on the will and power of religion, as opposed to the state authority.

Antigone in the theory of desire as presented by Sophocles is finally an examination of the problems of laws, family and state. Antigones actions do not support any at either perspectives, and the boundaries that lie between them are the necessary ingredients to tragedy.

The customs, the taboos and religion, and gender all play as factors to make desire in any one of these disastrous and dangerous. In essence, Antigone finds fault in what is established, but not written down as any law. This is forms Antigones desire to rise above this tragedy.

Conclusion

In this analysis, therefore, it is worthy to note that the desire in Antigone is greater than the confines of men and laws. It is greater than the state and all its wise men, greater than family obedience, greater than love and the powers operating in the realm of human understanding. Antigones desire was thus like a process of justifying freedom in the confines of the society. However, religion should guide this proclamation.

Works Cited

Sophocles and Johnston C. Ian. Antigone. Arlington, Virginia: Richer Resources Publications, 2007. Print.

Introduction

The two classics provide a comprehensive analysis of diverse roles of women. In Medea, for instance, the Medea employs figurative speech to explore the social injustices that repeatedly touches on the social aspects of women. From such a position the audience is allowed to examine the position of a woman in the society. The position in this case touches on woman subordination to man and this are inextricable from the innate features surrounding the social order during this period in Greece.

Villain or Not

Woman Role

Hence, in Medea, the audience is permitted to explore the suffering of a woman who has been rejected, twisted, and abused because of her gender. In essence, this demonstrates how woman was treated in the Greek society. What this signifies is that the woman is painted as a social misfit and this resulted in Medea going against the social prescription of a married woman.

However, when we examine the approaches employed by Antigone it becomes obvious that she Antigone was a reflection of a woman at home. However, the conflict that ensues between her and Creon provides a new dimension to the entire setting of the plot. Consider the fact that Creon is depicted as a tyrant in the play. This is testified in the manner he handles the issue regarding the burial of Polyneices, Antigones slain brother (Fagles 142).

Social Injustices

From a tragic perspective, his rigid stance on the social injustices makes him to be a villain. When Media is exiled one is left pondering what would it be for a woman to live as a villain. This concept paints Media as a heroine while in Antigone Creon is depicted as a ruthless villain.

All in all, despite their differences the two characters can be explored in a similar light. Consider the fact that Creon employed ruthless tactics to guard his position in the society. Equally, Medea utilized her personality to speak against the social injustices that touched on women affairs in the society.

Leaders

The way Medea is portrayed as submissive equally matches Creons persistence in protecting his position as the leader. Also, Medea stands out as the symbolism of early aspects of feminism. And this compares with Creons approach to the social life examined in Antigone. Looking at the two characters it is thus possible to argue there exists another angle of examining them both as being heroes rather than being villains in their respective social standings.

For instance, Creon handled Antigone and rejected the idea of her burying her brother for as a leader he considered doing so would encourage revolt against the ruling class, while on the other hand, Medea stood strong in conviction that being submissive gave her strength to live as a woman. Despite the contrast and the approach employed in both Greek tragedies, the two characters do share diverse but unique similarities (Fagles 154).

Conclusion

In both cases, justice is the core element that has been examined. Looking at the character depicted by Creon we find the crude power generated by greed while Medea reveals the strengths of being a woman despite the social challenges. In such a situation it becomes essential to assert that Creon symbolized evil and that is why he is depicted as a villain. However, he had a soft spot that made him to be a hero.

Work Cited

Fagles, Robert. The Three Theban Plays. New York: Penguin, 1999.

While researching texts about Sophocles Antigone, I found three articles that discussed the historical significance of the story. These articles explored various themes in the story. They explain how Antigones past experiences are still relevant in the present. My goal in this paper is to discuss the historical context of the story with regard to its timeless significance.

To achieve this goal, I have organized my paper into three sections and four subsections. In the first section, I give a brief introduction about Sophocles Antigone. In the second section, I outline three elements that link the story to the present. I explain the reasons that prompt Antigone to defy her king. I discuss Antigones actions with regard to present day societies. I end my paper with a third section which explains the timeless themes that are evident in the story.

Introduction

An understanding of history usually elucidates the present. Antigones story is still relevant in the present. Sophocles writes about a fictional king named Oedipus, who rules the city of Thebes (Anouilh 17).

Oedipus is banished from Thebes because he has inadvertently committed incest (Woodruff 92). He has two sons named Polyneices and Eteocles (Braun 62). He also has a daughter named Antigone (Woodruff 22).

After Oedipus is banished, Eteocles banishes his older brother and claims the throne. Polyneices leaves Thebes with plans to overthrow his sibling (Braun 137). He returns and attacks the city with the help of his newfound military. Polyneices and Eteocles kill each other in the midst of the onslaught (Braun 148). Creon, a despot, is later crowned king of Thebes (Woodruff 160).

Creon decrees that Eteocles will be remembered as a hero while his brother will rot in disgrace (Braun 128). Creon is the antagonist in of the story (Woodruff 14). He is a ruthless leader. He can be described as a dictator. His penalty for disobedience is death. Antigone defies Creon by planning to give Polyneices a proper burial (Braun 142).

War

Sophocles opinions about war are evident when the two brothers kill each other in the story (Woodruff 140). Sophocles believes that in war, there are no victories. When countries go to war, every side expects to have casualties. Lives are lost for the sake of petty squabbles. Antigone is also a casualty of war (Anouilh 134). She loses both of her brothers to a conflict that could have easily been resolved.

Failed State

Oedipus represents a failed state (Woodruff 129). He was the king of Thebes. He failed to meet the standards of his people. He was therefore banished shortly after he blinded himself for the atrocities he had committed. He also ruled his fathers kingdom before discovering that he had committed an act of patricide (Braun 31).

Many political leaders have been destroyed by mistakes that they made in the past. For example, a certain Italian minister was accused o having sex with an underage prostitute. Like Oedipus, his statesmen have lost faith in him. His integrity has been compromised.

Freedom of Expression

One of the political elements evident in the story is freedom of expression. Antigone intends to bury her brother in a dignified manner. Creon represents an oppressive regime (Braun 92). He plans to have her punished because her actions are akin to civil disobedience (Woodruff 152).

Creon justifies his cruelty by regarding Polyneices as an enemy of the state (Braun 147). In the present, Polyneices would be regarded as a traitor and a domestic terrorist. Attacking Thebes may be termed as an act of treason (Woodruff 67). However, his sisters compassion for him is not an act of treason. It is an act of love and honor. Antigone believes in the gods of her people (Anouilh 24). She defies her king because she believes that her actions are justified. She is even willing to die in the name of honor.

Antigone is a symbol of martyrdom (Braun 167). She is willing to die for her beliefs. She believes that she must honor her brother. Creon represents an autocratic government (Woodruff 150). Antigones actions drive Creon mad (Anouilh 45). He accuses Antigones younger sister, Ismene of committing the same offence (Braun 178). Ismene confesses to burying her brother despite the fact that she was not involved (Woodruff 192).

Ismenes selfless actions represent family ties. She is willing to die for her sister. Shortly after her confession, Creon discovers the truth. He orders his men to bury Antigone alive in a cave while sparing her sister (Anouilh 67). Creons subjects notice a change in his behavior. They assume that he is a lunatic. His son, Haemon is appalled by his actions (Braun 90). Antigones simple act of compassion leads to the fall of an empire (Anouilh 78).

Conclusion

Antigone invokes Theban law by stating that Creons actions are dishonorable (Braun 126). Antigones defiance rallies the people of Thebes (Anouilh 97). Some scholars have argued that Antigone represents the feminist movement (Anouilh 142). She is strong and compassionate. She defies an oppressive king. She also inspires the people of Thebes (Woodruff 165). Sophocles story is timeless (Braun 174). It elucidates the present.

Works Cited

Anouilh, Jean. Antigone. Chicago: Illinois, 2004. Print.

Braun, Richard. Antigone: Greek Tragedy in New Translations. New York: New York,
1990. Print.

Woodruff, Paul. Antigone. Los Angeles: California, 2001. Print.

Whether Antigone and Griselda Have Anything in Common

There are numerous things shared commonly by Antigone and Griselda. These have made their compositions to attain prospected objectives. Firstly, these characters were brave enough to defy the aspects of masculine authorities as evident in the Antigones context. It is evident that women can also fight for their rights tirelessly despite the challenges.

Through this, they can posses a considerable place in the society. It is important to agree that several women have portrayed credible characters to fight for the reformations demanded in the concerned societies. This is evident upon comparing Antigone with Griselda in the contexts of their set-ups (Franklin 96).

Both characters endeavor to motivate women with the impression that they can also attain their fair shares in the society. However, they have to go against the odds and change their behavioral trends. Women should not sit back and rest expecting to realize any change. It is their mandate to support each other and fight a consistent battle against the masculine domination in various societies.

This will create the demanded changes prospected earlier. Since both characters are representative of women in various contexts, it is important to agree that they had numerous things in common with respect to how they displayed their concerns. This is a critical provision when considered critically.

Additionally their roles in the society including the chores assumed in this context depicted various similarities in the entire contexts. It is from this concern that the entire commonalities between Antigone and Griselda lie. This is a critical observation when considered perilously. The needs to have equality and considerable roles are conspicuously evident in this context.

This has allowed the entire narrations to possess considerable similarities in various contexts. The outcry demonstrated by both characters is equally similar when considered critically. Each character has massive desire for critical reforms in the lives of women and other characterizing features. This has rendered the entire phenomenon credible.

Having been influenced by the last story of Decameron, there are various similarities noticeable amid the two factions. For example, the inception of Griselda was influenced by the values presented in the stories of Decameron. This is an important provision when scrutinized critically in this context.

Another notable similarity in this context is the aspects of unity and philosophical outlook demonstrated by both characters. It is critical to consider various prospects of this concern in order to unveil the exact commonalities amidst the two factions. This forms the basis of this section of the paper.

What Kind of Women are They?

The kind of women depicted by these characters is evident in various contexts. They strive to exhibit women positively in various perspectives. This is an important observation when considered conspicuously in various contexts. It is from this concern that the entire arguments with regard to this question lie.

Firstly, the women depicted in this context possess theological virtues meant to guide the well-being of humanity within the society. They have established, nurtured, and embraced unity in the society. This is helpful in demonstrating the kind of women presented in these characters.

The aspects of unity and working together within the community constitute one of the virtues advocated by most women. It is important to consider their stands in this context with regard to the viability of their movements. This has constituted the mentioned characters exhibited in them. Additionally, there is a massive concern regarding this phenomenon in various contexts.

Another feature that defines the kind of women demonstrated by these characters is love. They have demonstrated love in various ways. This can be exhibited directly or indirect depending on the situation and the themes depicted by the authors. Evidently, the theme of love is notable in Antigone and Griselda characters as indicated before.

Women have been depicted as loving, caring, and having all sorts of virtues required in the society especially for unity. This constitutes the major argument fronted by these characters and the set-up in which they exist.

Upon comparing the two characters, it is apparent that both exhibit various values that help in defining the kind of women they are and other relevant characteristics. This is crucial in various contexts when considered critically and contextually.

Another considerable aspect defining the kind of women demonstrated in Antigone and Griselda is hope. The women are hopeful that at one point, the world will be better for women and the entire humanity. This is an optimistic provision when considered decisively in the entire context.

It is important to understand the entire context through which these women based their hopes in the concerned scenarios and other relevant provisions. Contextually, it is proper to reflect on various factors relevant in this milieu. This is helpful in unveiling the kind of women presented in these characters with respect to hope.

In fact, they demonstrate that women should not be hopeless but should strive to attain the best both for themselves and for their families. This is quite virtuous especially in the societal context. It is appropriate to demonstrate these characters conventionally in order to emerge with the demanded virtues.

Another aspect evident in this scenario is charity. Both Antigone and Griselda have demonstrated constructive elements of charity and philanthropic concerns in their endeavors (Franklin 96). This is crucial since it has formed the basis of this argument. Precisely, the women demonstrated in this context are virtuous and exhibit exemplary values embraceable within the society.

How They Act under Pressure and in Situations of Danger

The way Antigone and Griselda act under pressure in risky conditions is evident and considerable. Firstly, they consider values in their actions as they strive to solve issues under pressure. This is important in various circumstances. It is crucial to assert that both characters have virtuous tactics to help them maneuver through dangers and other related situations in order to uphold the aspects of dignity and other related concerns.

This has formed the main concern of the entire scenario presented in this situation. It is important to realize the importance of such factors in various situations. The ability to consider such situations as well as other related concerns is important. It is crucial to consider the entire scenarios before rendering them futile and inconsiderable in this context.

This is a vital concern with regard to the mentioned actions. When under pressure, both could reconsider the situation, prioritize issues, and act solemnly with a calmed mind to avoid mishaps. This is important in various contexts. They make considerable literal concerns in vast contexts. It is important to agree that this might help in the concerned situation despite the challenges.

Considering the virtues that characterize such factors is important. The matter relates to various issues demonstrated in this phenomenon. Additionally, they have demonstrated calmness in the situations of danger and other related conditions. This means that such situations in the family should be handled with sobriety and virtuously to avoid further dangers and atrocities.

Obviously, situation of danger require adequate serenity and other related virtues in order to avert the concerned dangers plus characterizing risks. This has contributed to the virtues demonstrated by these women in the realms of sobriety and other related actions. The importance of these considerations is evident in the literal contexts mentioned in this segment.

It is apparent that the mentioned considerations will contribute massively to the actions of Antigone and Griselda in the pressurizing and dangerous situations. This is quite important in various contexts. It is from this concern that the entire arguments and other related factors lie.

Precisely, the two characters have demonstrated calmness, swiftness, sobriety, and deeper understanding when dealing with pressurizing and dangerous situations. These are important considerations especially in this context. They demonstrate the aspects of virtues, values, and other related concerns in the mentioned situations.

What Does each of the Two Authors Focus on in Portraying a Woman of the Time?

The two authors have focused on numerous issues when portraying the women of the time. It is proper to appreciate this literary composition in the way they strive to depict women of the concerned time. One of the factors focused by the authors is character.

It is the character of the concerned women that will help in defining the nature of women involved in the proclaimed time. Both authors have emphasized on the characters of women in various context to demonstrate various provisions that characterize the matter. Evidently, it is through character that the desired revolutions advocated by women will be realized.

In case women change their characters and start thinking differently, they will attain their desires with precisions. Additionally, it is proper for women to demonstrate the aspects of love, unity, and charity within the families. This will act as a considerable example for the coming generations who will eventually adopt the mentioned factors and other relevant concerns.

It is from this concern that the entire contexts lie. Additionally, it is proper to consider various factors related to this issue. Precisely, each of the two authors focused on the characters of women in the realms of values, courage, humility, and other relevant concerns.

This is important in their (women) timely portrayal. Concurrently, it is an appropriate consideration when scrutinized contextually with regard to the women of the concerned time. This is quite proper in various contexts. It is the mandate of the literary authors to demonstrate their concerns with viability.

Another factor that the authors focus on in demonstrating women of the time is their ambition and position in the society. The authors advocate that women should create their own positions in the society despite the challenges.

This will help in realizing the alleged revolutions, equality, unity, charity, and love among other evident virtues in the entire contexts. This is contextually important in various contexts. It is the mandate of the concerned individuals to understand the mentioned life features as indicated before. It is from this context that the entire arguments and other characterizing factors emerge.

Are they Meant to be Portrayals of the Ideal Woman?

Evidently, these characters are meant to portray ideal women that are expected within the society. They portray women who can stand up for their rights and unite their families virtuously in various contexts. It is from this concern that the entire literary prospects lie. Despite the extremities noticed in this context, Antigone and Griselda strive to demonstrate ideal women in the society.

They strive to exhibit unity in the philosophical outlook despite the challenges. It is the mandate of such women to ensure that their fellows follow their footsteps virtuously and contextually as depicted in the literary publications. It is proper to consider such factors in the realms of their viability and appropriateness in varying contexts.

According to their behaviors, it is apparent that the two factions possess characters that demonstrate the virtues of ideal women despite the hiccups. According to their literary compositions, it is explicit that women are expected to assume some roles in the society, which sometimes antagonize their wills in the very society (Larson 40). It is from this consideration that the entire argument bases its inferences.

Nonetheless, the depiction of women is still ideal in this context. It relates massively to the prospected characters demonstrated by the authors. According to the virtues and behaviors demonstrated in them, it is proper to claim that the two characters are meant to be exhibitions of ideal women in various contexts.

This concurs with the earlier arguments on how women are expected to conduct themselves and assume their roles in the society. However, due to revolutions, things have changed considerably as indicated earlier.

Works Cited

Franklin, Margaret. Boccaccios Heroines: Power and Virtue in Renaissance Society. Burlington: Ashgate, 2006. Print.

Larson, Catherine. Latin American Women Dramatists: Theater, Texts, and Theories. Indiana, IN: Indiana University Press, 1998. Print.

Sophocles classical Antigone can be said to be one of the most common tragedies viewed by scholars as a decisive model regarding civil disobedience. The concept of civil disobedience is well illuminated. This is manifested in Antigone who is fighting to bury her deceased brother, and this intention is being rejected by Creon. Exploring the apparent conflict pertaining to the burial of Polyneices I am of the opinion that Antigone had a right to bury her brother. This can be attributed to the fact that despite Creons opinion, Polyneices could never cease to be a brother to Antigone whether dead or alive. More so, it ought to be noted that the vocal hostility between Creon and Antigone only served to sustain their standings on individual convictions in regard to what they perceived as justice.

In essence, the crisis between the two is immediately established in the plays opening. The way Creon paints Polyneices as a traitor and subsequently declares him as a traitor establishes a bruising conflict on the nature of his burial. Though Creon had overwhelming authority to make civil decisions, it was the duty of the community to make the right choices in regard to the decisions flouted. This gave Antigone a broader berth in establishing her argument in favor of burying her brother. Hence, according to ancient Greece traditions, blood relations were of more value than any other social ties. From such a perspective, I do find that Creon had no concrete authority to deny Antigone the right to bury Polyneices. Equally, Creons rigid stance only served to make the situation more volatile.

According to the play I am convinced that Antigone based her argument on the dynamics of higher moral principles greater than the established human laws. Antigone realizes the price she had to pay for her rigid stance, it is evident that the core objective of longing to give her brother a decent burial. This is fuelled by a desire to invoke social justice to all. As the play takes on a greater spectrum Antigones stance can be said to be more justified than is Creon. Consider the fact that Creon is depicted as being a ruthless tyrant while Antigone symbolizes the social plebiscites. Though, the two do not come into close dialogue. Antigone is more civil than Creon, the burial of Polyneices acts as a platform on which the two individuals are mirrored to reflect on the innate social decay.

Hence, I do opt to side with Antigone in that by standing up against the oppressive authority she demonstrates that justice can and will never be defeated. As is illustrated in the play, Antigone is a brave heroine who opted to disobediently engage her superiors for the sake of justice to be realized and to be seen to be affected. This is well testified by the manner Ismene appeals to Creon, indicating that Antigone was a woman who was ready to sacrifice her life for the sake of others.

In contrast, Creon had formulated the bylaws which had compelled Antigone to rebel against the highest authority in the land. The objectives behind the edicts were Creons sole purpose to guard his position. Therefore, my position is to support Antigone, this is due to the fact that she has demonstrated that civil disobedience is essential when faced with challenges from oppressive governance (Fagles 38).

Work cited

Fagles, Robert. The Three Theban Plays. New York: Penguin, 1999.

There are many instances in the novel Antigone that shows the relationship of cause and effect. It is particularly important to recognize such causes and effects for they are simply the highlights of the novel itself. Theses causes and effects are what makes up the novel and without them, the novel will not be worth reading.

First of the most obvious cause and effect is Antigones relationship to her sister Ismene. It should be realized that Antigones physical appearance and female attributes, though should not be taken for granted, is very much different from her sisters. Ismene is more feminine than Antigone. Ismene is regarded as more charming that Antigone. The causes of which is the fact that Antigones beliefs and philosophies are totally different from Ismene or to any other lady in the castle for that matter. She is boyish, more adventurous and would always seek to go beyond her limits and boundaries. The effect is Antigone not having too many male admirers, unlike Ismene. She even tried to seduce her sisters fiancé (Haemon) only to fail because she did not even like what she was doing and also because she could not replace her sisters feminine images in Haemons mind.

Second event where cause and effect was highlighted is when Creon sentenced the execution of Antigone. It should be noted that Creon is Antigones uncle and he is the ruler in the castle. However hard it was for him to give such sentence, he felt he needed to do that because of his commitment to politics and social order. It was very painful for him to sentence Antigones death but he did it anyway. Other members of the family could not understand why it has to be done. They felt that what Creon did was a betrayal of familys trust. Hence, on the day that Antigone was announced dead, other members of the family committed suicide. In short, Creons decision to sentence Antigone to uphold, what he believed was a form of social order, is the ultimate cause of what happened afterwards. Most of the family members committed suicide. The effect is Creon being left alone. He was left with nobody but the guards who do not care a bit towards what had just happened to the family they are serving. Creon has his throne, he thought he was able to maintain social order, but he had no one to share such a feeling of accomplishment. In fact, he did not even feel any triumph, what he did is just to mourn and weep over the loss of his family. He could not erase what he had done and cold not bring the lives that were lost at the expense of his decision.

The above-stated causes and effects happened both at the very beginning and towards the last part of the novel-tragedy. These causes and effect strengthen the story and enable the readers to realize what the real message of the author is. however simple these causes and effects may have been for other readers, it could not be denied that without theses causes and effects, the flow of the story will be totally different.

Introduction

There can be little doubt as to the fact that Sophocles Antigone and Shakespeares Othello are highly emotional dramaturgic pieces: in both tragedies, the motifs of love, treachery, misunderstanding, honor and ones call of duty, actually define the semantic subtleties of a plot. Both plays represent the very best of European dramaturgy, as we know it, which is why we cannot be referring to them as being solely associated with high literary value  the reading of these two masterpieces continue to provide us with the insight on the essence of many political, social and demographic processes, even today. At the same time, it would be appropriate to suggest that in their plays, Sophocles and Shakespeare promote essentially different views on what causes people to choose in favor of wrong course of action, while facing lifes challenges. In its turn, this can be explained by particularities of socio-political reality, associated with time when Sophocles and Shakespeare were working on their tragedies. This paper is aimed at exploring different aspects of this thesis at length.

Main part

The similarities between Antigone and Othello correspond to the structural distinctiveness of tragedies plot. In both dramaturgic works, the characters of Creon and Othello (assumed protagonists) realize that condemning their dear ones to death (Antigone and Desdemona), was a proper thing to do, on their part. In the end, such their decision is being revealed as utterly inappropriate. In both tragedies, the theme of war and patriotism plays a prominent role, with both: Creon and Othello striving to act as statesmen first and as family men later. Initially, Creon and Othello deny the very possibility that they would ever listen to the advise of a woman, only to feel sorry about their apparent sexism, at the end of both plays. Both: Creon and Othello seem to believe in stoic virtues, although in the case with Othello, such his belief turns out to be artificial. Both: Creon and Othello have no doubt as to the fact that they simply cannot be wrong, while reacting to different sets of circumstances, simply because they consider themselves as representing the embodiment of manliness. However, the most obvious similarity between both plays is the fact that Antigone and Othello promote the idea that, within a context of individuals pursuing a relationship with each other, the possibility for such relationship to be affected by a high tragedy always exists. Moreover, they imply that the tragic chain reaction of events, might begin at just any moment of peoples lives.

At the same time, these plays assess the concept of tragedy from different perspectives. Even a brief analysis of conversations that take place between Antigone and Creon, on one hand, and between Othello and Desdemona, on the other, reveal striking difference between Sophocles and Shakespeares outlook on what accounts to a dramatic playwright emanating realistic soundness. Whereas, Creons tragedy derives out of his acute sense of social duty (punishing traitors), Othellos ultimate demise is being shown as resulting out of this characters life being strongly affected by his irrational anxieties (jealousness). While explaining his decision to sentence Antigone to death, Creon reveals it as the result of absolutely rational considerations, on his part: If any one transgresses, and does violence to the laws, or thinks to dictate to his rulers, such an one can win no praise from me& Disobedience is the worst of evils. This it is that ruins cities, this makes homes desolate (Sophocles). He does it for the sake of Thebes citizens  if people were allowed to get away with defying laws and regulations, it will only be the matter of time, before society becomes engulfed by anarchy. Othello, on the other hand, decides to kill Desdemona, simply because he thinks that her indecency has caused a great deal of harm to his good name:

O, I have lost
My reputation! I have lost the immortal part of
Myself, and what remains is bestial (Shakespeare, Act 1, Scene 3).

In other words, it is namely highly irrational impulses, within his psyche, which caused Othello to act like a monster, towards his wife. Shakespeare presents Othello as individual who is simply incapable of relying on his rationale, within a context of pursuing a romantic relationship. By doing it, author had proven himself as a supreme psychologist, well before the emergence of psychology as science. Moreover, he appears to have been well aware of the fact that ones racial affiliation has a strong effect on his or her mode of behavior, well before the rise of genetic biology in 20^th century.

Given the fact that Antigone had gained an immense popularity among the general public in Ancient Greece, during the course of Classical period of its history, and also the fact that Othello had instantly became a hit, after being staged in early 17^th century Britain, we can conclude that motifs, contained in both plays, corresponded rather well to the existential mode of an intended audiences. In Greek cities-polices, citizens used to think of ones allegiance to the concept of common good as representing a foremost social virtue, on his or her part. In Elizabethan Britain, this was no longer the case  the establishment of trade routes with the New World and with the countries of Orient, had resulted in more and more Britons becoming increasingly preoccupied with accumulation of material riches, which was gradually depriving them of their former existential idealism. This explains why the themes of irrational jealousness and unmotivated maliciousness play such a prominent role on Shakespeares masterpiece  author strived to increase tragedys popular appeal by allowing as many people as possible to emotionally relate to the motifs, contained in it.

In Sophocles Antigone, we cannot find characters that would symbolize a metaphysical evilness by the mere fact of their existence: Antigone acts out of love to her brother. Creon acts out of love to the people of Thebes, while proving himself as responsible statesman: For since I have taken her, alone of all the city, in open disobedience, I will not make myself a liar to my people  I will slay her (Sophocles).

Ismene and Haemon act out of love to Antigone. The plays tragic consists in the fact that, while acting in accordance with their highly idealistic beliefs, and while striving to benefit others, as their foremost priority, Antigone main characters still end up causing a great deal of harm to each other. In its turn, this relates to the very essence of Ancient Greek dramaturgy, which tends to portray people as the subjects of fate. This is why in Sophocles tragedies; characters misfortunes appear to have external properties. In his article Rebels with a Cause, Phoebe Pettingell points out to the fact that it is quite impossible to define villains in Antigone: Sophocles text it is unclear which of the two main characters  Antigone or Creon  is the protagonist and which the antagonist. Each has a tragic flaw, both fall victim to their own pride, and both have rational motives for believing themselves to be right (Pettingell 39). The similar thesis could not possibly apply to Shakespeares tragedy, because in it, author clearly defines the perpetrators of evil (Iago and Roderigo), while implying that their maliciousness has an inborn qualities. While plotting against Othello, Iago strives to add his plans for revenge a rational sounding, but he fails, while ultimately exposing himself as being a slave of his animalistic urges and the very agent of evilness:

So will I turn her virtue into pitch,
And out of her own goodness make the net
That shall enmesh them all (Shakespeare, Act 1, Scene 3)

Thus, in Othello Shakespeare describes the rising dramatic tension, within the play, as the result of Iagos irrational desire to take revenge on Othello assuming a rational form, which implies that Othellos life has been rather accidentally then deterministically destroyed. The same can be said about the life of Desdemona  had she managed to convince Othello in her innocence, which could have been easily done, she would not suffer a death by suffocation. Therefore, we can say that the tragedy of Othello derives out of the fact that such tragedy could have been prevented. This significantly differs Shakespeares play from Antigone, which implies that Creon could not possibly act in less stubborn manner, while listening to the advices of Haemon and Teiresias, because then, he would cease to be worthy of his office. Such difference derives out of historical contexts of both plays  Ancient Greeks believed that everything happens for a reason. Their worldview was deeply pantheistic, which is why the majority of citizens in Greek cities-polices used to lead a highly communal lives, while simultaneously acting as soldiers, philosophers, artists, and farmers. For them, the well-being of their community represented the greatest of all ideals.

Conclusion

On the other hand, when Shakespeare was working on Othello, the existential integrity of Western societies has been already significantly undermined. At that time, more and more Europeans were experiencing a spiritual void, while trying to assess the objective essence of surrounding reality and while trying to find practical applications for their inborn sense of existential idealism. We can say that, unlike Ancient Greeks, Europeans in 16^th-17^th centuries knew more then they could possibly understand, which is why they used to refer to Sophocles times as the golden age, with the concept of Renaissance simply signifying the attempt, on the part of prominent Europeans, to regain back ancient cultural, aesthetic, and intellectual ideals. There can be little doubt that Shakespeare had read Sophocles tragedies and that he was able to greatly benefit from it, in literary context of this word. However, being the son of his time, Shakespeare could not possibly instill Othello with the spirit of scientific determinism, as seen in Antigone, simply because in the 16^th-17^th centuries, the empirical science still remained in the state of being freed out of Christianitys spiritual imprisonment, which is why it could not yet serve as metaphysical foundation for people to base their worldviews upon. This, of course, does not imply Shakespeares Othello representing a lesser literary and philosophical value, when compared with Sophocles Antigone. Whereas, Antigone is being focused on defining the effects of peoples sense of rationale affecting their act, Othello explores irrational motifs behind peoples behavior, which makes the reading of this particular play being especially adapted to the realities of modern living, when the very concept of rationality is being often discussed as euro-centric and therefore evil. Despite the apparent differences between two tragedies, analyzed in this paper, it would be absolutely appropriate to suggest that the reading of Antigone and Othello provide us with the better understanding as to what accounts for enduring (structural) qualities of drama, as defined by Gustav Freytag: exposition, rising action, climax (or turning point) and falling action¹. Also, we can say that both plays distinctive characteristic is the fact that they contain a strong element of suspense and that they are marked with a didactic sounding  in other words, Antigone and Othello fit rather well into the concept of Western dramaturgy, as we know it.

Bibliography:

Pettingell, Phoebe Rebels with a Cause. The New Leader. (87) 6 (2004): 37-9.

Sophocles Antigone. [442 B.C.E], 1994. The Internet Classics Archive. Web.

Shakespeare, William Othello, the Moore of Venice. [1603]. 2000. The Complete Works of William Shakespeare. Web.

Footnotes

1. Fiction  the structure of narrative.

Introduction

Antigone by Sophocles is a story about family relations, pride, and death, reason, and passion. The play acquires significance in the development of European consciousness since it reveals the conflict between the individual and the State. This is also a conflict of nature and spirit, where it is difficult to achieve the equilibrium of soul and mind, especially if kin relations are concerned. Antigone shows the danger of uncontrolled emotions that may lead to unpredictable and disastrous consequences. The impossibility to overcome passion is the main thrust of the story since passion generates grief and leads to a family curse.

Two oppositions

The play presents us with two oppositions that encourage both rationalism and emotion. Thus, Antigona, the main heroine of the play, is the embodiment of calmness and purity who tries to keep the norms of morale and to save her brother from disgrace. Despite her family devotion, she despises her sister Ismene who is afraid to break the civil law and bury their brother. Here, we see that passion overcomes reason. Antigone rejects to obey the laws of the government because of the pride and love for his brother Polynices. She desperately believes in the immortal unrecorded laws of God, They are not merely now: they were, and shall be, operative forever, beyond man utterly (Sophocles, 877) When her sister, Ismene refuses to help, she turns her calmness to fury and hatred. She is unwavering in her decision to die the noble death of a warrior. She takes a strict position and follows the laws of God only. When she was imprisoned by Creon her death, on the one hand, was a king of protest against the government. On the other hand, she was subjected to her feeling but not mind that she failed to overcome (Sophocles et al, 8).

The main tragedy of the play

The main tragedy of the play is the curse of Creon who fails to calm down his anger. The Chorus of Theban claims that the veto of burial contradicts the laws of God that are more important than the laws of the State. Creon is torn apart by the meditation since he hesitates whether he should leave the body or bury it with all the rites. However, when he finds out that Antigone tried to bury her brother he rages and loses his mind completely: That girl is guilty of double insolence, breaking the given laws and boasting of it. Who is the man here, she or I, if this crime goes unpunished (Sophocles, 878). The paradox lies here in the fact that human laws are based on passion and pride and, therefore, contradict the religious laws. Creon condemns the divine principles since they are unable to punish the criminals. Further, we read: Reason is Gods crowning gift to man and you are right to warn me against losing mine (Sophocles, 882). This advice was given by Haimon to his father to prevent the death of Antigone and other innocent people. However, blinded with rage Creon breaks his promise. The passion overwhelms and penetrates his mind. The predictions of the prophet come true: Antigona dies together with Haimon.

The State is the King

Being the king of Thebes, Creon generates outlooks on human laws and traditions believing that The State is the King (Sophocles, 884). He is eager to subject everyone to his principles, including his son Haiman and his wife Eurydice. However, his severe reign turns out against him. He promises to kill Antigone, Haimons bellowed, notwithstanding the warning of Gods. Moreover, he regards Antigone as to irrational creature. Instead, he is determined that he is the creator of the rational civil laws that defend the rights of the city.

The other characters of the play are also on the edge of sense and emotion. Being governed by a rigorous kind they were confused with the new laws that do not conform to the natural rules. Nevertheless, the reason is more typical of Chorus presented in the novel. They subconsciously support Gods side and are resented by the reign of Creon who says: And the City proposes to teach me how to rule? (Sophocles, 883). The religious ground of the peoples outlook explains the reason is considered as human characteristics. Therefore, the notions of good and evil are centered on divine principles.

The Nature overcomes the Law

The end of the story is manifested by the victory of passion and emotion over sense and reason. Creon is left alone with his son and wife committing suicide. The awareness that passion has killed his family makes him oppressed. He confesses that the power of nature has won over the power of the State. Still, the passion gains his victory in a way since it has germinated all the evils accomplished by people. It is because of passion the brothers killed each other. Passion opened Pandoras box and triggered the wars between God and humans.

The Curse

The story The Curse by Andre Dubus is considered to be aimed at disclosure the idea of responsibility for ones honor; the author underlined the line between right and wrong and showed that people could not always differentiate between these two concepts. The central figure of the story is Mitchell, whose dynamic character is symbolically presented throughout various events. The book reflects the rape incident witnessed by the protagonist, who, providing no strong help to the girl, felt completely distraught. Dubus raised the problem of reason versus passion through Mitchells experience and sufferings for made decisions.

It is necessary to underline the fact that the story depicts the most important human values; the author showed how life is difficult in the feeling of despair, regret, and internal breakage. Dubus argued that such experience made any person realize, that some things cannot be changed. He did not know what it was like to be very old ? But he assumed it was like this: fatigue beyond relieving by rest, by sleep. (Dubus, 113)

Life under the pressure of guilt is considered to be difficult and filled with suffering; the author demonstrated the idea of how rape witnessing changed the characters perception of the world. The tone and emotions are reflected through Mitchells struggle with what he had made, with the decision he had come to. The reason for undone actions is interwoven with the characters passion and sufferings& The author disclosed sad and complicated destiny which was changed by one unexpected action, an action of mind leaving a print in the form of suffering.

Conclusion

All the stories analyzed managed to underline the concepts of reason and passion experienced in human life. The authors demonstrated the idea, that the eternal conflict of heart and mind, both, within a person and society will never end and will cause many crimes.

Works Cited

Dubus, A. Selected Stories. D.R. Godine, 1988.

Sophocles, Fitts, Dudly, Fitzgerald, Robert. The Antiogone of Sophocles: an English version by Dudley Fitts and Robert Fitzgerald. US: Harcourt, Brace and company, 1939.

Sophocles, Gibbons Reginald, Segal Charles Antiogone. UK: Oxford University Press, 2003.