Category: Antigone

Punishment Oedipus VS Creon in Antigone

Some people might declare that Oedipus was punished worse than Creon. On the other hand, some people might believe that Creon had the worse punishment out of the two. Oedipus’ story started out as him being a prince of Thebes. The city has been struck by a plague, the citizens are dying, and no one knows how to put an end to it. Creon then tells what he has learned from the god Apollo, who said the murderer of Laius, who ruled Thebes before Oedipus. He must be die in order for the plague to end. The blind prophet Tiresias meet with Oedipus who begs him to reveal who Laius’s murderer is. Tiresias does not tell him and responses he knows the murders name but does not wish to tell him.

Oedipus then accuses Tiresias of the murder, Tiresias tells Oedipus that Oedipus himself is the murder. A messenger has come to Thebes to tell Oedipus that his father, Polybus, is dead and Oedipus is to rule. Oedipus is convinced that since Polybus is dead from natural causes, the prophecy that Oedipus will murder his father is false. However, Oedipus still fears the part of the prophecy that said he would sleep with his mother is true, which after all he was and had four children with her. Jocasta is mother/wife is dead, by suicide. He burst through the bedroom door, where he saw Jocasta hanging from a noose. He then took the gold pins that held her robes and, with them, stabbed out his eyes. Crying because he could not bear to see the world now that he had learned the truth. Oedipus now blind and knowing the truth of his past was banished from the city he once ruled. Creon story started off raising his cousin children. Polynices was Oedipus oldest and set to become king but that was no the case. The brothers fought for control of Thebes, they have now died at each other’s hands.

Now that the two sons of Oedipus are death at the hands of each other Creon is now temporary king. Antigone ignores Creon’s recent law that whoever tries to bury or mourn Polynices must be put to death. Knowing they have little power is the situation, Antigone insists that she will bury Polynices, and asks for Ismene’s help. Ismene claims he loved her bother but does not wish to go against the king’s new law and she does not want to risk punishment by death. Antigone rejected Ismene’s arguments, saying that she will only honor and love higher power and only abide by the law and death of the higher power. A sentry comes with a message for the king, he finally reports the scandalous news. Someone has given a proper burial to Polynices’ corpse, and no one knows who has done it. It does not take Ceron long to figure out the Polynices sister had given him a proper burial. Creon condemned Antigone to a horrifying fate: being “buried” alive inside a tomb. He intends to leave her with just enough food and water so that neither him nor the citizens of Thebes will have any of her blood on their hands when dies. Her imprisonment in a tomb symbolizes the fact that her loyalties and feelings lie with the higher power. Her imprisonment is also a symbol of Creon’s lack of judgment and his unfaithfulness of the higher power.

Tiresias points out that Creon committed a horrible sin for “burying” a living human being inside a grave, as he keeps a rotting body in daylight. Creon’s actions against Antigone and against Polynices’ body show him attempting to interfere with the order of nature, defying the gods by asserting his own control over their territories. In other words, being given absolute power will corrupt anyone when they are unfaithful to the higher power. When comparing Oedipus and Creon life and tragedies there experiences are very similar. For instance, Oedipus and Creon wives both killed themselves. They also both had families and one of their children committed suicide. On the other hand, there lives had some significant differences. For example, Oedipus plucked his own eyes out after finding his wife hanging dead above their bed and then Creon exiled Oedipus from Thebes after Oedipus killed Creon’s father and married his mother. Creon took over the throne because Oedipus’ two sons, Eteocles and Polyneices, were too young to become rulers. Sophocles purpose for both stories is to show that what comes around comes back around and that evil people who do cruel things will be punished in the end. After looking at both Oedipus and Creon’s lives, Creon was punished worse than Oedipus because he was king of the throne and was blamed from that events that happen while he was king.

The first thing that occurs before Creon is ever truly king is he has to banish Oedipus from Thebes because the prophecy of murdering his father and incest was proven true. Creon took over the throne because Oedipus’ two sons, Eteocles( youngest son) and Polyneices(oldest son), were too young to become emperors. As time passed, and the two sons reached age, Eteocles claimed the throne for himself and exiled his older brother Polyneices. Polyneices retaliated by gathered a giant army and attacked Eteocles for the throne. Both of the sons died on the battlefield. Creon once again resumed power and declared that Eteocles is to have a proper burial: however, Polyneices’ body was left for the dogs and vultures to eat, as a punishment for disgracing his family and the throne. Antigone, Polyneices’ sister, learned of Creon decision and decided that she must give her brother a proper burial. Antigone goes to her brothers’ guarded body and pours dirt and sand over him, performing the proper burial rights. Creon is infuriated at the disobedience of Antigone has her brought in and she confesses. Antigone tired to explain to Creon that the gods wanted Polyneices to have a proper burial. She also explained that if Polyneices did not have a proper burial that god would come after Creon and punish him. Creon did not care what Antigone had to say even if what she said was true.

After sentencing her to death Creon’s son, Haemon, plead with his father to have Antigone released after all that was his bride-to-be. Creon did not care, maybe because if his son were to marry Antigone he would lose his “power”. Creon then states, that the only one who should be punished is Antigone, so he takes Antigone to a cave outside the city and buried her alive. Soon after Creon buries Antigone alive Teiresias, the blind prophet visits him and warns him that the gods are unhappy for the lack of proper burial of Polyneices and in retaliation the gods shall punish Haemon by death. Creon does not believe him at first but is later reminded that Teiresias has never been wrong. Now worried for his son’s life, Creon performs the proper burial rituals for Polyneices’ body but it is too late in the eyes of the gods. Creon then rushes to free Antigone, but it is too late, she is dead, she hung herself by tearing a piece of the dress and Haemon has killed himself to be with her in the after life. Now a broken man, Creon returns to the kingdom only to learn that his wife, Eurydice, has killed herself after learning about her son’s death.

The reason Creon had a harsher punishment than Oedipus is because Creon is the main reason that everyone is dead. The amount of power Creon had went straight to his head, he did not care what anyone had to say unless they were agreeing with his way of ruling. Clearly all the power came back to bite him; The gods had made up their minds just like Creon had about Antigone trying to bury her brothers body, the gods were not going to change their minds even if Creon was trying to do right. If Creon had just listened to Antigone about having a proper burial for her brother Creon’s family and Antigone would still be alive. Everyone would have been happy including the god. In conclusion, Creon should not have been so quick to judge Antigone for doing the right thing without consider the consequences of doing the wrong thing.

Essay on ‘Antigone’ Conflicts

The idea of conflict between the state and individuals and the theme of civil disobedience remains prevalent throughout society today. Despite ‘Antigone’ and ‘Fahrenheit 451’ being written nearly two thousand years apart, both texts share the same societal issues of conflict between the state and the individual but in different contexts. Both Sophocles and Bradbury are influenced by the political contexts of the period and thus the relationship between moral and religious law in conflict with constitutional law. Bradbury wrote his dystopian novel in the 1950s; a period which just saw atomic bombs dropped in Japan and conflict between the Soviet Union and the United States. This issue of state conflict parallels the overarching threat of nuclear war in the novel set amongst the individual conflict which was suppressed by the state. It is interesting to note the contrast between the unconventional female protagonist, Antigone, and the male protagonist, Montag, and how they are both presented as powerful individuals. It could be argued that here Sophocles challenges gender norms. The tragic play ‘Antigone’ is a compact play that takes place over a day, set within a patriarchal society. It is important to recognize the significant role of tragedies in Ancient Greece during the Festival of Dionysus. During this festival, to demonstrate their appreciation for the Gods, plays, like ‘Antigone’, were performed to them. However, in increasingly secular societies today, where the importance of religious morals has decreased, the Gods have thus decreased in value. This could decrease the relatability in modern-day societies. Despite this in both texts it could be argued that ultimately the state overstepping its duty to society led to this tragedy in ‘Antigone’ and the unrest in society in ‘Fahrenheit 451’ which modern-day readers can resonate with.

In both texts, the state suppresses conflict committed by individuals through punishments and societal norms imposed on individuals, subsequently preventing conflict from developing into wider movements that restrict its influence upon society. In ‘Antigone’ Sophocles emphasizes providing the audience with the ideas of the collective thoughts of the citizens. Critic Professor Edith Hall argues that ‘Haemon voices opinions that are closest to that of Sophocles. He demonstrates the political theory of a close colleague of Sophocles and philosopher, Protagorus, about hominoids. Haemon highlights the collective thoughts about the state suppressing free thought. This can be supported when Haemon states ‘the man in the street-dreads your glance, he’d never say anything displeasing to your face..death?’. Here Haemon alludes to the idea that the citizens choose not to displease the state, in this case, Creon, for fear of the consequences. This idea can be reinforced by the connotations of the verb ‘dreads’ which conveys a reluctance to confront due to fear. Subsequently, this illustrates the state suppressing conflict through projecting norms in society to not confront. Sophocles’ use of prolepsis when Haemon states ‘rage your heart out, rage with friends who can stand the sight of you’ emphasizes the thoughts felt and the conflict of thoughts between the state and individuals. The rise of the democratic system in Athens brought values imposed on citizens to follow. Despite citizens having the freedom to vote and speak as they wished, the laws meant that often people chose to comply for fear of not being buried in the city. This stems from high loyalty to the city and loyalty to the Gods. In contrast to Bradbury’s novel, Sophcles additionally uses the chorus to make it clear to the audience what the citizens collectively think. Critics argue they are the ’embodiment of the city’ as they change their thoughts to reflect the changing opinions of citizens which thus allows the audience to grasp a better understanding of how conflict is brewing as everything can be seen. This is a key trope in Greek Tragedy as it shapes events that take place in the play.

Conversely, in Bradbury’s ‘Fahrenheit 451’ it could be argued that the reader does not learn what the citizens collectively think due to the sole focus on individual conflict such as the key protagonist Montag. Critic Don D’Ammassa argues that Bradbury’s dystopia is not imposed by a ‘small and powerful minority but by a large and thoughtless majority’. Similar to ‘Antigone’, Bradbury shares the same ideas of the state suppressing conflict through imposing a collective conscience enabling the citizens to subconsciously impose the rules of the state. Montag laughed ‘That’s against the law!’ when Clarisse questioned the role of firemen in society. This denial emphasizes how individual conflict against the state is suppressed without confrontation. Bradbury’s plays with conventional ideas of firemen and it is argued that Bradbury’s inspiration for the state’s censorship may have been inspired by censorship enforced under the Nazi government. During the 1930s and 40s the burning of books became a ceremonial affair where all books argued to be under ‘Jewish influence’; in opposition to the Nazi party; promoting ideologies that were against their dictatorship were destroyed and burnt. Arguably this concept of destroying knowledge parallels the heavy censorship in Bradbury’s novel. ‘Fahrenheit 451’ provides a modern form of censorship through the fire service and the media, in particular the television, blinding people to reality. Some individuals, such as Montag, resist censorship and ask ‘Was – was it always like this?’. However, even small thoughts of conflict are suppressed by individuals who represent the state, for example, Captain Beatty states ‘What kind of talk is that?’. Bradbury’s use of italics here emphasizes ‘that’ in the speech. It is important to note that Beatty does not give it a name, alluding to the fact that it should be unspoken of. This concept is reinforced by the use of caesura and repetition of ‘was’ which illustrate the timid nature of his voice. One might argue that the same fear of questioning dominant ideologies is presented here.

Both texts present the state as ignoring moral laws. It could be argued that this lack of understanding of people’s own beliefs is what drove individuals such as Montag and Antigone to resist. In Sophocles ‘Antigone,’ the concept of constitutional law versus divine law is represented through the conflict between the individual and the state. In 508 BC Athens introduced a democratic government to encourage the involvement of citizens in state policies. However, this became difficult when people’s personal relationships and loyalty to the Gods came into conflict with the laws imposed. This conflict can be seen in the interactions between Tiresias and Creon. In Tiresia’s last speech, he argues Creon ‘robbed the gods below the earth, keeping a dead body here in the bright air, unburied, unsung, unhallowed by the rites’. Gods were placed in high importance in Ancient Greece. People-based their actions and thoughts on pleasing the Gods as they thought that the Gods controlled every part of their life. One can argue this is reinforced by the connotations of the verb ‘robbed’ which highlights that it was not his decision to make. Additionally, the alliterative ‘unburied, unsung, unhallowed’ places emphasis on these three words to evoke an emotional response. It may also be argued that this alludes to an idea of Creon enforcing these laws for his gain not to help his citizens, supporting their beliefs.

Individuals defying the state in a movement towards positive change in society are present in both texts. Antigone provides a further example of the conflict between the state’s leader and a citizen. Antigone’s last words are with the Gods as her actions were ‘all for reverence, my reverence for the Gods!’ Here the pronoun of ‘my’ emphasizes the power she has, whilst the repetition of ‘reverence’ centers the idea of respect for the Gods as the root of her decision to conflict. It could be argued that Antigone conflicts with stereotypical expectations of women in a more passive role. Additionally, this could be linked to the traits of a Greek tragic hero. Here Antigone demonstrates the qualities of anagnorisis, when she accepts her fate, and peripeteia, when both the characters and audience are shocked by her unexpected death which highlights both the impact of conflict and the importance of loyalty to the Gods.

Conversely ‘Fahrenheit 451’ is written in the form of a novel, allowing the reader to gain a better understanding of the character’s thoughts and feelings. Furthermore, in contrast to ‘Antigone’, Bradbury focuses on the conflict between moral judgement against constitutional law. In this dystopian society, religion does not influence the decisions of individuals. Fahrenheit 451 was written during post-war society and under the influence of 1950s politics. Society had been subject to dictatorship and the repression of free will, expression, and individual choice. Bradbury uses this concept in his novel where books are not just forbidden but knowledge is fatal, leading to certain individuals conflicting and questioning the state’s views. The state ideology is shown through Captain Beatty who defies all moral laws. Additionally, Beatty shares a similar hubris to Creon. He believes that ‘any man is insane who thinks he can fool the Government’. Here the connotations of the post-modifying adjective ‘insane’ continue this idea imposing the states on the individuals. Additionally, the verb ‘fool’ alludes to the idea that Beatty aims to deter people from conflict. Similar to Creon, he is confident that people will not conflict, however, fails at this.

In both texts, the idea of the state overstepping its duty to society subsequently results in the opposite effect. The idea of control of society is in place to reduce the likelihood of a state of anomie but it could be argued that the state’s obsession with the power of leadership results in increasing the temptation of citizens to rebel for what is morally right. Lacan’s view of ‘Antigone’ is in line with Goethe who argues that ‘the conflict is between a representative of the state, who oversteps his bounds and tries to force even the dead to conform to the norms of civic life’. Creon alludes to this idea when his obsession with power and the conflict that he causes inevitably results in his downfall. Creon argues that being ‘lucky tyrants’ is ‘the perquisites of power!’. This literary trope in tragic plays can be seen in famous plays such as Shakespeare’s ‘Macbeth’ where the protagonist’s obsession with power is what fundamentally leads to his downfall. Citizens question Creon ‘Who on earth can say the ones below don’t find this pure and uncorrupt?’, the adjective ‘uncorrupt’ alludes to the perception that Creon is overstepping his role as leader, it is not for man to judge other men as it is difficult to know what the Gods deem wicked. However, others may argue Creon was born to rule due to the connotations of his name meaning ruler and at the beginning of the play his intentions are for the benefit of both himself and the citizens. Here, it could be argued that Sophocles aims to engage the audience into questioning their values in society and questioning what is morally right and wrong. Throughout the play, there is a constant debate between what is right and wrong, and often Sophocles makes links throughout his plays to the political situation in Athens. In Ancient Greece, theatre and politics had a clear relationship and playwrights would often create work in response to political debates. Some argue that these issues discussed then influenced political decisions made.

In Fahrenheit 451, Bradbury highlights the conflict of one character against the state in particular. This leaves the reader to make inferences about the extent to which our protagonist is morally right or whether the state’s laws are imposed for good reasons. It is interesting to note the comparison between the female protagonist, Antigone, and the male protagonist, Montag, in Fahrenheit 451. In Ancient Greek society, women were controlled by society and their husbands and were conditioned into remaining quiet. Antigone defies these expectations and stereotypes of women. Critic Christiane Sourvinou-Inwood argues that a male audience during the fourth century would have negatively perceived Antigone due to the male-female contact that takes place. Some may argue that Montag had more power than Antigone to conflict due to the authority of the male voice placed in higher regard, therefore making it easier for him. However, both characters, despite challenges, faced up for what they deemed morally right. It could be argued that leaders of both societies are overstepping their role, leading to conflict taking place. In the novel, Beatty states ‘Sit down, Montag. Watch. Light the first page, light the second page. Each becomes a black butterfly. Here this quote alludes to control and abolishment of individuals’ ability to develop. The idea of the state overstepping censorship can be seen through the repetition of imperative verbs ‘Sit down. Watch..light’. Additionally emphasized by the monosyllabic sentence, ‘Watch’, which provides finality and does not allow a response from Montag. One can reinforce this with Bradbury’s use of the oxymoron ‘black butterfly’. The metaphor of ‘butterfly’ evokes connotations of freedom and hope which juxtaposes the connotations of ‘black’ representing the burnt paper and contrasting the beauty of a ‘butterfly’. However, the director of a visual modern adaptation, Ramin Bahrani argues that ‘Fahrenheit 451 serves as a crucial reminder to keep seeking knowledge’. The extreme control of the state is what inevitably leads to the intrigue of books for Montag, and the desire to seek knowledge.

Both Sophocles ‘Antigone’ and Bradbury’s ‘Fahrenheit 451’ highlight the conflict between the individuals and the state and subsequently, the impact this has upon societal norms, the citizens, and the rise in collective movements for change. Despite both plays not being written at the same time they share the same ideas of the conflict between the personal and the private which still takes place in modern-day society. Particularly for ‘Antigone’ this has subsequently enabled the longevity of this play. Modern adaptations have been produced to suit more secular societies but continue the issues raised in the plot. To conclude, the most important link to make is how both texts raise issues that take place in human society and how readers should question their societies and rights for what is morally right.

The Feminist Resilience of Antigone: Gender Norms and Defining Equality

Understanding Feminism in Literature

Feminism is about men and women having equal rights and opportunities. Feminism is the social, economic, and political equality of all genders. In literature, feminism supports the women’s rights movement.

Antigone: A Feminist Icon

The play Antigone by Sophocles is a feminist text because Antigone does not follow the footsteps of the women before her, and she also defines herself not by gender but by her action and words. In the play “Antigone,” Antigone is known as a strong tragic hero in the Play because of her bravery and boldness with masculinity rather than femininity. She rebels against Creon because of her brother. Her heroic action comes from a place showing the strength of the women. She is willing to die not for her place but for her brother’s honor.

Defying Patriarchy: Antigone’s Stand

In the Play, Antigone decides to bury Polynices even though Creon said not to, and if you do, they will get punished by stone death, but Antigone isn’t scared to die and does what she thought was right for everyone and herself. In the Play, Antigone says, “But I will bury him; and if I must die, I say that this crime is holy; I shall lie down with him in death, I shall be as dear to him as he to me.” This quote shows that Antigone stands up against a man for what she believes in. She is directly defying Creon’s wishes and standing up for herself and her brother.

Antigone’s Bold Admission

The Play explains how Antigone is brave and speaks out to Creon by telling him that Every person deserves equality and to be treated fairly. Antigone was caught for disobeying the law and admitted to it. She took responsibility for her actions and showed the men that she could do anything she desired. Antigone was caught by Creon and asked if she really did burry policies, Antigone answered Creon without hesitation, and she didn’t deny that she did.

She was readied for any consequences even though she knew that it was wrong, but she still went and did it and went against Creon’s orders. “… And you, Antigone, You with your head hanging-do you confess this thing… I do. I deny nothing”. This supports show feminism because it shows that Antigone goes against Creon even though it gets her in big trouble, but she still doesn’t deny it. The author’s choice to show feminism and make Creon a feminist character and Antigone going against him shows that the other intention was to show that everyone deserved equal rights and stand up for what they believed in.

References:

1. Sophocles. Antigone.
2. Merriam-Webster. “Feminism.” Merriam-Webster.com Dictionary. Retrieved from: https://www.merriam-webster.com/dictionary/feminism
3. United Nations Women. “Feminism.” UN Women. Retrieved from: https://www.unwomen.org/en/what-we-do/ending-violence-against-women/facts-and-figures
4. Hooks, Bell. Feminism Is for Everybody: Passionate Politics. South End Press, 2000.

Sophocles “Antigone”: The Tragic Consequences of Hubris

Hubris in Greek Tragedies and “Antigone”

In Greek tragedies, hubris is a characteristic that “leads to suffering and then to a catharsis of man’s place in the system of life”. Man always seems to have this belief that they can escape fate or avoid the will of the gods. Throughout the play, Antigone, Creon’s hubris causes him to ignore the advice of Haemon, the Theban Elders, and Tiresias, which ultimately brings about his tragedy.

Creon’s Confrontation with Haemon

Creon’s pride leads him to not take the advice of Haemon and listen to what the people of Thebes want. Haemon attempts to offer his father some wisdom by telling him that “it is no weakness for the wisest man to learn when he is wrong, know when to yield … So, father, pause, and put aside your anger. I think … the next best thing is to be willing to listen to wise advice”. Creon then goes on to mock Haemon and call him a “despicable coward” and says that he has “no more will than a woman,” which causes him to begin alienating his son.

As their conversation unravels, he becomes vehement with Haemon, saying “since when do I take my orders from the people of Thebes?… I am king, and responsible to only myself”. And Haemon responds by telling him that he’d “be an excellent king – on a desert island,” meaning that he only cares about his own opinion and has no loyalty to the state. By letting his pride consume his actions, he loses sight of what the people want and what is best for Thebes.

Warnings from Theban Elders

Not only did his son try to offer him some advice, but so did the Theban Elders. The Chorus warns Creon about not letting his pride get the best of him by singing about others who suffered for their rash choices in the past. They talk of a man who was killed for attempting to kill Danae’s son, a man who was torn apart by his own mother because he mocked Bacchus and a man who was punished for taking advantage of Zeus when he was unable to predict the future.

They also tell him that “roving ambition helps many to man a good, and many it falsely lures to light desires, till trips them unawares, and they fall on the fire that consumes them… evil seems good to who is doomed to suffer, and short is the time before that suffering comes”. They are telling him that he is letting his thirst for power lead him to evil, and that will only end in misery. All in all, the Chorus is trying to tell Creon that the gods punish those who have too much pride, so he should be wary of the choices he makes.

Creon’s Disregard for Divine Prophecy

Creon even turns down the advice of Teiresias, a wise blind prophet who tries to warn Creon of the suffering he is causing by ignoring the will of the gods and the people. Teiresias comes to Creon in good faith, acknowledging that he has “so far steered a steady course” but is now standing “on a razor’s edge”. He then gets defensive and tells Teiresias that he thinks “all prophets seek their own advantage” and then later implies that Teiresias is trying to make money by telling lies when he says, “Nor is my will for sale, sir, in your market”.

The prophet came to Creon to help him avoid anguish, but Creon was too blinded by his own arrogance. He continues to show how self-righteous and superior he feels when he says, “reveal all; but expect no gain from it,” meaning that nothing Teiresias says will change Creon’s mind. By this point in the play, Creon’s pride has interfered so much with his ruling that he thinks he knows better than the prophet and is above the gods.

When Creon did finally accept that he was in the wrong, it was too late. His pride had gotten the best of him for too long, and there wasn’t anything left for Creon to do to revive the situation. Thus, pride can be all-consuming if one is not willing to listen to wisdom. Creon’s pride was the key factor in his tragedy, as he was not willing to listen to Haemon, the Theban Elders, or Teiresias.

References:

1. Greek Drama and Antigone. “Hubris and Catharsis.” Slide 7.
2. Sophocles. Antigone.
3. Foley, Helene P. Female Acts in Greek Tragedy. Princeton University Press, 2001.
4. Knox, Bernard M. W. “Sophocles’ Artistry.” In Word and Action: Essays on the Ancient Theater. Edited by Bernard M. W. Knox. Johns Hopkins University Press, 1979.
5. Nussbaum, Martha C. The Fragility of Goodness: Luck and Ethics in Greek Tragedy and Philosophy. Cambridge University Press, 2001.
6. Segal, Charles. Tragedy and Civilization: An Interpretation of Sophocles. Harvard University Press, 1999.
7. Vernant, Jean-Pierre. Tragedy and Myth in Ancient Greece. Zone Books, 1990.

Conflict in Sophocles’ “Antigone”: Struggling Morality and Defying Authority

Antigone’s Moral Dilemma

Many people would choose to follow what they believe is right regardless of the consequences. Stealing is a crime that is against the laws just about everywhere but would be an option for many people who are struggling. Stealing is legally and ethically wrong, but if your family is starving, it may be morally justified. Sophocles’ Antigone is a Greek play that covers many different themes and connects with different social issues. Antigone is about a woman who stands up for what she believes in and, in doing so, defies the rules that the king has set in place.

Loyalty vs. Law

She has two conflicting problems throughout the play; defending her brother’s honor and doing what the law says to do. The law had stated that anyone that touched Polyneices body would be sentenced to death. During the first part of the play, Antigone is set on giving her brother the burial he deserves, even though Ismene told her to obey the law. Ismene said, “I’m forced, I have no choice—I must obey the ones who stand in power.”

Morality vs. Political Laws

Antigone contradicts political laws to perform acts that are moral to her for the sake of her dead brother, Polyneices. Morality is defined as beliefs pertaining to the differences between right and wrong or good and bad. The rules of morality are not mandatory but are beliefs. Laws are different because they are the rules a country or community makes its people follow in order to maintain society. These may end up contradicting each other with individuals.

Historical Perspective on Moral Conflict

The conflicts between the two laws are still seen thousands of years later. The political law should be made according to morals, and this conflict wouldn’t be an issue. At one point in time, the Nazis ruled over Germany. Nazi Germany had no morality in the laws they had passed. They would discriminate, imprison, and murder people just because of their color, mental disorder, religion, or sexual preference. They made their judgments according to how they felt about certain groups of people and not according to morals and how people act. This meant that one had to have strength in their own belief and go against the discriminatory laws. But many common people followed the laws that were passed out because of the fear of being punished. In Antigone, Ismene is a part of the common people, having a hard time deciding which law to follow.

References:

1. Sophocles. “Antigone.”
2. Merriam-Webster. “Morality.” Merriam-Webster.com Dictionary.
3. Merriam-Webster. “Law.” Merriam-Webster.com Dictionary.

Unveiling the Complex Character of Antigone in Sophocles’ Tragedy

The Legacy of Antigone

Antigone may be a Greek tragedy played by Sophocles. Antigone is the daughter of Oedipus and Iocaste. Antigone features a sister named Ismene and two brothers named Polyneices and Eteocles, who fight and kill one another. It’s in their death the matter arises. Polyneices wasn’t given a correct burial as he returned to assault Thebes after he was driven out of the dominion. And Antigone wanted to offer him a decent burial, breaking the laws of King Creon (Iocaste’s brother).

Antigone’s Devotion and Bravery

Antigone may be a loving sister who is willing to try to do anything for her brother. She is conscious of all the misfortunes that happened to her family. She decides to offer rest to the soul of Polyneices by burying his body, which may be a duty of a loving sister even at the value of losing her life. I shall lie with him in death, and I shall be as dear to him as he is to me. These lines show the depth of affection that she has for her brother. It’s my nature to hitch crazy, maybe a clear proof stated by Antigone herself about her character.

Challenging Authority and Social Norms

Antigone knew what was right and was bold enough to try to do it. She isn’t bothered about the consequence. Giving the dead an honest burial is the right thing to try to do. This is often what the Gods want. Also, she knows the law of the king, yet risks her life to try to do what’s right, albeit the king is against it. Creon isn’t enough to face in my way; these words of Antigone prove her boldness in taking risks and an attitude to face anyone who comes in her way. Antigone knows no fears. She knows she is going against the law, and her sister Ismene threatens her that she will inform others. She isn’t scared of it; on the contrary, she asks her to proclaim that to everyone. Ismene is shocked to listen to it and says you ought to be cold with fear, while Antigone says I’m not scared of the danger which shows her attitude towards fear,

The Enigma of Antigone

Antigone fears God, the sole authority that she abides. Not even the king. It had been not God’s proclamation. That final justice that rules the planet below makes no such laws. These lines stated by Antigone assert that consistent with her, only God deserves to give the ultimate verdict. Antigone isn’t afraid to face alone for the proper. All the citizens of Thebes knew Creon’s verdict was wrong. Still, nobody dared to face him or tell the king about his mistake. She dared. She also addresses him as an Unjustly judge and points out his act ahead of everyone.

Antigone isn’t bothered about her female sex or her gender roles, which are laid by society to curtail her limits. When Creon learns about the burial asks, therefore, the man who dared do this? Not a lady. Ismene also says we are only women; we cannot fight with men, Antigone! Which represents the voices of society. Crossing norms, she did what she desired. Antigone denied nothing when she was accused. She didn’t want to inform lies to flee things, rather faced it.

She wasn’t afraid, not even once we charged her with what she had done. She denied nothing, maybe a certifying statement made by the Sentry that proves her determination. She has never learned to yield, maybe discuss Antigone by the top of the chorus, Choragos on her unyielding attitude. Consistent with her, she has not done anything wrong to be ashamed of. So she didn’t want to simply accept her deed as an error by yielding to them rather than arguing with the king.

Antigone isn’t scared of death and has complete control over her life. She calls death a sleepy death as she considers herself more energetic and powerful than death. When Creon pronounces her death sentence, she ‘simply’ says to Guards, come; allow us to wait not; that shows her eagerness to taste death that she couldn’t await it. She shows her control over her life by killing herself. Being killed by somebody else may be a sort of dependency on Antigone.

She does have a pinch of masculinity in her attitude, but she is so beautiful to the eyes that compared to the mythological character Danae (All Danae’s beauty) by Choragos, whose beauty attracted Zeus and also kept other suitors hooked. This beauty keeps Haimon, son of Creon hooked on Antigone that he even fights against his father; he also kills himself after her death to measure together with her in ‘the house of the Dead’ These constitute the character of Antigone that creates her the protagonist of the play Antigone, by Sophocles.

References:

1. Sophocles. Antigone.
2. Fagles, Robert. Antigone. Penguin Classics, 1984.
3. Segal, Charles. Sophocles’ Tragic World: Divinity, Nature, Society. Harvard University Press, 1995.
4. Knox, Bernard M. W. “The Oedipus Cycle: Myth and Structure.” In The Heroic Temper: Studies in Sophoclean Tragedy. University of California Press, 1979.
5. Pucci, Pietro. Sophocles: The Plays and Fragments, Volume 1: With Critical Notes, Commentary and Translation in English Prose. Walter de Gruyter, 2018.
6. Kitto, H. D. F. Greek Tragedy: A Literary Study. Routledge, 1991.
7. Winnington-Ingram, R. P. Sophocles: An Interpretation. Cambridge University Press, 1980.
8. Belfiore, Elizabeth S. Tragic Pleasures: Aristotle on Plot and Emotion. Princeton University Press, 1992.