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Short summary of antigone
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Antigone as a heroic and tragic archetype must internally struggle with individuality and morality versus established rule and law and she can be seen as externally fighting between her sister as an outward display of her internal conflict. Antigone then is a unique archetype as a heroine and her power and powerlessness are defining to her as a woman in politics. Her sister, Ismene is portrayed as much weaker and can be said to be metaphorical in that individual morality is weak as compared to established law and Ismene is the personification of morality in a legal-rational world, according to the emerging Hellenistic establishment. Antigone is willing to use her own morals to bury Polyneices, though it is illegal to do so. Ismene is too weak and afraid and illustrates how individual fear and weakness are a problem inherent in human nature. When Antigone disowns her, it could be seen as a metaphor for the need to disown the weaker side of her nature.
This sibling relationship should be further examined, because it has been largely ignored by other scholars and this relationship is rich with literary and political significance. “Most contemporary political theorists… have focused on the fearsome clash between Antigone and Creon. The relationship between Antigone and her weaker, more cautious sister Ismene has not garnered similar attention” (Kirkpatrick, 2001). Though Antigone as a character can be analyzed through the lens of law and political science, her relationship to a weaker sister is more than interesting. As Antigone is willing to use civil disobedience to live by her own morality, the reader must also examine how a weaker and fearful person might not be able to use their own judgment and Ismene is a perfect exam...
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...f study within literary communities on these feminine relationships and that is promising as it is necessary to furthering the whole of Antigone and all it offers to readers.
Works Cited
Englestein, Stefani. “Sibling Logic; or, Antigone Again”. PMLA, Vol. 126, No. 1. 38-54. (2001). JSTOR. Web.
Kirkpatrick, Jennet. “The Prudent Dissident: Unheroic Resistance in Sophocles' Antigone”. The Review of Politics, Vol. 73, No. 3. pp. 401-424. (2001). JSTOR. Web.
****Sophocles. Antigone.
Tiefenbrun, Susan W. “On Civil Disobedience, Jurisprudence, Feminism and the Law in the Antigones of Sophocles and Anouilh”. Cardozo Studies in Law and Literature, Vol. 11, No. 1. 35-51. (1999). JSTOR. Web.
Winterer, Caroline. “Victorian Antigone: Classicism and Women's Education in America, 1840-1900”. American Quarterly, Vol. 53, No. 1. 70-93. (2001). JSTOR. Web.
Antigone’s two contradictory roles, as a sister to Polynices and as a female of Thebes, gives rise to her problem. It can be argued that it is not Antigone that enforced this impact. Antigone not unfairly declares that ruler has no right to keep her distant from her own brother and she was simply satisfying her ordinary responsibility by providing Polynices some resemblance of
Antigone is a young woman whose moral background leads her to go against the wishes of the king to bury her brother, Polyneices. Sophocles uses Antigone as a character who undergoes an irreversible change in judgment and as a result, ends up dying. Antigone is hero, and she stands for honor, and divinity. Because Antigone's parents were Oedipus and Iacaste, she was born into a family of power; something that she could not change. At times, Sophocles leads the reader into thinking Antigone wishes she was not who she was. Ismene, Antigone's sister, refuses to help Antigone because (as she states) "I have no strength to break laws that wer...
Antigone is a powerful character, strong-willed, determined and at times self-righteous. She is contrasted by her sister Ismene, who is weak and powerless. Though Antigone is a powerful character, she has no real political power and is dominated by one man, Creon. Creon is both the ruler of the state as well as the patriarch of her family. Antigone was raised by Creon’s house after her own father went in to exile. Antigone is betrothed to Creon’s son, Haemon, further cementing Creon’s power over her. There is one aspect of life that Antigone does have legitimate power in and that is her family, especially her blood line. In ancient-Greek culture the women’s place was in the home, she was responsible for household things and often wasn’t even allowed to leave the house. It is because of this responsibility that Antigone needed to bury her brother Polynices even though it went against the decree of Creon. Antigone also had the gods on her side. It was an unwritten rule of ancient Greek society that the dead must be buried, otherwise bad things may happen. This rule, because it was unwritten and therefore innate, was protected by the gods, specifically Hades, the god of the underworld and family.
In the awe-inspiring play of Antigone, Sophocles introduces two remarkable characters, Antigone and Creon. A conflict between these two obstinate characters leads to fatal consequences for themselves and their kindred. The firm stances of Creon and Antigone stem from two great imperatives: his loyalty to the state and her dedication to her family, her religion but most of all her conscience. The identity of the tragic hero of this play is still heavily debated. This tragedy could have been prevented if it had not been for Creon's pitiful mistakes.
Sophocles’ Antigone and Euripides’ The Bacchae are indubitably plays of antitheses and conflicts, and this condition is personified in the manifestation of their characters, each completely opposed to the other. Both tragedians reveal tensions between two permanent and irreconcilable moral codes; divine law represented by Antigone and Dionysus and human law represented by Creon and Pentheus. The central purpose is evidently the association of law which has its consent in political authority and the law which has its consent in the private conscience, the association of obligations imposed on human beings as citizens and members of state, and the obligations imposed on them in the home as members of families. Both these laws presenting themselves in their most crucial form are in direct collision. Sophocles and Euripides include a great deal of controversial material, once the reader realizes the inquiries behind their work. Inquiries that pertain to the very fabric of life, that still make up the garments of society today.
After her mother committed suicide, her father died and her brothers fought until they killed each other, Antigone projects her strong character with interesting ways of showing it. As the main character with strong values and a stubborn way, she follows the laws of god, without minding the consequences. Antigone is a strong willed woman who wins the respect of the audience by the inner strength and resistance of manipulation she has, showing the potential of human kind. She becomes a heroine with noble qualities of mind, heart and soul because she is willing to sacrifice her life, doing what she believes it is right. With a sense of family ties, she is an ideal for humanity, the issue is that she must burry her brother Polynices with an appropriate ceremony since she believes it is the last right for every human being.
Although both sisters have lost their brothers, Antigone is the only one who will go against her king to do what she knows is right. When Antigone asks her sister if she will help her bury their brother Polyneices, Ismene responds with, “We are only women; we cannot fight with men, Antigone! The law is strong; we must give into the law…” (Ismene 774). Naturally, Ismene should be afraid for herself, as well for the safety of her sister because what Antigone is asking of her will mostly likely cause them both to be killed. However, she should be braver like Antigone, and realize that she must do what is morally right for their family, and give her brother the proper burial that he deserves. Afterward, when Antigone has already been captured, Ismene then comes forth to try and share the punishment that has been given to Antigone, but Antigone tells King Creon that she has done nothing. In addition, when Creon asks Ismene if she had anything to do with the crime, and Antigone denies it, Ismene then replies, “But now I know what you meant; and I am here to join you, to take my share of punishment” (Ismene 785). Although now Ismene feels like she needs to stand up to the King and do what is right for her
Antigone believes that a woman should be intrepid and strong, even at the risk of challenging men’s authority. When she proposes to bury Polynices, Ismene answers, “we’re not born to contend with men”. (75) Antigone’s response, “that death will be a glory” (86), does not directly address gender issues, but it expresses her fury at Ismene’s passivity. After the burial of Polynices, Antigone defiantly states, “I did it. I don’t deny a thing,” while being interrogated by Creon (492) and later comments that she was “not ashamed for a moment, not to honor my brother”. (572-3) Antigone’s gallant speech and defiance toward traditional gender identities audaciously shows her revolutionary desire for gender equality.
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
The book also has conflict between Antigone and her sister, Ismene. In the opening chapter, Ismene becomes central to this moralistic tale as she stands for all that was expected of women in Greece in 5BC. She alone, in her dialogue shows us, right from the beginning why Antigone is so brave in her decision to bury Polyneices when she says; “Two women on our own faced with a death decree – women, defying Creon? It’s not a woman’s place. We’re weak where they are strong. Whether it’s this or worse, we must do as we’re told.”
The sexist stereotypes presented in this tragedy address many perspectives of men at this time. Creon the arrogant and tyrant leader is, the very character that exemplifies this viewpoint. Antigone's spirit is filled with bravery, passion and fury; which allow her to symbolize the very essence of women. She is strong enough to do what her conscious tells her despite the laws of the land. Many examples in the play prove that Antigone's character is very capable of making her own decisions in the name of justice. First, Antigone opposes Creon's law and buries her slain brother; because in her mind it was immoral not to. She does this because she is compassionate and loves her brother very much. Creon, however, believes that his laws must be upheld and would do anything to prevent any type rebelling. He is even more infuriated when he learns that a woman has broken his laws. He tries to show Antigone who's in charge by sentencing her to a life of imprisonment. Secondly, Antigone shows how determined she is by accepting her consequences with pride. She does not try to hide that she is responsible for breaking Creon's laws, moreover, she takes all the credit. All the while she maintains her strength because she truly believes in her actions. These sorts of actions ultimately prove that Antigone is courageous and willing to stand up to men, which was completely against the norm at this time. Her spirit refuses to submit to the role of a helpless woman like her sister Ismene's character does.
In the play Antigone, by Sophocles, it is greatly apparent just within the first few exchanges between Ismene and Antigone that there are various social issues surrounding the women in ancient Greece. The play raises many gender and socially related issues especially when looking at the contextual background of the playwright and the representation of the women within the play. When the characters of the first scene begin their analog, it is important to note what they are actually saying about each other and what their knowledge of their own social status is. The audience is first introduced to Antigone who we later learn is the antagonist of the play as she rebels against the protagonist, Creon. Her sister, Ismene, is the second character the audience is introduced to, hears of Antigone's plan to bury their brother's body in the first scene. Ismene’s actions and words give the reader the hint that her sister’s behavior is not usual, "so fiery" and "so desperate" are the words used to describe Antigone's frame of mind. At this very early point in the play the reader discovers that Antigone is determined to carry out her mission to bury her beloved brother. However, she is in no position that gives her the rights as a woman, sister, or even future queen to make her own decisions and rebel. Instead, her decision to bury her brother demonstrates her loyalty to her family, the gods, and to all women. Her motivation for those decisions will end up driving her far more than that of what the laws set by Creon have implemented. She shows no fear over disobeying the king and later says about the punishment of death "I will lie with the one I love and loved by him"(Sophocles, 2). Throughout the play the reader can see the viewpoint of an obedient woman, a rebellious woman, and the social norms required for both of them.
The beginning of Antigone quickly sets up the diverging reasoning of our sisters Antigone and Ismene. Ismene’s whole roll in Antigone is to show a view and personality that counters Antigone’s. They also make the reader ask the question, is either sister completely right or wrong? These views range from the law,
Antigone’s own excessive pride drives her to her defeat. Her arrogance and strive for self-importance blinds her to the consequences of her actions. Ismene, Antigone’s sister, rejects to take part in the crime leaving Antigone all on her own. Ismeme declares “why rush to extremes? Its madness, madness” (Sophocles 80). Ismene fails to comprehend the logic behind her siste...
“Do what you believe is right.” This is a phrase common to us all, brought to our attention by parents, reinforced by teachers, and preached by leaders. But how does one define what is right? Is it what we believe in our hearts, or is it what we know is acceptable? This is a predominant dilemma that can be traced throughout society, and is the main focal point of Sophocles’ play Antigone. Written in 441 B.C., Antigone is one of the earliest records of the conflict between Natural law and Positive law. Sophocles deftly exposes these two philosophical standpoints and their respective moral and political aspects by way of the two main characters, Antgone and Kreon. Antigone is a champion of Natural law, while Kreon practices the Positivist approach. Both characters deem their behavior superior towards the other, and both assume religious justification for their actions. Sophocles ultimately proves that with so much support for each philosophical standpoint, a solution to the dilemma is hardly in sight.