In 441 BCE, the play Antigone by the Greek playwright Sophocles was performed for the first time at the annual Festival of Dionysus. Antigone was the third in a trilogy, though the other two had yet to be written when it was first performed. By the time the play starts, Thebes is in shambles, having gone through several kings and many tragedies in a few short years. When Disney’s 1998 CE movie Mulan begins, a new order has been sent out from the emperor, drafting soldiers for the war effort. The main characters, and the namesakes of both works, are forced to make a decision by the rulers of their respective nations. This choice defies gender roles at the time and has repercussions for the character and their country. Though they span well over …show more content…
Ismene tries to convince her sister that it isn’t in her nature to fight in this way, and that she should conform to the expectations of Greece at this time. The people in both Mulan’s and Antigone’s lives try to convince them that they should adhere to the roles they have been assigned, however, both decide to subvert these expectations. While both characters make similar choices in the end, they take different paths on their way to the conclusion. In the movie, Mulan takes her father’s place as a soldier and joins China’s military to fight the Huns. This isn’t an easy decision for her, and she sings “Reflection” as she struggles to decide what is best for her and her family. She sings, “I will never pass for a perfect bride, or a perfect daughter” (0:45). She doesn’t feel that she can meet these lofty expectations set for her by her family and China. This helps her decide to take on a more traditional male role in her family and go off to fight in the war. Conversely, Antigone seems to have no trouble breaking those stereotypes of her gender. In the play, she decides to give her brother, Polyneices, a proper burial, despite the King’s edict against
Antigone and Ismene, although sisters, are almost opposites. While Antigone is bold, proud, and stubborn, Ismene is timid, obedient, and scared. She warns Antigone that
Compare and contrast the part that the city or state (polis) plays in Antigone and Oedipus The King.
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
She reminds Antigone that they are the only family members left and pleads with her not to commit such a crime, but Antigone refuses to accept the logic in her sister’s argument and will not be swayed, even though the idea of her death clearly upsets her sister. Ismene later has a change of heart and wishes to die alongside her sister in order to honor the dead as well, she even confesses to Creon, but Antigone rejects her idea of being a martyr, saying that her own death “will suffice” (Sophocles 136). Ismene then imagines life without her sister. The idea of losing the only kin she has left on Earth terrifies Ismene. She pleads to Antigone, “what life is dear to me bereft of you?” (Sophocles 136). Ismene would rather die than live without Antigone. In deciding to give her life for her brother, Antigone neglects her sister, and acts selfishly. She therefore should not have signed herself over to death as it has severely negative effects on her only living
Ismene believes that women are “underlings” (76) and not “contend[ing] with men” (76) because she knows that men will always control society. This viewpoint of men’s domination of women depicts Ismene to be submissive to males while being fearful of men’s authority. Ismene is unable to have control over her destiny and decisions because she is fearful of men’s power over women, which leads to her refusing to bury Polynices. Later in the play, Ismene questions Creon’s judgment by saying “you’d kill your own son’s bride?” (641) which indicates that she is now aware that woman should have a voice and power in society. Her new understanding of Antigone’s message gives her the strength to query Creon, while additionally highlighting his cruelty. Ismene’s original belief of “submit[ing] to this” (77) and being a proper Greek girl, eventually transforms into becoming an advocate for Antigone. Her transformation defies men’s authority, the opposite of what she used to believe in.
Antigone was a selfless person with pride as a strong characteristic of her personality. She possibly had feelings of loneliness and anger from the way society has looked upon her family from their past. It took a strong willed person who has no fear of the repercussions to stand up to a king as she did. To make everything all the worst she stood up to a king who was her Uncle and she being a female back in those time, standing up and speaking out for herself was not heard of.
The tragedies of Antigone and Othello were written with great depth and are structured in such a way that both characters are victims, in spite of their crimes. Antigone and Othello are tragedy plays created by using many techniques to create the feelings of fear and pity. There are differences and similarities in characters, action, and themes between Antigone and Othello.
In one of the opening scenes, the fluctuating emotions of the heated dialogue between Ismene and Antigone takes place. The two sisters take turns evoking passion and subjectiveness on their role as people in this world, but more specifically as civilians of Greece. Antigone has the mentality that she owes her duty of being an obedient family member (Johnson 370). Likewise, Ismene fears for her sister’s life and tries to persuade her that her allegiance may lay too strongly in the wrong place. Both women ultimately value family, however, they are split between whom they are most considerate to and immediately cause the audience to take sides.
Ismene is a coward and refuses to help her sister because she feared men. This fear propels her to turn her head to the disrespect that is been shown to her brother, Polyneices. Her character is a close representation of the viewpoints of the male gender regarding women. She is subordinate and weak-willed. She refuses to stand up to Creon even though in her heart she knows that his laws are morally wrong.
Both Sophocles and Jean Anouilh use the simple story-line of a girl defying her uncle and king in the face of death to reflect upon the events and attitudes of their days. Sophocles' Antigone models the classical pattern of tragedy by incorporating key elements such as a tragic hero with a fatal flaw and the Man-God-Society triangle. Creon is the tragic hero who disturbs the natural harmony of Thebes by denying Polyneices a funeral. Antigone is the catalyst who forces him to reckon with the consequences of his pride and arrogance. In the twentieth century, Jean Anouilh takes Sophocles' drama, strips it down to its core, and weaves an entirely different version of the story. Anouilh redefines "tragedy" by removing the conventional tragic hero, the Man-God-Society triangle and the black-and-white distinctions within the story. He creates a heroine with human faults and emotions, whom society can both embrace and emulate, in order to criticize the Vichy collaboration with Nazi Germany during WWII.
Tragedy of Antigone The play “Antigone” by Sophocles displays many qualities that make it a great tragedy. A tragedy is defined as a dramatic or literary work in which the principal character engages in a morally significant struggle ending in ruin or profound disappointment. In creating his tragedy “Antigone”, Sophocles uses many techniques to create the feelings of fear and pity in his readers. This, in turn, creates an excellent tragedy.
In the tales of Homer's Odyssey and Sophocles Antigone, the recurring themes of duty and fate play significant roles in guiding the journeys of the main characters. This essay will aim to compare quotes from these works to highlight the subtle differences in how duty and fate shape the experiences of Odysseus and Antigone. By exploring their reactions to influences and their choices to accept or challenge predetermined destinies, we can observe how mortal individuals navigate their futures amidst cosmic forces. Additionally, this analysis will reveal the importance of duty, as well as fate, as motivations behind the characters' decisions and the ethical dilemmas they confront. When looking at the passages from Homer's Odyssey and Sophocles'
In meeting Ismene, the reader is introduced to a wiser and obedient woman in terms of her understanding where she stands socially and realizing the consequences of rebellious actions. Ismene, throughout the play, serves as a tool by helping Antigone to become more resolute in her actions. Ismene has suffered just as much as Antigone, "no joy or pain has come my way" (16) Ismene says. Yet although she concedes that the sisters "were robbed of our two brothers" (17), she still accepts the will of the King "I must obey the ones who stand in power"(18).
When Antigone comes to her sister for assistance in burying their brother’s body, Ismene refuses. While this may be seen as an example of her cowardly, docile nature, such as how the line “You ought to realize we are only women” (61) is often interpreted, it shows that Ismene was aware of where she stood in Theban society. It is common knowledge that Ancient Greece was a patriarchy, with women holding little to no political power. Even beyond the fact that she and Antigone are women living in a male-dominated society, Ismene recognizes how low their family has fallen, with herself and Antigone being the children of a kin-slayer and his wife. A reasonable person in Ismene’s situation would most likely have acted in a similar manner, as it would be far too great of a risk to defy Creon. Ismene was simply aware that no one would come to the aid of Oedipus’s daughters when they faced “the edict of death”
Brad Moore, a famous athlete once said, “Pride would be a lot easier to swallow if it didn’t taste so bad.” In Sophocles’ well known Greek tragedy, Antigone, the main character undergoes immense character development. Antigone transforms from being stubborn and underestimated to courageous and open-minded. In reality, it is Antigone’s insular persistence that leads to her ultimate decline in the play as well as others around her. After the death of her two brothers, Eteocles and Polynices, Creon becomes the new ruler of Thebes. With this, he grants Eteocles an honorable funeral service for his brave fighting. Claiming that Polynices was a traitor, he shows complete refusal to grant Polynices a respectable and worthy service. Clearly disagreeing with Creon’s inexcusable demands, Antigone declares she will bury Polynices herself so that his soul can be at peace. Entirely aware of the consequences and dangers of this action, which include death, she goes forward vowing her love for her family. Antigone shows strength and determination towards her brother. However, her growing sense of pride leads to her downfall as she sacrifices everything for her family. Antigone develops into an admirable character in which she portrays her defiance and courage, pride and open mindedness, and sense of moral righteousness to show vital character growth as the play progresses.