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Antigone as acassical tragedy
Antigone as acassical tragedy
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Creon The Tragic Hero of Sophocles Antigone
Every Greek tragedy must have a tragic hero. In Sophocle’s play, Antigone, the most tragic hero is Creon. He is an essentially good man of high position who takes pride in his role as king. He possesses the tragic flaws of excessive pride and an oversized ego. This causes the tragic reversal that leads to his emotional ruin and eventual remorse and repentance.
As King of Thebes, Creon is forced to make difficult decisions. As a new ruler, he feels it is necessary to prove himself to his citizens, therefore he rules his state with a firm hand. He believes that Polyneices should not be buried because he was a traitor to his country and family. Creon knew this decision would be hard on some people, but did not anticipate how greatly it would affect his niece, Antigone. Because Antigone goes against Creon’s will and law and buries her brother, she forces him into a position where he again has to make a difficult decision. He must choose to kill his own family member and uphold the law, or punish her less severely and show that he was wrong in a previous decision. Creon’s pride does not allow him show leniency toward Antigone, and he arrogantly defends his decision by stating, “ whoever may be the man appointed by the city, that man must be obeyed in everything, little or great, just or unjust” (line 608).
Creon’s arrogance and pride is the tragic flaw that leads to his inevitable downfall. He does not hand down a just sent...
Throughout the story of Antigone, particularly the end, Creon proposes the bad-boy in control personality. He acts as the ruler he is and puts his power to work. He fears nothing unless his family is involved. He has no mercy when it comes to the law. Additionally, he is greatly affected by the environment he creates around himself.
The novel All Quiet On the Western Front by Erich Maria Remarque, the poem, “In Flanders Field,” by John McCrae and the film, Gallipoli, Demonstrates how war makes men feel unimportant and, forces soldiers to make hard decisions that no one should half to make. In war people were forced to fight for their lives. Men were forced to kill one another to get their opinion across to the opposing sides. When men went home to their families they were too scared to say what had happened to them in the war. Many people had a glorified thought about how war is, Soldiers didn't tell them what had truly happened to them.
The Gallipoli campaign was a military disaster but it is still one of the most important conflicts in which Australia was involved. On 25th April 1915 between 4:30 and 6:30 am the Gallipoli Peninsula was invaded by British, Australian and New Zealand forces. This was to start the long, hard weeks in which the troops were fighting for ground that the enemy controlled in Turkey. They were attempting to gain a supply route to Russia to aid them in repelling the German and Turkish soldiers from their country. I will be discussing the willingness of Australians to volunteer for the war effort and the love and respect they had for their Mother Country, England. I will also discuss how the young, naive soldiers arrived at war not knowing what warfare entailed. They were shocked by the conditions and casualties. I will also discuss the bravery that was shown by the ANZACS in the most dangerous conditions. I will conclude with my reasons of why the Gallipoli campaign holds such value and importance in Australian history and ideology.
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.
Ladies and gentlemen of the jury, I am here today to argue the title of tragic hero in the play Antigone by Sophocles. I would like to start off by saying that it will be extremely difficult for me to have the passion that I usually have because of my client. My client's ruthless leadership disgusts me in the worst way. But I will still stand in front of you, the jury, and defend my client. As I said before I am here to argue the title of tragic hero in the play Antigone. I could see that some of you are dazzled by the word "tragic hero". No need to worry for I will enlighten you. The great Aristotle was one of the first men who defined a tragic hero. His definition is not a rule for what tragedy should be, but it is a description of what he believed tragedy was. According to Aristotle a tragic hero must have these qualities to qualify as one. A tragic hero is neither good nor bad. Along with being neutral in his stance, a tragic hero must also be born into royalty. A tragic hero could never be of the common folk. In addition to this a tragic hero must suffer a large fall from good grace. By this he means that a fall that brings him "down to earth". A tragic hero also has some type of flaw. Whether it is a character flaw such as pride and ego or the character must make an error of judgment or a mistake. With the tragic flaw the character must also recognize the flaw that they have made. In other words, they have to be enlightened. The audience is then supposed to feel pity and fear for the tragic hero because of his tumultuous journey. The tragic hero also is supposed to inspire catharsis in the audience.
Sociology is the study of society and the interactions that occur within society itself. There are numerous methods of analyzing societies and the way the function, nonetheless, most methods fall in micro and macro level theories. Micro level theories allow sociologist to study smaller relationships such as individual or compact groups of people. On the other hand, macro level studies permit for larger scale investigations to take place. With both of these theories there are three theoretical perspectives used in sociology. Micro level theories include symbolic interactionism which focuses in interactions done with language and gestures and the means which allow such interactions to take place. Macro level theories include structural functionalism
While studying sociology, it is necessary to develop a sociological imagination. It is helpful to learn the views and perspectives of sociology in order to better understand how social forces, social institutions, and social structures impact someone’s life. By having a better understanding of how these things contribute to our lives, we also have a better understanding of why certain events occur.
In the play Antigone, Creon, king of Thebes faces a harsh conflict with himself, involving the values of family and religion verse the civic responsibility he must maintain for the city of Thebes that comes with being the new king. In theory no decision Creon makes is going to be the rite one. Although both Antigone and Creon have justified reasons for believing in there own laws only one can be upheld by the play and how Sophocles interoperates the play himself. Creon must decide whether to punish Antigone, a princess, daughter of king Oedipus, or fail at enforcing his own law and look weak in front of the citizens of Thebes as their new leader. The law stated that anybody who touched the corpse of Polyneices, a prince, and son of Oedipus would be stoned in the town square.
The Gallipoli campaign was so significant to world war one because it was designed to be the shortcut to end the war. This however failed and instead of bringing victory we saw so countless casualties instead. The number of Australian casualties for the Gallipoli campaign, were a total of 26 111. Consisting of 1007 officers and 25 104 other ranks. Of these, 362 officers and 7 779 men were killed in action, died of horrid wounds or lives taken by to disease. Nine Victoria Crosses were awarded to soldiers in Australian units.
The outcome of this play reaffirms that Creon was in fact wrong. He should not have taken it upon himself to make a law banning a sibling from burying another sibling. It’s not in his jurisdiction to dictate a family funeral. (At least it shouldn’t have been.) He crossed the line by first making the proclamation and then enforcing it. What was the harm in Antigone burying her brother? How was that affecting the city-state? It didn’t. It affected the pride of King Creon. Pride led him into believing what he was doing was right and just.
A hero will always overcome any challenges faced even if the trial is self-inflicted. In Fahrenheit 451, in a dystopian American society, former firefighter, Guy Montag is persecuted by the government when he realizes that they are suppressing knowledge and creating a shallow sense of happiness in the community so he flees and joins a hidden fellowship of advocates for the truth. In A Wizard of Earthsea, Ged, a young wizard goes on a journey to master his powers and along the way, battles his villainous shadow. In the novels Fahrenheit 451 and A Wizard of Earthsea, Bradbury and Le Guin demonstrate the human necessity of choosing peacefulness over malevolence using the symbolism of Montag's rebirth across the river and the personification of Ged’s monstrous shadow and its destruction as the means to redemption and self-acceptance.
And when it comes down to rules anyone can follow their own, but it takes much more effort to realize that someone elses rules are more important than you own: “In the end it is the ancient codes-oh my regrets!-/ that one must keep:/ To value life than one must value the law.” (241). Creon realizes what he did was not going to benefit his rule, and that the rules of the Gods override the laws of any king down on earth. So he must abide by the will of the Gods and listen to what Tiresias told him to do to try to fix these circumstances by releasing Antigone and burying Polyneices. And while realizing what you did was wrong is hard, sometimes changing and learning from those mistakes is even harder: “Then lead me please away,/ A rash weak foolish man,/ A man of sorrows,/ Who killed you, son, so blindly/ And you my wife-so blind./ Where can I look?/ Where hope for help,/ When everything I touch is lost/ And death has leapt upon my life?” (252). Creon see’s that all that has happened is as a result of him and his laws and pride. And he realizes now that in order to grow as a king to benefit the state he needs to not let anything get in the way of his rule to be able to be the best ruler he can be. So that when the time comes and something like this is to happen again, he knows how to deal with
Throughout literary history, tragic heroes have been defined as a great or virtuous character in a dramatic tragedy who is destined for downfall, suffering, or defeat. However, philosophers such as Aristotle tried to find connections between tragic heroes in Greek plays. This in-depth analysis of tragic heroes lead Aristotle to create six criteria for a true tragic hero: He or she has to be a Noble figure of royalty and noble in character, has to be imperfect by design, has a flaw or error that is a choice, is punished excessively for this choice flaw, has to undergo a downfall that leads to a realization, and the story of this tragic hero has to make the audience reach a moment of catharsis or purging of emotions. A prime example of a tragic hero that fits all of these criteria is Creon from the play Antigone, written by Sophocles in 441 BC. The story of Antigone is a tragedy that describes a stubborn and proud king named Creon who refuses to allow a burial for the brother of Antigone. Creon’s excessive pride leads to a series of unfortunate events resulting in the death of Antigone, his son Haemon, and his wife Eurydice. Throughout the course of the play, Creon undergoes each standard that is required by Aristotle’s terms to be a tragic hero.
Gallipoli is a historical film released in 1981 (directed by Peter Weir) which chronicles the lives of two young Australian men, and their journey through enlisting in the Australian Army and serving in the Battle of Gallipoli, of the First World War. The film itself represents the past through three main aspects. Firstly, the film both reflects and influences societal values and attitudes, and in this way mythologises aspects of history, specifically when considering the ‘ANZAC legend’. Simultaneously the film is able to shape societies knowledge of parts of history, looking at the futility of war in conjunction with a partial shift in blame for the immense number of casualties (26,000 Australians) of the campaign. Finally, in the films representation
The Frist Amendment (1791) to the Constitution of the United States (“Congress shall make no law… abridging the freedom of speech, or of the press…”) holds the importance of the freedom of speech and press as one of the most basic rights of US citizens and reporters in the process of upholding a democratic society. Freedom of expression; the ability of people to communicate their feelings and thoughts effectively, without fear of being silenced, is a titanic right the people of the United States possess and is not something that came to them so easily. Neither is the Freedom of the Press; to report on everything that is true, of importance to public knowledge and decision making and reflects on the actions of the government and in effect may hold it responsible in the eyes of the people it serves. Initially however, when British colonists were still in power over the now established region of the United States, censorship (people not being allowed to say what they wanted, particularly in criticism of the Crown or its empowered subjects) was upheld as a right of the crown, a belief necessary to maintaining a controlled empire.