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Structure in sophocles' antigone
Justice and morality sophocles antigone
Structure in sophocles' antigone
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In both Greek tragedy and in Herodotus are men who make mistakes through hubris and arrogance. In Herodotus, tyrants such as Xerxes, Cambyses, and Cyrus are driven by a sense of self-obsession and hubris. They have no qualms sacrificing their own people for power. Their only sense of duty is to themselves, and they show this through their despicable actions to others. The life of others is hardly of importance in the game of existence. Tragic heroes also suffer from hubris, but instead of being disposed to violence and bettering their own position, they are often good and just men. Tragic heroes such as Creon and Oedipus both have their fatal flaws, but not to the extent of the tyrants in Herodotus. They each make a terrible mistake that leads …show more content…
Creon, after he learns of his mistake, intends to correct them. “I and my better judgement / have come round to this-I shackled her, / I’ll set her free myself.” (Sophocles, Antigone, 1234-1235). In comparison to Xerxes, Creon intends to “lay my pride bare to the blows of ruin” (1221). Creon’s reaction when he learns of the death of his niece, son and, and wife was one of intense grief: “herald of pain, more words, more grief? / I died once, you killed me again and again” (1414-1415). In these passages, Creon shows a willingness to have a perpeteia, or a reversal in action. Creon thought he had the authority to govern something only the gods could, and he attempted a perpeteia in this course, but ultimately was too late and was in a state of perpetual grief afterward. The people around Creon also sympathize with him: “for mortal men / there is no escape from the doom we must endure” (1457-1458) In this the leader of the chorus is identifying with Creon, in the acknowledgement of hubris and hamartei, a mistake in judgment, in life. However, a tragic heroes’ perpeteia sets them apart from a tyrant, in that the tyrant will continue to be hubris driven, whereas a tragic hero will have a moment of perpeteia and attempt to repent. The tragic hero will repent to prevent grief in his downfall, whereas a tyrant won’t even have a moment of
In Sophocles’ play Antigone, Creon’s hamartia determines his downfall. Creon says,” I know it too, and it perplexes me. To yield is grievous, but the obstinate soul that fights with fate is smitten grievously”(Antigone 1095-1099). Creon’s fight with fate was his true enemy, and he realizes this at the end of the play. What makes Creon truly tragic is the fact that he realizes that his foolish actions caused these disastrous consequences and that they could have been prevented. Those who fight with fate are truly smitten, and unfortunately, Creon was one of these tragic
According to Aristotle, tragedy requires an admirable hero with power and in a high state, but more importantly, he or she possesses a tragic flaw that leads to their downfall. This tragic flaw most closely relates to a character’s hubris, excessive pride in themselves or their judgment. But sometimes a character cannot be categorized as tragic, and one can argue whether or not the tragic character violates the requirements. In Sophocles’ Antigone Creon and Antigone serve as tragic characters in the play; however, Creon’s character exemplifies Aristotle’s theory of tragedy.
In ancient Greek tragedies at least one character has the misfortune of having a tragic flaw. The flaw usually effects the protagonist and leads to his down fall. Normally, the characters close to the protagonist are all affected by his flaw. In Antigone, by Sophocles, Creon's tragic flaw is that he is insecure. Creon's insecurity leads to the death of many people and to his own downfall. At many times, Creon feels that people are directing everything toward him, when of course they are not. Consequently, he takes action to make sure people take him seriously. He hopes his actions will teach people not to walk all over him and his empire. However these actions are not always the right ones.
It is clear that Creon's tragic flaw was his pride, arrogance and beliefs of a leader that cause his downfall. His downfall began when he denied the burial of Polyneices and was firm when he condemned Antigone for her objection to his law. Creon represents the laws of the land and the divine ruler of society. He remains loyal in upholding his laws and trying to overpower the laws of the gods, until the end when he realizes that the divine laws are stronger than his own. His regards for the laws of the city cause him to abandon all other beliefs. He feels that all should obey the rules set forth by him, even if other beliefs, moral or religious, state otherwise. This is proven when he says, "As long as I am King, no traitor is going to be honored with the loyal man. But whoever shows by word and deed that he is on the side of the State-he shall have my respect while he is living and my reverence when he is dead" (40).
One of Creon’s many failures as a statesman is his prideful attitude. For example, Creon believes that gods chose him to lead the kingdom: “But see, the king comes here, /Creon, the son of Menoeceus, /Whom the gods have appointed for us/In our recent change of fortune.” (Par. 122—125).This quote explains how authoritative Creon was when he first became king. Also, Sophocles explains how Creon’s divine rights made him feel superior to everyone else, which made him more insolent. In addition, Creon believes that he is the sole leader of the kingdom: “We’ll have no woman’s law here, while I live.” (Sc 2.444). Sophocles illustrates the dangers of pride in kingship. He emphasizes more on how kings should be reasonable to the citiz...
If Creon is not so narcissistic, he could escape his downfall by listening to Teiresias’s advice. Instead, Creon decides to ignore the warning signs because he feels that the “prophecy is for sale” (v 60) In disregarding Teiresias, Creon forces the Gods to act by punishing him for his wrongdoings. Creon’s punishment is one of much peril that forces him to rethink his views and the views of the Gods. “Fortunate is the man who has never tasted God’s vengeance! Where once the anger of the heavens has struck, the house is shaken forever” (Ode 2 1-3). This is foreshadowing to Creon’s situation and is giving insight that him and his family will be cursed. While he is always one to critique others, Creon can never seem to take his own advice. While talking to Antigone, he criticizes her by saying “and yet you dared defy the law” (ii 56). The irony is very prevalent in this statement because Creon defies the laws of the God’s, which are of much more importance than his own laws. Creon’s arrogance inability to take his own advice leads him to anger the Gods and set himself up for
...lines 1445-1446). Creon just could not take the guilt anymore, knowing that the cause of their death was his fault, all because of his excessive pride. Pride can be portrayed as confidence, it can bring one great success, but it is a deadly emotion that can also take everything away from one when it exaggerates. When it is too late to fix an issue, the only thing left are regrets of what could have been said or done to prevent the obstacles caused.
...e is another corpse before me. Alas for the poor mother, alas for the child” (Sophocles 1302-1307). This shows how mean Creon was; however, he does understand how his mistake was as a result of his own actions.
The hero stands as an archetype of who we should be and who we wish to be. However, the hero has inherent flaws which we do not wish to strive towards. In literature, these flaws are not used as examples of what we should be but rather as examples of what not to be. This is especially dominant in the Greek hero. While the Greek hero follows his fate, making serious mistakes and having a fairly simple life, the Anglo-Saxon "super" hero tries, and may succeed, to change his fate, while dealing with a fairly complex life. The Greek hero is strong and mighty while his wit and intelligence are highly valued. In the Greek tragedy, the hero struggles to avoid many flaws. Among these flaws are ambition, foolishness, stubbornness, and hubris-the excessive component of pride. He must overcome his predestined fate-a task which is impossible. From the beginning of the tale, it is already clear that the hero will ultimately fail with the only way out being death. In Oedipus, the hero is already confronted with a load of information about his family and gouges his eyes out. At this point, when he tries to outwit his fate he has already lost and is sentenced to death.
(Willocks). Creon realizes that he made an irreversible mistake of his own doing. The change from ignorance to enlightenment includes Creon’s realization of his tragic flaw, how it caused his downfall, how his actions have affected the lives of others. These errors in judgment are usually in the presence of a conflict. This is an example of fate and free will. Creon said, “I too know it well and am troubled in soul. It is dire to yield; but by resistance to smite my pride with ruin----this too is a dire choice.” (Sophocles 142). This evokes pity from the audience because they know that Creon thought what he was doing was right but they also know that what he was doing was wrong. This shows how Creon realizes that he made an anagnorisis.
In his Poetics, Aristotle defines the tragic hero as a man of high social status who invites the gods to punish him through overbearing pride and/or presumption – hubris. It would be simple to assign the label of hubristic tragic hero to Victor Frankenstein, but such assignment of a. label would be an oversimplification. The gods in Greek drama punish, albeit harshly, in an. outright manner in the manner. The tragic figure is aware that the gods have forsaken him, and he resigns.
Some may argue that Creon does not fit the mold of a tragic hero. They believe this is so because Creon's punishment is not excessive. Perhaps they think that the death of Creon's family members and loss of his kingdom is well deserved due to his wrongdoings. Although it is true that Creon makes a mistake, he is excessively punished even though he isn't directly at fault. This is illustrated when Creon finds out from the messenger that his wife blames him for the death of her and her son. Creon exclaims, “I am nothing. I have no life./ Lead me away.../ That have killed unwittingly/ My son, my wife./ I know not where I should turn,/ Where look for help./ My hands have done amiss, my head is bowed/ With fate too heavy for me” (Sophocles lines 1119-1126). Creon has to agonize in guilt because he knows he is the reason his family members are no longer living. One can agree that this is extremely unfair because he does not intend to lose everyone that is impo...
Sophocles, following the Greek standard of tragedy, casts Creon as the tragic hero plagued by his own pride, inflexibility and power. Creon believes his authority to be twofold, both as the king and as the head of his family. He claims that the throne is the source of all power, saying ?whoever is chosen to govern should be obeyed ? must be obeyed, in all things, great and small, just and unjust? (Sophocles 217), and he demands the utmost allegiance from his son, bidding him to ?subordinate everything else?to [his] father?s will? (Sophocles 216). Creon is filled with hubris, and he rejects any solution that might compromise his image. For instance, when the guards escort Antigone to the palace, he demands of the Choragos, ?Who is the man...
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.
According to the Aristotelian characteristics of good tragedy, the tragic character should not fall due to either excessive virtue or excessive wickedness, but due to what Aristotle called hamartia. Hamartia may be interpreted as either a flaw in character or an error in judgement. Oedipus, the tragic character in Sophocles’ Oedipus the King, certainly makes several such mistakes; however, the pervasive pattern of his judgemental errors seems to indicate a basic character flaw that precipitates them.