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How are fate and free will alike
How are fate and free will alike
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“When I looked around, I saw and heard of none like me. Was I then a monster, a blot upon the earth, from which all men fled, and whom all men disowned?” (Shelley, Frankenstein 109). In Frankenstein, the Monster receives a life in which he cannot control the outcome, even though he tries to. While the Monster deals with fate, Antigone in Antigone exhibits full use of her free will. The two characters possess free will and both of them can claim victim to fate. However, the Monster has more of a right to make the plea of destiny while Antigone should own up to her deliberate actions. The Monster’s denial of acceptance by both his creator and society as well as his responding acts of violence can claim to exist as results of fate while Antigone’s actions exhibit free will from her decisions to break the law and act upon her pride.
There exist more similarities between Frankenstein and Antigone than just fate and free will. Antigone and the Monster both value the importance of family and how people influence an individual’s actions and character formation. Antigone’s sole motive revolves around honoring her brother, no matter the consequences. Antigone believes that she must fulfill the duty to honor her brother, and cannot understand why Creon follows a law against honoring his own family. Creon and Antigone become adversaries to one another as they have different ideas on how to handle the death of Polyneices. In Sophocles and the Language of Tragedy, author Simon Goldhill states, “The central question which joins and separates Creon and Antigone is whether the shared blood of the family outweighs the hostile intent of a brother towards the political community” (31). Antigone reacts to how Cre...
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Antigone expresses her use of free will when she decides to disobey Creon and let her pride control her while the Monster is fated to receive rejection by both his creator and the societal world. While these two characters both had the opportunity to choose correctly and make life a positive place, neither of them ended up doing so. However, the reasons behind the endings are different. Antigone and her goals led her to make the decision to disobey and die, as many others died around her as results of her decisions. The Monster, on the other hand, did not have much of an option on how people would react to his presence and appearance. Both Antigone and the Monster had good intentions, but these intentions did not always play out. Antigone says, “I was born to join in love, not hate - that is my nature” (Rudall 28).
Antigone remains a static character at stage five throughout the story. Faced with people who do not agree with her decision, Antigone stands tall with what is morally right to her. Kohlberg’s Theory is not only universal but also helps readers understand a character morally. Choosing whether or not to bury her brother, Polyneices, or to follow the law given by Creon, does not derail her moral
Victor Frankenstein may be the leading character in Mary Shelley's Frankenstein, but a hero he is not. He is self-centered and loveless, and there is nothing heroic about him. There is a scene in Chapter twenty-four where Captain Walton is confronted by his crew to turn southwards and return home should the ice break apart and allow them the way. Frankenstein rouses himself and finds the strength to argue to the Captain that they should continue northwards, or suffer returning home "with the stigma of disgrace marked on your brows." He quite obviously has alterior motives and if he were not the eloquent, manipulative creature he so egotistically accuses his creature of being, he might not have moved the Captain and the men so much that they are blind to the true source of his passion. Unfortunately for Frankenstein, the crew, (however "moved") stand firm in their position. Yet the things he says in his motivational speech are prime examples of the extent to which Frankenstein is blind to his own faults and yet will jump at the chance to harangue others. He is so self-centered that his lack of interaction and love for others after his experiment has been completed, would barely qualify him as a person, if the difference between being human and being a person lies in the ability to have relationships with others.
The character must decide whether or not to allow the employee’s cousin to work in their restaurant. The cousin must provide for his family through the cold winter or they will become homeless. The character also knows that the law requires him to check the citizenship of all employees and forbids him to hire anyone who is in the country illegally.
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.
1. He came like a protecting spirit to the poor girl who committed herself to his care.
Antigone, as a character, is extremely strong-willed and loyal to her faith. Creon is similarly loyal, but rather to his homeland, the city of Thebes, instead of the gods. Both characters are dedicated to a fault, a certain stubbornness that effectively blinds them from the repercussions of their actions. Preceding the story, Antigone has been left to deal with the burden of her parents’ and both her brothers’ deaths. Merely a young child, intense grief is to be expected; however, Antigone’s emotional state is portrayed as frivolous when it leads her to directly disobey Creon’s orders. She buries her brother Polynices because of her obedience to family and to the gods, claiming to follow “the gods’ unfailing, unwritten laws” (Sophocles 456-457). CONTINUE
... For Antigone, “if [she] dared to leave the dead man, [her] mother’s son, dead and unburied, that would have been [the] real pain,” not death (510-512). Her desire to free the spirit of her brother so that it can be at peace explains the true reason of her rebellious nature.
In conclusion, the gods and the love of her family rule Antigone’s life. Creon’s life is ruled by what he thinks is good for his country and pride. Creon did not change his mind to free Antigone until a prophet told him he would suffer horribly for his actions. However, because Creon was so stubborn for so long and did not take heed to anyone’s advice sooner, he ultimately suffers in the end, as does everyone else in the play. This was all due to a man’s lack of good judgment, his selfish pride and his stubbornness.
This play is ultimately concerned with one person defying another person and paying the price. Antigone went against the law of the land, set by the newly crowned King Creon. Antigone was passionate about doing right by her brother and burying him according to her religious beliefs even though Creon deemed him a traitor and ordered him to be left for the animals to devour. Creon was passionate about being king and making his mark from his new throne. Although they differed in their views, the passion Creon and Antigone shared for those opinions was the same, they were equally passionate about their opposing views. Creon would have found it very difficult to see that he had anything in common with Antigone however as he appears to be in conflict with everyone, in his mind he has to stand alone in his views in order to set himself apart as king. Before he took to the throne Creon took advice from the prophet Tiresias who had so often had been his spiritual and moral compass, and yet in this matter concerning Antigone he will take advice from no one, not from the elders of Thebes, or even his own son Haemon.
In gothic novels tragic figures are symbols of pain to the characters. Victor Frankenstein brings misfortune to his loved ones, which concludes to his overall tragedy. Ironically the monster in this novel is Frankenstein the creator not the creature. He has seven victims including himself and his fall is due to his ambition to be superior.
While there are many similarities between the two character’s Lady Macbeth and Antigone, the morals of each of these characters are very different. Antigone, as shown in her actions, wants to do what is right, and has very good morals. She says quotes like “But I am doing only what I must”, and “but if I had left my brother lying in death unburied, I should have suffered. Now I do not.”, showing the readers that her actions have a purpose, and that they come from the heart. Antigone shows throughout the play that she is always thinking that she must do what is best for other’s and not just herself. She is willing to do what is needed to follow the law of the gods, even if it is breaking the...
As a response to the Enlightenment movement in 18th century Europe, Romanticism gradually began to undermine the way people thought about human consciousness and nature itself. Appreciation of the natural beauty of the world and pure, human emotion bloomed in Europe as Romanticism’s influence grew ("Topic Page: Romanticism”). Romantics valued Individualism and thought that being close to nature would make them closer to God (Morner and Rausch). People also searched for solace in nature to overcome the adversities and cynicisms that followed the French Revolution ("French Revolution."). Romanticism and Romantic ideals influenced Mary Shelley, and that influence can be seen throughout her novel Frankenstein. The two main characters, Victor Frankenstein
Gender inequality will always affect the way women are portrayed in society, the weaker, unnecessary, and other sex. It is not just a subject of the past, but still holds a name in society, however in the olden eras the way women were treated and are looked at, in a much more harsh condition. In Shakespeare’s Othello and Shelley’s Frankenstein women’s roles in the books are solely based on the way they are treated in their time period. The way women are portrayed in these books, demonstrate that they can never be in the same standing as men, considered the second option, and therefore will never have the same respect as men. In both Othello and Frankenstein women are treated as property, used to better men’s social standards, and lack a voice,
In Sophocles’ Antigone, Creon and Antigone, through their free-willed actions establish their own unavoidable fate. By striving to rule in fairness of judgment, Creon defies the laws guiding the burial of the dead when he declares death to anyone who dared to bury Polynices (Lines 25-43). On the other hand, Antigone, with respect to the laws of the gods, and family honor, defies Creon’s orders and buries her brother Polynices (lines 451-492). In this context, we see that both characters are aware of the consequences of their actions: Creon, with knowledge of how the gods doomed Oedipus’ due to defiance, and Antigone Knowing the price that came with laying her brother to rest. Regardless of knowing these consequences, both characters exercised their desires of free-will, and for that, they paid the price of a tragic hero with Antigone’s death, and the death of Creon’s son. Again, just as in Oedipus Rex, we witness fate being the results of free will, but this time around we also see fate as an outcome generally accepted by the characters when they choose free will in opposition to abiding to the
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...