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Critical comments on shakespeare's king Lear
Theme of power in king lear essay
Sophocles essay antigone
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Recommended: Critical comments on shakespeare's king Lear
Leader
In the beginning lines of Sophocles’s Antigone, Antigone pulls her sister outside the gates “where no one else can hear” when she declares that she will defy Kreon’s orders to not bury Polyneikes (l. 25). She illustrates an innate knowledge of the power that her words carry and the danger that is inherent in the possibility of her bold statements being overheard or repeated. Similarly, in Shakespeare’s King Lear, Cordelia expresses a similar knowledge when her father, King Lear, asks her to profess her love and she refuses because she loves him “according to [her] bond, no more nor less” (1.1.102). Cordelia responds to Lear with silence because she understands that the spoken word carries power, which can significantly influence the
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listener. However, both Antigone and Cordelia meet a tragic fate because the spoken word includes an interaction between the speaker and the listener and therefore, the listener can reject the speakers influence by ignoring their words. Tonight, the characters of Antigone and King Lear have manifested on stage to show us how the influence of the spoken word is dependent upon the interaction between the speaker and the listener and their relative positions within society. In addition, despite the differences in power or position in society, the responsibility to objectively evaluate the morals of what is being said lies with both the speaker and the listener. Scene One (Curtain rises to Antigone, Kreon, Cordelia, and King Lear sitting together in silence) Cordelia Silence is powerful, but so are the words that fill it. We use our voices to express that which is important to us, in hopes that it will influence the people who hear them. Often, it does, and those who hold positions that allow their opinion to reach a wider audience, have more influence and therefore, their words are more powerful than others. Antigone But not if we ignore them! Kreon told everyone to not bury Polyneikes, but I denied him because he was “a mere man” who did not “have the force to trample on the gods’ unwritten and infallible laws” (ll. 490-491). All citizens of Thebes know the gods’ laws and therefore, the gods gain their power from a collective voice, a power which Kreon’s can never compare to. Kreon But Antigone you forget that you died for your insolence! You may have personally denied the power of my words as a man in comparison to those of the gods, but I had also “taken power and assumed the throne” and therefore, I was not just a man (ll. 205-206). By using spoken word, to declare myself king, I gave myself the power to create laws that influenced the whole kingdom and as such, my voice became stronger than anyone else’s within the kingdom of Thebes. King Lear Ahh! Kreon you always go off about your position as King and creating laws! You must meet my Fool! He will lighten your spirits!” Cordelia Father, you were a king too.
Remember? How else would you have single handedly “divided/In three our kingdom…To shake all cares and business from [your age]” without having a power similar to Kreon (1.1. 39-42)? You may not have called your words edicts as Kreon does, but you speak and a thousand must follow. Your words divided a kingdom, much like the way Kreon’s words created laws for one. You and Kreon, illustrate the power of the spoken word when originating from a leader, whose voice reaches many listeners with little effort.
King Lear
Oh yes…I do forget myself sometimes...
Leader
Don’t worry about it King Lear! It happens to the best of us. Anyway, the concept that the power of the spoken word can be dependent on ones’ orientation within society is very compelling when talking to two kings. I definitely see how the power of the spoken word can be a significant tool to leaders, whose voices reach many people quickly and authoritatively.
Scene 2
Leader
Since we have been talking about the power of the spoken word and how leaders in particular, gain significant influence because of the number of people they can reach at one time, do you all believe that those with more power then have more responsibility to be aware of the implications of their
words? Kreon Well, I believe that having the leaders shoulder all the responsibility is unfair because “there’s nothing worse than a man, while he’s running a city, who fails to act on sound advice—but fears something so much his mouth clamps shut” (ll. 210-213). Therefore, one cannot concern themselves with the power of their words that they refuse to say anything at all. I may have made a mistake in the way that I handled things with Antigone, but it was my responsibility to take the course of action that I saw as best for the citizens of Thebes. Also, there were many people around me who could have said something! Antigone Kreon, you forget that “To please you” the citizens “bite their tongues” (l. 550)! Your rule intimidated them and the threat of a leader who did not know the power of his words silenced their opinions. Kreon How is it my fault if they say nothing? I obviously said earlier that I believed in acting on the advice of others. Antigone But you also threatened the guard who initially told you about the news of Polyneikes being buried. You swore that it was your “solemn oath: if [he didn’t] find the man who carried out this burial and drag him before [you], a quick trip to Hades [wouldn’t] be [his] fate” (ll. 336-339). Not only did you scare the guard, but you illustrated to the people of Thebes through your oath that you were not willing to take any potential mistake back. You staked your honor on that oath and so defying you also meant insulting you. No one spoke up because they did not want to risk hurting the pride of a king. The fact that you did not notice shows that you do not comprehend the true power a leader carries. Cordelia Antigone it is very interesting that you made that connection because I remember Lear saying something similar to Kent before he banished him. He told him, “That thou hast sought to make us break our vows—/which we durst never yet—and with strained pride/To come betwixt our sentence and our power,/which nor our nature nor our place can bear” (1.1.193-195). Similar to Kreon’s oath, my father references his “vows” and therefore, indicates that he has tied his pride to his decisions, which prevents him from being flexible in his rule. My father did not understand the power that he held or the implications of dividing his kingdom, which resulted in his downfall. Further, I think that his example emphasizes the importance of knowing the power your words. When my father asked me to illustrate my love I could only reply with “nothing, my lord” because what one expresses in spoken word is important and carries weight. You must be aware of that weight or those who hear you will become mislead. Scene Three Leader Cordelia, earlier you said that the spoken word can be misleading to the collective that follows the speaker however, wouldn’t you say that those who listen also have a responsibility to evaluate what is being said objectively? In addition to the responsibility to speak up when they disagree? Cordelia I’m not sure because even though I did find it admirable when Kent vowed to Lear that “whilst [he] can vent clamor from [his] throat,/[he’ll] tell thee thou dost evil,” he was still banished from the kingdom (1.1 189-190). His opinions came with consequences and ultimately, he failed to influence Lear. Kreon I agree with Cordelia. Before I thought that it was unfair to shoulder the responsibility solely on the leaders, but as I illustrated with Antigone, those who speak out endanger themselves to the pride of the leader. In the end, “there’s no one I can blame, no other mortal. I am the only one” (ll. 1472-1474). Antigone Kreon, despite our disagreements I do think you are being too hard on yourself. Haimon mentioned to you one time that the people of Thebes were saying “No person ever, they [said], less deserved to die…Those are the words they whisper[ed] in the shadows” (ll. 768-769, l. 776). They had a collective and therefore, would have had a power similar to yours if they would have voiced their opinions outright. You may have been stubborn, but Thebes had a responsibility to state what they believed to be unfair. Leader These are all very good points, but it seems we are out of time. Thank you for coming everyone! It is clear from our discussions that the power of the spoken word is highly dependent on the interaction between who is listening and who is speaking. Initially, it seems inherent that those who reach more people have more power and therefore, need to be careful about what they say. However, those listening, also choose to listen and as a result, they have a responsibility to evaluate the speaker objectively. Additionally, there will be many times in your life when you will have the opportunity to express your opinion. Sometimes it will be as a leader or a parent. Other times it will be expressing your opinion as a member of society and voting for a someone else. In both cases, you have a responsibility to be knowledgeable of the importance of your influence. Make sure you choose your words wisely.
The way a leader speaks is very crucial to the way people perceive an individual. Dr. King addressed every problem raised in a calm manner, with reasoning behind his claims. By speaking in a fluent and non-aggressive manner, people come to understand what you are saying, and there is a better chance of compromise. Antigone bitterly argues with Kreon about her sentence and what she did, instead of trying to peacefully try to make him understand what her intentions truly were.
In the play Antigone, both Antigone and Kreon could be considered tragic heros. A tragic hero, defined by A Dictionary of Literary, Dramatic and Cinematic Terms, is someone who suffers due to a tragic flaw, or hamartia. This Greek word is variously translated as "tragic flaw" or "error" or "weakness". Kreon's hamartia, like in many plays, is hybris - Greek for overweening pride, arrogance, or excessive confidence. Kreon's hybris causes him to attempt to violate the laws of order or human rights, another main part of a tragic hero. Also, like all tragic heroes, Kreon suffers because of his hamartia and then realizes his flaw.
Steffi Graf stated, “You can have a certain arrogance, and I think that's fine, but what you should never lose is the respect for the others.” This quote helps me prove that there's no point in someone having a high status, if they don’t treat their people right. They'll just get disrespect in return and become a low status in their people’s hearts. In Sophocles tragic play Antigone, King Creon’s self importance and high level of arrogance caused many consequences in the drama such as death itself and miscalculations of choice making. The King of Thebes thinks of himself better than everyone because of his power of the throne. Thinking that the king rules alone and if one to ever disobey the King, they are to bare consequences.
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.
In Sophocles’ play, Antigone, the main character uses rhetoric to effectively persuade her audiences to sympathize with her. In the play, Antigone’s brother, Polyneices, dies a traitor to the Theban people. The king, Creon, decrees that no one is to bury the traitor despite the necessity of burial for proper passing into the afterlife. Believing that Creon’s decree is unjust, Antigone buries her brother. When she is brought to the king, Antigone uses this speech in defense of her actions. In the speech, she uses allusion, diction, and particular sentence structure to increase the effectiveness of her argument.
sense of loyalty leads to her simultaneous violation and observance to the duty of women
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.
Political power results from the fear of force. The individual acts out of a fear of consequences of disobedience and in accordance with the desdire for self-preservation. Political Authority results from a belief in the moral correctness of the organization in question. The individual acts of a sense of obligation and acknowledges the right of the ruler, morally, to rule and the moral correctness of the laws are accepted. The laws are obeyed for their own sake.
Antigone, the protagonist of the play, has what is seemingly the most powerful female role. From the very beginning of the plot she foreshadows her demise but expresses it through her stubbornness and inability to realize the great power of man. It is possible that she was aware of Creon’s capabilities as a leader, but nonetheless, she fights back by going t...
For instance, Ismene recalls, “You ought to realize we are only women, not meant in nature to fight against men...” (1567). By admitting to Antigone her own weaknesses, Ismene “confronts her own limit and does not back down” from them. (Honig 33) Rather she chooses to yield, to think the matter through, as she understands that “extravagant action is not sensible” (1567). Dean Barker points out that Antigone lacks “the ability to yield” that her sister, Ismene has (30). Because when Ismene tries to council Antigone, Antigone’s response was to say, “If you will talk like this I will loathe you...” (1568).
Being a good citizen often involves doing something out of the ordinary to help others. Sometimes, that involves going against the will of others to do what the good citizen might think is best. Although this is traditionally the case, the biggest factor in being a good citizen is great respect for the nation in which one lives. If one wants to be a good citizen, he or she might go out of his or her way to help others, however, must do so within the rules of the nation. In the Greek Drama by Sophocles, entitled Antigone, the hero, Antigone, shows, what I would call, bad citizenship. How is this? Why is she being a bad citizen?
In the play “Antigone” by Sophocles, one learns that the leader King Creon is consumed in his pride and realizes his mistakes far too late. Creon puts his country before anyone else which ended up in his own defeat as a leader because his pride has blinded him and does not allow him to see that his actions are adding up to be a big disaster. In the passage “ A Raisin In The Sun” by Hansberry, Mama Lena (the leader) differs from Creon because she leads her people in a different way. She decides to put them before anything else and pushes them to do better, to keep their pride at the right level. Similarly Creon and Mamá Lena both reveal that being a leader is not easy and that few leaders will know how to tell right from wrong.
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.
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.
What is the ultimate authority that dictates human behavior? In Trifles by Susan Glaspell, conflict arises when the two main characters must choose between submitting to legal authority, therefore condemning an acquaintance to prison, or following their own moral compass and essentially letting a murder go unpunished. The battle between one’s own morals and the law of the land is not a new concept though. It can also be witnessed quite clearly in the Greek tragedy Antigone by Sophocles. Antigone who is clearly the embodiment of moral authority in the play, defies her legal ruler and future father-in-law based on her own strictly held beliefs. In both plays, despite different circumstances and outcomes, the choice to follow one’s own definition