Western society has a long history of subjugating women to men. Some cite the idea that women are somehow weaker or inferior to men as a reason for the existence of this social dynamic. In Sophocles's Antigone and, Dürrenmatt's The Visit, however, the female leads show great strength and are even able to threaten the male leads with their power. Creon and Alfred Ill's disdainful and oppressive treatment of women stems not from the supposed inferiority of women, but from the theme that man is afraid to lose control. This theme is developed through particular events in the plot: the men begin in positions of power, which are then threatened by the women. Their amateur reactions to the powerful women cause them to lose more control until in the end, they have nothing. Their redemption comes not through defeating the women, but through accepting responsibility for their own actions. To begin with, Creon and Ill have power socially and politically. Creon is the King of Thebes and Ill is the “most popular personality” (Dürrenmatt 15) of Guellen. Sophocles and Dürrenmatt set the stage by implying that their current situation will last–– “the gods” (Sophocles 170) themselves appoint Creon as king and the people of Guellen unanimously “[agree] to nominate” (Dürrenmatt 15) Ill as the mayor's successor. Furthermore, foreshadowing of their actions towards Antigone and Claire appears as approval. The elders of Thebes assure Creon that he has power over the “living and the dead” (Sophocles 172), justifying his actions towards Polyneices's body and empowering his punishment of Antigone. Ill, on the other hand, represents Guellen's last chance for survival. “All depends” (Dürrenmatt 14) on Ill's ability to capitalize on his and Claire's ... ... middle of paper ... ...no reason to continue mistreating Antigone and Claire. A series of events catalyzed by powerful women and ending with a tragic loss for the male leads of The Visit and Antigone reveals a reason for the mistreatment of women in western society. Dürrenmatt and Sophocles show that the oppression of women stems from man's fear of losing control. By identifying this fear, the authors underscore the importance of treating women as equals, as the decision of the male leads to blame the women rather than to accept responsibility for their actions is what causes their downfall. Works Cited Dürrenmatt, Friedrich. The Visit: a Tragi-comedy. Trans. Patrick Bowles. New York: Grove, 1982. Sophocles. The Oedipus Plays of Sophocles; Oedipus the King, Oedipus at Colonus, Antigone. Trans. Paul Roche. New York: New American Library, 1958.
Captivatingly, both women act daringly, regardless of the culturally constructed labels as women, products of incest and wickedness. They use their “otherness” as a power mechanism, rather than an excuse to passivity. In conclusion, Elphaba and Antigone challenge conventional roles of gender, as they are strong, courageous figures of rebellion and exemplify a lack of traditional gender normativity.
Sexism has occurred throughout history and has impacted women significantly.The Odyssey follows the narrative of a man and looks at love from the perspective of a man. The famed poem was written by an ancient greek man and until recently, has always been translated by a man. For these reasons, The Odyssey provides a great example of how love, women, and marriage have been perceived by society, especially men, in the past. By examining the sexist undertones and the perception of women and love from the men in the epic and comparing those to criticisms made today we can truly understand how far we have come as a society.
“Remember we are women, we’re not born to contend with men” (Sophocles, 18). The popular literary works, Antigone and A Doll’s House, written by Sophocles and Ibsen, are two famous tragedies that have been performed and read throughout the decades. Although countless audiences have been entertained by these well written plays, few would care to guess that many lessons and several unfortunate truths can be found with a less than tedious inspection of the characters and the reactions they give to their circumstances. The two main characters in these stories, Antigone and Nora, face adversities and problems that are amplified by their society’s views on the rights and abilities of women. The two main male characters in these plays, Creon and Helmer, cause the greater part of the struggle that the female protagonists face. The difficulties that Helmer and Creon create during the plot of these stories are the cause of three major characteristics of what one would consider typical to a headstrong man in a leadership position. The three features of Creon and Helmer that lead to the eventual downfall of Antigone and Nora, are pride, arrogance, and ignorance.
As the tragedy concludes, the chorus issues its final words: "Pray for no more at all. For what is destined for us, men mortal, there is no escape," demonstrating how justice remains impartial to the prejudice of men; those who make imprudent judgments will ultimately suffer from the consequences of their actions. In Sophocles' Antigone, these prejudices notably surface in the form of paternalism as demonstrated through Creon's government, highlighting the importance of gender roles throughout the play. Therefore, analyzing the motif of gender roles and its effect on the definition of justice through the perspectives of Ismene, Antigone, and Creon enables the audience to understand how Sophocles' macroscopic analogy to humanity's prejudiced judgments as well (and ambiguity of justice)
One of the conflicts in Antigone, is the struggle between men and women. Ismene tells Antigone that since birth, women “were not born to contend with men,” (75) displaying women’s obedience and passivity. In the same passage, Ismene says: “we’re underlings, ruled by stronger hands,” (76) a representation of men’s aggressive and “stronger hands” that dominate women and treats them as second-class citizens. The only woman in Thebes who desires to break free from these chains is Antigone, who stands up against Ismene’s passivity urging her to “submit to this,” (77) and defy Creon by burying Polynices. By breaking Creon’s edict, Antigone challenges the traditional gender roles women and men play. In what ways does the theme of gender in Antigone, demonstrate the passion and choices behind Antigone and Ismene’s decisions?
This essay explores the role of women in Homer's Odyssey, James Joyce's Ulysses (1922) and Derrick Walcott's Omeros (1990), epics written in very different historical periods. Common to all three epics are women as the transforming figure in a man's life, both in the capacity of a harlot and as wife.
In Sophocles' most famous Theban play consisting of two parts, "Oedipus the King" and "Antigone", both parts are necessary in understanding some of the things that happened around them, and what type of man had raised Antigone. She is the main character in the play of “Antigone”.
Although ancient Greece was a male-dominate society, Sophocles' work Antigone, portrays women as being strong and capable of making wise decisions. In this famous tragedy, Sophocles uses the characters Ismene and Antigone to show the different characteristics and roles that woman are typical of interpreting. Traditionally women are characterized as weak and subordinate and Ismene is portrayed in this way. Through the character of Antigone, women finally get to present realistic viewpoints about their character.
In Sophocles’ classic play Antigone the main character Antigone faces the impactful and controversial choice between god’s laws and man’s laws, fate and free-will, and family versus government. With her heroic and ultimately fatal decisions, Antigone would normally be the character everyone defines as a stereotypical tragic hero, however, not many people take into consideration that her counterpart Creon, is the real tragic hero. Creon is often portrayed as the antagonist within the play, yet he has all the qualities that make an ideal tragic hero.
These two examples alone give us the impression, which degrades women and the power they had. On the contrary, Antigone goes against society view and a norm to do what she considers is morally proper. Ismene, Antigone’s sister and foil of the story, is compared with her throughout the story since Ismene believes that adhering to the law is more important over family loyalty. Ismene says: “I shall obey those who are in authority, for deeds that are excessive make no sense at all” (Antigone, Page 22, Line 67-68).
Since the beginning of human civilization, women have often occupied inferior roles in society while the dominant role has been played by men. In Homer’s The Odyssey gender roles in Greek society are emphasized showing how men controlled society while women were undervalued and constantly disrespected. Although it may be argued that Homer poses some rather feminist views, it is evident by several elements that The Odyssey is a misogynistic text. First, women in the Odyssey were continually oppressed by men never having true free will. In addition, Women were depicted as symbols of lust, seduction, and evil who bring destruction to men, undermining the true values of women. Furthermore, Women were expected to remain loyal to men while men have no expectation for themselves which promoted gender inequality. Exemplified by these three elements, it is evident that The Odyssey is a misogynistic text depicting a society where women occupy subservient and inferior positions.
“The emotional, sexual, and psychological stereotyping of females begins when the doctor says, ‘It's a girl.’” (Chisholm). Where do women fit in the social order of society today? Many women today fit in the same role as they would have been expected to long ago. Though generally speaking, women have a lot more options today. The male hierarchy still governs most aspects of society, but with many more limitations because women are discovering that they can stand on their own, and have no need for constant regulating from their male counterparts. Patriarchal influences are the base of society. In Antigone Sophocles tells a tale about Greek values and women’s status. Antigone has just witnessed her two brothers kill each other; one brother died defending Thebes and the other died betraying it. Creon’s law keeps anyone from burying the traitor and Antigone is set on contravening this. Conversely, Ibsen’s playwright, A Doll’s House, is a story about an intelligent woman, Nora, who is misunderstood by her husband, Torvald. She takes desperate measures to keep her family intact but in the end wines up going out on her own. As the stories progress the both Nora’s and Antigone’s characteristics become very similar in that they are both rebellious, are subservient to male jurisdiction, and are resolute and strong-willed in their decision.
The character of Antigone in Sophocles’ play, Antigone, is one of the most controversial tragic characters in classic literature. The war in her city has torn her family apart, caused the death of both her brothers, and created a reason for her to fight against the King, her uncle. Her uncle, Creon, makes a ruling that her brother, Polynices, is not to be buried because he is a traitor, but according to her religion, her brother’s soul will not go to the afterlife until he is buried. In defense of her brother, she buries his body illegally and is subsequently sentenced to death. With her complex patterns of thought, bold actions, and the end she encounters, the character of Antigone causes debate among critics as to whether or not Antigone is in fact a tragic heroine. She can be perceived as a martyred hero, dying for love and religion, or as a fanatic woman who lacks the ability to think rationally. The way in which Antigone’s role is interpreted can further help to interpret Sophocles’ view of women and politics. In taking the view that she is a hero who died for her beliefs, it shows that Sophocles was aiming to prove that women deserve to be treated as equals and as citizens of Greece.
“...never let some woman triumph over us. Better to fall from power, if fall we must, at the hands of a man —never be rated inferior to a woman, never.” This quote spoken by Creon, in Sophocles’ Greek tragedy Antigone, adequately represents the opinion on women during the time in which Antigone would have been alive. Women were viewed as lower than men and were expected to be docile and passive. They were expected to never object to a man’s words, no matter if those words were to be unfair or unjust. Despite this, Antigone refuses to follow one of the most fundamental teachings of her culture by burying her brother even though the king, Creon, explicitly forbids the action, since her brother is a traitor. She rebelliously does what she feels is right, which cannot be said for her sister, Ismene. Ismene represents what a woman of her time was viewed as: weak and submissive to men’s
Women were often subjects of intense focus in ancient literary works. In Sarah Pomeroy’s introduction of her text Goddesses, Whores, Wives, and Slaves, she writes, “Women pervade nearly every genre of classical literature, yet often the bias of the author distorts the information” (x). It is evident in literature that the social roles of women were more restricted than the roles of men. And since the majority of early literature was written by men, misogyny tends to taint much of it. The female characters are usually given negative traits of deception, temptation, selfishness, and seduction. Women were controlled, contained, and exploited. In early literature, women are seen as objects of possession, forces deadly to men, cunning, passive, shameful, and often less honorable than men. Literature reflects the societal beliefs and attitudes of an era and the consistency of these beliefs and attitudes toward women and the roles women play has endured through the centuries in literature. Women begin at a disadvantage according to these societal definitions. In a world run by competing men, women were viewed as property—prizes of contests, booty of battle and the more power men had over these possessions the more prestigious the man. When reading ancient literature one finds that women are often not only prizes, but they were responsible for luring or seducing men into damnation by using their feminine traits.