Antigone is a relevant piece of literature to many generations because Sophocles’ intended audience was the common people. His play appeals to the weak and oppressed as well as those in power. Sophocles was a playwright and as a writer and he most likely wrote what he observed albeit, his social passion allowed him this freedom. If Antigone, as a woman, represents home and family, then she also represents opposition to the state which is embodied in Creon. There is a palpable distaste between Creon and Antigone from the start of the play. Their relationship not only crosses the state/ home opposition, but the male/female and master/slave oppositions as well. Haemon, the future head of state is engaged to be married to Antigone. He does truly …show more content…
care for his future bride and asks his father for mercy. Creon equates his son with the feminine, calling him a woman because he asks for Antigone’s mercy, his tender feelings are seen as weak.
As Creon’s son and a prince as well as the future head of state Haemon has more influence than most. Haemon’s authority is tempered with love or which is another way of describing justice. Haemon’s engagement to Antigone was political as most were in Ancient Athens but their suicides are inevitable because their marriage would metaphorically bring together two thing which cannot exist in the Polis, opposition to the state and justice. The irrationality of Antigone and Creon opposition drawls Haemon into their battle subsequently leaving most of the cast, including Haemon’s mother deceased at the end. There is one Character that survives, Antigone’s sister Ismene. Sophocles’ brilliance is embodied in this character. Ismene who is largely ignored and rightfully so as that is her strength is the only family member to reamin. Sophocles uses opposing dyads to show contrasting views concerning political, social, and gender …show more content…
stratification. In her brilliant essay, The Prudent Dissident: Unheroic Resistance in Sophocles’ Antigone, Jennet Kirkpatrick discusses Ismene’s role as the quiet dissident, which few other scholars have argued. Kirkpatrick states in her abstract, “On this reading, Antigone revels less about the downfall of a character than it about the political power of the weak and disadvantaged”. Antigone and Ismene represent the two sides of femininity in ancient Athens.
These two sisters share the same obstacle in regards to the Polis, they are woman and therefore subject to Creon’s rule not only as their King but Antigone’s future father in law. Kirkpatrick turns her readers’ attention to the first two burials of Polyneices. The first burial was done hastily at night while Antigone, brazenly out in the open, defies Creon the next day. Kirkpatrick suggest that the first burial was managed by Ismene because of the language Creon uses to blame both sisters for defying him. Furthermore, it seems unlikely that Sophocles would break the dyadic nature of his play by having Polyneices buried twice by Antigone and then once by Creon. Sophocles’ intent was to show how the deceased affected the living and to do that he would have to have each family member associate with his body as well as the state. The name Ismene means knowledge, since she is the only character in the play who survives one could easily assume that Sophocles was making a statement symbolically. Knowledge is the only thing that will survives and surpasses the tragedy of political, social, and gender
stratification. The historical context of the Antigone focuses on how women, burial, and politics should be understood in that time period. Although, Native American and indigenous tribes hold a very similar worldview as ancient Greeks. While the psychological aspects of the Antigone prime the reader for the “Double Death” and a hero who does not return. Finally, people still find the Antigone relevant because Sophocles wrote this play with a diverse audience in mind, appealing not only to the oppressed but aristocracy as well.
Since the play’s inception, there has always existed a contention concerning the true hero of Sophocles’ Antigone. It is a widely held belief that Antigone must be the main character simply because she and the drama share name. This is, of course, a very logical assumption. Certainly Sophocles must have at least meant her to be viewed as the protagonist, else he would not have given her the play’s title. Analytically speaking, however, Creon does seem to more categorically fit the appellation of “Tragic Hero.” There is no doubt as to the nature of the work, that being tragedy. Along with this genre comes certain established prerequisites, and Creon is the only character that satisfactorily fits them all.
In Sophocles' Greek tragedy, Antigone, two characters undergo character changes. During the play the audience sees these two characters' attitudes change from close-minded to open-minded. It is their close-minded, stubborn attitudes, which lead to their decline in the play, and ultimately to a series of deaths. In the beginning Antigone is a close minded character who later becomes open minded. After the death of her brothers, Eteocles and Polyneices, Creon becomes the ruler of Thebes. He decides that Eteocles will receive a funeral with military honors because he fought for his country. However, Polyneices, who broke his exile to " spill the blood of his father and sell his own people into slavery", will have no burial. Antigone disagrees with Creon's unjust actions and says, " Creon is not strong enough to stand in my way." She vows to bury her brother so that his soul may gain the peace of the underworld. Antigone is torn between the law placed against burying her brother and her own thoughts of doing what she feels should be done for her family. Her intent is simply to give her brother, Polyneices, a proper burial so that she will follow "the laws of the gods." Antigone knows that she is in danger of being killed for her actions and she says, "I say that this crime is holy: I shall lie down with him in death, and I shall be as dear to him as he to me." Her own laws, or morals, drive her to break Creon's law placed against Polyneices burial. Even after she realizes that she will have to bury Polyneices without the help of her sister, Ismene, she says: Go away, Ismene: I shall be hating you soon, and the dead will too, For your words are hateful. Leave me my foolish plan: I am not afraid of the danger; if it means death, It will not be the worst of deaths-death without honor. Here Ismene is trying to reason with Antigone by saying that she cannot disobey the law because of the consequences. Antigone is close-minded when she immediately tells her to go away and refuses to listen to her. Later in the play, Antigone is sorrowful for her actions and the consequences yet she is not regretful for her crime. She says her crime is just, yet she does regret being forced to commit it.
There is a common characteristic of a tragic hero that is highlighted by Haemon words, actions, or ideas that examine more closely Creon’s tragic flaws and hubris, which contribute to his downfall. Complex characters like Haemon bring to light other more important character’s traits. Ultimately, Haemon serves to make his words, actions, or ideas call attention to Creon as a tragic hero. Whether confronting him about his leadership skills, many biases, using the citizens of Thebes, and gods to enlighten Creon of his eventual demise. After all, Haemon was a minor character who was written to confront Creon and shed light on how his pride makes him a classic example of a tragic hero.
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.
As he justifies Antigone’s actions Haemon says,”When in the slaughter her own brother died, she did not just leave him there unburied, to be ripped apart by carrion dogs or birds. Surely she deserves some golden honour” (Lines 789-792). Haemon’s justification of his fiancee’s actions consequently attributes to the theme of civil disobedience which once again juxtaposes Creon’s values. The specific value which is being contrasted is Creon’s constant belief that due to his high power he is always right in decision. The value is once again juxtaposed when Haemon concludes his support for Antigone by saying,”When men speak well, it good to learn from them” (Line 819). Creon’s unreasonableness and stubbornness is juxtaposed by Haemon’s reasonable argument toward the support of Antigone hence contributing to the theme of Antigone and revealing Haemon as the foil to
He anxiously awaits the day when he can call Antigone his wife, but because she defies King Creon, she deprives him of that opportunity. At first, Haemon tries to be loyal to his father. He tells Creon that he supports his decision to execute Antigone. However, as the conversation continues, he reveals that the community members are starting to renounce Creon’s decision. As the pain of potentially losing his fiancé becomes too much, he also renounces his father’s decision, arguing that the Gods would not condone it. In an act against his father, Haemon hurries to the cave Antigone was exiled to, in hopes to save her, but instead finds her hanging from the veil she was supposed to wear on her wedding day. Instantly overwhelmed with grief, Haemon, “[bewails] the loss of his bride” (Sophocles 152). Similarly, to Ismene’s case, Haemon cannot picture himself living on Earth without Antigone by his side, and commits suicide. In Antigone’s desire to appease the Gods, she abandons her loved ones, and causes them great suffering. This could have been avoided has she not pursued her desire to bury
Creon in the play Antigone by Sophocles plays a major role within the play. Antigone also plays an important role, as these two character’s conflicting views led to utter disaster, which highlights Creon as a tragic figure. Within the play Creon attempted to establish decisions for the common good; however, his decisions resulted in tragedy. Creon highlighted as the tragic figure, initially created decisions he thought were for the welfare and well-being of Thebes. However, Antigone, who rebelled against Creon’s decisions, caused Creon’s rage to cloud his rational way of thinking.
In the play Creon goes against the Gods by making it illegal to bury Polyneices, Antigone’s brother because he is deemed a traitor. The burying of a dead body is seen as a necessity by all of Greece as it is an unspoken law of the Gods. Antigone goes to bury her brother so his afterlife will be better. She does it in spite of the law that Creon has made. “It is the dead, not the living, who make the longest demands” (192) She tries to explain to her sister, Ismene, that they must bury Polyneices, but even that close relationship has trouble because of the law. Ismene is unwilling to suffer the consequences of the law, to save her brother’s soul “Forgive me but I am helpless: I must yield to those in authority” (192) Even the two sisters who have just lost both of their brothers have different views on the matter. One will not stray from the law and what is deemed right by their king, while the other will accept any punishment, even death just to do what she believes is right.
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.
“That’s what men pray for--obedient children growing up at home who will pay back their father’s enemies…” (lines 727-30) says Creon, blatantly stating his expectations of children, including his own son. In contrast with Creon’s standpoint, Haemon served as a foil for Creon’s imperious character with his use of diction, actions, and arguments to generate a great conflict with him---advancing the plot. These conflicting motivations allow Creon to be identified as a tragic hero by revealing his obdurance, hatefulness, and egocentrism towards Haemon.
Haemon is the son of Creon and the bridegrooms of Antigone. After Creon has made the decision to kill Antigone he brought in his son Haemon to hear his opinion because she is supposed to be marrying him. Creon tells his son ,“Son do not let your lust mislead your mind, all for a woman’s sake, for well you know how cold the thing he takes into his arms who has a wicked woman for a wife.” Although this may be true to Creon because Antigone disobeyed his law she always had the best of intentions at heart for her family which shows she would make a wonderful wife. Haemon responded, “But in dark corners I have heard them say how the whole town is grieving for this girl, unjustly doomed, if ever woman was, to die in shame for glorious action done.
The sexist stereotypes presented in this tragedy address many perspectives of men at this time. Creon the arrogant and tyrant leader is, the very character that exemplifies this viewpoint. Antigone's spirit is filled with bravery, passion and fury; which allow her to symbolize the very essence of women. She is strong enough to do what her conscious tells her despite the laws of the land. Many examples in the play prove that Antigone's character is very capable of making her own decisions in the name of justice. First, Antigone opposes Creon's law and buries her slain brother; because in her mind it was immoral not to. She does this because she is compassionate and loves her brother very much. Creon, however, believes that his laws must be upheld and would do anything to prevent any type rebelling. He is even more infuriated when he learns that a woman has broken his laws. He tries to show Antigone who's in charge by sentencing her to a life of imprisonment. Secondly, Antigone shows how determined she is by accepting her consequences with pride. She does not try to hide that she is responsible for breaking Creon's laws, moreover, she takes all the credit. All the while she maintains her strength because she truly believes in her actions. These sorts of actions ultimately prove that Antigone is courageous and willing to stand up to men, which was completely against the norm at this time. Her spirit refuses to submit to the role of a helpless woman like her sister Ismene's character does.
Haemon like many characters in Antigone develops the theme of blindness, not literal blindness but being blinded emotionally by other emotions. He speaks out against the king and even attempts to strike him because he is blinded by love for Antigone. Sophocles foreshadows Haemon’s eventual suicide when in line 859 when he states, “Then she’ll die-and in her death kill someone else.” While it could be interpreted as a threat towards Creon, it seems that was just a red herring to the true meaning. That being that in Antigone’s death she will lead to the deaths of Haemon and Eurydice. Another theme can be interpreted from Haemon’s tragic fate. Sophocles reinforces the theme that the parent’s actions can cause disastrous issues for their children. For example, Antigone states in lines 4-5 “All that misery which stems from Oedipus” and similarly one can say that Haemon’s misery stems from Creon. Creon decides on a topic that directly effects his son without genuinely thinking about his son’s feelings towards the topic. If Creon allowed Antigone to live then the tragic fate that Haemon was dealt could have been avoided. Directly because of the actions of his father. Sophocles demonstrates irony in lines 871-872 in which Haemon states “She’ll not die with me just standing there.” In actuality that is exactly what happens, Antigone hangs herself and leaves Haemon just standing there grieving at the loss of his betrothed. The complexity that shines through as Haemon struggles between his love for his father and his love for Antigone creates such a beautiful internal struggle. One could observe this in his early dialogue as he tries convincing his father to do things what is right but as he gets increasingly angry he resorts to insults and
At this time, the reader begins to feel sorry for the two sisters. They have lost their father and their two brothers, all at the same time. Later in the conversation, the reader learns that Antigone has a plan to bury her brother Polynices and that she wants Ismene to help her. Ismene is scared to do this because the new king, Creon, has issued a decree that says that any person that attempts to bury the body will be sentenced to death. The fact that Antigone is going to attempt to bury the body creates fear in the reader.
She had also been able to share her thoughts and ideas with her sister Ismene. Throughout the play, Ismene changed her stance on death. In the beginning, Ismene was conflicted over the fate of Polyneices’ body. Ismene understood Antigone’s frustration, and why Antigone would want to give Polyneices a proper burial. Polyneices and Eteocles were Ismene’s brothers, as well as Antigone’s. Therefore, Ismene sympathized with Antigone, trying to have their family member’s soul rest in peace. However, Ismene also did not want to go against Creon’s law prohibiting the burial of Polyneices. Instead of being caught trying to get her brother the proper burial resulting in death, Ismene would rather live and attempted to talk Antigone out of breaking the law. Ismene pleaded to Antigone that there had to be another option; they would find a way to bury Polyneices but not have to break the law in order to do so. Ismene even tried to reach out to Antigone by saying that as women they were too weak to dig a grave in order to bury Polyneices. By not supporting Antigone’s decision, Antigone lost her trust in Ismene. Antigone saw Ismene as a traitor to their family by not respecting Polyneices’