Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
an essay on sophocles- antigone
an essay on sophocles- antigone
antigone follows law of god
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: an essay on sophocles- antigone
Empathy for Characters in Sophocle's Antigone
Sophocle's tragic play Antigone, written in 441 BC, is a theatrical piece of drama in which an audience is compelled to empathize with its character's. When empathizing with characters in Antigone the audience can, in imaginative and cognitive ways, participate in the understanding of a character's feelings, ideas as well as their situations. Antigone, Creon and Ismene all struggle with decisions that concern the laws of their city and the cosmic law of religion and moral judgement. Characters such as Haemon and Eurydice ultimately show the consequences of the decision formed by the two protagonists. Amongst the audience, empathy is created for both; characters faced with agonizing decisions and characters inflicted with tormenting consequences. The levels of empathy felt for each character changes as the story develops and as different qualities are revealed about each character. The amount of empathy felt for a character effects not only the reading of that character but also the meaning of the play.
The first scene of the play involves Antigone asking her sister to go against the laws of the state to help her give the proper burial rites to their brother Polynices. In the first scene there is an immediate sense of empathy felt towards Antigone as she express her feelings of misfortune to Ismene.
'My own flesh and blood - dear sister, dear Ismene,
how many griefs our father Oedipus handed down!
Do you know one, I ask you, one grief
that Zeus will not perfect for the two of us... (p59)
By introducing Antigone to the audience as the daughter of the Oedipus the empathy felt toward the tragic hero Oedipus is somewhat inherited by Antigone. The audience reflects on the hardships that the incestuous family of Oedipus have already endured and realizes that the wretched fate of Oedipus is still bringing grief in to Antigone's life. This immediately gives the audience an insight into Antiogne's personal feelings and gives the audience the opportunity to feel empathy for the pain that plagues her life simply because she was born as the daughter of an ill-fated man. Because the audience has been put into a position where they feel empathy for Antigone her character is read with a sympathetic understanding, allowing any of her actions to be considered rational in her situation.
Despite the immediate empathy felt toward Antigone because of the connection between herself and Oedipus, the audience is obliged to feel empathy for Antigone because her two brothers at war against each other clashed and won the common prize of death (p66).
In the play, Sophocles examines the nature of Antigone and Creon who have two different views about life, and use those views against one another. Antigone who is depicted as the hero represents the value of family. According to Richard Braun, translator of Sophocles Antigone, Antigone’s public heroism is domestically motivated: “never does [Antigone] give a political explanation of her deed; on the contrary, from the start [Antigone] assumes it is her hereditary duty to bury Polynices, and it is from inherited courage that [Antigone] expects to gain the strength required for the task” (8). Essentially, it is Antigone’s strong perception of family values that drive the instinct to disobey Creon’s orders and to willingly challenge the King’s authority to dictate her role in society.
To identify the tragic hero in Sophocles’ renowned play “Antigone”, we should first consider both the elements present in Greek tragedies and what characteristics define a tragic hero. Aristotle’s definition of tragedy is: “Tragedy is a story taking the hero from happiness to misery because of a fatal flaw or mistake on his part. To be a true tragic hero he must also elicit a strong emotional response of pity and fear from the audience. This is known as catharsis or purging of emotion.” In most cases the tragic hero begins the play with high status, which is often lost in the exodus of the play. For example, in another of Sophocles’ plays, “Oedipus Rex”, in which Oedipus is the undisputed tragic hero, Oedipus begins the play as an illustrious king and ends as a blind beggar. His plight encourages sympathy from the audience because of the curse that had been on him since he was a child.
...as. “The Tell-Tale Heart”, “The Murders in the Rue Morgue” and “The Purloined Letter”. Each of these tales have depth that explains the train of thought that one experiences in critical situations. The horror allows one to emotionally connect and observe the situation. The puzzling effect that Poe leaves one with really puts one in a rational state of mind that is needed in committing crimes. Finally, the psychological theme puts it all together as Poe gives a detailed path of mental positions and how they come about. As the reader goes on, he or she realizes that Poe uses indirect messages too. This is seen in “The Fall of the House of Usher”. Edgar Allan Poe uses the themes of terror, puzzles and psychology in his written adventures to show and prove that the human mind is something that is in constant change. Every action has a consequence.
Poe has mastered the element of manipulation. His poems and other works have manipulated the minds of his readers.
...the Fragmentation of the Psyche: ‘The Pit and the Pendulum.’” Neneteenth-Century Literature. 46.1 (1991): 82-95. University of California Press. Web. 28 March 2014.
Antigone, a play written by Sophocles, became a classic due to its timeless subject matter. In this play, the Greek dramatist reflected mainly on civil disobedience. Antigone believes in individual rights over state rights. Creon, however, strongly believes in putting state over religion. The play not only revolves on these two political and religious issues, but it also deals with the battle of the sexes.
The characters in the play Antigone all suffer a downfall of some sort. The major characters suffer the most, though. In this short essay, I will document on how the two main characters, Creon and Antigone, both inevitably become tragic heroes.
In order for a play to be considered a tragedy it must achieve the purgation of fear and pity. In the play “Antigone”, Sophocles does a great job of bringing out these two emotions in a reader. At the beginning of the play there is a conversation between Antigone and her sister Ismene. During the conversation the reader learns the two girls lost their father in battle and both of their brothers at the hands of one another. Then the reader learns that one of the brothers, Polynices, has been left out to die without a proper burial. At this time the reader begins to feel pity for the two sisters. They have lost their father and their two brothers all at the same time.
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.
D. H. Lawrence wrote an essay that extensively describes Edgar Allen Poe’s writing style. Lawrence looks at Poe’s work as a scientific and mechanical way of writing. The tales Poe writes are not really tales at all. The only reason they are even considered as tales is because they are a concatenation of cause and effect. Lawrence saw Edgar’s stories as more than just a tales. They are love stories. Poe does not write looking at the human part of someone’s life. The characters are looked at as inanimate objects with human qualities, rather than the characters being human with inorganic qualities.
Antigone holds her love of family, and respect to the dead, elevated beyond the laws of Creon, whom she believes, has no righteous justification to close his eyes to the honor of the deceased. In her determination to fulfill Polynices' rights, she runs directly into Creon's attempts to re-establish order. This leads to encounters of severe conflict between the dissimilarities of the two, creating a situation whereby both Creon and Antigone expose their stubbornness and self will.
Poe is known for his melodramatic writing style, but the constant repetition of daunting words is enough to make any reader practically say out loud, “Come on, Poe. Try to be a little subtle, please.”
Poe, Edgar Allen. “The Pit and the Pendulum.” Poe, Edgar Allan. The Pit and the Pendulum. Mankato, Minn.: Creative Education, 1980. Print
Edgar Allan Poe has a unique writing style that uses several different elements of literary structure. He uses intrigue vocabulary, repetition, and imagery to better capture the reader’s attention and place them in the story. Edgar Allan Poe’s style is dark, and his is mysterious style of writing appeals to emotion and drama. What might be Poe’s greatest fictitious stories are gothic tend to have the same recurring theme of either death, lost love, or both. His choice of word draws the reader in to engage them to understand the author’s message more clearly. Authors who have a vague short lexicon tend to not engage the reader as much.
Sophocles formulates a believable plot through Antigone’s social conflict. The conflict in Antigone centers in Antigone needing to bury her brother because of her belief that natural law is higher than the governing law, and does not want to have the god’s fury pointed at her. It also revolves around the fact, that family is significantly greater to Antigone than that of the justice system. Polyneices, her brother, was a traitor and died going to war with his own blood brother. Creon, her uncle and king, has made a decree stating: “I here proclaim to the city that this man shall no one honor with a grave and none shall mourn. You shall leave him without burial...” (222). Opposing the king, she neglects the decree. Since she broke the king’s decree, she is sentenced to die for being disobedient; moreover, Antigone proudly states her crime. There is no sign of remorse shown by Creon as he states, “No, though she were my sister’s child, or closer in blood than all that my hearth god acknowledges as mine. Neither she, nor her sister, should escape the utmost sentence-death” (530-33). Bobrick explains that Creon values the love for his land more than he values family, and this becomes a struggle for Antigone as it becomes a fight between obeying the laws of man, and the laws of the god’s. The second struggle that Antigone faces, comes when she realizes she is alone.