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Reading on antigone the character
Character Analysis Of Antigone In The Play Antigone
Reading on antigone the character
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Antigone, The Gone Girl In the play, “Antigone” by Sophocles, a young girl is trying to bury her brother after Polyneices and Eteocles have been killed in battle. The king, Creon, will not allow a burial for Polyneices. Kohlberg’s Theory of Moral Development demonstrates the stages of moral development the mind goes through. The fifth stage of Kohlberg’s Theory, “Social Contract”, best describes Creon throughout the play. The stage best classifies Creon because his social mutuality will change over the course of the play. Because of Creon’s actions in the beginning of the play and the end of the play, the fifth stage of Kohlberg’s Theory best demonstrates Creon’s actions throughout the play. Kohlberg believed that people progressed in their moral reasoning through a series of stages. Kohlberg’s Theory of Moral Development consists of three levels with six stages divided …show more content…
Creon changes his morality throughout the play. Creon states “I will go./Bring axes, servants:/ Come with me to the tomb. I buried her, i/ will set her free./ Oh quickly!/ My mind misgive/ the laws of the gods are mighty, and a man must serve them/ to the last day of his life!” (5.874-880). The statement by Creon shows how he begins to care for the life of Antigone and he goes to free her from the cave cell. The statement by Creon categorizes him in Level 3 at stage 5 in Kohlberg’s Theory of Moral Development. This statement by Creon shows that he has change and looks at the values of different people to make his decisions. Creon listened to Choragos to make his decision into going to get Antigone, setting her free and burying Polyneices. This change for Creon categorizes him as a dynamic character in the play. At the beginning of the play Creon was at stage 2 and towards the end of the play, Creon is at stage 5. Creon has changed throughout the story and moved down stages on Kohlberg’s Theory of Moral
In Antigone by Sophocles, Creon is portrayed as a character with excessive pride. From the beginning, Creon demonstrates his authority and continues to make use of it throughout the play. At the end of Antigone, it may seem that Creon changed after realizing the consequences of his actions. However, his dialogue indicates that he still possesses a sense of pride. Creon remains a static character through the play. Creon’s arrogance is displayed in his language and behavior; interaction with others; and his reactions to his environment.
The hubris resonating throughout the play, ‘Antigone’ is seen in the characters of Creon and Antigone. Their pride causes them to act impulsively, resulting in their individual downfalls. In his opening speech, Creon makes his motives clear, that “no man who is his country’s enemy shall call himself my friend.” This part of his declaration was kept to the letter, as he refused burial for his nephew, Polynices. However, when the situation arises where it is crucial that Creon takes advice, he neglects the part of the speech where he says “a king... unwilling to seek advice is damned.” This results in Creon’s tragic undoing.
Human emotions and beliefs can be some of the most powerful and forceful factors in the world. They can often time cause humans to overlook their moral and civil duties and instead confront the demands of a private passion. Two people that have contrasting views about passion and responsibility can cause a major conflict which could cause a “classic war” in literature. In the play Antigone, the differences in Antigone and Creon’s passions and responsibilities helps Sophocles illustrate their central flaws. By doing so, the playwright implies that one needs to achieve a balance of passion and responsibility in order to maintain a sense if inner peace and political stability.
Antigone’s first words in Antigone, “My own flesh and blood”, strongly indicates that the play’s concern with family relationships. “I admit I did it. I won’t deny that.”(line 500) Antigone is bold in her defiance, believes firmly that she is right, and at times seems eager to die for the cause of burying her brother. “I have longer to please the dead than please the living herein the kingdom down below I'll lie forever.” (line 90) Antigone believes the burial rituals are the unwritten rules of the gods, and must be obeyed regardless of a ruler's political whims.
In Kohlbergs moral stages five & six people begin to understand morals and social good then moral reasoning. Basic human rights become important as well as principles.
In both plays, Creon sees himself as a passive agent rather than a villain, only acting out a predetermined set of instructions based upon certain laws and edicts. Creon tries to give the impression that he is not really in control; if it were up to him, as an individual, things would be different. Sophocles' Creon tries to wash his hands of Antigone's death by leaving her in a sealed cave. The gods will determine her fate, so he thinks. Anouilh's Creon goes so far as to admit the "childish stupidity" of his own decree. He even confides in Antigone that he is not certain which brother's body was buried. He insists, though, that once knowledge of her act is public, the matter is entirely beyond his control. There is a point of no return past which he is powerless to act. In becoming king, an instrument of the State, Creon can no longer assert his will as an individual, morally or otherwise. Where the original Creon tried to leave matters with the gods, Anouilh's Creon points toward the State and its will independent of his own.
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.
“Antigone” is a great Greek tragedy by Sophocles. The story is about a young woman who has brother by breaking king’s decree, and now she is punished for obeying God’s law. In the classic model of dramatic structure, two characters move the action of the play from introduction to climax to resolution with their conflict. One of these characters is the protagonist, and the other is the antagonist. The protagonist is a “good guy” and the antagonist is the “bad guy”. In Sophocles’ play Antigone , the lines between protagonist and antagonist are blurred. In the Greek tradition , the title character is the protagonist, but in this play the supposed antagonist, Creon also displays characteristics of protagonist.
Creon's character possesses an infinite number of glitches in his personality, but his excessive pride was the root of his problems. His pride leads him to make accusations, before he considers the wise advice of others. Creon's pride also fills him not just as a king superior to the Gods, but also a man superior to women. The issue of Antigone being condemned to die becomes more than just a person who disobeys Creon; instead, the punishment is given even more eagerly, because it is a woman who disobeys a man. Creon's intelligent son warns Creon the people of Thebes sympathize with Antigone, but Creon accuses Haemon of being a "woman's slave" (line 756). Even though he is suppose to be loyal to the state and her citizens, he defensively questions if "the town [is] to tell [him] how [he] ought to rule?"(Line 734)The Theban king is too prideful to obey even the wisest of prophets, blind Teresias, insisting that "the whole crew of seers are money-mad" (line 1055). Creon finally puts his pride aside and listens to the Chorus' wise advice. It is difficult even then, and he obeys only because he fears the punishment that he might receive. "To yield [for Creon] is terrible" (line 1095) meaning to swallow his pride and admit that he is wrong is a very difficult thing for him to do. When Creon loses his wife and son, Creon's pride disappears, and he admits that he made a terrible mistake by not listening to anyone's advice.
In the beginning of the play Creon is portrayed as King and a leader unwilling to bend the rules in order to protect the city. The way Creon responds to Antigone, “While I’m alive, no woman is going to lord over me”, shows he is stubborn and also his pride. (593-594) While the play continues Creon’s pride grows, and he thinks he can never be wrong and punishes Antigone by locking her up in a cave. However, things turn a different way when the Prophet tells Creon that he must free Antigone or face the wrath of Gods. After hearing this Creon changes his mind, “I shackled her, I’ll set her free myself. I am afraid it’s best to keep the established laws…” (1236-1238) But, as Creon tries to set Antigone free, he is faced with suicides of Antigone and Haemon, and followed by the suicide of his wife, Eurydice. This moment in the play serves as the downfall of Creon. But unlike Antigone, Creon reaches anagnorisis, which is the moment in the play when the tragic character realizes his hubris has led to his downfall. “And the guilt is all mine- can never be fixed…god help me, I admit all!”(1441-1445) Ultimately, Creon is more of a proper tragic character than Antigone because of he has an epiphany, a moment when he realizes his hubris has caused conflicts and deaths in the
Sophocles play titled Antigone, embellishes the opposing conflicts between Antigone who stands for the values of family, and Creon who stands for the values of state. Sophocles explores the depths of Antigone’s morality and the duty based on consequence throughout the play, as well as the practical consequences of Creon who is passionate and close-minded. Although Antigone’s moral decisions appear to be more logical and favorable than Creon’s, a personal argument would be that both characters’ decisions in society can be equally justified.
Antigone, a tragic drama written by Sophocles explores the different ranges of characters: static and dynamic or flat and round. Creon, King of Thebes in the dramatic play Antigone takes on the role that of a static character. Throughout the whole play Creon believed the idea that he was above the law of the Gods and his decrees cannot be disputed. Unknowingly, who would think that Creon’s sense of pride would cause him the life of his wife, son, and niece? However, at the very end of the play Creon returns to the palace, holding his son’s lifeless body, where he finds out that his wife has killed herself as well. Overwhelmed with grief about the death of his loved ones, Creon turns to the Chorus and says, “Lead me away. I have been rash and foolish. I have killed my son and wife. I look for comfort; my comfort lies here dead. Whatever my hands have touched come to nothing. Fate has brought all my pride to thought of dust” (1833). Creon takes responsibility of the death of his son and wife by calling himself a “rash” man and this is where Creon undergoes the changes of a dynamic character by admitting that he was wrong.
In all works of literature you will find characters that change. From Oedipus the King to Antigone, Creon changes a great deal. In Oedipus the King, Creon has no intention whatsoever of being king. By the end of the play he makes it clear that his intentions have changed and he does want to take Oedipus’s power and become King of Thebes. When we see Creon in Antigone he has become king and he begins to make his mistakes.
Kohlberg’s theory of the stages of moral development has gained some popularity despite being controversial. The claim that the levels form a “ladder,” the bottom being the immature child with a pre-conventional level and the top being a post conventional ethical individual. The sequence is unvarying and the subject must begin at the bottom with aspirations to reach the top, possibly doing so. (7) Research confirms that individuals from different cultures actually progress according to Kohlbergs theory, at least to the conventional level. Kohlberg’s stages of moral development continue to provide a foundation for psychology studies of moral reasoning. (6)
Creon does not learn a lesson from Oedipus' accusatory behavior. Instead he adapts this bad personality trait. Throughout Antigone, he accuses everyone who tries to give him advice of betraying him. Whereas, in Oedipus, he is falsely accused by Oedipus of trying to take over the throne. This paper will compare and contrast his behavior and evaluate if he learned anything from one play to the next.