This leads Creon to get enraged at his son and his mind is still set on executing Antigone. Haimon responds by saying “Not here, no: She will not die here, King... ... middle of paper ... ...herself from suffering. However, this wasn’t the case with Creon because his entire family perished right before his eyes and he has no way to relief his pain. Thus, Creon is the tragic character of the play due to his everlasting grief caused by his flawed personality. In conclusion, Creon is the tragic character of Antigone because of his pride which caused him never ending agony by the end of this tragedy.
A rash indiscriminate fool! (127).” At the end of the story Creons figures out that Antigone was right along it was a tradition that he didn’t follow. So as a result Creon must suffer alive and let the birds pick as his body if he was a dead corps not being buried because he does not deserve it. Creon puts everything to blame on himself but that is what happens when you have too much pride in yourself and never take anyone’s words into consideration. As a result, he must suffer a lonely cruel life without his family.
Initially, he makes a huge error in judgment that eventually leads to his downfall. Also, his pure arrogance caused to go against the will of the Gods. After he gets over his self-pride, his view shifts away from that of ignorance. In punishing Antigone for burying Polyneices, Creon makes the wrong decision that ultimately leads to his defeat.
Tennesse Williams presents the image of a cruel and merciless God from the Old Testament, who does not forgive Sebastaian's daring act of playing to be Himself; instead, he condemns him to that horrible death in Cabeza de Lobo. In a similar way, society condemns homosexuality. People are not tolerant but critical against everything that goes against social rules. Significantly, at the end of the play when Sebastian is being literary devoured by those boys, Catherine asks for "Help" (It could be understood like "mercy" in Christian terms), but nobody goes up the hill to save him until he is dead. Therefore, both God and society condemn him.
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. After burying her brother, Antigone is caught, and is seems that the state is more powerful than the gods for a time. “And yet you dared defy the law.” (208) Creon thinks that his law is all-powerful and ... ... middle of paper ... ... last, in death. Having hearing this news Eurydice, Creon’s wife kills herself; her last words were a curse on Creon for causing so much wrong in his life. Creon goes to pray for his mistakes to the gods, but they do not listen anymore.
Underlying this humor is a scary truth, most likely ignored by the congregations witnessing this play. How many times has a character in a tragedy been so willing to contradict the gods? Dominant characters like Creon and Prometheus have blatantly disobeyed the gods. The alternative explanations serve a hidden truth in the hearts of many of the Athenian people. This truth is always again repressed by the end of each play, tragedy or comedy; because their was too great of a fear to upset the higher beings.
In the beginning, he believes that he can outsmart the Oracle. In fact, when telling Iocaste about his past he states that, "They prophesied that I should kill Polybus, kill my won father; but he is dead and buried, and I am here—I never touched him, never, unless he died of grief for my departure, and thus, in a sense through me. No. Polybus has pacted the oracles off with him underground. They are empty words (I iii 54-59)."
Creon declares Polyneices not to be buried, punishes and kills Antigone for trying to give her brother a proper burial, lets no one mourn his death (SP4). Although Creon didn’t kill himself he has to live with his knowing that he brought this tragedy on himself. Both characters were challenged together in separate ways with both unfortunate outcomes. In both stories we know that Okonkwo and Creon rule by fear and they both believe that having power is the most important thing; it isn’t (SP1). That trait of fear of weakness may as well of been both Okonkwo and Creon’s tragic flaw which caused the two their devastating downfall.
In the play Hamlet, the main character Hamlet is your typical tragic hero - he is destined for greatness, but he fails thanks to his fatal flaw: inaction. Throughout the story, he repeatedly contemplates what he should do, or focuses on torturing his mother and uncle instead of simply taking action like his father’s ghost told him to. He constantly sits back and does nothing while others around him take action. This gets him into a great deal of trouble and ultimately causes his own demise. This flaw of his is not only fatal to himself, but to others as well.
Causing him to ’[die] outside the law’ (59) bringing great dishonor to the corpse as it is with a lack of respect, left unburied due to tyranny, but also damns it for all time and dishonors his family. Creon’s laws are flaw, harsh and immoral, they take on the ‘gods who live forever’ (788), up to the point were his actions ‘seize [his] good mind,’ (791) and deprive him of moral thought. Creon’s restrictive democracy motivates Polynecie’s sister Antigone, who... ... middle of paper ... ...reshadow a death through the blinding process of moral values and actions taken by an individual that has, or whose family has been dishonored and wishes to regain their dignity. Sophocles in Antigone portrays the theme of dishonor through the cultural value of burial in the Greek society; Gabriel Garcia Marquez on the other hand, condemns the legate of marriage to honor in Chronicle of a Death Foretold. Both cultural norms manage in context to inflict with the character’s family honor, which leads them into taking immoral and ruthless actions that lead to the innocent death of Antigone and Santiago Nasser, both innocent individuals.