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
Character Changes in Antigone 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
Creon as the Main Character of Antigone Throughout the Greek play Antigone by Sophocles, there exists a dispute as to who should receive the designation of main character. Antigone, the daughter of the cursed King Oedipus, as well as Creon, stately king of Thebes, both appear as the key figures in this historic play. I believe that Creon, king of Thebes, should be considered the main character in this work of Greek theater. Three points can be used to make this argument: Creon suffers greatly
Antigone– Characterization This essay will illustrate the types of characters depicted in Sophocles’ tragic drama, Antigone, whether static or dynamic, flat or round, and whether portrayed through the showing or telling technique. Martin Heidegger in “The Ode on Man in Sophocles’ Antigone” explains, in a rather involved theory, the destruction of Creon’s character: The conflict between the overwhelming presence of the essent as a whole and man’s violent being-there creates the
Sophocles’ tragic drama, Antigone, presents to the reader a full range of characters: static and dynamic, flat and round; they are portrayed mostly through the showing technique. In “Sophocles’ Praise of Man and the Conflicts of the Antigone,” Charles Paul Segal takes the stand that there are two protagonists in the drama (which conflicts with this reader’s interpretation): This is not to say that there are not conceptual issues involved in the characters of Creon and Antigone. But the issues