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. Being in power yields the assumption that everything is possible. In Creon’s case, he states that “never, if I can help it, shall evil triumph over good.” Creon’s pride in his position as King skewed his perception of what is just. He opens his Kingship commenting on this very feature of kingship, that “no other touchstone can test the heart of a man” like that of utmost power. Ironically, Creon reaches this touchstone, only to fail, causing many tragic deaths....
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.
When King Creon is introduced in the play, we notice that he exults himself form the very beginning. Creon mentions “Guided by the
In the play Antigone, both Antigone and Kreon could be considered tragic heros. A tragic hero, defined by A Dictionary of Literary, Dramatic and Cinematic Terms, is someone who suffers due to a tragic flaw, or hamartia. This Greek word is variously translated as "tragic flaw" or "error" or "weakness". Kreon's hamartia, like in many plays, is hybris - Greek for overweening pride, arrogance, or excessive confidence. Kreon's hybris causes him to attempt to violate the laws of order or human rights, another main part of a tragic hero. Also, like all tragic heroes, Kreon suffers because of his hamartia and then realizes his flaw.
Antigone - Creon's Fatal Flaw A master artisan and innovator of the Greek tragedy, Sophocles' insightful plays have held their value throughout countless time periods and societies. Through the use of common literary techniques, Sophocles was able to express themes and ideas that reflect all of humankind. On particular idea was that Sophocles believed that hubris is destructive and will eventually lead to one's demise. Creon, the proud king of Thebes has such a fatal flaw. His hubris alienates Teiresias, Haimon, and his people.
The opening events of the play Antigone, written by Sophocles, quickly establish the central conflict between Antigone and Creon. Creon has decreed that the traitor Polynices, who tried to burn down the temple of gods in Thebes, must not be given proper burial. Antigone is the only one who will speak against this decree and insists on the sacredness of family and a symbolic burial for her brother. Whereas Antigone sees no validity in a law that disregards the duty family members owe one another, Creon's point of view is exactly opposite. He has no use for anyone who places private ties above the common good, as he proclaims firmly to the Chorus and the audience as he revels in his victory over Polynices. He sees Polynices as an enemy to the state because he attacked his brother. Creon's first speech, which is dominated by words such as "authority” and "law”, shows the extent to which Creon fixates on government and law as the supreme authority. Between Antigone and Creon there can be no compromise—they both find absolute validity in the respective loyalties they uphold.
In his "Funeral Oration" Pericles, Athens's leader in their war with other city-states, rallies the patriotism of his people by reminding them of the things they value. He encourages a sense of duty to Athens even to the point of self-sacrifice. He glorifies the free and democratic Athenian way of life and extravagantly praises those willing to die for it. In Antigone, Creon, Thebes's leader in their recent civil war, also must rally the patriotism of his people. While he, too, praises the loyalty of his people, he does two other things to rally the citizens: he emphasizes his own qualifications for leadership, and he reminds them what happens to traitors.
Antigone, although it concerns the last events in the mythic history of the family, was the first of three plays to be written. In it certain elements of plot seem to indicate that Sophocles, was still imitating the works of the previous Aeschylus. For instance, both Antigone and Creon find themselves caught in a "double bind," a situation in which they are doomed no matter which course of action they choose. Although Antigone suffers because she violates the law of Creon by burying her brother Polyneices, she would have neglected her religious duty had she left him unburied. Creon suffers because he regards his will as more important than the demands of the gods, although political pressures drives him to punish the traitor of his city.
In the play called Antigone by Sophocles there is king name Creon. King Creon is an old man that was throne only king because his nephews that were to be throne king died due to fighting each other till death because of the throne and the power of king over whelm them. Now that the nephews died their uncle which is Creon is now the king. As he turn as the new king of Thebes he made a new law that if anyone buries Polyneices body they will be sentence to death. This was one of the ideas that Creon selfishness and benevolent came into effect. Creon allows his pride to mark his decisions and influence his destiny, refusing to have mercy on his own nephew.
Throughout the story of Antigone, particularly the end, Creon proposes the bad-boy in control personality. He acts as the ruler he is and puts his power to work. He fears nothing unless his family is involved. He has no mercy when it comes to the law. Additionally, he is greatly affected by the environment he creates around himself.
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.
Because of the sheer power of death and the impact it has on the lives of loved ones, people’s actions can potentially change, and suddenly be filled with passion for their late loved one. This is most definitely the case with Antigone after one of her brother’s deaths in Thebes. The idea of Polyneices not getting a proper burial was unfathomable to Antigone, as he was her brother, and she felt as if he should be treated in the same manner as other deceased individuals. Thus, since Antigone abides by principal, her primary motivation to bury Polyneices is to provide him with a traditional commemoration of life, like Antigone believes everyone deserves and like religious obligation dictates. Likewise, the fact that one of her brothers, Eteocles,
In the play Antigone, I choose Creon to be the tragic hero because he is the King of Thebes and he looses everything he has. Creon being King makes the audience believe that something like that can happen to the King then what can happen to us. Antigone the niece of Creon, The sister of Polyneices was punished by Creon for burying Polyneces after his death, Creon has forbidden anybody to do so. Once Creon punished Antigone the blind prophet Teiresias told him that the Gods will take revenge for his actions, then Creon tried to change everything but he is too late. Creon's tragic flaws were his stubbornness, the abuse of power and the actions he took to cause the downfall of the Thebes.
Throughout literary history, tragic heroes have been defined as a great or virtuous character in a dramatic tragedy who is destined for downfall, suffering, or defeat. However, philosophers such as Aristotle tried to find connections between tragic heroes in Greek plays. This in-depth analysis of tragic heroes lead Aristotle to create six criteria for a true tragic hero: He or she has to be a Noble figure of royalty and noble in character, has to be imperfect by design, has a flaw or error that is a choice, is punished excessively for this choice flaw, has to undergo a downfall that leads to a realization, and the story of this tragic hero has to make the audience reach a moment of catharsis or purging of emotions. A prime example of a tragic hero that fits all of these criteria is Creon from the play Antigone, written by Sophocles in 441 BC. The story of Antigone is a tragedy that describes a stubborn and proud king named Creon who refuses to allow a burial for the brother of Antigone. Creon’s excessive pride leads to a series of unfortunate events resulting in the death of Antigone, his son Haemon, and his wife Eurydice. Throughout the course of the play, Creon undergoes each standard that is required by Aristotle’s terms to be a tragic hero.
Tragedy of Antigone The play “Antigone” by Sophocles displays many qualities that make it a great tragedy. A tragedy is defined as a dramatic or literary work in which the principal character engages in a morally significant struggle ending in ruin or profound disappointment. In creating his tragedy “Antigone”, Sophocles uses many techniques to create the feelings of fear and pity in his readers. This, in turn, creates an excellent tragedy.
Ironic and corrosive behavior is noted in Creon when he gives the quote, “You dazzle me” (Scene 2, Line 182). This is verbal irony because as an audience we know that Creon does not, in fact, feel that the Choragus’ outburst about Antigone’s death is ‘dazzling.’ but because of this we must wonder, what does he mean? We can find out from the writing of Sophocles. This small line gives a foreshadowing of Creon’s true nature. Creon does not act kingly, he is rude and arrogant. Why would a king need to be