Structure And Form In Sophocles Antigone

For centuries men have been finding ways to gain control over everything and everyone. One group that has been oppressed by men throughout history are women. Men have placed rules and regulations upon women making them seen as unequal and inferior. Was it fear? Was it the hunger for power? Was is the highness of superiority? Whatever the reasons were, men had to be seen as the highest being next to whom they worshiped. In the play Antigone by Sophocles, the audience is exposed to the roles of men and women in an ancient Greece society known as Thebes. Although ancient Greece was a male-dominant society where women had as much freedom as a slave, Sophocles’ main character in the play, Antigone, is an example of a brave, strong-minded woman who goes against the limitations that were unfairly set upon women during that time to do what she believes is right. In this play, gender roles assists in the process of portraying the story since it affects some of the decisions of the characters and helps lead the story into the climax.

Sophocles, in Antigone, says that in a world where we cannot tell between what is right and what is wrong, we should be aware of our values and act with caution. He says that we should set aside the inherent pride we have in our beliefs as we can never know what is truly right. His message is to not cling onto our values and instead be more open to ideas from the outside, otherwise consequences will arise. Everyone has a set of beliefs which they hold to be their guidelines for life. Everyone has values, things that they believe are “right.”

A tragic hero is a character who makes an error of judgment or has a fatal flaw, which combined with fate, results into a tragedy. The tragic hero must fall from good luck and well being to misery and misfortune. The tragic hero causes a sense of pity through the tragic downfall that weakens the character. In Antigone by Sophocles, Antigone follows her own beliefs by giving her brother a proper burial, even if she has to break the law of King Creon. Because of her innocent actions, Antigone is punished unjustly and unfairly. Through her risky and unselfish actions, ability to follow her own beliefs, and perseverance Antigone is the tragic hero of this play.

As the tragedy concludes, the chorus issues its final words: "Pray for no more at all. For what is destined for us, men mortal, there is no escape," demonstrating how justice remains impartial to the prejudice of men; those who make imprudent judgments will ultimately suffer from the consequences of their actions. In Sophocles' Antigone, these prejudices notably surface in the form of paternalism as demonstrated through Creon's government, highlighting the importance of gender roles throughout the play. Therefore, analyzing the motif of gender roles and its effect on the definition of justice through the perspectives of Ismene, Antigone, and Creon enables the audience to understand how Sophocles' macroscopic analogy to humanity's

As the play begins Antigone is just meeting up with her sister and is telling her about the decree of King Creon. Antigone and her sister, Ismene, had two brothers who had killed each other on the battlefield. One of their brothers, Eteocles, was buried with the military honors of a soldier’s funeral, and yet the other, Polyneices, was to be left out to be food for the carrion birds since he died fighting against the city of Thebes. King Creon forbade publicly for anyone to bury the body of Polyneices under the penalty of death. Antigone is now determined to bury her brother and wants Ismene to help her. Ismene does not want to go against what the king has ordered and is fearful of what may become of her if she

In Jean Anouilh’s version of the play, Antigone, the protagonist, Antigone, is interpreted as a member of the resistance to despotism that parallels the antifascist French resistance against the Nazi occupation. Anouilh’s controversial play was performed in 1944 under Nazi-controlled Paris, so when Antigone sacrifices her life to defy the oppressive ruler Creon, Anouilh makes Antigone not only a heroine, but also a symbol for resistance. Anouilh based his playwright on Sophocles’ version, which was originally written in 442 BC in Ancient Greece. However, Anouilh uses different literary devices such as anachronisms, allusions, similes and symbolism to relate the story to the most disturbing dilemma during his time in the 1940’s. He writes his play to show the importance in joining the French resistance, but he must also make his play acceptable to the controlling Nazis. As such, the play Antigone can be interpreted as a political allegory of Vichy France.

Page 124 of the play “Antigone” presents the scene where Creon is confessing to the Leader of his horrible mistake that he’s done. He is very upset that everyone is killed, he wishes he hadn’t done anything and hadn’t ruined what could have been a bright future. Shows lots of regret. This is sign of regret. You can call Creon a hero, his enemy was Antigone and he was trying to do whatever he could to regain possession of his kingdom and restore his manly great self-image back. However, once he reached the point where his loved ones began to commit suicide, he reached the point of death/rebirth. In utter grief, Creon states his sadness as shown in the following “Oh I’ve learned through blood and tears! Then, it was then, when the god came down

Throughout Poetics, Aristotle describes what traits a tragedy must have to be successful. To support these choices, he makes use of a small analysis of many tragedies, including many of Sophocles’ plays; Oedipus Rex is one of the plays mentioned in Aristotle’s Poetics. Some of these traits include a successful plot structure, recognition scenes, and a correct choice for its hero. In Oedipus Rex, Sophocles fulfills all of these requirements.

Antigone is a play about a woman who disobeyed the King's order to not bury her brother. The play was written by the famous Greek tragedian, Sophocles, in 441 B.C. The story took place in the city of Thebes and the time period is not mentioned. The main characters introduced in the play are of Antigone, Ismene, Creon, and Haemon. The primary focus was centered on Antigone and the consequences she faces after breaking the King's orders.

In the Poetics, Aristotle provides an outline of how the artist is to portray or represent the perfect Tragedy. A Tragedy, of course, was nothing more than a drama, in which the characters appeared "better" than in real life (in a comedy, they appeared "worse," according to Aristotle). Aristotle's Poetics makes several references to other dramatic works to illustrate his points, but he most commonly calls upon The Odyssey to support his argument for how a dramatic structure should be designed. However, along with the Odyssey, Aristotle extensively references Sophocles' Oedipus Rex. Both poetic works were enormously popular in their time (the former had been passed down orally for generations, and the latter won the top prizes at the dramatic festivals). Therefore, Aristotle is comfortable using both to support his viewpoint concerning Tragedy and the Tragic Hero. This paper will analyze the standards that Aristotle sets out concerning the definition of the Tragic Hero and show how Sophocles' Oedipus exemplifies Aristotle's definition of a Tragic Hero.

It is plain to see what about the character of Antigone it is that makes this a tragedy. Tragedy is defined as a dramatic composition dealing with a serious or somber theme, and this story fits all these criteria. First of all, it involves a tragic course of events that involved both of her brothers dying and then being completely disrespected even in death. She felt she had to rectify this mistake, even though it was against the law, and the opposition was too great. Because of her attempt to rectify the injustice, even more tragic things happened to her and her family. This is why she is a tragic heroine.

Some of the greatest tragic plays ever written was composed by the great Greek playwright, Sophocles. Today I will be focusing on one of his widely known plays, Antigone, translated by Robert Bagg found in The Norton Anthology of World Literature Volume A. I will also be reviewing a journal article written by, Vincent J. Rosivach from the University of Illinois. After reading the journal article, you will find that Rosivach provides a vivid description of what Sophocles was trying to portray. This amplifies the readers understanding because Rosivach breaks down everything in a way that allows the reader to use their imagination much more in depth. Rosivach refers to the play instead of the text which we were assigned to read which paints a more vivid picture for the reader. He makes references to where things are place in the play. When describing the underworld Rosivach states, “In the theater this world of the dead lies offstage to the audience’s left…” (Rosivach, 18). This allows the readers to understand the set up of the play and to activates one’s imagination. Rosivach does a phenomenal job at arguing many different points across this play. As he critics Antigone, he is dissecting the play so that he can bring the reader’s awareness to the little things that could have easily been unnoticed through out the play.

Aristotle’s “The Poetics” describes the process of a tragedy. It is not the guide per se of writing a tragedy but is the idea’s Aristotle collected while studying tragedies. A tragedy, according to Aristotle, consists of six major points. The first and most important is the plot, which is what all the other points are based on. Such points are: character, language, thought, melody, and spectacle (Aristotle). A prime example of the usage of these parts in a tragic drama is evident in Sophocles’ “Oedipus Rex”.

and set of values. She dies with pride and no regret for she died because she acted doing what

Aristotle is one of the greatest ancient Greek philosophers. One of his best works is Poetics. Aristotle defines what a tragedy is …etc.(what talks abt) A tragedy consists of six component, which are listed here in order from most important to least important. Aristotle’s structure of tragedy was interpreted differently by the neoclassical philosopher Corneille. Corneille argued that “Action can become complete only through several others . . . which, by serving preparation, keep the spectator in a pleasant suspense . . . leave us in the expectation of something which is to take place in the following one . . . into the shortest possible period, so that the performance may more closely resemble reality and thus be more nearly perfect . . .I should be willing to concede that a whole city has unity of place . . . to make ancient rules agree with modern pleasure.”(Three Discourses of dramatic poetry) The mission of this paper is