Political Violence In Antigone

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

Gender and its roles are exposed in the story of Antigone as the central themes. Roles and rules are set and followed by several people in this era, this is appreciated in this text. Ideas of contradiction to these rules were not explored. In Greek mythology, several women held positions of power, but none of these women were human, making the idea of a powerful woman godlike and unattainable, as if to keep woman in their place, which of course, was always under the rule of the superior gender, the male. To challenge a patriarchy with feminism was dangerous, for both sexes were equally protective of it, leaving the challenger desolate in the battle against it. To rely on women to help other women rebel against this social norm was not probable, in the contrary, women held each other accountable for complying to these rules and punished those who didn’t. Women were their gender’s prevalent critics and suppressors, not only because they feared the repercussions, but since they didn’t have the means to rebel against it.

The first specification for the tragic hero is one of the few that both Antigone and Creon exhibit; both characters are between the extremes of perfect morality and pure villainy. Antigone’s moral neutrality is illustrated through her noble intentions and the unorthodox way she acts upon them. When she is confronted by Creon and demanded to give an explanation for her disobedience, Antigone says, “For me it was not Zeus who made that order. Nor did that Justice who lives with the gods below mark out such laws to hold among mankind” (Sophocles 207 ll. 450-2). Along with love and loyalty to her brother, Antigone is largely motivated by her desire for justice and appeasement of the gods. While her intentions are noble, Antigone’s actions in the

She does not believe those beliefs are right and stubbornly ignores them. By acting this way she is demonstrating pride because a prideful person does not take into consideration anything going against them and their beliefs. Also when she says that "the laws of the gods mean nothing" to Ismene she is showing her pride. Firstly it again establishes the importance she puts to the gods laws. In this time period it was important to respect the gods. By suggesting Ismene does not respect the gods Antigone is entirely discarding Ismene.

Within Letter from a Birmingham Jail, MLK describes the four-step plan one must follow to carry on a nonviolent campaign. Antigone’s actions throughout Antigone carefully mimic those steps. Throughout the story you can consider Antigone’s actions to be part of a nonviolent campaign. MLK says that, “In any nonviolent campaign there are four basic steps: collection of the facts to determine whether injustices exist; negotiation; self-purification; and direct action” (paragraph six). Antigone determined there was an injustice committed when Creon’s edict decreed that no one would be able to bury her brother Polyneices or they face a punishment by death. Antigone finds this to be an injustice, when she asks for help from her sister Ismene she says, “…And now you can prove what you are: A true sister, or a traitor to your family.” (Antigone 26-27). Once captured by the Sentry she negotiates with Creon, attempting to appeal to him so he is able to understand her reverence for the dead is what god wants (lines 355-420). Within self-purification Antigone undergoes strong emotions that could be alluded to feelings of suicide and depression. All she wants is to bury Polyneices and not let this injustice go unnoticed. She is willing to go to great lengths to fight for what she believes in and the extent she goes to stand up for what she believes is the act of self-purification MLK talks about. Her direct action is

Antigone’s motivation is love for her family- she puts it above all else. In fact, she is willing to sacrifice her life to defend that love. Antigone goes to great lengths to bury her deceased brother, who according to an edict issued by King Creon, died in dishonor, consequently making it illegal for anyone to bury his body. Through her actions to comply with her motivations, it is revealed that Antigone’s actions are also fueled by her strong beliefs that, first, the gods’ laws

In the Greek play Antigone writer Sophocles illustrates the clash between the story’s main character Antigone and her powerful uncle, Creon. King Creon of Thebes is an ignorant and oppressive ruler. In the text, there is a prevailing theme of rules and order in which Antigone’s standards of divine justice conflict with Creon’s will as the king. Antigone was not wrong in disobeying Creon, because he was evil and tyrannical. The authors of “Antigone: Kinship, Justice, and the Polis,” and “Assumptions and the Creation of Meaning: Reading Sophocles’ Antigone.” agree with the notion that Antigone performs the role of woman and warrior at once. She does not only what a kinswoman would, but also what a warrior would do.

Antigone justified her civil disobedience of giving her dead brother Polyneices the decent burial which is against King Kreon's decree, by knowing well that she has violated the state's law by burying her brother. She then allegedly carries out an act against King Kreon's state law; but it is also an act in accordance to her own conscience

After a man was defeated in battle the man who bested him was expected to strip the body and possibly even harm it more. The king of Thebes also decreed that no one was to touch the body “He must be left unburied. May birds and dogs feed on his limbs, a spectacle of utter shame (page 9).”When Antigone speaks out against the treatment of her brother's body she is also calling to question what has been done since the start of Greek battles. When she goes against not only the power structure but also the power structure of kingdoms past and of how things should be done in the future which calls into question all these people have ever known and this is why they are so

Sometimes the law is not on our side and we have to choose whether to abide by the government’s rules, our religious beliefs or our personal morals. In Antigone, Antigone decides to disregard the law and do what she, and the vast majority of the people in the city, believe to be right. From the onset of the play, we are shown that Antigone does not fear authority and is wholeheartedly willing to die for her brother. Antigone says, “At least he is my

Antigone’s civil disobedience was in honor of her brother. She could not allow her brother, Polyneices, to be left to the dogs and the birds. In those times, the responsibility of taking care of the dead belonged to the families. She didn’t fear the consequences of defying the law of King Creon. She believed in obeying the law of the gods’ more than the law of man, especially in this situation because it dealt with her family. “Nor did I think your proclamations had such strength that, mortal as you are, you could outrun the laws that are the gods’, unwritten and unshakable” (Antigone, Sophocles 38). She felt like she was doing the

Antigone wants to be redeemed in the afterlife through her act of burying Polyneices. This is especially clear when she decides that she will bury him and die before she has even appealed to Creon. The only route she can see is one that results in her death. Not until she is directly confronted by her uncle does she attempt to dissuade him from dishonoring Polyneices. Even then, she seems to be simply defending her own actions rather than accusing him of being wrong, as she so adamantly has done with Ismene. He needs to implore her to “Speak!” (166, 442), and when she does, she is flippant and prideful. Antigone only engages in real dialogue with him when he forces her to. This could be interpreted as her simply understanding his position and accepting it, but I find that unlikely. She clearly fundamentally disagrees with him and his interpretation of the gods, but instead of trying to persuade him to recant his decree and bury her brother, she capitalizes on the position she’s in and thrusts herself into martyrdom. Even by the gods’ standards, this does not seem to be justice or “rightness”. Her surface level loyalty to her family may initially appeal, but I find it insincere and not right when I explore it more closely.

Antigone says, “And if these men weren’t so afraid to sound unpatriotic, they would say the same. But you are the king, and because you’re king you won’t be contradicted” (Heaney, 32). She is implying that the king’s people are favoring the laws of man as oppose to the higher law of the gods. We begin to see Antigone as a noble character for pursuing her own moral nature.

The ancient Greeks somehow linked together two aspects of life that seem to be exact opposites. Love and war, as Aphrodite was the mistress of ares, the god of war. In the play “Antigone” one of a trilogy, Antigone wishes for nothing more than to bury her deceased brother: However, that is the one thing her uncle, Creon, wants the least. There is a clearly defined relationship between love and war in Antigone, and it is a rather toxic relationship. In the play, the reader observes multiple views on a spectrum. On one end is Law (war, or result from the war between the two brothers), on the other is love. Creon obviously believes in the beginning that it is every man for himself, Antigone believes that family comes before the law, and Ismene struggles between the two.

In this essay I will be discussing and referring to Hannah Arendt’s essay On Violence (1969), Zizek's essay Violence (2008) and Walter Benjamin’s essay Critique on violence (n.d.) in order to look at the notion of violence in Antigone written by Sophocles through theatrical terms. I will focusing on the dramatization of some of the “events” that lead to the “ends” and the “means” and refer to the interruptions of these events (Arendt: 1969:4).