Olivia Seeney
ENGL 330 Studies in World Literature
11/21/16
Hubris and Drama in Antigone Hubris may be categorized as two things. As a part of the Greek theater hubris qualifies as being “the intentional use of violence to humiliate or degrade (Luebering).” However, a more modern qualification defines hubris as “exaggerated pride or self-confidence (Hubris).” Throughout Antigone both of these different characterizations of the word hubris can be found in specific events and characters. Being a Greek tragedy, it is evident that the concept of hubris plays a very important role in the development of characters and provides the reasoning for why each person does what they do. Much of the drama in this play is born from either excessive pride or from the unnecessary violence against sacred rituals or those who perform them. However, it is also possible to notice characters who fall outside of this hubris and rather choose to fight against it. By going against this traditional Greek dramatic element these characters highlight the injustices that are being displayed by those they are going against. Overall, the impact that hubris has had on this tragedy and on the culture as whole affects how each of the characters either use hubris to advance both themselves and their goals, or choose to fight against it for the good of those around them. The incorporation of hubris into Antigone can be visualized specifically by examining two characters in particular. The first character is
In his play Antigone, Sophocles makes extensive use of religious and cultural allusions in order to develop ideas. Through the use of allusions to Zeus and other moral figures, he reinforces accepted moral standards, heightening the conflict between Antigone’s earthly morals and those of her religion. Sophocles also shows the dangers of hubris through his allusions to the downfall of Niobe, and Creon’s references to Nemesis. The motif of fate within Antigone and the rest of the Theban plays is developed through his allusion to Danae, as well as his references the Oedipal prophecy and to the Fates themselves. Through his use of allusion, Sophocles gives great insight into aspects of the human condition, the moral ambiguities of our world, and
Antigone has been acclaimed as a model that challenges authority and insists on just acts. However, according to Aristotle, a tragedy requires a man’s harmartia, which means error. Therefore, as a main character of a great tragedy, Antigone must possess flaws.
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
Full of drama and tragedy, Antigone can be used to relate to current conflicts. One such conflict is that between Haemon and his father Creon. Haemon looks up to Creon with honor and pride, but as conflict arises, that relation is disassociated and new feelings grow. The first conversation between them is what initiates the downfall of their bond. While it seems that Creon is the most important person in Haemon’s life, Antigone is in fact the one that has won Haemon over.
John Lennon said, “Part of me suspects that I’m a loser, and the other part of me thinks I’m God Almighty.” Hubris, or excessive pride, was one of the biggest themes in Ancient Greek culture. It has what killed heroes, and destroyed villains in mythology and even real life. In the play Antigone, written by Sophocles, I share the battle that Creon has regarding a conflict of personal character, which leads to the deaths of others caused by his tremendously large ego.
Sophocles, a great tragedian, was the one who gave Greek tragedies their traditional form. An important part of traditional Greek tragedies is the presence of a tragic hero. All tragic heroes should have the characteristics of rank, a tragic flaw, a downfall, and a recognition of mistakes. The seemingly tragic hero is Antigone. She wants to bury her brother Polyneices even though this would be going against Creon, who is her uncle and the king. When Antigone buries Polyneices Creon sentences her to death because of it. In Antigone by Sophocles the tragic hero is not Antigone because she only meets the characteristic of a tragic flaw, hers being pride, but doesn 't meet the other three characteristics of a
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.
Everyone has flaws. Someone may get a little too angry and saw something they do not mean. Maybe someone's pride stops them from asking for help when they need it. Either way, no one is perfect; hubris always finds a way to ruin peoples lives. Sophocles’s two plays Oedipus the King, and Antigone are prime examples of how hubris can lead to ones ultimate downfall, which can be seen through the characters Antigone, Oedipus, and Creon.
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
Here in Antigone,the man with hubris-believes himself,his laws and men to be supperior to the gods-it is the paramount display of pride/hubris and it needs to be severely punished.Sophocles affirms that no man can equal or be superior to the gods,devine right and the laws of the gods.
Pride is the cause of the main conflict in Sophocles’ play, Antigone. Everyone should have pride, but Creon had too much of it and that blinded him. His pride in his power and abuse of authority was his tragic flaw that ultimately led to his downfall. On the other hand, Antigone takes pride in her beliefs and has the courage to speak out for what she thinks is right. For this, Antigone is seen as an honorable character and the hero of the play. It is shown that there are often two sides to things; pride can be both a source of strength and self-destruction.
Soon after his decision of the fate of Antigone, Creon’s tragic flaw blooms the greatest. This Hubris focuses on the Creon’s relentless, uncompromising, and egotistical attitude. Many try to convince Creon to reconsider on his misguided decision, however, Creon does not yield. It is at this point when one realizes the Hubris of Antigone. Creon possesses a false sense of pride and/or confidence in his intelligence. He believes he cannot be wrong, therefore his uncompromising and egotistical attitude shines brightest. It portrays him as “superficial, pigheaded, self-important man.” (Porter) This is Hamartia, his relentless,
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.
Rebellion stems from oppression, while the potency it has to change norms varies from context. In Anouilh’s Antigone, the protagonist fights against a ruler to create change. The main idea evoked through the play is that rebellion is an ideology rather than a set of physical actions, and like all ideologies, naturally spreads through society. Antigone rebels for herself, but never completes her goal. Her rebellion affects others, like Haemon and Ismene, changing their perceptions and actions. Additionally, her struggle did not bury her brother, but rather unveiled the intricate workings of dynamic characters. Accordingly, Anouilh’s Antigone explores the causes, consequences, and value of rebellion in regard to character change.
Unlike most Greek tragedies, Antigone is not essentially about the opposing powers of good and evil. Instead, the play demonstrates the conflict between one’s duty towards their family and their country and social expectations. “Antigone presents a conflict between family loyalty and loyalty to the state, between demands of the state and the will of the individual” (MacKay, 166). The king