confant Conflict of Passion and Reason in Sophocles' Antigone

To illustrate, Antigone articulates to Ismene that Creon lacks the power to prohibit her from burying Polyneices (Prologue, line 35). Disregarding Creon’s powers, Antigone extends both her immaturity and recklessness in amanner that both generates a hazy impression of Antigone’s plausibility and discredits her personality because of the seldom conflict between the king and women in Ancient Greece. Furthermore, characters such as Eurydice and Jocasta, who experience much more tragedy, diverge from Antigone in the course of their reactions. While Jocasta and Eurydice grieve for their loved ones and succumb to the sorrow, Antigone’s reaction exists at the opposite end of the spectrum where she acts with the sole intent to spite Creon. Continuing, Antigone dictates that she is “not afraid of the danger; if it means death, / It will not be the worst of deaths - death without honor” (Prologue, lines 80-81). Recognizing her inevitable fate, Antigone makes little effort to alter her actions or consequences. Her proud acceptance of her death, which she claims to be one of honor, projects her arrogance and stubbornness toward her situation. This immediate compliance fails to reflect the true outlook and reaction toward approaching death both today and in her time. Additionally, the diatribe provided by Antigone to the chorus near her death sparks much criticism when she asserts that she prays Creon’s punishment equals her own when the truth of her actions emerges (Scene 4, lines 67-69). Antigone’s blatant assault on Creon’s life conveys her ignorance, which also transmits the impossibility of her individuality. Sophocles employs Antigone to generate the generalized perspective of tyranny Conversely, many individuals justify Antigone’s reckless behavior

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

Haemon stated that his father had dishonored the gods by sending Antigone off to her death, but Creon responded by saying, “You, you soul of corruption, rotten through-/ woman’s accomplice!” (836-37) Creon refused to acknowledge his son’s point, therefore, not changing his mind on Antigone’s fate. In another scene, Creon showed his independence by refusing to listen to Tiresias’ prophecy. Knowing that Tiresias’ prophecies were never wrong, Creon still ignored him. Creon stated, “You and the whole breed of seers are mad for money!” (1171) He claimed that Tiresias was wrong, and he was doing the right thing. In this scene Creon showed his independence in a cruel manner by disrespecting Tiresias. Antigone and Creon both showed that they wanted to be independent. Antigone’s will to be independent ultimately caused her death, and Creon’s caused him to lose his son, niece, and wife.

“Tell me briefly—not in some lengthy speech— were you aware there was a proclamation forbidding what you did?” (503-505). The actions, context of Antigone’s words, and also the ideas she proposed, very indepthly contrasted with Creon’s character. Thus resulting in there being a verbal confrontation between the two characters. The conflict between the two caused conflicting motivations such as stubbornness, disrespect, and anger to be projected with Creon’s character. Ultimately, these conflicting motivations develop Creon as a tragic hero by portraying that he knew, the decisions he made were of error, and the character interactions advance the plot by causing conflict throughout the play. Creon had also begun to change throughout the play,

Even though Antigone exhibits a blamable pride and a hunger for glory, her disobedience is less serious than those of Creon. It is evident that Antigone’s actions are driven by a love for her brother, and a desire to please the gods. While Creon’s actions are

King Creon’s tragic flaw is hubris. He does not listen to advice given to him by the blind prophet Teiresias. When Teiresias tells Creon, “Give in to the dead man, then: do not fight with a corpse- what glory is it to kill a man who is dead? Think, I beg you: It is for your own good that I speak as I do. You should be able to yield for your own good” (Antigone 36-40). King Creon does not like the fact that the prophet believes he is wrong and should do what everyone else has so far advised him to do. He accuses Teiresias as giving him such a prophecy because of bribery from others and a hunger for gold. Hubris is also revealed from King Creon in Scene III. Creon’s son, Haemon, tells Creon that the people of Thebes believe they have never seen a girl die such a shameful death and that the people live in fear of Creon. Haemon tells Creon he also believes Antigone should have been allowed to bury Polyneices and should be set free. King Creon responds with, “You consider it right for a man of my years and experience to go to school to a boy?” (Antigone 95-96). This shows that Creon does not believe a man of such age, “wisdom”, and “experience” should listen to anyone or change because of anyone else’s

Antigone's tragedy was a story that is unbearable, and horrific when it is fully understood in the sense of the magnitude of all of the factors that came together to form a fragile, problematic situation. The joint murder of her brothers that was committed against each other, they turned against each other, driven by the lust for power and control. An opinion about how and why the conflict began, is that megalomania was an overwhelming aspect of the provocateur. Creon’s choice between honoring one brother and leaving the other to decompose shamefully with no honor at all. The way these enabling events led to the formation of a partially self-detrimental plan by Antigone, who was appalled that a decision such as that could've even been considered, much less imposed. For her to deal with the turn of events in such a quick succession can be seen as cruel and unbearable, which is one of the aspects

Sophocles symbolizes family over authority by using Antigone and Creon to conflict each other's core beliefs, showing that Antigone is willing to die to honor the love for her family, while Creon is willing to kill to honor and enforce his own authority at any cost. As we see in the story, when Antigone's brothers die, she chooses to bury Polyneices even though she knows this will cost her her life. In the play when Antigone tells her sister what she’s going to do, ismene says, ”But think of the danger! Think what Creon will do! ANTIGONE: Creon is not enough to stand in my way” This shows Antigone represents family for the great lengths she will go to to honor her brother. By contrast, Sophocles paints Creon to symbolize authority through murder of his own bloodline. In the play he plans to kill Antigone for choosing her love for her brother over his rule, and so he plans out her execution although she is family to Creon. The Choragos asks Creon “Do you really intend to steal this girl from your son?,” which then he responds by saying “No; Death will do that for me.” Which shows the reader that Creon is unsympathetic to who Antigone is in relation to him. He disregards the importance of family to uphold his authoritative values. By the end of the play the author has shown us Creon has come to realize his ways have cost him his family, and he regrets his decisions.

Antigone is the antithesis of Creon. The play, Antigone, by Sophocles translated by Paul Roche is a tragedy. It starts off with Antigone telling her sister, Ismene, that Creon, the king and their uncle, has made an edict that their brother, Polyneces, will not receive a proper burial and will be left to be eaten by carrion birds and dogs because he is a traitor. Their other brother Eteocles, will be given a proper burial, as he fought for Thebes. Antigone also tells her sister that she is going to bury him anyway, but Ismene decides not to help, for fear of their place as women. Antigone is caught and sent to a stone tomb to starve to death. Haemon, Creon’s son and Antigone’s betrothed,

The play Antigone by Sophocles is a play like no other. There are three major themes or ideas which have a very important role in the play. The first major theme is fate, on how the play comes about and the turn of events that come about throughout it. Another main theme or idea is the pride the characters have and their unwillingness they have to change their minds once they are set on something. The last major theme is loyalty and the practical problem of conduct involving which is a higher law between the divine laws and those of the humans. It is an issue of which law is the "right" law, and if Creon and Antigone's acts are justifiable or not. The issues that Antigone and Creon have between them

   Antigone, written by Sophocles is a tale of a tragic hero who suffers with the recognition and realization of his tragic flaw. Although this short story is titled after Antigone, Creon is the main character and he provides the moral significance in the play. First, Creon withholds the respect of his citizens but it is clear to them he is not perfect through his pride (tragic flaw). Secondly, his radical reversal of fortune is made clear after he struggles with the recognition of his fatal flaw. Thirdly and lastly, his pity and fear flowers into an understanding of his prideful and destructive nature leading to his redemption. Nevertheless he is left with the burden of the deaths of

Another difference which can be spotted throughout the play is the projection of emotions that the two give off. Antigone seems like more of a fervent, headstrong individual. Creon, on the other hand, sends readers more of an emotionless and insensible

In Antigone, by Sophocles, there is conflict between the characters Antigone and Creon. Antigone is characterized as a rebellious girl, who turns into a martyr, and just lost both her brothers, Eteocles and Polynices, in a war between the city-states of Thebes and Argos. Eteocles was fighting the war on Thebes’s side, Thebes is where they live, but Polynices was fighting for the Argos army. Creon, the king of Thebes as well as Antigone’s uncle, has made a law that Polynices may not be

Out of imprudence, Antigone does not realize the negative effects of antagonizing Creon. After being captured by the guard and brought to Creon, she reveals her intentions to Creon and even belittles him by indicating that his orders is not so strong that he, “a mortal man”,

Each individual in Antigone had a predetermined fate although by the portrayal of his or her free will that fate may be changed. Creon, by displaying appalling acts such as enslaving Antigone despite warnings, showed he had the most free will. Tirasias, as the spokesmen of the gods, warns Creon about the consequences of his actions (Sophocles, 112). By ignoring Tirasias’s cautions, Creon portrays his free will. Creon is confident that through his determination he will be able to rule Thebes and create his own laws. Through these laws, Creon punishes Antigone, after she disobeys his rulings and buries her brother. Antigone reveals her free will by choosing death as her fate and life for her sister Ismene. When Ismene proclaims she will die with Antigone, Antigone refutes it. Antigone says that they should not both die, especially for an act that only she committed and Ismene had no part in (Sophocles, 88). Ultimately, Haemon shows the least free will