Ismene

While myriad themes that pervade themselves throughout the entirety of Sophocles’ Antigone, the universal and most heavily manifested theme is that regarding the conflict between how individuals choose to make decisions in a society: should one fulfill religious and familial obligations even when they contract the ruling of the state, or rather should the government be able to supersede divine right? In the traditional Greek plays, the familial structure plays a significant role in governing the

conflicts between her values and the commitment she is meant to have towards her community. Within the first few hundred lines of Antigone, Sophocles shapes the reader’s perception of Antigone and her philosophical beliefs. When speaking to her sister, Ismene, about her plan to bury their brother, Antigone states “I’ll do what’s honorable, and then I’ll die” (Sophocles, 750). Antigone’s willingness to die for a cause that she feels is honorable and right demonstrates a particular value in regards to her

Antigone defies both the decree by Creon, the leader of Thebes, and wishes of her sister, Ismene, to bury her brother according to Ancient Greek funeral rites. After being captured, Antigone is sentenced to death and ultimately hangs herself, as her fiancé and his mother both kill themselves in grief. While the central conflict is the contrasting ideals of Creon’s loyalty to his post and Antigone’s to her brother, Ismene is oft-forgotten as the mild, weak, cowardly sister whose only purpose is to attempt

Suffering is a universal condition that the characters in the play must deal with. Since the day Polyneices and Eteokles died, Ismene suffers by not being capable of having emotions. She says to Antigone: "Nothing makes me happy, nothing hurts me anymore" (Sophocles 22). The loss of loved ones can cause one to suffer but to not honor those who died can cause a vast amount of distress

When we speak of men and women, what usually comes to mind? Most of the time, society sees men as the head and the lead provider, whereas the woman represents a lesser being than men, being labeled as inferior and only exist of having the sole purpose of caring for the family/household and the offspring(s). This concept can be traced back to the ancient Greek, where the terms Polis and Oikos essentially defined both genders. Polis is described as the city state and how the city functioned, whereas

Creon did not bury Polyneices’ body and just left it out to the animals instead (71). The production is also correct when implying why Creon treats Antigone and Ismene badly as if they have the dignity of animals (73). By looking at Sophocles’ Antigone, it portrays Creon of having the same understanding of Polyneices, Antigone, and Ismene too (Sophocles ?). This is why I have no issues with these parts in Company B’s production. However, Tait also mentions the focus of the production are these actions

down upon and this battle to leave behind tradition proved to be almost if not fatal. Sophocles ' Oedipus the King and Antigone exemplify three distinct female Athenian characters who approach this battle with different fronts. Through analysis of Ismene, Antigone and Jocasta’s distinct characters, the reader better understands how Sophocles uses a feminine voice to break away from the tradition discerned in Athenian life to advocate for the rise of a matriarchal influence. Ismene’s emotional facade

actions. Antigone from the beginning wants to give Polyneices a proper burial despite the grave consequences. “Ismene, I am going to

Oedipus Cursing His Son, Polynices is a great work of art created by Henry Fuseli, in 1786. This painting was created in Fuseli’s homeland, Zurich, Switzerland. This painting has a powerful and dramatic purpose to it, and is very interesting to look at. The media of this painting is oil on canvas, and the paint is used loosely. The loose brushy style of the paint gives off the style of impressionism that brings the painting together. There is great historical and cultural context on this painting

decision of going against a direct order from the state to leave Polynices corpse unburied. She easily decides to defy Creon out of her loyalty to Polynices, the gods, her duty as a sister. Antigone makes no distinctions between her brothers and when Ismene refuses to help her, she disowns her (Lawall). Babko writes, “Any loyalties are revealed in the first lines of Antigone, as Antigone announces that she will defy Creon’s order and bury her brother.” Antigone is well aware that the penalty for defying