antigone as a tragic hero essay

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Antigone: a Heroine Meets Her Tragedy

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Antigone as a Tragic Hero Jeremy J. Parker

It is not often in Greek myth or tragedy that a woman is found portrayed as a tragic hero. However, Sophocles makes the hero of his Antigone, the third and last play in the theme of Oedipus' life, a woman. And though this is out of context for a Greek play, it is still considered one of the greatest Greek tragedies ever to have been written. The tragic hero of this drama is Antigone, the character from which the play derives its title. This is shown by the fact that not only is she the protagonist of the play, but she also holds certain qualities of a tragic hero. What seems to be least important in determining the tragic hero of this play, in fact, is whether or not the hero is male or female, which is surprising due to the misogynistic tendencies of most Greek stories. What are most important are the three major characteristics concerning the make up of a tragic hero. First, it is important that the hero must be of noble descent. Second, the hero must be judged by the audience (whose opinion generally rests on the opinion of the Chorus) to be a good and just person. And third, the hero must have a tragic flaw; without it there would be no dramatic complications or tragic consequences. Antigone does, in fact, have all...

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of Sophocles’ Antigone

Analysis of Sophocles’ Antigone

By NASRULLAH MAMBROL on July 29, 2020 • ( 0 )

Within this single drama—in great part, a harsh critique of Athenian society and the Greek city-state in general—Sophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all. In this magnificent dramatic work, almost incidentally so, we find nearly every reason why we are now what we are.

—Victor D. Hanson and John Heath, Who Killed Homer? The Demise of Classical Education and the Recovery of Greek Wisdom

With Antigone Sophocles forcibly demonstrates that the power of tragedy derives not from the conflict between right and wrong but from the confrontation between right and right. As the play opens the succession battle between the sons of Oedipus—Polynices and Eteocles—over control of Thebes has resulted in both of their deaths. Their uncle Creon, who has now assumed the throne, asserts his authority to end a destructive civil war and decrees that only Eteocles, the city’s defender, should receive honorable burial. Polynices, who has led a foreign army against Thebes, is branded a traitor. His corpse is to be left on the battlefield “to be chewed up by birds and dogs and violated,” with death the penalty for anyone who attempts to bury him and supply the rites necessary for the dead to reach the underworld. Antigone, Polynices’ sister, is determined to defy Creon’s order, setting in motion a tragic collision between opposed laws and duties: between natural and divine commands that dictate the burial of the dead and the secular edicts of a ruler determined to restore civic order, between family allegiance and private conscience and public duty and the rule of law that restricts personal liberty for the common good. Like the proverbial immovable object meeting an irresistible force, Antigone arranges the impact of seemingly irreconcilable conceptions of rights and responsibilities, producing one of drama’s enduring illuminations of human nature and the human condition.

Antigone is one of Sophocles’ greatest achievements and one of the most influential dramas ever staged. “Between 1790 and 1905,” critic George Steiner reports, “it was widely held by European poets, philosophers, [and] scholars that Sophocles’ Antigone was not only the fi nest of Greek tragedies, but a work of art nearer to perfection than any other produced by the human spirit.” Its theme of the opposition between the individual and authority has resonated through the centuries, with numerous playwrights, most notably Jean Anouilh, Bertolt Brecht, and Athol Fugard grafting contemporary concerns and values onto the moral and political dramatic framework that Sophocles established. The play has elicited paradoxical responses reflecting changing cultural and moral imperatives. Antigone, who has been described as “the first heroine of Western drama,” has been interpreted both as a heroic martyr to conscience and as a willfully stubborn fanatic who causes her own death and that of two other innocent people, forsaking her duty to the living on behalf of the dead. Creon has similarly divided critics between censure and sympathy. Despite the play’s title, some have suggested that the tragedy is Creon’s, not Antigone’s, and it is his abuse of authority and his violations of personal, family, and divine obligations that center the drama’s tragedy. The brilliance of Sophocles’ play rests in the complexity of motive and the competing absolute claims that the drama displays. As novelist George Eliot observed,

It is a very superficial criticism which interprets the character of Creon as that of hypocritical tyrant, and regards Antigone as a blameless victim. Coarse contrasts like this are not the materials handled by great dramatists. The exquisite art of Sophocles is shown in the touches by which he makes us feel that Creon, as well as Antigone, is contending for what he believes to be the right, while both are also conscious that, in following out one principle, they are laying themselves open to just blame for transgressing another.

Eliot would call the play’s focus the “antagonism of valid principles,” demonstrating a point of universal significance that “Wherever the strength of a man’s intellect, or moral sense, or affection brings him into opposition with the rules which society has sanctioned, there is renewed conflict between Antigone and Creon; such a man must not only dare to be right, he must also dare to be wrong—to shake faith, to wound friendship, perhaps, to hem in his own powers.” Sophocles’ Antigone is less a play about the pathetic end of a victim of tyranny or the corruption of authority than about the inevitable cost and con-sequence between competing imperatives that define the human condition. From opposite and opposed positions, both Antigone and Creon ultimately meet at the shared suffering each has caused. They have destroyed each other and themselves by who they are and what they believe. They are both right and wrong in a world that lacks moral certainty and simple choices. The Chorus summarizes what Antigone will vividly enact: “The powerful words of the proud are paid in full with mighty blows of fate, and at long last those blows will teach us wisdom.”

As the play opens Antigone declares her intention to her sister Ismene to defy Creon’s impious and inhumane order and enlists her sister’s aid to bury their brother. Ismene responds that as women they must not oppose the will of men or the authority of the city and invite death. Ismene’s timidity and deference underscores Antigone’s courage and defiance. Antigone asserts a greater allegiance to blood kinship and divine law declaring that the burial is a “holy crime,” justified even by death. Ismene responds by calling her sister “a lover of the impossible,” an accurate description of the tragic hero, who, according to scholar Bernard Knox, is Sophocles’ most important contribution to drama: “Sophocles presents us for the first time with what we recognize as a ‘tragic hero’: one who, unsupported by the gods and in the face of human opposition, makes a decision which springs from the deepest layer of his individual nature, his physis , and then blindly, ferociously, heroically maintains that decision even to the point of self-destruction.” Antigone exactly conforms to Knox’s description, choosing her conception of duty over sensible self-preservation and gender-prescribed submission to male authority, turning on her sister and all who oppose her. Certain in her decision and self-sufficient, Antigone rejects both her sister’s practical advice and kinship. Ironically Antigone denies to her sister, when Ismene resists her will, the same blood kinship that claims Antigone’s supreme allegiance in burying her brother. For Antigone the demands of the dead overpower duty to the living, and she does not hesitate in claiming both to know and act for the divine will. As critic Gilbert Norwood observes, “It is Antigone’s splendid though perverse valor which creates the drama.”

Before the apprehended Antigone, who has been taken in the act of scattering dust on her brother’s corpse, lamenting, and pouring libations, is brought before Creon and the dramatic crux of the play, the Chorus of The-ban elders delivers what has been called the fi nest song in all Greek tragedy, the so-called Ode to Man, that begins “Wonders are many, and none is more wonderful than man.” This magnificent celebration of human power over nature and resourcefulness in reason and invention ends with a stark recognition of humanity’s ultimate helplessness—“Only against Death shall he call for aid in vain.” Death will test the resolve and principles of both Antigone and Creon, while, as critic Edouard Schuré asserts, “It brings before us the most extraordinary psychological evolution that has ever been represented on stage.”

When Antigone is brought in judgment before Creon, obstinacy meets its match. Both stand on principle, but both reveal the human source of their actions. Creon betrays himself as a paranoid autocrat; Antigone as an individual whose powerful hatred outstrips her capacity for love. She defiantly and proudly admits that she is guilty of disobeying Creon’s decree and that he has no power to override divine law. Nor does Antigone concede any mitigation of her personal obligation in the competing claims of a niece, a sister, or a citizen. Creon is maddened by what he perceives to be Antigone’s insolence in justifying her crime by diminishing his authority, provoking him to ignore all moderating claims of family, natural, or divine extenuation. When Ismene is brought in as a co-conspirator, she accepts her share of guilt in solidarity with her sister, but again Antigone spurns her, calling her “a friend who loves in words,” denying Ismene’s selfless act of loyalty and sympathy with a cold dismissal and self-sufficiency, stating, “Never share my dying, / don’t lay claim to what you never touched.” However, Ismene raises the ante for both Antigone and Creon by asking her uncle whether by condemning Antigone he will kill his own son’s betrothed. Creon remains adamant, and his judgment on Antigone and Ismene, along with his subsequent argument with his son, Haemon, reveals that Creon’s principles are self-centered, contradictory, and compromised by his own pride, fears, and anxieties. Antigone’s challenge to his authority, coming from a woman, is demeaning. If she goes free in defiance of his authority, Creon declares, “I am not the man, she is.” To the urging of Haemon that Creon should show mercy, tempering his judgment to the will of Theban opinion that sympathizes with Antigone, Creon asserts that he cares nothing for the will of the town, whose welfare Creon’s original edict against Polynices was meant to serve. Creon, moreover, resents being schooled in expediency by his son. Inflamed by his son’s advocacy on behalf of Antigone, Creon brands Haemon a “woman’s slave,” and after vacillating between stoning Antigone and executing her and her sister in front of Haemon, Creon rules that Antigone alone is to perish by being buried alive. Having begun the drama with a decree that a dead man should remain unburied, Creon reverses himself, ironically, by ordering the premature burial of a living woman.

Antigone, being led to her entombment, is shown stripped of her former confidence and defiance, searching for the justification that can steel her acceptance of the fate that her actions have caused. Contemplating her living descent into the underworld and the death that awaits her, Antigone regrets dying without marriage and children. Gone is her reliance on divine and natural law to justify her act as she equivocates to find the emotional source to sustain her. A husband and children could be replaced, she rationalizes, but since her mother and father are dead, no brother can ever replace Polynices. Antigone’s tortured logic here, so different from the former woman of principle, has been rejected by some editors as spurious. Others have judged this emotionally wrought speech essential for humanizing Antigone, revealing her capacity to suffer and her painful search for some consolation.

The drama concludes with the emphasis shifted back to Creon and the consequences of his judgment. The blind prophet Teiresias comes to warn Creon that Polynices’ unburied body has offended the gods and that Creon is responsible for the sickness that has descended on Thebes. Creon has kept from Hades one who belongs there and is sending to Hades another who does not. The gods confirm the rightness of Antigone’s action, but justice evades the working out of the drama’s climax. The release of Antigone comes too late; she has hung herself. Haemon commits suicide, and Eurydice, Creon’s wife, kills herself after cursing Creon for the death of their son. Having denied the obligation of family, Creon loses his own. Creon’s rule, marked by ignoring or transgressing cosmic and family law, is shown as ultimately inadequate and destructive. Creon is made to realize that he has been rash and foolish, that “Whatever I have touched has come to nothing.” Both Creon and Antigone have been pushed to terrifying ends in which what truly matters to both are made starkly clear. Antigone’s moral imperatives have been affirmed but also their immense cost in suffering has been exposed. Antigone explores a fundamental rift between public and private worlds. The central opposition in the play between Antigone and Creon, between duty to self and duty to state, dramatizes critical antimonies in the human condition. Sophocles’ genius is his resistance of easy and consoling simplifications to resolve the oppositions. Both sides are ultimately tested; both reveal the potential for greatness and destruction.

24 lectures on Greek Tragedy by Dr. Elizabeth Vandiver.

Tragedy in Sophocles’ “Antigone” Essay

Through Antigone play, Sophocles explores the ideas, motives, aspirations, utterances dispositions, and actions of different characters, thus allowing audiences to come to terms with the various characters. All the characters seem to be motivated by the desire to achieve some commendable objective. Based on the play’s events, it is thus not easy to definitively assign any character the label of ‘tragic hero’. In the traditional sense, a ‘tragic hero’ is a character who falls from grace to shame owing to the character’s inherent flaw of judgment. This character is influential. Their disgrace thus has a significant effect on their compatriots. The play’s 2 central characters, namely Creon and Antigone, are influential based on their respective social statuses. Antigone is a princess under is Creon’s foster daughter. Likewise, Creon is the ruler of Thebes. The 2 characters’ fall from grace thus greatly affects Theban people. Reverting to the issue of who between the 2 is a tragic hero, it is important to note that the reason for the duo’s demise has some moral and practical backing. The conventional definition of a ‘tragic hero’ thus fails to accurately apply to either Creon or Antigone.

The preceding realization brings us to another concept, namely, Hegel’s definition of tragedy. This philosopher notes that tragic collisions are the central elements within tragedies. Hegel adds that these collisions do not arise owing to various characters’ evil or good actions. Instead, Hegel’s holds that tragic collisions arise from characters’ clash over different opinions. It is important to note that each of these varied opinions has a tinge of goodness in it. Hegel’s ideology accurately applies to the case of Creon and Antigone. These characters have some valid points for backing their ideas. Further, the 2 characters clash over their divergent viewpoints.

To illustrate, after arresting Antigone, Creon informs the girl that the former seeks to uphold law and order in Thebes, hence his decision to refuse Polynices a decent burial. This treatment of Polynices – who is a brother to Antigone – is the genesis of Creon’s disagreement with the young girl. The ruler then explains that his actions are consistent with the policies of the Theban governing system. Such a confession by Creon shows that his actions satisfy the rules set out by Hegel. To expound, Creon’s edict against burying Polynices has both a bright as well as a dark side (Sophocles, Fagles, and Bernard 76). Regarding the bright side, by issuing and implementing this decree, Creon is attempting to preserve order in Thebes. With an order, peace, and prosperity will follow. This is a commendable intention that abides by Hegel’s theory of tragic collisions.

On the other hand, Creon’s edict has vestiges of unpleasant elements, thus abiding by the theory proposed by Hegel. For instance, Creon demonstrates partiality through his discriminative decree. Such bias is evident through the ruler’s seeming disregard of the fact that Polynices is as guilty as Eteocles. It is thus improper to deem either brother as better than the other. Eteocles instigated the conflict by refusing to hand over the leadership mantle to Polynices. Oedipus – the 2 character’s father – instructed the sons to rule in turns, an order that Eteocles quashes. Polynices’ fault occurs when he attempts to forcefully wrestle power from his brother rather than follow peaceful means. Further, both brothers attempted to overthrow Oedipus. Despite this glaring truth, Creon orders for Eteocles to be correctly buried, with Polynices’ corpse being left to rot in the fields. This is a biased approach that exposes Creon’s dark side. For fairness to prevail, Creon should have accorded equal treatment to the 2 brothers’ bodies. Such partiality on the part of Creon proves that he satisfies the rules for tragic collisions set out by Hegel.

Further, Creon listens to and even appreciates the motives making Antigone bury the body of Polynices – her brother. Creon’s show of understanding for Antigone’s motivations plays out in the play when Antigone points out that the king’s directives are unjust. This awareness pushes Creon to implore Antigone to pity the ruler. In addition, Haemon – Creon’s son – warns the father that the ruler’s decree is causing disquiet in Thebes. Despite being privy to such clear reasons for Antigone’s actions, Creon goes ahead to order for her interment. This is an erroneous action on the part of Creon. Through such an action, Creon demonstrates that he has characteristics that make him satisfy the guidelines set out by Hegel.

On her part, Antigone makes certain actions that identify her as someone who satisfies the rules of tragic collision set out by Hegel. Some of Antigone’s actions are correct while others are flawed. For example, by choosing to stand up against the injustice being meted out on her dead brother, Antigone does an honourable action. She is aware that the administration is unjustly punishing Polynices – one of the deceased brothers. The gallant girl thus resolves to set things straight with the administration. She clandestinely buries the corpse. In addition, she tells off Creon when the latter tries to persuade her to abandon her defiant position. Considering that Antigone’s actions resonate with those of the larger Theban society, her actions are justified. She thus satisfies the guidelines for tragic collisions stipulated by Hegel.

On the contrary, Antigone does several acts that are erroneous, thus delineation herself as a person who satisfies Hegel’s rules of the tragic collision. To illustrate, she gives up her love for Haemon, thereby causing the latter much heartache. At one point, Antigone is quoted as categorically informing Haemon that she will not be able to love him. This statement may explain Haemon’s troubled status and his eventual tragic suicide. For the aforementioned reasons, Antigone satisfies the requirements stipulated by Hegel about tragic collisions.

To summarize, Sophocles Antigone play has no definite tragic hero. Rather, the play has 2 characters, namely, Antigone and Creon, who exhibit both positive and negative behaviour. Such behaviour makes the 2 people clash. Hegel’s idea of tragic collision thus comes to the fore, replacing the notion of a tragic hero. Through their divergent opinions, Creon and Antigone clash throughout the play. These clashes highlight both Antigone and Creon’s strong and weak points. Regarding the negative behaviour, Creon disregards justice, thus unjustly ordering Polynices’ bodies to be allowed to rot in the fields. Creon however accords Eteocles, who is as guilty as Polynices, a fitting burial. On the positive side, Creon aspires to uphold order and law in Thebes, thus facilitating peace and prosperity. It is thus clear that Creon has both negative and positive aspirations that cause his clash with Antigone. Likewise, Antigone depicts several pleasant behaviours, for instance, she boldly opposes Creon’s partiality concerning the treatment given to the corpses of Eteocles and Polynices. On the contrary, Antigone allows her desires to push her away from Haemon – her lover. The preceding traits designate Antigone as a character who satisfies Hegel’s ideology of tragic collision.

Sophocles, Fagles, Robert and Knox, and Bernard MacGregor Walker. The Three Theban Plays. New York: Penguin, 1984. Print.

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Antigone as a Tragic Hero in Sophocles’ “Antigone”

Aristotle defines the ideal tragic hero as “a man who is not eminently good and just yet whose misfortune is not brought by vice or depravity, but by some error or frailty.” The tragic hero must create pity in readers, and “his misfortune should excite pity because it is out of all proportion to his error of judgement, and his overall goodness excites fear for his doom.” In Antigone, by Sophocles, Antigone, the protagonist, is forced to place divine law over the law of man in order to properly lay her brother, Polyneices, to rest. Whilst Antigone does not possess anagnorisis, the realization of a fatal flaw, nor peripeteia, a reversal of fate, she fits Aristotle’s definition of a tragic hero due to her fatal flaw that leads to her downfall, and Sophocles’ creation of catharsis through her character. Although Antigone fits Aristotle’s definition of an ideal tragic hero with a moral flaw and a fate far worse than it, and is used by Sophocles’ to create catharsis, she does not fit all six characteristics of a tragic hero. Antigone does not face anagnorisis, the acknowledgement of the cause of her downfall, nor does she face peripeteia, a reversal of fate due to an error in judgement. As she comes to terms with her death towards the end of the play, she cries, “A threefold tale—my father’s piteous doom, doom of us all, scions of Labdacus- Didst by death bring death upon thy sister’s life” (148)! She believes her death is a part of her fate as a result of her father’s pitiful doom, rather than her own actions. Antigone at no time acknowledges the cause of her punishment or her fatal flaw, she instead mourns what she will miss out on, in consequence of her early death. Antigone does not face peripetia, which is the reversal of fate. At no time is there a turning point or reversal of circumstances, as readers are able to register that Antigone’s fate will not be positive from the first few lines of the text. While Antigone is burying Polyneices, she is warned by Ismene to “think of how our father perished,”[JJ1] as well as to remember that they are women, and will be sentenced harshly for breaking the law.[JJ2] Antigone ignores these concerns and is dead by the end of the play. Whilst Antigone does not face anagnorisis nor peripetia, she can be considered an ideal tragic hero as she faces hamartia, a moral flaw that is the root of her doom, and catharsis, in which Sophocles’ uses her character to elicit sympathy in readers. Sophocles creates Aristotle’s definition of catharsis through Antigone by establishing her as an ideal tragic hero, and evoking pity in readers by having her suffer a fate far worse than her fatal flaw. Antigone fits Aristotle’s requirements of an ideal tragic hero, “a rather good man, though not absolutely virtuous,” through her recognition of the importance of family and devotion to divine law, as well as her moral flaw that causes her not to be “absolutely virtuous,” her stubbornness and arrogance. This is evidenced throughout the play, one instance in which Antigone states that, “It is no shame to pay respect to our own flesh and blood,” (136) when confronted by Creon about her unlawful actions. She makes it clear that her intentions were not sinister, and that she had only wanted for her brother to receive a respectful burial in order to honor the gods and follow “the unchangeable written code of heaven” (133). In another case, when Ismene attempts to take the blame for Antigone’s unlawfulness, she refuses and tells her, “Mix not your death with mine. Do not claim work you did not touch. I shall suffice to die.” (137) She protects and risks her life for her sister, ensuring that she does not take the fall for her wrongdoings, once again displaying her recognition of the importance of family. Antigone’s actions, although wrong by law, were also carried out as a result of her following of heaven’s code and what she believed the gods would feel is right. For instance, when she is confronted about the prohibited burial of Polyneices and asked why she willingly broke Creon’s rule, she explains, “because it was not Zeus who ordered it, nor justice, dweller with the Nether Gods, gave such a law to men; nor did I deem your ordinance of so much binding force, as that a mortal man could overbear the unchangeable written code of heaven…” (133). Antigone puts divine law over human law, and does not believe Creon has the right to overbear the gods’ laws and customs, which she refers to as the “unchangeable written code of Heaven.” Although her intentions were pure and done out of her respect for her religion, family and divine law, her stubbornness and refusal to simply obey Creon’s law proves that she is “of mixed character, neither blameless nor absolutely depraved,” and “not absolutely virtuous,” or “eminently good,” as stated by Aristotle. Antigone suffers a fate far worse than her fatal flaw, arrogance, generating feelings of pity and fear in readers. Towards the end of the play as Antigone comes to terms with her death, she mourns and is full of sorrow, lamenting the fact that she will die “friendless, unwept, unwed,” and “sick at heart.” (149) Her woeful crying causes readers to sympathize with her, as her punishment is far harsher than her crime. In addition to this, she realizes she will never be able to marry Haemon, stating “…to me no bridal hymns belong, for me no marriage song has yet been sung; but Acheron instead is it, whom I must wed” (146). Even Antigone realizes that her punishment is far more drastic than her actions, when she announces, “If this is approved in Heaven, why let me suffer, and own that I have sinned; but if the sin belongs to these- O may their punishment be measured by the wrongfulness of mine!” (150), hoping that whoever is responsible for her death should face a punishment measured by the wrongfulness of hers. She suggests that if her minor crime of burying Polyneices resulted in her being sentenced to death, then their consequence for killing her should be even worse. Unfortunately, when Creon realizes he is in error after Tiresias encourages him to “set the maiden from the vault and build a tomb for that dead outcast,” (157) Antigone had already been found dead “hanged by the neck,” (162) by Haemon. Aristotle states in his defining characteristics of a tragic hero that “his misfortune excites pity because it is out of all proportion to his error of judgement, and his overall goodness excites fear for his doom.” Antigone dies in vain, friendless, sad, and unmarried, as a result of wanting her brother to receive a proper burial and her following of “the unchangeable written code of Heaven” (133). Her undeserved fall as a result of a minor crime allows readers to feel pity for her, as things could have gone differently as a result of Creon’s change of heart.[JJ3] Antigone is an example of a rather good-hearted character coming to a terrible, undeserved end, which generates feelings of pity and fear in readers, in turn creating Aristotle’s definition of catharsis. Antigone’s stubbornness and arrogance exhibited throughout the play demonstrate how she fits the archetype of a tragic hero. As Aristotle states, “hamartia (‘fatal flaw’ or ‘tragic flaw’) may consist of a moral flaw… or ignorance, or even at times, an arrogance (called hubris in Greek.)” Her eagerness to bury her brother and dismissal of her sister’s concerns reveal her stubborn and arrogant ways. Ismene attempts to get Antigone to rethink her actions, reminding her of the shameful way their father died, and reminds her that she as a woman will not be extended any grace for her crime, warning her to “…think of how our father perished! …Do but consider how most miserably we too shall perish, if despite of law, we traverse the behest or power of kings. We must remember we are women born, unapt to cope with men; and, being ruled by mightier than ourselves, we have to hear these things- and worse” (119). But[JJ4] Antigone disregards her sister’s valid concerns and insists on continuing with the burial, responding, “Then in future I will not bid you help me; nor henceforth. Though you desire, shall you, with my good will, share what I do: Be what seems right to you; him I will bury” (119). In another instance, when Ismene says, “My poor sister, how beyond measure do I fear for you!” her concerns and pleas are ignored once again, and Antigone replies “Do not spend fear on me. Shape your own course.”[JJ5] (120) Furthermore, when Antigone is reminded by Ismene that her punishment will be severe, she replies, “…I shall meet with nothing more grievous, at the worst, than death, with honour,” which she later regrets when she realizes she will die “friendless, unwept, and unwed,” (149) even though she had earlier been made completely aware of the grave consequences she would face, especially as a woman. Antigone’s dismissal of her sister’s warnings and concerns, as well as her persistence on burying Polyneices, reveal her arrogance (hubris) and stubborn ways, which eventually cause her to meet her doom. Antigone’s challenging of Creon’s authority and refusal to obey the law exhibits her arrogance. When questioned by Creon and asked if she knew of the law prohibiting Polyneices burial, she replies “Yes, I knew it; what should hinder? It was plain,” (133) admitting that she deliberately broke Creon’s decree. When asked why, she states “Because it was not Zeus who ordered it… Foolish- ‘tis like I am found guilty of folly at a fool’s mouth!” (144). Antigone disrespects Creon, calling him a fool and challenging his authority, even after Ismene warned her earlier that she would not be extended any grace as a woman. She continues to go on, telling Creon that “I was made for fellowship in love, not fellow ship in hate,” to which he replies, “Then get you down Thitler, and love if you must love, the dead! No woman, while I live, shall order me.” Antigone does not realize that she is digging herself into a deeper hole and continues to anger Creon with her careless behavior and taunting, even after Ismene’s warnings that a strong-willed woman would not be taken to lightly. Antigone’s mockery of and disrespect towards authority and human law ultimately leads to her demise. Whilst Antigone does not experience anagnorisis, the realization of a fatal flaw, nor peripeteia, a reversal of fate, she fits Aristotle’s definition of a tragic hero due to her moral flaw, arrogance, that leads to her downfall, and Sophocles’ creation of catharsis through her character with a severe, undeserved fate, over a minor crime, creating sympathy within readers.

Just a 16 year old that likes to write! I also submitted this piece as an argumentative essay for my English class.

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Antigone Tragic Hero Essay

A tragic hero is a person of nobility with heroic or potentially heroic qualities. This person is fated by the Gods or by some supernatural force to doom and destruction or at least to great suffering. But the tragic hero struggles to a great extent against this fate and this cosmic conflict wins our admiration. I would argue that Antigone is considered the hero in this amazing tragedy written by Sophocles. She has many tragic flaws which lead to her downfall. One of Antigone's tragic flaws is her loyalty to the gods. Her disloyalty to King Creon is also one her tragic flaws. Antigone can be considered a tragic heroine because she possesses the following defining traits as set by Aristotle's Poetics: 1. The tragic hero possesses an error …show more content…

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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

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When questioned about committing treason, Antigone’s lack of denial illustrates her rashness in decision-making, as she has nothing to gain from death. Instead of disclaiming the lowly guard’s words, she proudly states: “I say I did it and I don’t deny it” (Antigone 443). By admitting her role in the burial, Antigone seals her fate. Furthermore, the notion of her death does not faze her as she tells Creon: “I knew I must die - how could I not?” (460). Her acceptance of her death, while honorable, is unnecessary, because her objective of giving her fallen brother a respectful and honorable burial is already achieved. If she had not mentioned her role, there was a chance that she could have survived. In addition, Antigone does not even factor in the feelings of her sister Ismene and her fiancé Haemon, showing how inconsiderate she is of her impact on others. This irrational approach can only be described as foolishness; if she had been wiser, she would have buried her brother and survived to tell the tale. Her lack of judgement results in her downfall and the misery for those around her.

Who is the Tragic Hero in Antigone Essay

One of the main questions of this prominent ancient tragedy written by Sophocles is who is the main, the true tragic hero in it: Creon the King or Antigone? Lots of studies claim that Antigone, being a woman in ancient Greek play, can’t be the tragic hero character, because female characters usually lack depth and exist to contrast or emphasis the feelings of the main, male cast. Moreover, Creon holds all the political power in his hands, so he has more responsibility and can be freer in his actions. Still, in this essay, I’ll try to prove that Antigone is the true tragic hero of the story.

Let’s talk about the main traits that define a tragic hero: high social status and high responsibility for one’s actions, moral ambiguity without black and white portrayal, determination, compassion from the audience and a trait that causes all the tragedy of their story.

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The social status of Antigone is almost one of a princess. Though she doesn’t hold any political power , Creon the King still treats her as one. She has a lot to lose, her honor, principles, wealth, reputation. Technically Creon is the superior one, but de facto Antigone is a very important person in Thebes, no matter if she has the official title or not. Antigone was married to Haemon, Creon’s son and a prince, but she is a noble and righteous person on her own.

The second criterion is passed by both Antigone and Creon. They can’t be called overly good characters or villains. Creon is cruel sometimes. His refusal to bury Polyneices meant much more for the ancient Greeks who considered a proper funeral a must, even for the enemies. He can be also very harsh to his own sentry, still being a good king. In the meantime, he behaves very noble and courteous towards Antigone, clearly showing her his respect and affection.

Ismene also sees his soft side with Creon being soft-spoken and calm with her. Antigone is by no means a saint, because she was clearly involved in the incestuous relationship with her brother, but from the other side she is the one who is faithful to the traditions and has mercy over anyone. She insists that human judgement can only take the body of a person, but their soul should have peace in the afterlife, so she demands the burial for Polyneices.

One of the most important traits for a tragic hero is a fatal flaw that destroys their life. Antigone has a very prominent one: her stubbornness and lack of diplomacy. She is a woman who acts before thinking (this portrayal is also typical for Greek literature). Hearing the refusal of Creon to bury Polyneices, she doesn’t resort to convincing and doesn’t remind him of traditions and mercy. Instead she just disobeys her King, questioning his authority and showing that she can go against his will without any repercussions.

Of course, she was blinded by the loss of her true love, but her burying of Polyneices by herself is also an act of rebellion that shakes the political power of King Creon . Her stubbornness also caused her death in the indirect way. If Antigone yielded to her King, she would be pardoned. But she fiercely decided to take her own life, just not to give him the pleasure, not knowing that King Creon changed his mind and was riding to spare her life and bury Polyneices instead.

Creon doesn’t have the single fatal flaw that the true tragic hero must fall a victim of. Though he looks like a hostage of his position – he can’t let Antigone go with what she has done, because it questions his political power and his position as a King. But he can play the clever drama, condemning her as a just King and then pardoning her as a merciful King, listening to the opinion of his people, who demand to release Antigone.

Still, this isn’t a flaw of his personality, it is the complications connected with ruling a country and preserving his throne, so Creon doesn’t qualify as a tragic hero here. At the beginning of the play we can suggest that his stubbornness also would be his fatal flaw, but later we see that his anger and inability to seek compromise can be controlled pretty well. When King Creon regains his composure and listens to the rumors that are spread among the townsfolk, he changes his mind and decides to spare Antigone. So, his flaw turns into his benefit – he is a wise ruler, able to put aside his emotions.

The amount of compassion to Creon and Antigone also differs drastically. In the play Antigone is seen by the common folks as a woman of exceptional kindness and bravery who risks her own life to fulfill her family duty and just a duty of a human – releasing the soul of her brother for the afterlife.

Not allowing to bury the dead body was, in ancient Greek culture, the crime much more brutal than the murder itself: instead of ending the mortal life of a person the offender banished them from afterlife for all the eternity. Story-wise, Antigone deserves all the compassion the locals give to her.

Even her bravery bordering with recklessness and her desire to die on her own terms are portrayed as something worth respect. Creon, on the contrary, isn’t sympathized at all. Maybe, the townspeople don’t see the need of it: he looks like an authority free to do whatever he pleases. The common people don’t see the responsibility that burdens him and don’t know that there is no pleasure for him in killing the wife of his son.

From the modern point of view Creon can be pitied. His initial mistake – giving up to his rage and forbidding to bury Polyneices – turns into a much more serious issue that he can’t resolve without losing his reputation in one or another way. He can’t spare Antigone on the spot, because she openly disobeyed him. Pretending that nothing happened would have shattered his authority. But he can’t kill her either, because she is considered a martyr by his people. Moreover, he doesn’t want to kill her after rethinking the situation.

Still Antigone has more compassion even from the modern audience. At first, she has to marry the man she doesn’t love, because her true love is her brother – they are completely star-crossed to be together. Then she has to face the decision of King Creon to leave her brother unburied, condemning him to the horrible un-afterlife.

She risks her life and reputation to save her beloved from this fate and all the people support her, seeing the higher mercy in her actions. Her bravery and the feeling of honor are her best traits – but she earns our ultimate compassion when we see that precisely these traits cause her death: she is too proud to let herself die from Creon’s hand, so he takes control over her life and death in her own hands, for the last time in her life.

The epiphany of the tragedy also favors Antigone as tragic hero. While Creon receives a message from the oracle, condemning his actions, he surely regrets them. But first and foremost the message comes from the outside: King Creon doesn’t have that moment of realization and he still can live with the consequences. The Gods have decided that he is guilty, but it is the external judgement. When we see Antigone in her very last moments, we see her in complete despair.

Not only she is afraid to die – she doesn’t see the meaning of living further. Her brother, her love is dead, the life has no sense for her after she did the last thing she could for him. She realizes that her life is ruined, that she will be executed and, maybe, will meet the same fate as her brother. Her last action, to hang herself, is the ultimate act of rebellion against Creon and also it is the ultimate act of despair. Antigone realizes that her life is ruined and sees no sense in waiting for King Creon to come and end it.

As we can see from the analysis above, Antigone meets more criteria of the true tragic hero than Creon the King. She is a princess, has a lot to lose, isn’t good or evil entirely. Antigone is devoted to her actions, worthy of compassion and has her fatal flaw that brings her to her fate. Creon lacks the devotion, changing his mind and allowing to bury Antigone’s brother and spare her life.

Also, he isn’t pitied until the very end of the play: he is a man of authority, he makes a decision and meets the consequences with dignity (though the modern approach can add some more compassion to his image). He also has no single and fatal flaw, being more well-rounded character, despite his hair-trigger temper. Creon comes closer to the definition of the tragic hero, but still, the true tragic hero of the Sophocles’ play is Antigone.

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Why Is Creon A Tragic Hero

Sophocles’ Antigone is a tragic play about the struggle between Creon, the king of Thebes, and his niece Antigone. Creon has ordered that anyone who attempts to bury Polynices, Antigone’s brother who was killed in battle, shall be put to death. Antigone defies this order and is arrested. She argues with Creon that it is her right as a daughter of Oedipus to bury her brother. Creon is unmoved by her arguments and condemns her to death.

Creon represents the traditional view of heroism: he is a powerful man who believes in order and strength. He is not willing to listen to opposing viewpoints, which leads to his downfall. Antigone, on the other hand, represents a new kind of heroism: she is willing to die for what she believes in. In the end, both Creon and Antigone are tragic heroes who suffer because of their own flaws. Sophocles’ play shows that neither traditional nor new heroic values are perfect.

Creon is the tragic hero in Sophocles’ “Antigone.” Creon is a tragic hero because of his poor decision-making, methodical manner of ruling Thebes, transition, and all the tragedy caused by his actions. Although Creon only changed when a messenger informed him that there would be a tragic ending as a result of all his actions, he did try to make things right. Polyneices’ body was left exposed for the vultures and dogs to devour since he rebelled against Esteocles’ leadership in Thebes.

Antigone, Polyneices’ sister, did not want him to be treated in such a way and decided to bury him. Creon found out and sentenced her to death. Creon was not aware of how his actions affected others until it was too late. He realized that he had made a mistake in sentencing Antigone to death, but it was already too late.

Antigone killed herself, and Haemon, Creon’s son, killed himself because he could not live without Antigone. By punishing Antigone unjustly, Creon brought much destruction on himself and his family. Creon is the tragic hero Sophocles wrote about because of the many unforeseen consequences brought about by his actions.

Sophocles wrote “Antigone” around 441 BC, which is a play that contains the Sophoclean tragedy. In Sophocles’ Antigone, the question of who the tragic hero really is, has been a subject of debate for a great number of years. Sophocles’ conveys his idea of a tragic hero through the character flaw of Creon. Although Sophocles does not give a definitive answer to this question, there are many factors that suggest that Creon is the tragic hero of Antigone.

Creon is introduced in the first scene as “a man not easily led astray” by anyone or anything (Sophocles 1). He has just been announced as the new king of Thebes after the death of Oedipus, and he is eager to prove himself to his people. Sophocles presents Creon as a good leader who wants what is best for his city, but he is also shown to be quite stubborn and unyielding. This combination of qualities makes him a tragic hero because it leads to his downfall.

One of the first things that Creon does as king is issue a decree that Polyneices, one of the sons of Oedipus, is not to be given a proper burial. Polyneices had attacked Thebes in an attempt to take the throne away from his brother Eteocles. Since Eteocles was defending Thebes, he was considered a hero and Polyneices was viewed as a traitor. Creon’s decree is based on his belief that anyone who fights against Thebes must be hated by the gods and deserves to be punished.

When Antigone learns of Creon’s decree, she knows that it is her duty to bury her brother. She argues with Creon, but he will not listen to her. He is convinced that he is right and that Antigone is wrong. This stubbornness leads to Creon’s downfall, as Antigone ends up burying her brother anyway.

Creon’s tragic flaw ultimately causes him to lose everything that he loves: his son, his wife, and his city. He is forced to watch as his family and his kingdom are destroyed, and he can do nothing to stop it. This makes him the tragic hero of Antigone.

In Sophocles’ Antigone, Creon is the character who undergoes the most change. At the beginning of the play, he is a stubborn man who will not listen to anyone. By the end of the play, he has learned from his mistakes and has realized that he was wrong about Polyneices. He acknowledges his own flaws and takes responsibility for his actions. This makes him a more tragic figure than if he had never changed at all.

After this, Antigone decided it was her duty to bury Polyneices, so she violated Creon’s order and covered his body with earth and wine. Unfortunately, Antigone was caught burying Polyneices before she could finish the task, and as a result of his mistake in judgment, Creon sentenced her (his own sons financed) to be put into a stone vault where she would die of hunger.

Then a messenger arrived bearing bad news for Creon: he had made a terrible error in judgement. Although relieved that he was no longer required to watch over them, he nevertheless went about performing tasks such as gathering wood for firewood or hunting animals on his own initiative; something which later caused friction between him and Eteoc

Antigone had already hanged herself. When Haemon, Creon’s son, came to see his finance (Antigone) in the vault and found her dead, he drew his sword on his father. In Sophocles’ play Antigone, he writes about a tragic hero, King Creon. Sophocles defines a tragic hero as someone who is not an evil man, but a good man who makes a tragic mistake.

A tragic hero must also have a tragic flaw and this is what causes his downfall. Sophocles shows that Creon has a tragic flaw when he is too stubborn to listen to anyone else’s opinion but his own. This ultimately leads to his downfall because if he would have listened to his son, Haemon, or his wife, Eurydice, then Antigone would not have died. Sophocles also says that a tragic hero must realize his mistake before it is too late and this is also true for Creon.

He realizes his mistake when the messenger tells him what happened to Haemon and Eurydice. If Creon had realized his mistake earlier then Antigone and Haemon would still be alive. In conclusion, Sophocles’ play Antigone is about a tragic hero, King Creon, who suffers from a tragic flaw, which is stubbornness. This tragic flaw leads to his downfall and causes the death of many people including his own son wife. Sophocles shows that a tragic hero must realize his mistake before it is too late and this is also true for Creon.

He realizes his mistake when the messenger tells him what happened to Haemon and Eurydice. If Creon had realized his mistake earlier then Antigone and Haemon would still be alive. Tragic heroes are important in Greek tragedies because they teach people about the dangers of hubris. Sophocles was one of the first playwrights to write about tragedies and he did so to warn people about the dangers of hubris. Hubris is excessive pride and this is what caused Creon’s downfall.

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Unveiling Desdemona: a Complex Portrait of Shakespeare’s Tragic Heroine

Beyond the conventional image of a virtuous wife, Desdemona emerges as a symbol of autonomy and defiance against societal norms. Her tragic fate serves as a poignant commentary on the consequences of unchecked jealousy and prejudice. The essay delves into Desdemona’s nuanced portrayal, challenging traditional gender roles and showcasing the complexities of love and loyalty. Shakespeare’s creation becomes a timeless exploration of the human condition, inviting readers to reflect on themes that transcend the confines of the Elizabethan era. Desdemona’s enduring significance as a literary figure is celebrated, making this essay a journey into the heart of one of Shakespeare’s most captivating characters. Additionally, PapersOwl presents more free essays samples linked to Tragic Hero.

How it works

Desdemona, the iconic character from William Shakespeare’s play “Othello,” continues to captivate audiences with her intricate portrayal and tragic fate. As the wife of the Moorish general Othello, Desdemona navigates a tumultuous world fraught with jealousy, betrayal, and societal expectations. While often overshadowed by the larger-than-life figures of Othello and Iago, Desdemona’s character offers a profound exploration of love, loyalty, and the consequences of unchecked prejudice.

At first glance, Desdemona appears as the epitome of purity and innocence, embodying the idealized image of a virtuous wife.

Her unwavering love and devotion to Othello are evident throughout the play, even in the face of baseless accusations and slander. However, beneath this facade of stoic grace lies a complex and multi-dimensional character grappling with her own desires, fears, and vulnerabilities.

Desdemona’s character defies simplistic categorization, challenging traditional gender norms and societal expectations. Despite her noble birth and privileged upbringing, she exhibits a remarkable sense of agency and autonomy, defying her father’s wishes to marry Othello and asserting her own choice in matters of the heart. Her willingness to challenge societal conventions and pursue her own happiness serves as a subtle critique of the patriarchal structures that govern her world.

Moreover, Desdemona’s tragic fate serves as a stark reminder of the destructive power of jealousy and prejudice. Despite her innocence and loyalty, she falls victim to the manipulations of those around her, ultimately meeting a heartbreaking demise at the hands of her own husband. Her death highlights the tragic consequences of unchecked jealousy and the devastating impact of societal biases based on race and gender.

In conclusion, Desdemona emerges as a complex and nuanced character in Shakespeare’s “Othello,” offering a profound exploration of love, loyalty, and the human condition. Her portrayal challenges traditional gender roles and societal expectations, while her tragic fate serves as a cautionary tale against the destructive forces of jealousy and prejudice. Through Desdemona’s character, Shakespeare invites audiences to reflect on timeless themes of love, betrayal, and the complexities of human nature, ensuring her place as one of the most enduring figures in literary history.

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Julius Caesar Flaws

Jaydent Ayala Mr. Campbell English Honors 8 April 2024 A Tragic Hero William Shakespeare’s The Tragedy of Julius Caesar and the visual representation of Julius Caesar both portray strong morals and beliefs different characters follow. In particular, Caesar and Brutus are highlighted characters who face many problematic dilemmas, with extreme nationalism towards Rome. However, both have extreme flaws leading to their demise, and these flaws influence the future of Rome. For instance, a crucial tragic flaw demonstrated by Caesar is his arrogance. Despite being told multiple times to beware of the Ides of March by his wife and the soothsayer, Caesar was overly certain of his guards' security (Julius Caesar). Moreover, another tragic flaw shown …show more content…

This speech by Brutus portrays the danger and fear of Caesar’s rise to power, like that of a serpent, that will hatch into tyranny (2.1.32-35). Yet, Brutus also has some clear, tragic flaws. One main flaw shown in Brutus is his naivety. Brutus' poor judgment of the conspirators causes him to be blind to their manipulation of them, like Cassius, who was clearly jealous of Caesar. Appealing to Brutus’ loyalty to Rome, Cassius uses the potential of Caesar becoming a tyrant to disrupt how Brutus views Caesar (1.2.147-148). Lastly, and potentially what may be Brutus’ most major flaw, was his extreme nationalism towards Rome. Shown in the film, Brutus has a strong sense of loyalty and morality. He justifies the assassination of Caesar by convincing himself that it's for Rome. However, this shows his struggle to decide between morality and politics in Rome (Julius Caesar). Although both Caesar and Brutus have tragic flaws, many view them as two of the most honorable men throughout Shakespeare’s play. With that being said, I believe that Brutus should be remembered as the tragic hero in both the play and the

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Antigone: a Heroine Meets Her Tragedy: [Essay Example], 1484 words
The essay could be improved by starting with an introduction that establishes the context of the analysis, such as the significance of Antigone's status as a female tragic hero in Greek literature. The essay could also benefit from more concise writing and avoiding repetitions.
How is Antigone considered a tragic hero?
Antigone is considered a tragic hero due to her unwavering commitment to her convictions, which ultimately leads to her death. Despite knowing the risks, she buries her brother Polynices, defying ...
Antigone Essay
Antigone as a Tragic Hero. It is not often in Greek myth or tragedy that a woman is found portrayed as a tragic hero. However, Sophocles makes the hero of his Antigone, the third and last play in the theme of Oedipus' life, a woman. And though this is out of context for a Greek play, it is still considered one of the greatest Greek tragedies ...
Mythology: The Tragic Hero in Antigone
It is after these deaths that the king realizes the folly of his actions. This brings us to the point of discussing who the real tragic hero in the book was. To start with, a tragic hero is taught by his own undoing. Using the above quality, it appears that the real tragic Hero in this play was Creon.
Analysis of Sophocles' Antigone
Analysis of Sophocles' Antigone By NASRULLAH MAMBROL on July 29, 2020 • ( 0). Within this single drama—in great part, a harsh critique of Athenian society and the Greek city-state in general—Sophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all.
Antigone the Tragic Hero Essay
Antigone or Creon as the Tragic Hero in Antigone Essay A tragic hero is a character in a play that is known for being dignified but has a flaw that assists in his or her downfall. Antigone is a Greek tragic piece written by Sophocles.
Tragedy in Sophocles' "Antigone"
To summarize, Sophocles Antigone play has no definite tragic hero. Rather, the play has 2 characters, namely, Antigone and Creon, who exhibit both positive and negative behaviour. Such behaviour makes the 2 people clash. Hegel's idea of tragic collision thus comes to the fore, replacing the notion of a tragic hero.
Antigone as a Tragic Hero Essay
Antigone is the tragic hero of Antigone; she presents recognition of the gods, exemplifies good virtues, and possess a fatal flaw, or hamartia. A tragic hero is a great or virtuous character in a dramatic tragedy who is destined for downfall, suffering, or defeat.
Antigone Character Analysis
Antigone and the Tragic Hero Narrative Antigone is sometimes read as a tragic hero. She begins the play as a highborn woman who is betrothed to Haemon, the future king of Thebes.
Who Is The Tragic Hero In Antigone? The King, Creon & Antigone
A tragic hero is most commonly a character who, despite their good intentions, is doomed to fail, suffering or defeat. Ordinarily, the hero's own hubris or other character flaw is the cause of their downfall. The most classic tragic hero of all, of course, is Oedipus himself. Doomed from even before his birth by a prophecy, Oedipus does all ...
Antigone as a Tragic Hero
Antigone as a Tragic Hero. Sophocles' Antigone was a book that had a unique plot. One of the ideas presented in this specific play was feminism and Antigone's determination to go against their ruler. Along with this idea occurred a number of tragedies, which means there's also a tragic hero. There are numerous debates in determining the ...
Antigone as a Tragic Hero in Sophocles' "Antigone"
Sophocles creates Aristotle's definition of catharsis through Antigone by establishing her as an ideal tragic hero, and evoking pity in readers by having her suffer a fate far worse than her ...
Antigone Tragic Hero Essay
Antigone is the tragic hero of Antigone; she presents recognition of the gods, exemplifies good virtues, and possess a fatal flaw, or hamartia. A tragic hero is a great or virtuous character in a dramatic tragedy who is destined for downfall, suffering, or defeat.
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Essay on Antigone Tragic Hero. Antigone Tragic Hero Literary Criticism. Written by Sophocles his Greek tragic play, Antigone, was a series of conflicting events that led to foreseeable deaths at every turn. The curse bestowed upon a royal family through generations had led to misfortune more so caused by ill-made decisions rather than fate.
Antigone's Tragic Hero Essay
Either Antigone or Creon is situated in the highest level of the social ierarchy. Creon became the king of Thebes, after his two nephews killed each other over the throne; Antigone (Creons niece), was an orphan who happened to be Creons future daughter in law. Both presented moral values, differing exclusively on the situation they were applied.
Who is the Tragic Hero in Antigone Essay
Who is the Tragic Hero in Antigone Essay. One of the main questions of this prominent ancient tragedy written by Sophocles is who is the main, the true tragic hero in it: Creon the King or Antigone?Lots of studies claim that Antigone, being a woman in ancient Greek play, can't be the tragic hero character, because female characters usually lack depth and exist to contrast or emphasis the ...
Why Is Creon A Tragic Hero Essay
Creon is the tragic hero Sophocles wrote about because of the many unforeseen consequences brought about by his actions. Sophocles wrote "Antigone" around 441 BC, which is a play that contains the Sophoclean tragedy. In Sophocles' Antigone, the question of who the tragic hero really is, has been a subject of debate for a great number of ...
Unveiling Desdemona: A Complex Portrait of Shakespeare's Tragic Heroine
Additionally, PapersOwl presents more free essays samples linked to Tragic Hero. Category: Tragic Hero. Date added: 2024/02/01. Words: 345. Download: 215. ... Antigone as a Tragic Hero. Pages: 4 Words: 1075. Related Topics. Immanuel Kant In The Time of The Butterflies Wuthering Heights Up from Slavery Theseus Of Mice And Men
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Michael Jackson Tragic Hero Research Paper. 569 Words3 Pages. According to Aristotle, any tragedy has a tragic hero who possesses a tragic flaw which ultimately causes his own downfall. The concept of a tragic hero can also be applied to real-life individuals. For example, Michael Jackson, also known as the "king of pop", began his life as ...
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John Proctor Tragic Hero Essay. 667 Words3 Pages. Comfort Blamah Ms. Shields American Literature Apr 4, 2024. The Tragic Hero of Salem In 1692, the Salem Witch trials were held. Nineteen people were hanged and one died by being pressed to death. These innocent people were executed due to mass hysteria, false accusations, and revenge against ...
Julius Caesar Flaws
542 Words3 Pages. Jaydent Ayala Mr. Campbell English Honors 8 April 2024 A Tragic Hero William Shakespeare's The Tragedy of Julius Caesar and the visual representation of Julius Caesar both portray strong morals and beliefs different characters follow. In particular, Caesar and Brutus are highlighted characters who face many problematic ...