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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.

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• The Oedipus Trilogy
• Literature Notes
• Play Summary
• Oedipus the King
• Oedipus at Colonus
• About the Oedipus Trilogy
• Character List
• Summary and Analysis: Oedipus the King
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• Sophocles Biography
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• The Power of Fate in the Oedipus Trilogy
• Ritual and Transcendence in the Oedipus Trilogy
• Full Glossary for The Oedipus Trilogy
• Essay Questions
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• Cite this Literature Note

Character Analysis Antigone

With the character of Antigone, the reader of the Oedipus Trilogy might get a false impression of watching a young girl grow up, as in a novel or a true series of related plays. Remember that each play of the Oedipus Trilogy stands on its own. Although the stories of the three tragedies are connected, Sophocles did not write them in chronological order, nor did he mean for them to be viewed in a particular sequence.

At the conclusion of Oedipus the King , Antigone, with her sister Ismene, represents both the helpless innocence of a child and the undeniable proof of an incestuous union. The audience recognizes her pitiful, two-fold vulnerability, but beyond this she remains silent and unknown

In Oedipus at Colonus , Antigone epitomizes sacrifice and loyalty, caring for her blind, wandering father with no regard for her own needs or aspirations. Antigone's devotion to her father makes her an admirable character on her own, but also raises the audience's opinion of the sometimes cantankerous Oedipus, as a figure able to inspire and keep such love.

As the heroine of Antigone , Oedipus' daughter grapples with Fate on her own, not just as a child or a dutiful daughter. Her decisiveness and courage appear in stark contrast to Ismene's passive timidity, and, in this tragedy at least, overshadow even her brother Polynices' bold attempt to take Thebes. In championing the laws of the gods above the laws of the state, Antigone occupies the ultimate high moral ground, but she is not impervious to doubt. Just before she is led off to her death, Antigone mourns the life she is leaving by her own choice and even seems to regret her decision. The moment passes, however, and may represent simply a small proof of human weakness that makes Antigone's strength all the more dramatic.

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Discussion Questions

Antigone is the protagonist of the play and is based on a famous character in Greek mythology. Antigone is the daughter of Oedipus, the former king of Thebes, and Queen Jocasta. She is sister to Ismene, Eteocles, and Polynices, as well as niece of the current king of Thebes, Creon. At the start of the play, she is engaged to Haemon, Creon’s son. In this adaptation, Anouilh uses Antigone to represent French Resistance under Nazi occupation.

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Writing Style of Antigone

The writing style of Antigone is marked with dignity, grandeur, and sublimity. Although according to H. D. F. Kitto, the translator of the text used in this analysis, it is very difficult to use the same iambic pentameter in English as was used in ancient Greek, it is easy to preserve its rhythm as it is clear from its smooth and melodic reading. The play starts with the usual prologue and becomes highly tragic and serious in tone , while at times, it turns out sarcastic toward Creon and tragic toward Antigone. The end of the play is ultimately tragic and cathartic.

Analysis of Literary Devices in Antigone

• Action: The main action of the novel comprises Antigone’s defiance to the Theban laws enacted by her uncle, Creon. The rising action occurs when Creon threatens her for violating the law punishable to death. The falling action occurs when Creon decides to free Antigone but she has already hanged herself after Haemon kills himself.
• Antagonist : Antigone shows the character of Creon, as the main antagonist on account of his arrogance and miscalculation about the law and for his obstruction of Antigone in performing the rightful burial rites of her brother.
• Allusion : There are various examples of allusions given in the novel. A few examples are given below, i. Driving him back, for hard it is to Strive with the sons of a Dragon. For the arrogant boast of an impious man Zeus hateth exceedingly. (124-128) ii. And then, when Oedipus maintained our state, And when he perished, round his sons you rallied, Still firm and steadfast in your loyalty. (167-169) iii. ‘Is Man. Against Death alone He is left with no defence. But painful sickness he can cure By his own skill. (361-364) iv. Time Thou art strong and ageless, In thy own Olympus Ruling in radiant splendor. (607-610) The first two allusions are related to the Grecian mythology, the third to Oedipus, the fifth to death, and the last again to mythology.
• Conflict : The are two types of conflicts in the play, Antigone. The first one is the external conflict that is going on between man and the world order as Antigone shows through her defiance. Another conflict is in the mind of Antigone as a sister whether she should perform the burial of her brother or not.
• Characters: Antigone presents both static as well as dynamic characters. The young girl, Antigone, is a dynamic character as she goes through a transformation during her growth in the play from an obedient to a disobedient girl. However, the rest of the characters do not see any change in their behavior, as they are static characters such as Creon, Ismene, Haemon, and even Tiresias.
• Climax : The climax takes place when Creon decides to forgive Antigone for defying his law but he arrives too late and she has committed suicide, while Haemon attacks him, though, he fails.
• Dramatic Irony : The play shows dramatic irony through the character of Tiresias. Although he is physically blind, yet he can see through this mind’s eyes the future of the people of Thebes. He has advised Oedipus and now he is advising Creon but both think that he is a blind soothsayer.
• Foreshadowing : The play shows the following example of foreshadowing , i. How many miseries our father caused! And is there one of them that does not fall On us while yet we live? (1-3) These lines of the play show that something tragic is going to happen with the daughters of Oedipus.
• Hyperbole : Hyperbole or exaggeration occurs in the play in the first episode as given in the example below, Antigone: If you keep silent and do not proclaim it. Ismene. Your heart is hot upon a wintry work! (87-88) Here Ismene exaggerates things saying that her heart is hot because of the work of winter which is an exaggeration.
• Imagery : Imagery is used to make readers perceive things involving their five senses. For example, i. Welcome, light of the Sun, the fairest Sun that ever has dawned upon Thebes, the city of seven gates! At last thou art arisen, great Orb of shining day, pouring Light across the gleaming water of Dirke. (100-105) ii. Close he hovered above our houses, Circling around our seven gates, with Spears that thirsted to drink our blood. (116-118) iii. Angry accusations Flew up between us; each man blamed another, And in the end it would have come to blows, For there was none to stop it. (258-262). The above lines from the play show that Sophocles has used different images such as the images of light, sound, color, and again sound.
• Metaphor : Antigone shows good use of various metaphors as given the examples below, i. Angry accusations Flew up between us; each man blamed another. (259-260) ii. For money opens wide the city-gates To ravishers, it drives the citizens To exile , it perverts the honest mind. (296-299) iii. She raised a bitter cry, as will a bird Returning to its nest and finding it Despoiled, a cradle empty of its young. (422-425) iv. But Death comes once again With blood-stained axe, and hews The sapling down; and Frenzy lends her aid, and vengeful Madness. (601-603) The first metaphor shows the accusations compared to birds, the second shows money compared to something magical, and the third shows the cry compared to a bird. The last one shows death compared to an axe.
• Mood : The play, Antigone , shows a very serious and somber mood from the very beginning and turns to tragic and ironic by the end.
• Motif : Most important motifs of the play, Antigone, are the tomb, the bridal bed and death.
• Paradox : The play shows the examples of a paradox as given in the below examples, i. Our brother’s burial.—Creon has ordained Honour for one, dishonour for the other. (21-23) ii. You cannot: you chose life, and I chose death. (555) This example shows the use of paradox as honor and dishonor has been used in the same verse . The second example shows the life and death used in the same sentence.
• Protagonist : Antigone is the protagonist of the play. The play starts with the entry of Antigone and Ismene on the stage and ends with her.
• Rhetorical Questions : The play shows a good use of rhetorical questions at several places as given in the examples below, i. I knew it; therefore I have brought you here, Outside the doors, to tell you secretly. Ismene. What is it? Some dark shadow is upon you. (17-20) ii. What can I do, either to help or hinder? 40 Antigone. Will you join hands with me and share my task? Ismene. What dangerous enterprise have you in mind? Antigone. Will you join me in taking up the body? Ismene. What? Would you bury him, against the law? (40-45) iii. One time it said ‘You fool! Why do you go to certain punishment?’ Another time ‘What? Standing still, you wretch? (225-227) The above excerpts show the use of rhetorical questions posed by different characters; the first by Antigone, the second by Ismene, and the third by Creon.
• Setting : The setting of the play, Antigone , is the front of the palace of Thebes.
• Simile : The novel shows good use of various similes. For example, i. He brought them against our land; And like some eagle screaming his rage From the sky he descended upon us, With his armour about him, shining like snow , With spear upon spear. (111-115) ii. Under your threats That lashed me like a hailstorm, I’d have said I would not quickly have come here again. (390-393) iii. You, lurking like a serpent in my house, Drinking my life-blood unawares; nor did I know that I was cherishing two fiends. (531-533) These are similes as the use of the word “like” shows the comparison between different things. The first shows the rage compared to a screaming eagle and then armor’s shine compared to snow. The second shows the threats likened to a hailstorm and the third one shows the person compared to a snake .
• Symbols: The play shows symbols through characters such as Creon is the symbol of tyranny, Antigone a symbol of defiance, and Ismene a symbol of resignation.

Related posts:

• Antigone Quotes
• Antigone Themes
• Oedipus Rex Characters
• Oedipus Rex Themes
• Oedipus Rex Quotes
• Oedipus The King
• Oedipus at Colonus

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Home — Essay Samples — Literature — Books — Antigone

Essays on Antigone

Hook examples for "antigone" essays, the tragic heroine hook.

Introduce the character of Antigone as the tragic heroine of the play. Discuss her noble qualities, her determination to uphold her beliefs, and the tragic consequences of her actions.

The Conflict of Divine and Human Law Hook

Explore the central conflict in "Antigone" between divine law and human law. Discuss how Antigone's defiance of King Creon's decree highlights the clash between moral duty and political authority.

The Power and Pride of Creon Hook

Focus on the character of Creon as a symbol of political power and pride. Discuss how his decisions and hubris lead to tragedy within the play and explore the lessons it conveys.

The Feminist Interpretation Hook

Analyze "Antigone" from a feminist perspective, highlighting the role of gender and the defiance of traditional gender roles in the play. Discuss how Antigone's actions challenge societal norms.

The Chorus as a Moral Compass Hook

Examine the role of the Chorus in "Antigone" as a moral compass and commentator on the events of the play. Discuss how the Chorus adds depth to the themes and characters.

The Tragedy of Ismene Hook

Explore the character of Ismene, Antigone's sister, and her role in the tragedy. Discuss her internal conflict and her ultimate fate as a foil to Antigone.

The Ancient Greek Context Hook

Provide historical and cultural context for "Antigone" by discussing ancient Greek beliefs and values, including the significance of burial rituals and the influence of Greek tragedy.

The Universal Themes Hook

Highlight the enduring themes of "Antigone," such as the consequences of moral choices, the conflict between individual and state, and the nature of justice. Discuss how these themes resonate with audiences today.

The Tragedy's Relevance in Modern Society Hook

Discuss the relevance of "Antigone" in contemporary society, drawing parallels to issues of civil disobedience, government authority, and individual conscience. Emphasize the enduring impact of the play's themes.

The Lessons of "Antigone" Hook

End your essay by summarizing the lessons and insights that "Antigone" offers to readers and audiences. Reflect on the enduring importance of this classic Greek tragedy.

List of Interesting Antigone Essay Topics

• The Role of Fate vs. Free Will in Sophocles' "Antigone"
• Moral Conflict and the Law: Analyzing Antigone and Creon's Dilemmas
• Gender Roles and Resistance in "Antigone"
• The Complexities of Morality and Duty in Sophocles' Antigone
• The Concept of Divine Law vs. Human Law in "Antigone"
• Antigone and Creon: A Study of Foil Characters in Sophocles' Tragedy
• The Influence of Greek Chorus in Shaping the Narrative of "Antigone"
• "Antigone" and the Politics of Rebellion: Insights into Authority and Obedience
• The Theme of Family Loyalty vs. Civic Duty in "Antigone"

Family Relationships in Antigones Sister Ismene

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The Power of Defiance in Antigone

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Pride Comes before a Fall: Creon's Tragedy in Antigone

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How Egos Compete in Antigone

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441 BC, Sophocles

Play; Tragedy

Antigone, Ismene, Creon, Eurydice, Haemon, Tiresias, Sentry, Leader of the Chorus

In ancient Thebes, after the death of King Oedipus, his two sons, Eteocles and Polynices, vie for the throne. However, a conflict arises as Eteocles assumes power and denies Polynices a proper burial, condemning him to be left unburied on the battlefield. Antigone, the sister of the two brothers, defies the decree and resolves to give Polynices a burial, honoring the sacred duty to her family and the gods. Antigone's act of defiance pits her against King Creon, who has proclaimed the decree. Despite Antigone's pleas and the counsel of his son Haemon, Creon remains steadfast in his decision, believing it necessary to maintain order and authority. As the tension escalates, the chorus, representing the voice of the people, questions the morality of Creon's actions. Tragedy unfolds as Antigone is sentenced to death and her actions set off a chain of events leading to a series of tragic outcomes. The play explores themes of duty, loyalty, and the clash between personal beliefs and the laws of the state. In the end, the consequences of Creon's stubbornness and Antigone's steadfastness bring about profound sorrow and self-reflection.

The ancient Greek tragedy "Antigone is set in the city of Thebes. The play takes place in a time of political turmoil and upheaval following the events of the mythological story of Oedipus. Thebes is portrayed as a city plagued by a curse due to the sins of Oedipus and his family. The specific locations within the setting include the royal palace, where King Creon resides and makes his decrees, and the battlefield where the two brothers, Eteocles and Polynices, have fought and died. The city streets and public spaces serve as the backdrop for the interactions between the characters and the chorus.

One of the main themes is the clash between individual conscience and state authority. Antigone, the protagonist, defies the decree of King Creon by burying her brother Polyneices, despite it being forbidden. This conflict raises questions about the limits of governmental power and the importance of personal ethics. Another prominent theme is the nature of divine law versus human law. Antigone's actions are motivated by her belief in honoring the divine laws and giving proper burial rites to her brother, highlighting the tension between religious and civil obligations. The theme of fate versus free will also emerges as characters grapple with their predetermined destinies and the choices they make. Antigone and Creon are both victims of their own tragic flaws, facing the consequences of their decisions. Other themes include the nature of power and its corrupting influence, the roles of gender and patriarchy, and the consequences of pride and hubris.

Dramatic irony (the audience knows that Antigone's defiance will lead to her downfall, while the characters remain unaware of their impending fate), symbolism (the burial of Polyneices), imagery (vivid descriptions of suffering, death, and familial bonds), dramatic dialogue and monologues.

Sophocles' tragedy "Antigone" has had a profound influence on literature, theater, and even broader aspects of society throughout history. One significant influence of "Antigone" is its exploration of moral and ethical dilemmas. The play raises questions about the clash between individual conscience and societal norms, highlighting the importance of standing up for one's beliefs. This theme resonates with audiences across time, inspiring discussions on topics such as civil disobedience, justice, and the limits of authority. "Antigone" has also left a lasting impact on dramatic techniques. Sophocles' masterful use of dialogue, monologues, and dramatic irony has influenced playwrights for centuries, shaping the development of tragedy as a genre. The play's emphasis on complex characters and their inner struggles has provided a template for character development in theater and literature. Furthermore, "Antigone" has influenced political and social movements. Its themes of rebellion against oppressive regimes and the pursuit of justice have served as rallying cries for activists throughout history. The play's examination of power dynamics, loyalty, and the consequences of unchecked authority continues to resonate in discussions of human rights, democracy, and social justice.

"Nobody likes the man who brings bad news." "I have no love for a friend who loves in words alone." "You are always defying the world, but you're only a girl, after all." "It is the dead, not the living, who make the longest demands." "We have only a little time to please the living.

1. According to accounts, Sophocles is said to have passed away while reciting a part of his play Antigone. 2. In 1944, the French playwright and screenwriter Jean Anouilh released a play titled Antigone, which garnered significant attention despite being staged in Paris under German occupation. 3. Sigmund Freud, the influential figure in psychoanalysis, chose to name his daughter Anna Antigone.

Antigone, the timeless Greek tragedy written by Sophocles, holds immense significance as a topic for essay writing. This profound play explores complex themes that resonate with the human experience across different cultures and time periods. The enduring relevance of Antigone lies in its exploration of fundamental moral dilemmas, the clash between personal convictions and societal norms, and the consequences of individual actions. It delves into themes of justice, loyalty, defiance, and the struggle for autonomy. Antigone's relevance extends beyond its original context, making it a captivating subject for analysis. The play prompts discussions on topics such as civil disobedience, the abuse of power, gender roles, and the role of religion in society. Its multidimensional characters, including the fearless Antigone, the conflicted Creon, and the wise Tiresias, provide rich material for character analysis and interpretation. Furthermore, Antigone's literary and dramatic elements, such as its use of dramatic irony, tragic flaw, and catharsis, make it a compelling work to study. By examining Antigone's themes, characters, and literary techniques, one can gain valuable insights into human nature, ethics, and the complexities of societal structures.

1. Murnaghan, S. (1986). Antigone 904-920 and the Institution of Marriage. The American Journal of Philology, 107(2), 192-207. (https://www.jstor.org/stable/294602) 2. Honig, B. (2009). Antigone's laments, Creon's grief: Mourning, membership, and the politics of exception. Political Theory, 37(1), 5-43. (https://journals.sagepub.com/doi/pdf/10.1177/0090591708326645) 3. Rouse, W. H. D. (1911). The two burials in Antigone. The Classical Review, 25(2), 40-42. (https://www.cambridge.org/core/journals/classical-review/article/abs/two-burials-in-antigone/5F435DF66023E724D84BE90BCA655AAA) 4. Meltzer, F. (2011). Theories of desire: Antigone again. Critical Inquiry, 37(2), 169-186. (https://www.journals.uchicago.edu/doi/abs/10.1086/657289?journalCode=ci) 5. de Fátima Silva, M. (2017). Antigone. In Brill's Companion to the Reception of Sophocles (pp. 391-474). Brill. (https://brill.com/display/book/edcoll/9789004300941/B9789004300941_007.xml) 6. Davis, C. (1995). The Abject: Kristeva and the Antigone. Paroles gelées, 13(1). (https://escholarship.org/uc/item/8qt465qh#main) 7. Margon, J. S. (1970). The Death of Antigone. California Studies in Classical Antiquity, 3, 177-183. (https://online.ucpress.edu/ca/article-abstract/doi/10.2307/25010605/33738/The-Death-of-Antigone?redirectedFrom=PDF) 8. Marini, F. (1992). The uses of literature in the exploration of public administration ethics: The example of Antigone. Public Administration Review, 420-426. (https://www.jstor.org/stable/976801) 9. Benardete, S. (2014). Sacred Transgressions: A Reading of Sophocles' Antigone. (https://philpapers.org/rec/BENSTA-7)

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Home / Essay Samples / Literature / Antigone / Analysis of the Character of Antigone in Sophocles’ Tragedy

Analysis of the Character of Antigone in Sophocles' Tragedy

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