tragic hero essay antigone

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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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Mythology: The Tragic Hero in Antigone Essay

Most heroic characters in the Greek tragedies have very special qualities that distinguish them from the rest of the characters. However, the tragedy by Sophocles called Antigone seems to defy this norm and it has two heroes. There are two are tragic heroes and this is one of the rarest occurrences in tragedies. The two are Creon and Antigone herself. Antigone is the princess of Thebe’s while Creon, is the king of that Greek empire (Fagles 56). Both fit in as heroes because they are from the nobility and most Greek heroes and heroines were from a noble background. The tragic end of this play is created by errors of judgment made by the two heroes, as in most Greek tragedies.

Trouble starts when Antigone and Creon clash over who is supposed to bury Antigone’s brother, Polyneices. Antigone believes that her brother deserves a proper bsend off for him to be able rest in peace. To her, the laws of god regarding burial have to be observed. In the Greek tradition, the women were the ones that were concerned with the issues of burial and she wants Ismene to help her to ensure that their brother is properly buried despite the objection from the king. Ismene refuses to stand against creon whom she really fears and this leaves Antigone without support (Letters 148). Creon is trying to deny Polyneices the right to burial. A male chauvinist who has no time for the views of the women, Creon believes that no woman should go against what the king has decreed. The women are not supposed to interfere with important issues in the country. The burial of Polyneices is an important issue in the country because he was an enemy to Thebes, having attacked it sometimes before his death. According to Creon, who is supposed to protect the country from the enemies, enemies of Thebes do not have any burial rights meaning that Polyneices doesn’t deserve to be buried inside Thebes. The two antagonists grow increasingly stubborn in their perspectives. Creon is the one who appears to be the villain because being an uncle to the dead man; some empathy is expected from him. However, he remains very adamant and is bent on meting punishment on anyone that goes against his authority. The intervention of Creon’s son, Haemon proves to be an exercise in futility regardless of the fact that he is betrothed to Antigone. Antigone does not relent. She is ready to die for the sake of her brother’s right o burial. When the king locks her up, she decides to take her own life. At the same time, a prophet is busy trying to convince Creon to have Polyneices buried. After doubting his decision, he insists that Polyneices should be interred while Antigone is still locked up without knowing that she has already taken her life. The death of Antigone triggers two more deaths. Upon learning the death of Antigone, Haemon, the son to Creon and Antigone’s boyfriend, commits suicide (Graves, 380). After learning about the death of her son, the king’s wife, Eurydice also kills herself. 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. This is because Antigone stood for what she believed was right and did no mistake that she later learnt a lesson from. On the other hand Creon realizes his mistakes too late and he had to live with the guilt emanating from the consequences of his folly and stubbornness. In most cases, assumptions are made that the protagonist always becomes the true tragic heroes but in this Greek tragedy by Sophocles, it is almost impossible to identify who the protagonist was though the true tragic hero is easily identifiable.

From a superficial perspective, Antigone appears to be the protagonist in this play especially when her main objective of burying Polyneices is factored in. From this point of view, anyone that is opposing her would be the antagonist and this would easily befit who has risen against the burial of her brother. What leads the audience to assume that the protagonist is Antigone is the title of the play (Else 46). The play is titled Antigone instead of Creon but that does not mean that Antigone is the protagonist. The actual protagonist is Creon because it is Antigone who ideally goes against his decree. He is also the one who suffers at the end of the play due to his rash decisions that culminate in the death of three people, two of them being his immediate family members. It is expected that the person who endures suffering should receive empathy from the readers but in this case, the king does not receive it. It is Antigone, whom the readers empathize with because her stubbornness is very genuine while that of Creon is quit despotic. She does not have any support as she stands against the king and she does so at a very tender age and that is why the audience would easily be drawn to her. The tragic end to Antigone as a character is inevitable as she did not have any other choice while the king was too myopic to think about the aftermath of his rash decisions. A real tragic hero or heroine usually does not have any power over their destiny and their course of action is controlled by fate. Whereas the choices that the king makes are dictated by arrogance, the ones that the princess makes conform to the spiritual laws and using this perspective, then the princes might be said to be the real tragic hero.

In Henrique Ibsen’s, Doll house, the tragedy that would have happened is nipped in the bud as there is no death that takes place though there was an imminent suicide. However, the play does not end happily as the marriage between Norah and Torvald, which has been largely a formality breaks when Norah slams the door on her husband telling her that it would take the greatest miracle ever for their marriage to be restored. She refuses the forced duties of a wife and a mother and reckons that she ought to go and discover herself because she had lived a false life under her father and then under her husband.

Works cited

Graves, Robert. The Greek Myths: London: Penguin, 1990.

Else, Gerald. The Madness of Antigone . Heidelberg: Carl Winter 1996.

Fagles, Robert. The Three Theban Plays . New York: Penguin. 1996.

Letters, Fredrick. The Life and Work of Sophocles . London: Sheed and Ward.

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IvyPanda. (2022, July 11). Mythology: The Tragic Hero in Antigone. https://ivypanda.com/essays/mythology-the-tragic-hero-in-antigone/

"Mythology: The Tragic Hero in Antigone." IvyPanda , 11 July 2022, ivypanda.com/essays/mythology-the-tragic-hero-in-antigone/.

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IvyPanda . 2022. "Mythology: The Tragic Hero in Antigone." July 11, 2022. https://ivypanda.com/essays/mythology-the-tragic-hero-in-antigone/.

1. IvyPanda . "Mythology: The Tragic Hero in Antigone." July 11, 2022. https://ivypanda.com/essays/mythology-the-tragic-hero-in-antigone/.

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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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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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The Tragic Hero of Sophocles’ “Antigone”

Introduction.

Whether Antigone or Creon is the hero of Sophocles’ play “Antigone” is hotly debated. Aristotle believed that a hero was noble by nature but possessed a tragic flaw, known as hamartia, that made him tragic. To be a hero, one must have a high social standing while still maintaining their integrity in their deeds, demonstrating leadership and bravery, and most crucially, possessing a single defect that causes them to fall. With Antigone, the audience is treated to a sad, climactic, and exhilarating conclusion that forces them to reevaluate the morality of the deeds that lead each character to their deaths. Antigone is a hero because she stays loyal to both the gods and her brother. Even when confronted with death and suicide, she chooses to terminate her own life (Bobrick, 2015). As a result, Antigone’s drama reflects the Aristotelian formula for tragedy in the features of conflict and character faults, thus depicting the idea that Sophocles’ Antigone is a play without a hero in the Aristotelian formula for tragedy.

Antigone is one of Sophocles’ three dramas about Thebes. The significant tension of the play centers around the refusal of a burial. Due to power issues, the two brothers engage in combat but end up murdering each other. The new king makes a proclamation permitting the burial of just one of the two individuals. However, Antigone, the two’s sisters, insists that both should be buried, but she is rejected. Antigone ultimately commits herself to her ideals, and her death sets off a series of suicides. Sophocles uses this scene to challenge and investigate tragic heroism.

While Antigone takes place over a single day, the four principal themes of the play address the tension between divine law and municipal law, submissive positions of women in ancient Greece, the curse of the House of Oedipus, and heavenly sanction for individual and communal needs. The fundamental issue was the confrontation between the divine law, which allowed for the burial of relatives, and the declaration of the civic law, whose primary objective and emphasis was the preservation of the state and adherence to the rule of the land (Chanter, 2011). Because of this preservation, traitors would not be permitted to be buried appropriately; instead, their desecrated remains would be preserved as a warning to the rest of society. Many believed that Creon had violated the essential categories of existence and the transition from life to death, as indicated by the burial ceremony. This order consigned people above the ground to a wall under the earth’s surface (Falkenstern, 2020). This essential order was threatened if the dead were left unburied or if the living were buried, bringing chaos and devastation to society.

The submissive status of women within the Greek city-state was another critical issue for Antigone. Antigone by Sophocles conveys to its viewers the sight of Oedipus’ daughter committing herself for the sake of eternal rules against the imperatives of more time-bound laws (Palmer, 2014). Creon desired nothing more than to disregard Antigone and Ismene’s requests for burial, and he sought to divide and degrade their character to compel them to comply with his decree (Chen, 2018). However, Antigone’s disobedience to Creon’s command would eventually destroy Creon’s family and leadership. Creon’s authority will be affected by the curse of the House of Oedipus and its planned impact on kindred. Regardless of how much he may enjoy his new position as king of Thebes, his relationship with Oedipus’s two surviving sons and his battle with Antigone will bring devastation. The gods’ approval and reluctance to intervene will influence the protagonists’ behavior. The characters, chorus, and messengers will seek the gods’ approval for their activities by gaining their backing (Falkenstern, 2020). Ultimately, the gods’ reluctance to intervene and prevent fatal occurrences determines the path of action.

Creon is the king of Thebes and is regarded as the hero of Antigone since he is born honorable. Another characteristic that leads to Creon’s presentation as the hero is that the hero would have a fatal fault in personality, which is evident in Creon. Creon’s character might be described as one who places rules and order more than anything else, rejects God’s laws, and ultimately brings tragedy (Verkerk, 2014). Although Sophocles depicts Creon as a righteous king, Creon’s hubris or excessive pride gradually reveals his genuine nature and, ultimately, demise. It was evident that Creon’s greed and lack of concern for others drove him to keep power, an act that does not exemplify bravery. This depiction is more severe than that of Antigone. He does not know until it is too late how much his terrible defect, an excessive amount of pride, has contributed to his issues (Verkerk, 2014). In addition, he reached anagnorisis at the finish of the performance. However, he cannot change the situation and must continue to live with remorse.

Creon was very devoted to the regulations he established for the city. Polyneices was a traitor to the city he resided in; thus, Creon enacted a decree that anybody who attempted to bury him would be put to death. As Creon mentioned, this was his intention; wrong persons will never be regarded in more esteem than the righteous, but Creon will revere those who have goodwill toward this city in both life and death (Sarah et al., 2003). Since Polyneices was a traitor to the city, Creon believed that it was inappropriate to celebrate his death, which is the antithesis of what a hero should do, who should remember the deaths of many others.

Creon is so devoted to his standards that, upon learning through his guards that someone buried Polyneices, he became enraged at the disobedient individual and sought to identify them. For a ruler, having someone disobey the norms he has established forces him to address the issue to preserve control of the city; if he does nothing, people will not take him seriously (Chen, 2018). Creon believed that if he did not adhere to the regulations he established, there would be problems across the city. As he claims, there is no greater evil than disorder. It destroys towns and damages homes, scattering and scattering the lines of allied spears. Nevertheless, when the lives of mortals go well, it is rule-following that keeps most bodies safe. As a result, Creon wished to prevent problems from spreading through the city and impose rules to keep the city in check (Chen, 2018). This contrasts with a typical hero, who would do whatever was necessary if it was for the greater good of all; avoiding problems is not a characteristic of a hero.

Antigone, a member of Creon’s own family, was ultimately identified as the disobedient individual, and Creon had no option but to put her to death. Antigone’s disobedience of Creon and the civil law as the family’s guardian and her own moral and religious convictions establish her as a symbol of resistance. Her claim to burial threatens the king’s normal functioning (Palmer, 2014). As Creon states, whether she is his sister’s kid or more closely related to him by blood than his whole family under Zeus, neither she nor her sister, her blood-kin, whom he holds equally responsible for the building of this tomb, will escape the worst fate.

Even though Antigone is a member of his family and his son’s fiancée, Creon chooses to punish Antigone for violating his laws by burying Polyneices. Antigone was consigned to the tomb by Creon, where she would starve to death. Teiresias warned Creon of the repercussions of murdering Antigone, and Creon subsequently changed his mind and let Antigone free. Once they reached Antigone, she had already committed herself to famine. Upon learning that his fiancée had perished, Creon’s son committed suicide, and his mother ((Palmer, 2014). Creon’s selfishness and obsession with sticking to the rules and applying them to the city resulted in his wife and son committing suicide; yet, these acts of selfishness and the urge to adhere to rules are not heroic.

Creon serves as a vehicle for Sophocles to demonstrate the benefits and drawbacks of the law. Creon feels that maintaining a stable state is of the highest importance, which is undoubtedly a good position, but his inability to be persuaded on the subject betrays his fundamental fault (Falkenstern, 2020). Antigone conveys her point of view to Creon after being apprehended by Creon’s soldiers. She contends that both brothers are entitled to burial since they were both partially correct and because the right to be buried is a sacred right that should not be taken away from either brother. On the other hand, Creon does not take this reasonable argument seriously. Creon does not even take his son Haimon’s arguments seriously, despite being emotionally and rationally touched by them. Haimon’s actions touch him since he resorts to ad hominem arguments rather than relying on reasoning to defend himself against Haimon. Creon finally argues that it is his responsibility to lead the nation. No one else demonstrates how he does not want even to examine the opposition’s arguments, no matter how rational they may seem (Bobrick, 2015). He feels that, as a monarch, he has the best judgment and should not be influenced by people who are subordinate to him.

There are very few instances of a woman being portrayed as a tragic hero in Greek mythology and theater. However, in the third and last play chronicling Oedipus’ life, Sophocles’ Antigone has a female heroine (Chanter, 2011). Despite being set in a different period than most Greek tragedies, this is regarded as one of the best Greek tragedies ever written. Antigone is the tragic hero of this tragedy and the figure from whom the play’s title is derived. This is shown by the fact that she is not only the play’s protagonist but also demonstrates tragic hero traits throughout the play (Falkenstern, 2020). Given the sexist nature of most Greek myths, it is remarkable that the gender of the tragic hero in this play seems to be the least important factor in defining the tragic hero’s identity.

Among the most important are the three defining characteristics of a tragic hero’s personality. Primarily, the hero’s ancestors must be of noble descent. Secondly, the audience’s hero must be seen favorably as a decent and honorable person (Verkerk, 2014). Finally, the protagonist must have a fatal flaw; otherwise, there would be no dramatic obstacles or tragic ends. All three of these qualities are present in Antigone, distinguishing her as one of the very few tragic heroines in literature.

Antigone’s acts serve as a testament to her bravery. Because Antigone considered it unethical to bury Eteocles while not doing the same for Polyneices honorably, she challenged Creon. According to Antigone’s assertions of fair treatment, Eteocles has been lawfully interred under the soil, where his memory will be cherished by the dead below; in contrast, Polyneices’ pitiful remains must be kept undisturbed and undisturbed, a treasure for birds to feast upon at their leisure (Chen, 2018). Antigone was aware of the restrictions Creon had set on the city, which forbade the burial of Polyneices’ corpse under pain of death if it was not buried immediately.

Given that Antigone knew she would be killed for burying Polyneices, Antigone displayed bravery in doing what she believed was right and burying her brother, even though she knew she would die for him. As Antigone has said, it is appropriate for her to die due to her actions. As a result of her purity, she will be buried near her closest buddy at that location, as she had her dearest friend to cherish her. Similarly, Antigone has a family and a fiancé who are concerned about her and want her to live. As a result, some may accuse Antigone of being selfish for being oblivious that she will die (Sarah et al., 2003). The heroine, Antigone, demonstrated her heroism by risking her life to avenge her brother’s murder and disobeying Creon’s city restrictions to achieve what was right.

Antigone did not believe that laws created by humans were better than those created by the gods. Creon buries Eteocles as a king who died protecting the city but lets the body of Polynices decay beyond the city gates (Bobrick, 2015). Following Antigone’s burial of Polyneices, she engaged in a debate with Creon over whether or not disobeying his rules was justified. Due to her belief that the gods’ rules are more powerful than the laws of Creon, Antigone felt it was right to reject Creon’s restrictions. She also did not feel that Cleon’s statement was so strong that a mere mortal could escape the unwritten and irrevocable laws of the gods.

Antigone’s subsequent explanation states that the god’s laws are timeless and that no one knows when they were first revealed, despite being neither current nor past. Antigone thought that Creon’s prohibitions were only temporary and would be abolished after his death, but the laws of the gods had existed from the beginning of time. The contempt for rules and regulations shown by Antigone, in contrast to Creon, was manifested in her willingness to serve others (Bobrick, 2015). Rather than Creon’s desire to uphold laws and norms for society’s satisfaction, she preferred the selfless act of assisting others.

It seems that Antigone’s bravery is enhanced by the fact that she is a woman fighting against the wishes of strong males. Ismene explains to Antigone that women are not designed by nature to fight against men and are meant to be governed by those who are more robust. Following this conversation with her sister, Antigone gently reprimands her sister for allowing others to interfere with her family’s commitment to its traditions.

Antigone’s ability to listen is another attribute that distinguishes her. The ability to listen and be responsive are two attributes that significantly impact the audience’s opinion of whether a character is fair or unfair. Antigone, in the play, stands in sharp contrast to Creon, whose pride tends to get the better of him regularly and prevent him from making intelligent judgments in his life. When a guard informs Creon that someone attempted to bury Polyneices, he leaps to conclusions. He accuses the sentry of committing these acts for monetary gain without contemplating why a guy would denounce himself for a capital offense (Falkenstern, 2020). By asserting that all prophets are motivated by money, he accuses the seer Tiresias of gathering money to deliver a prophecy condemning Creon’s actions. In the eyes of the audience, she is a hero because she has sound judgment, which Creon does not possess, loyalty, courage, and a strong sense of right and wrong.

The fatal fault that Antigone has, as has been the case with other tragic heroes throughout history, is the only attribute that remains to establish her as a tragic hero. Antigone’s defect is comparable to her father’s imperfection in scale. Even though Antigone is a ruthlessly honest person who finds no honor in reneging on her convictions, she will ultimately come to her doom. Antigone can never keep her emotions under control (Chen, 2018). During her last moments with Creon, she tells her that she is a coward for not doing what is right and reminds him of his faults as she prepares to die at his hands.

Furthermore, as she is brought away to her jail, she refuses to shed a tear for the love of Haemon, which she will never have since it would make her seem weak, something she does not want. However, this serves to bind her to Creon’s punishment further, ultimately proving to be her downfall while also highlighting the bravery that she demonstrates increasingly throughout the story (Chanter, 2011). The cry that she lets out at the very end of her life when her duty is done and she no longer must be the pinnacle of the strength of spirit shows the concept that she is still a woman in her heart. This is the allure of Antigone as a tragic heroine in her own right.

Antigone has all the power that the ancient Greeks would have attributed to a male, but she also possesses gentleness. With Sophocles’ creation of the woman spirit in a society whose culture is founded on sexist mythology, no other Greek tragedy can come close to its accomplishment. Nowhere else has the poetry of the ancient world represented a higher or more beautiful ideal of a woman’s love and devotion than in the poetry of the ancient world (Palmer, 2014). Through Sophocles’ work, ancient female characters may be understood as more than simply seducers and witches who could not be trusted in Greek tragedies and tragedies.

This drama is about a young woman who disobeyed the king’s orders by burying her brother and was put to death for her religious beliefs. Sophocles’ play has several differing opinions about whom one should sympathize with (Verkerk, 2014). Some people will have compassion for King Kreon since he only followed the regulations he established to keep the city secure. Others would feel compassion for Antigone since she showed devotion to her brother and risked her life for what she believed to be good, even though it is logical that Kreon would like to adhere to his city’s regulations. In contrast to Creon, Antigone has all the traits of a tragic hero. Antigone may be regarded as the first great hero, despite the book’s protagonists deviating from the conventional hero archetype (Sarah et al., 2003). She achieves this rank because of her bravery, sense of justice, and eternal commitment to her family. In a way, the sheer force of her views lends her a martyrlike quality.

Nonetheless, the same stubbornness that tightened the noose around Antigone’s father’s neck has brought about the same doom for her. Without this weakness, however, she could never have become a tragic hero in the manner that she has. These qualities allow Antigone to be considered by the Greeks as an equal to the male characters in the play and to have defeated them through the gods’ vengeance on her killers. When Creon recognized his faults and attempted to correct them, he lost everything. Sophocles created this figure as a symbol of sorrow and sympathy for humanity since he exhibited pride, a trait we all share. However, it was Creon’s shortcomings that led to his demise. No one wants to lose their loved ones despite their best efforts to avert such a catastrophe. Each member of Creon’s family is responsible for their destruction. However, this is the only possible outcome of a hero’s death. Furthermore, even though her demise is essential to the plot, her death may not go unpunished. Thus, the said hero meets his end.

Bobrick, E. (2015). Sophocles’ Antigone and the self-isolation of the tragic hero. Psychoanalytic Inquiry , 35 (1), 40-46. Web.

Chanter, T. (2011). Whose Antigone?: The Tragic Marginalization of Slavery . SUNY Press. Web.

Chen, Y. S. (2018). The Hegelian Tragedy, Negative Dialectic and Ethical Substance in Sophocles’ Antigone. Journal of Literature and Art Studies , 8 (4), 557-567. Web.

Falkenstern, R. (2020). Hegel on Sophocles’ Oedipus the King and the Moral Accountability of Ancient Tragic Heroes. Hegel Bulletin , 41 (2), 159-176. Web.

Palmer, S. (2014). Martyrdom and conflict: the fate of Antigone in tragic drama. Mortality , 19 (2), 206-223. Web.

Sarah, L., Mack, M., Jerome, C., Danly, R. L., Douglas, K., Hugo, H., Irele, F. A., Heather, J., McGalliard, J. C., Pasinetti, P. M., & Wellek, R. (2003). The Norton Anthology of World Literature, Vol. A: Beginnings to A.D. 100, 2nd Edition: Vol. A (2nd ed.). W. W. Norton & Company.

Verkerk, W. (2014). Heroism in Sophocles’s Antigone. Philosophy and Literature , 38 (1), 282-291. Web.

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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.

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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.

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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.

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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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Home — Essay Samples — Literature — Antigone — Ismene: A Tragic Hero In Antigone

Ismene: a Tragic Hero in Antigone

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In Sophocles' tragic play "Antigone," the character of Tiresias serves as a pivotal figure whose prophetic abilities shape the course of the narrative. With his blind wisdom and supernatural insights, Tiresias offers crucial [...]

Sophocles' tragedy, Antigone, is a timeless piece of literature that delves into the complexities of human nature, morality, and pride. At the heart of the play is the character of Creon, the newly crowned king of Thebes, whose [...]

Justice is a central theme in Sophocles' play Antigone. The play revolves around the conflict between the laws of the state and the laws of the gods, and the question of what constitutes true justice. Through the characters' [...]

In Sophocles' timeless tragedy, Antigone, the theme of burial holds immense significance, serving as a catalyst for the unfolding conflict between divine law and human law. This ancient Greek play explores the clash between [...]

In Sophocles’ play Antigone, Kreon, the warrior King may overrule Antigone, a mere woman’s, struggle for political power, but can he match Antigone’s resistance in a fight for political authority? Political power in a state [...]

In Sophocles’ play Antigone I believe that Creon is the tragic hero because he is brought down by a tragic flaw and faces consequences greater than deserved. Throughout the play Creon was creating problems which led to what he [...]

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