Final Blog Post

The characters in “Antigone” seem to symbolize the themes in the story. Antigone and Creon represent the conflicting forces that are most prevalent: male vs. female, family duty vs. civic duty, and the law of man vs. that of the gods. Teiresias represents the will of the gods. The blind prophet makes sure to emphasize “the razor-edge of fate” (1100). Creon and Antigone both seem to believe in free will but it is clear that the gods will hold everyone to their destiny. Creon claims Teiresias’ “prophecies [to be] a lie” (1169) but he was the voice of reason even back during the Oedipus tragedy. Both Jocasta and Oedipus were skeptical of Teiresia’s predictions but in the end they always proved to be accurate. The conflict between Creon and the prophet mirrors that of Antigone and the king.  It always comes back to man disobeying the will of the gods. Antigone has always proved her loyalty to the gods but it is Creon’s lapse of judgment that dooms all of Thebes. Ismene symbolizes innocence, she seems to be concerned with her sister’s well being but lacks the boldness that defines Antigone. Ismene makes the attempt to risk her life for Antigone out of love for her family and seems to have the most pure intentions while still managing to steer clear of controversy. As usual, the gods will not spare anyone in making their decisions. The god’s disdain towards those who question their authority makes for a tragic ending every time. The god’s wrath is so predictable it is almost ironic that humanity is marked by its unwillingness to learn from the past. The ending of the story brings back images of Romeo and Juliet’s death, with both lovers committing suicide in the end.

A Series of Unfortunate Events

When Creon loses all of his family members due to his own lack of morality and reasoning, the embodiment of tragedy fully releases. Just as many other tragedies, multiple deaths occur in only a matter of a few lines and Creon is left to endure the pain of all of them. The swift and plentiful death count that presents itself as the play comes to the close is what makes it truly tragic. As each conversation ends a new person is found dead, leaving the audience dumbfounded in a way that they are unaware how this all just played out. The irony of it all is the lack of death Creon faces, but the burden of life he must endure. He cries "...why me? why are you killing me?.." (1414) when he is one of the only survivors of the depression that has fallen upon his loved ones. As the Leader says "For mortal men
there is no escape from the doom we must endure." (1458) and Creon's "doom" is to remain alive when all he knows and loves lies in the world of the dead. By punishing Creon with life, the Gods forbid him from the privileges and reliefs that come with death, Creon's family and order is now gone and none of the city's people will trust in him due to his irrational actions and abrupt decision making. Only one person is at fault for this tragedy and sudden sequence of deaths and that person is Creon himself.

Blog #4 3/28/16

Antigone follows the story of an adamant and strong-willed daughter of a God who ends up in a “sleepy death” because of her unwillingness to defy her beliefs (664). Each character is questioned with guilt relating to the demises of the other characters throughout the play. Ultimately, the audience is left with the inquiry of whether Antigone is a martyr – an innocent victim – or whether she shares responsibility for her own death. Antigone seems to make a choice of her own in giving up her “women-born” life (marriage, children, etc.) to protect her brother’s funeral rites – something truly infuriating to men at the time (678).  Her reasoning, simply put, is the unimportance of what man conceives as right and wrong for himself, and the triviality of laws written in stone. Men see “strength [that] lives in established law,” rather than the more important idea of following divine truth – the true rights and wrongs – to ensure the compact of man living with the will of the gods (701-2). As a result, there is no set law, only a guide of what should be done under a given circumstance. Although Antigone realizes her punishment for her supposed transgression, and regrets such a cruel fate, she cannot take back what she has done because it is the only thing possible as a child of the gods. Antigone is credited as a martyr for her undying adherence to follow the path of her own judgement. Her rebellion against the strict laws of Creon are forgotten because of her loyalty to the Gods.

Dynamic Changes

Ismene and Haemon evolve throughout Antigone. Their character transformations allow the play to move forward without being monotonous. Ismene enters as a naïve and fearful sister, "...but defy the city? I have no strength for that" (93). Ismene cites herself as a weak willed person. Even for her sister Antigone, Ismene has not enough gumption to assist her. Yet subsequently, upon Antigone's seizure by the sentry, Ismene evolves into a new person. Ismene wholeheartedly states she will die with her sister, "But look, we're both guilty, both condemned to death"(629). Showcasing Ismene's character transformation makes her dynamic. In each case, Ismene utilizes death as something she can either overcome or succumb to. Ismene (even though she has nothing to do with the burial rights) identifies with Antigone's sins, and, in turn, shares her punishment. Juxtaposing Ismene's new loyal familial actions with her early selfish ones allows Ismene to become an integral part of Antigone.

This political cartoon helps to illustrate the struggle of uncovering truth
 in the face of those who have power.

Haemon’s transformation occurs much quicker than Ismene’s. Haemon originally agrees with his father Creon “Father I’m your son…I obey you” (709-710). This explicit statement solidifies the reader’s opinion of Haemon. Until, shortly after, Haemon renounces his father’s control over him: stating “What a splendid king you’d make of a desert island — you and you alone” (826-827). Harmon is underscoring Creon’s unsustainable governing methods — making him a corrupt and ineffective king. Haemon’s change of attitude is critical to the success of Antigone. Without a close family member exposing Creon’s hypocrisy to him, the plot would cease to move forward. Ismene and Haemon’s character changes are what allow Antigone to employ its morals and lessons. Character change exposes personal truths and the truths that others (like Creon) would like to bury. 

Pride

Pride has caused the death of many, the characters in Antigone are no exception.  The hubris decisions made by two characters causes the death of several.  The first act of pride was Antigone’s act of defiance against Creon.  The pride she has in her family and tradition sets off a series of unfortunate events.  She cannot stand the disrespect that faces her family and explains that “even if [she dies] in the act [of burying her brother], that death will be a glory.” (86)  This foreshadows her eventual death at the end of the tragedy.  Her suicide is also result of Creon’s pride.  His desire to rule and not be contested results in decisions that also lead to the tragic ending.

Creon focuses on his own ideas and needs
not what will benefit others

As Tiresias predicts Creon “[surrenders] one born of [his] own loins” because he has “no business with the dead.” (1184, 1191)  Creon needs to “lay [his] pride bare to the blows of ruin” so he can resolve his mistakes.  Unfortunately, this realization comes too late because his son has already made his decision.  Haemon and Eurydice’s death is a result of Creon’s pride.  He is willing to admit he is the reason for their death and reconciles his mistakes.  Does this make Creon the tragic hero?  Creon has a hamartia of hubris, suffers a great loss, and realizes his flaw.  The reader is lead to believe that Antigone is our hero but she does not fully fill the requirements.  Creon teaches the audience to be wary of pride and shows the effects of this deadly quality.

Blog Post #4- 3/28/16

            Power has corrupted Creon. In Oedipus the King, Creon had no want for kingship, but now that he is crowned, he prides over making sure everyone in Thebes knows who is in charge. When Haemon, his son, and Tiresias, the blind future seeker of Thebes, report what will happen to Creon if he continues his action, Creon brushes them both off. He becomes enraged that they would test his ruling and ignores both their premonitions. Foreshadowing plays a big part in this play. The first moment of foreshadowing occurs when Creon converses with Haemon regarding “the final verdict on [his] bride.” (706) Creon wanders where Haemon stands in this situation and Haemon retorts, “Father, I am your son… you in your wisdom set my bearings for me—I obey you.” (709-710) Haemon proceeds to tell his father that many civilians have said Antigone does not deserve punishment, for what she did was brave and noble.  Creon becomes infuriated and insults his son. Haemon foretells, “Then she will die… but her death will kill another.” (843) Further in the story, Tiresias forewarns Creon that if he continues to refuse to bury Polynices and his punishment of Antigone for the burial, then a curse by the gods will be brought down on Thebes. Later on Creon finds out that Antigone has hung herself and alongside her is Haemon covered in his own blood. The messenger relays the message to Creon, who regrets his decisions and admits to his own stupidity. Justice has just begun for Creon, for the messenger returns to convey the message of another death—Eurydice, Creon’s wife. Creon should have listened to his son and Tiresias, for both his son and wife died.

Creon is outraged that his citizens would question how he should rule and in fear of a threat to his throne, he exclaims, “The city is the king’s—that’s’ the law!” (825) His fear of loss of power and the fear is what makes Creon depraved.

            Stated by John Steinbeck, “Power does not corrupt. Fear corrupts… perhaps the fear of a loss of power.”  This relates to Creon because he ignored those warnings for the fear of losing authority and his power. Creon was so wrapped up in power and the terror of losing power, that he would not listen to anything that involves partial loss of control. 

Blog #3

The careful description of the deterioration of Polynices’ body makes the reader sympathize with Antigone. Even as she is going against the city-state’s laws, it is the image of a decaying corpse that makes her case. The grotesque details could also possibly foreshadow a crumbling Thebes in the future. Several townspeople disagree with the injustice of Creon’s decree. Creon seems to consumed with carrying out his judgment to the end even if it does not ethically agree with the majority. His mental stability also seems to be in question as he even goes as far to commit sacrilege against Zeus. Creon completely dismisses his affiliation with Antigone, as someone who is his relative. He goes as far as saying that even someone “closer in blood” (543) “clustered at my altar worshiping… Zeus “ (544-545), could not escape a “most barbaric death” (546). The resulting choral ode is marked by an ominous admonition: “for others, once the gods have a rocked a house to its foundations the ruin will never cease…” (658-660). Haemon then declares that Antigone’s death “will kill another” (842), this possibly foreshadows his suicidal disposition after hearing of the punishment awaiting his fiancé. Creon’s decision seems to only forebode tragedy. Creon’s “ship of state” (180) could very well end in decay just as Polynices’ corpse did. The theme of fate seems to never disappear as the chorus continuously reminds the reader of man’s inevitable end in suffering.

Creon's authoritarian style of ruling can only make way for the degradation of the society he so badly wants to preserve. His actions have driven away his own son and will only result in unnecessary deaths. 

Father and Son

The contrasting viewpoints of Creon and his son Haemon show how different they are.  Creon wants to condemn Antigone to die for what she has done.  He sees Antigone as an embodiment of anarchy.  Creon refers to anarchy as a she, connecting it to Antigone and all womankind.  “She destroys cities, rips up houses, breaks the ranks of spearmen” so the men must defend those citizens who “live by law.” (753-754)   Creon is more concerned with his image and not being labeled as a liar to consider the other side of the argument.  As the famous cliché goes… it’s my way or the highway.

Haemon believes that “someone else might have a good suggestion” about Antigone’s situation. (769)  The people believe Antigone is noble and “mourns for this young girl.” (776)  Haemon implores his father to not be “single-minded” or “self-involved” and not to “assume the world is wrong and [he is] right.” (789-790)  Haemon is level-headed and looks at every aspect of a situation as well as the consequences.  Creon sees his way as the only way to go, so he still plans Antigone’s death.  These different ideas provide us with a foil to compare the father and son.  If Creon kills Antigone there will most likely be unrest and this creates the anarchy he fears.  Creon seems to how a small god complex because he believes his word should be followed while Antigone argues the gods govern.  We can see the beginning of a change in ideals.  Antigone and Haemon show the shift in principles and Creon is a model for the old standards.

Blog #3 3/18/16

      The watchman is similar to that of Polonius in Hamlet, serving as a comic relief amidst a tragedy full of drama. With all the concerns regarding justice and idealism, the sentry is concerned with nothing else but saving his own life. Although his characterization is often aloof, his clear purpose in the play is shown to remind of Antigone’s impending danger and the severity of its consequences. The sentry is so certain in remaining protected, he proclaims, “at any rate, I am safe!” (277).

      The tragic flaws of Greek plays’ characters offer a force in continuing the events the sentry is concerned with nothing else but saving his own life. Although his characterization is often aloof, that unfold throughout the play. Antigone carries a sense of being too proud of herself, even boastful, when it comes to her rebellion to bury Polyneices after being ordered  not to by Creon. She rejects Ismene’s confession of being a partner in Polyneices’ burial, not for the love of Ismene and for her protection, but rather because she claims the crime as her own work. Ismene complies to be Antigone's “shipmate in suffering”, a complicity Antigone refuses, claiming the gods below saw who did the work, and she wouldn't “accept a friend who's only friends with words” (540, 543). Antigone is referencing Ismene’s new-found responsibility not as courage, but as cowardice – for she is talking rather than acting. Ismene would rather claim the spiritual reward over actually performing the act. Antigone’s hubris presents a tragic flaw traceable to her own father Oedipus. 

Corrupt Creon

Creon admonishes the leader who proposes the gods may bury Polynices. He states “Stop — before you make me choke with anger — the gods!” (317-318). Creon does not understand how the gods could possibly favor a sinner over him. Creon cites Polynices sins of “[stealing] their golden treasures — scorch their hallowed earth” (324). The comparison between prized goods and godly attention runs through Antigone. Wealth is a double-edged sword. Creon characterizes himself as a man who is loftier than common people because of his wealth. This esteem, should, grant him greater attention from the gods. Conversely, when the sentry is accused of stealing silver, the desire for money turns negative. Creon turns into a hypocrite when he reprimands the sentry “you squandered your life for silver!” (365). Creon’s characterization of power and wealth show how corrupt he is. When he is wealthy, he deserves godly attention. When low class people acquire wealth, they are shamed for desiring it. King Creon’s need for ultimate control is an overarching theme in the entire play. He controls Antigone’s actions (or tries to). He controls the emotions of his servants. He controls the perception of the gods. Through this lens, ancient Greece is a true dictatorship. King Creon utilizes propaganda, such as Polynice’s forbidden burial, to further his control over his territory. By developing shame in the civilians, controlling perception of the gods, and amassing wealth for himself, King Creon characterizes himself as a corrupt politician. Creon states “Money! Nothing worse in our lives…so corrupting” (335-336). This false aphorism underscores Creon’s fraudulent behavior. In front of civilians he plays the part of a just ruler, when in reality he is the opposite. 

Blog Post #3- 3/18/16

The picture above represents the chorus off to the side

 trying to bring peace to a messy situation.

The Chorus appears usually after a conversation and reacts to the situation that has just occurred. They input their thoughts, wanting to keep peace and prevent an upheaval. The first time the Chorus enters the play is after Antigone’s conversation with Ismene. They respond by singing an ode praising the magnificent Thebes and also condemning Polynices. Reading the ode one can interpret the Chorus’s disapproval of Polynices for he is, “ the enemy out of Argos, the white shield, the man of bronze...” (122) The audience can also infer that the Chorus disagrees with Antigone’s decision to bury her beloved brother and agrees with Creon’s views. The Chorus emphasizes on the destruction excessive pride can have. Antigone’s prideful comments become her demise—soon to be Creon’s as well.

The second choral ode ends darkly. They begin to sing about how there are, “numberless wonders terrible wonders walk the world but none the match for man,” (376-377) and how man “conquers all, taming with his technique.” (391) The main idea of the ode is while many man are able to develop practices in order to achieve their goals, those man should consider the law, justice, and good for the city or that man converts into a monster. The Third choir ode explains the continued misery of the Oedipus house and how, “the ruin will never cease, cresting on and on from one generation on throughout the race.” (659-660) Also, the Chorus concludes that there is no end for the pattern of devastation in Antigone’s family. The third ode explicates the second one, by articulating that man is not powerful, the gods and Zeus are and they are the ones that determine fate. No matter the spectacles man can do, man is incapable to change anything, hence Oedipus’s family misery.