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.
I agree that hubris is Antigone's tragic flaw. She cares so much about keeping pride in honoring her brother that she rejects Ismene's confession and doesn't even try to use her romantic involvement with Creon's son as an advantage. She stands alone "not for the love of Ismene and for her protection, but rather because she claims the crime as her own work." Antigone doesn't want anyone else to take the pride of doing something she took the risk for. Most would consider Ismene pleading guilty as being loyal to her sister and not letting her face death alone, but Antigone views it as cowardice.
ReplyDeleteI feel as though Antigone and Creon are a lot more alike than it seems. Both are stubbornly set on their own point of views and both want the glory all to them selves. Their head strong nature causes them to eclipse those who support them. Creon disrespects his son by condemning his fiancé and Antigone views Ismene's sacrifice as a coward's futile attempt at honoring her family. Hubris is Creon and Antigone's fatal flaw and it can only be followed by destruction.
ReplyDeleteI agree with Grace and her opinion of hubris as Antigone's tragic flaw. This flaw is also seen in Creon! Both of these characters are headstrong and determined. I enjoy your analysis, Erin, of the lineage of hubris. Since hubris is a mortal sin in ancient Greek culture, it is interesting to see how hubris weaves its way into Greek plays. I am interested to see where the impact of hubris will lead the characters. Will they start where they began? Will they be doomed because of their pride? Hubris is a general term for a sin that leads to a myriad of outcomes. Simply because hubris was a popular sin to write about, does not mean all plays involving hubris end the same way.
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