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.

Lost in Translation

The condemnation of Antigone is subsequent to a marriage arrangement with Haemon, Creon's son, and the ambiguity of both the translation and the words from the chorus personifying and criticizing more Greek gods, then following an appraisal to Antigone cause a stimulating thought of how the situation is actually playing out. Many believe the translation of Ismene and Creon's conversation when she asks "Creon—you're really going to rob your son of Antigone?" (647) and the following lines are meant to be said by Antigone. With Ismene saying these lines, the portrayal of Antigone's lack of love or interest in Haemon heightens rather than if she speaks the lines, it will match the love Haemon claims for her. The seconding of this confusing translation is when the chorus personifies 'Love', saying "Love the plunderer laying waste the rich!" (880) where they not only continue to disrespect the gods of the afterlife, but Eros and Aphrodite as well. This mockery of love and its terrorizing ways in then almost retracted when the chorus praises Antigone's strength and morality "...treasur[ing] the seed of Zeus within her womb..." (1043). Is 'Love' only at the hand of condemnation when it is romantically influenced, why is Haemon's love for Antigone different than her love for Polynices? It seems as though when vouching love for family, one is either in honor or at fault to both the gods and the law, but when vouching for a lover, such as Haemon does, one is left at the hand of judgement because of the fact that infatuation blurs the intent of the lover in question.

(how the interpretation of one is constantly misconstrued by another)

Blog post #2

Antigone and Creon are set on opposite point of views from each other. Both are stubbornly set on the validity of the side they support. Creon reigns down on his decree to leave Polynices for the “birds and dogs to tear” (230) and rules over his decree with an iron fist. Creon is infatuated with government and policy being the supreme authority over the rights of people. Antigone is strong willed and even goes as far as telling Ismene to “tell the world” (101) about her plan. There is no way for the two to make a compromise. From a neutral standpoint both are flawed in their standpoint and it all comes down to ethics. They both only recognize one duty in their arguments. Antigone stresses the Grecian principles regarding funeral rights and loyalty to your family. Creon emphasizes the duty to ones own city-state and the unwavering obedience to one’s king. Creon’s pride and jurisdiction is based on that of a tyrant’s. His rule is an unyielding and harsh weight upon those he governs. The second time the chorus comes in, they warn against those who “wed [themselves] to inhumanity” (414). It stressed the ability of man to accomplish his goals but warned of the misfortune that would come for not taking the common good and his Gods in consideration. Creon talks about his “ship of state” (180) and how he has “righted her once more” (182). It’s as if Creon’s goal only lies in keeping the ship assailed but he is not worried about the destination.  He is a flawed leader who only worries about the current state of his land instead of the policies and ultimate end goals.

The stability of the current city-state cannot be Creon's only concern, he cannot abandon all principles to suit his needs of crushing Polynices and any other defiance. He seems to be blind to Antigone's very basic need for her brother's rights.  

Traditions

Before and after Antigone plans the burial of Polynices then actually performs the 'criminal' act, she redefines the perception of law. Rather than listening to the public disclaimer shaming her brother and disrespecting his death rights, she follows the morals of the gods. Antigone firmly believes that the burial of her brother is in respect to the gods wishes and to leave him to rot in an empty field will not only dishonor her family, but those of higher being as well. Antigone explicitly states her opinion on Creon’s law, and has no shame in defying it. To follow the laws of the mortal world would be disrespectful to the gods, by leaving her brother untouched to obey this law will “...dishonor the laws the gods hold in honor.” (91-92) This theme of the afterlife and “pleas[ing] the dead” (89) moves throughout the play, almost molding Antigone’s strength and motivation against Creon and his guards. She holds no shame in the fact that she is honoring her family line and tradition by burying Polynices, as he is just as much a part of their bloodline that Eteocles is. Despite Ismene’s warnings and even the questioning by Creon himself, Antigone does not doubt herself or the consequences she will have to pay. “I did it. I don’t deny a thing.” (492) she tells Creon, who is almost in disbelief that she would perform such an act, but as she says before and will say again “It wasn’t Zeus...who made this proclamation...” (499-501) By employing the emphasis of traditional burial and respect, the play focuses specifically on Antigone’s beliefs and empowerment. Thematic perceptions of self-identity and respect to those to be respected are the two largest components throughout the play, making it a symbol of traditional values and self-empowerment.