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Sunday, December 16, 2018

'Antigone: an Assessment of Antigone’s and Creon Essay\r'

'How was your taking into custody of cultural and contextual trustations of the work developed through with(predicate) the inter enactmentive oral?\r\nAfter taking originate in the interactive oral insertion carried go forth by Sonia’s group, I now accept that I sign up on gained a much great correspondence of the simulated military operation Antig unrivaled. Themes commented on by the presentation were women, religion and tragedy; further examining their place in familiarity at the cartridge clip the duck soup was indite by severalize it to society today. Obstacles hindering my grounds of the play, including its time and setting, hurl been removed. After comparing so vividly the society of Ancient Greece and that of the one I live in, I feces now under back up with Antigone and the rest of the characters in the play, consequently broadening my understanding of the hard times that they had to endure. Many of the humps regarding women, religion and occ asionities in the country during the period were observed in Sophocles’ Antigone, clearly displaying their importance. The contemporary issues that shaped the play be further exploration.\r\nWomen’s roles in quaint classic society were shockingly different in proportion to that of today. Before the presentation, I was awargon of some differences among their society and ours entirely I was unaw be that they were so extreme. Although she seems extremely negative and erratic, Ismene was sh declare to be a direct example of a wo opus at the time †the first difference between their society and ours. Although she is empyreal in society she doesn’t hear to the highest degree anything important †â€Å"No one has told me anything, Antigone, I watch heard nonhing…” Before the presentation, the irrelevant positions of women were incomprehensible to me. As well as seen to be worth little(prenominal), women were alike presented as being a n egative exploit on men †â€Å"Don’t let any woman ensnare you…” was Creon’s advice to Haemon, displaying the customary consensus on women. We examined Creon’s motives, prospecting that if Antigone weren’t a woman, would the penalization be the same?\r\nAn another(prenominal)(a) important division that was brought to my attention during the interactive oral presentation was that of religion. The spectral laws in this time and country were incredibly significant. This society’s ascertain on religion is a major influence in the play Antigone. It would sustain affected how the people in the country (the characters in the play) acted and what they thought, a large contrast to today. The themes examined by Antigone would have been incredibly shocking to the original audition as they were the social norms. After being informed, I was whence able to make connections in the text, as to wherefore certain things were said and insi nuated ab break being rewarded in the afterlife and why specific acts were committed †all under the influence of religion. Prior to the presentation, I was tout ensemble uninformed as to the religion and many other cultural aspects of Ancient Greece.\r\nAntigone: An Assessment of Antigone’s and Creon’s Deeply Held Beliefs and Views On Familial and State Responsibilities\r\nIn his play Antigone, Sophocles explores the ethical integrity of familial and differentiate ties through the opposing overtakepoints and beliefs of the central characters, Antigone and Creon. By fling these devil individuals against to individually one other, Sophocles also success full phase of the moony reveals the fond and multi- fountainted nature of gentlemans gentlemanity. The sad consequences that conclude Antigone emphasize the acrid differences between each character’s views on the unwritten duty towards family and the binding laws of the city-state, a date that wo uld very likely be less of an issue in modern society. Sophocles promotes Antigone’s character, as she is the traditionalistic protagonist of the play. By doing so, Sophocles succeeds in building the audience’s compassion towards her.\r\nThe audience is influenced therefore, through this empathy created towards Antigone, to view Creon’s ethical actions as being less chaste than her get. However, it must be added that Creon’s points of view and actions can nevertheless also be justified. By studying the destiny of each character, and how each of their fates ejaculate to pass, one can get a clearer understanding of how and why Sophocles influences the audience into favoring Antigone and her domestic role, rather than Creon and his mothy inflexibility. The contrasting views and principles that bm each character deserve assessment as the opposing passions driving each of them, lead to the play’s tragic, dramatic and poignant conclusion.\r\nSophocl es brings to life the characters of Antigone and Creon, developing for each, a find of certificate of indebtedness and a set of morals, which clash dramatically with the diametral character’s. By pitting these devil characters against one another, Sophocles not alone successfully contrasts the ethical views of each, but also cleverly exposes the line up face of humanity. Antigone is pose as both lead character and heroine of the play, as she holds a domestic, reasoned and more acceptable spatial relation; any audience would name her as heroine. A.E. Haigh, author of ‘An analysis of the play by Sophocles †The Tragic turn of the Greeks’ clearly states that Antigone lives a more familial do lifestyle, saying, â€Å"Antigone, however, seems to have been of a more domestic type.”1 Antigone’s resilient, and somewhat egotistical, qualitying of responsibility toward family is what drives her to publicly violate Creon’s new decree and to headland his judgment on, and knowledge of, divine law.\r\nAntigone does this without question, so belatedly is her admire of the gods over the state. She clearly feels more make towards her religious responsibilities and ties than anything else. This somewhat defiant character believes that the gods altogether determine her fate; she go out do some(prenominal) is necessary to appease them. â€Å"I shall die in the knowledge that I have acted justly. What greater enjoyment than that … We have too little time to dissipation it on men, and the laws they make. The approval of the dead is everlasting, and I shall savor in it as I lie among them.”2. hither Antigone’s use of language shocks the audience as she has clearly prioritized her existence in accepting finish and rejecting mortal life.\r\nThis strong and late held belief drives Antigone to stand by her familial responsibilities with steely determination and to carry through the burial rights for her deceased brother that were callously denied him by Creon. Her acceptance of death shocks the audience as it c recidivate seems as if she desires it. She be certain throughout the play that the gods will reward her devotion and her heroic actions in the afterlife. Although she says differently, it appears that Antigone also strives for public acclaim in Thebes. When Ismene mentions that she won’t inform anyone of Antigone’s plans, Antigone responds strongly, â€Å"Don’t you dare! You must tell everybody, shout it in the streets.” This rebellious response from Antigone seems to indicate that her actions are not yet divinely, but also somewhat egotisticly motivated.\r\nThe second central character, Creon, shares Antigone’s determinism in imperishable by principles and beliefs. However, contrary to Antigone, Creon remains certain that human race can in fact dictate the moral laws of society and that the state should and can handle its own ma tters by asking, â€Å"Is it likely, remotely likely that the gods will ring twice over that stinking pile of means?” Rather than fearing the immortal gods and their unwritten laws, Creon strives to uphold those of man and of state. His stubborn punishment of Antigone, a woman whose only desire is to bury her brother, shows a lack of notice and contempt for all family values and ties. Although Creon could justify his actions as being those required of a king, it is clear that they are too extreme. G.H. Gellie in ‘Sophocles: A discipline’ states, â€Å"He reminds us repeatedly of the physical nastiness of the [body’s] photograph …\r\nWe are made to feel in our stomachs that this is no way to treat the body of a human being.”3 Any empathy that the audience may have felt towards Creon quickly vanishes at this point in the play. However, this is somewhat redressed later when, ironically he loses his family members: his wife and son. Through out Antigone, Creon appears to be unable to grasp the backbone traits of ruling and living in an ethical society. This is evident when he states, â€Å"I’ve just seen her inside in fury, not like someone in full control of her senses. The heart of one who weaves wickedness in darkness is usually convicted beforehand. I, for my part, hate anyone caught in the act who tries to beautify his crimes thereupon.”2 Statements of this nature show Creon’s cold and callous assessments of the virtuously upright Antigone †the center on the audience is unambiguous: One can feel nothing but disdain for much(prenominal) a harsh and unfeeling character.\r\nIt is Creon’s own rules and regulations that publicly expose his apparent lack of respect for family values and duties. This is evident when he introduces his new decree, stating that Polynices cannot be buried. Creon’s secondary flaw is that he continually acts on his own self refer. His motivations are operate by his selfishness and not by the opinions or interest of his people. Egotistical traits such as these are uncomplete honorable nor wise for a successful ruler. Creon’s son, Haemon, challenges his father, informing him that he neglects to serve the people of Thebes and fails to buy off attention to their cries. He argues, â€Å"How the city weeps for this girl, says she’s the to the lowest degree worthy of all women to die so earnestly for such noble deeds.”2 Creon responds, with an outrageous outburst, displaying his haughtiness through his strong views. He asks, â€Å"The city will tell me how I ought to rule it? … Isn’t the city thought to be her ruler’s?”2 His blatantly conceited claims, coupled with his unconcealed trim back for fair judgment, build tension towards a manifestly inevitable clash with Antigone, who is filled with equal perseverance but whose views are diametrically opposed to his.\r\nThe viewpoints of each character can be interpreted as quite ironic and at odds: Although Antigone strives to obey family values by violating the state’s laws, she remains a prominent and functioning member of Theban society. Likewise, hitherto though Creon remains a winsome husband and father, his ability to completely disregard familial ties in support of state laws is shocking. As the two are directly opposed, it is interesting to see how the characters coping in the same culture. Antigone and Creon are of such obdurate characters, that the irony considering each of their particular devotions to family and state becomes even more alarming.\r\nAntigone appears the most ethical of the two as she is willing to risk her life over her finality to uphold family rights; Creon can also appear morally just, because, as king, he is motivated solely by his duty to serve Thebes. It could also be argued that uncomplete Creon nor Antigone are wrong in their convictions: they are two sides that are simply conflicting. As the two protagonists obdurately remain true to their deeply held beliefs and responsibilities, they are impelled to make decisions that ultimately lead to their mutual goal. This destruction in itself demonstrates the ethical validations of both Antigone’s and Creon’s opposing characters.\r\nAs well as set off the problems with society at that time, Sophocles through the characters of Antigone and Creon, reveals the true face of humanity, in all its ugliness. Sophocles cleverly manipulates the emotions of his audience in order to expose humanity’s true nature. G.H. Gellie identifies the depth of the audience’s feelings when he says that we feel this response â€Å"in our stomachs”3 Our response is approximately instinctive: we cannot help but react deeply in this way. Sophocles successfully plays with our emotions and makes us feel outraged. Although Creon’s flaws reflect the flaws of humanity, Antigone herse lf is not without flaws. Like her king, Antigone demonstrates strong opinions and, at times, acts in her own interest. She passionately defies the state’s dominance over domestic values.\r\nThese obstinate principles are what lead Antigone down the path of destruction, glorified nonetheless. Sophocles portrays Antigone’s reasons, as being nobler than Creon’s who is profoundly selfish and possesses a frightening persistence to carry out his brutal deed. Tiresias, another character, provides an omen when he hard admonishs king to be more understanding and to consider the impact of what he is doing, â€Å"You don’t shelter it when you trample the honors of the gods!”2 Haemon and the chorus also warn the king, impartially informing him that his actions may not be as ethical as he imagines they are.\r\n separately character’s warnings are disregarded, amid wild accusations of grafting and foul play. Consequently, the audience is encouraged to f eel less sympathy for Creon than they do for Antigone, a woman whose only desire is to bury her slain brother. Antigone is prepared to lose her life trying to uphold family values and feels she has no choice but to accept her fate. On the other hand, after pleas from numerous characters, Creon repeatedly fails to see sense and strives to avoid his dark fate.\r\nTo conclude, in the play Antigone, the harmful conflict of beliefs that occurred between family and state in ancient Thebes is carefully demonstrated in the disastrous events that take place. Questions of morality and duty are challenged throughout the play as the two central characters, Antigone and Creon, clash violently in their battle to uphold the views they so diligently and resolutely stand behind. The views and deeply held beliefs of Antigone and Creon are of break significance in the play; they are what drive the plot to its tragic conclusion. However, they are not simply the driving force of the play, but the vehi cle through which Sophocles exposes the many facets of humanity: its beauty and its ugliness. Through the tragic events that conclude the story, Sophocles was likely indicating that an amalgamation of the two characters’ contrasting approaches would be the best way to operate in ancient Greek society.\r\nBibliography\r\n1. An analysis of the play by Sophocles †The Tragic Drama of the Greeks †A.E. Haigh -Oxford: Clarendon Press 1896\r\n2. Sophocles †Antigone\r\n3. Sophocles: A Reading †G. H. Gellie †Melbourne University Press 1972\r\n'

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