Antigone: A clash of state and personal values
Sophocles' drama Antigone unfolds the tale of the tragic daughter of Oedipus Rex. At the beginning of the play Antigone is the bereft sister of two dead brothers who died fighting in the Theban civil war. Creon gives the brother (Eteocles) who defended the city's current leadership a hero's burial while leaves the other brother (Polyneices) to rot in the streets, exposed to the elements. For Antigone, her Parmenidean or eternal worldview transcends the immediate needs of the senses and politics. Harmony must be maintained through obedience to the gods. This is contrasted with Creon's Heraclitean view which stresses that strife is the natural state of order and this must be accepted as part of life. Antigone's refusal to accept Creon's dictate results in her death, but her moral belief system ultimately triumphs even though Creon lives on at the end of the play, a broken man.
Creon's refusal to let Polyneices be buried was a very serious offense in ancient Greece religion, given that it was believed that if someone was not laid to rest, the soul could not enter the underworld and experience a final judgment. In deciding to leave the body exposed, Creon has effectively taken on the role of the moral arbiter of justice...
Antigones Antigone depicts the human stubbornness towards accepting what is supposed to be good for him and hence in the later part shows the pain and suffering man goes through by disobeying his Almighty which is the result of man refusing to accept destiny and circumstances. The counter side of human behavior shown in this dramatic poetry is that man, instead following his creator, listens to an inside character that
Hamlet, however, is full of hesitation. He does not experience the type of confidence Antigone does and suffers because of it. These characters are not abnormal; they are exaggerated or comical in a way audiences cannot relate to them. They are uniquely human and that is why they are still popular today -- because they are real enough that audience members feel as though they have known these types
Mourning Becomes Electra It must have come as something of a shock for the original audience of Eugene O'Neill's Mourning Becomes Electra in 1931 to take their seats, open their programs, and discover that this extremely lengthy trilogy of plays does not actually contain a character named "Electra." This may seem like an obvious point, but it is one worth considering as we approach O'Neill's American analogue to the Oresteia of
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