Creon

The role of the women in Antigone and the Iliad were completely contrary to each other. Women during the period of the Iliad weren’t as independent as the women during the time period of Antigone. The women during the period of the Iliad were portrayed as objects. They were depicted as not being equivalent to the role of a man in society, even if they were royalty. In Antigone, the women had a little bit more liberation and enjoyed fairer treatment than that of the other epic.

In the Iliad, a woman’s role depended more on her rank in the society and her value, in many ways, were reduced to her beauty. In Iliad, if a woman was married to a prince or a king, she was somewhat praised almost to the extent of a goddess. Though some women were held in high ranks, they were demeaned and degraded as we can see in the case of Helen when she was taken by a man.

Another example of this comes up again when Chryses approached Agamemnon and Menelaus and begged for the return of his daughter, “Yes, Chryses approached the Achaean’s fast ships to win his daughter back, bringing a priceless ransom and bearing high in land, wound on a golden staff, the wreaths of the He begged the whole Achaean army but most of all the two supreme commanders, Atreus’ two sons! May the gods who hold the halls of Olympus give you Priam’s city to plunder, then safe passage home. And all the ranks of Achaeans cried out their assent: Respect the priest, accept the shining ransom!

But it brought no joy to the heart of Agamemnon. The king dismissed the priest with a brutal order ringing in his ear: “Never again, old man, let me catch sight of you by the hollow ships! The staff and the wreaths of god will never save then. Long before that, old age will overtake her in my house, in Argos, far from her fatherland, slaving back and forth at the loom, forced to share my bed!”

This demonstrates that the women throughout this era were objects of entertainment and proprietorship. Though a ransom was offered by the father, Agamemnon only kept her just to show how powerful he was. And he degraded her to a low point by saying that she would be forced to share his bed and be a he would enslave her.

In Antigone, the women’s roles began to transform and become more independent. This is evident in the act of defiance shown by Antigone when she buried her brother Polynices. Her uncle Creon established a law that prohibited everyone to not weep for or bury her slain brother. Antigone felt that this was unjust and requested her sister Ismene for assistance in their brother’s burial. Ismene hesitated and didn’t want to help as she was fearful of the consequences of going against Creon.

During the conversation, Antigone stated to Ismene, “I won’t insist, no, even if you should have a change of heart, I’d never welcome you in labor, not with me. So, do as you like, whatever suits you best! “This one statement illustrates that at this time the women had started to be self-reliant and courageous. Because even if they were faced with threats of cruel punishments the women were prepared to break a law and defy power to fight for what they believed in. Antigone buried her brother even though it would mean death to her. If she was found in action of the burial, she would be guilty of going against her uncle’s crown.

In conclusion, the role of the women in the Iliad differed mainly because of the women’s independence compared to that of Antigone. The role of women in Antigone showed more independence and determination. Women in the Iliad were more submissive and reliant on men in comparison with Antigone. And in Iliad, the women were treated merely as objects. But in Antigone, the women were shown with comparatively dignified character traits.

Antigone, a feminist, symbol, and good example possesses endure the trial of energy for more than two thousand years, and with substantial reason. Her activities portrayed in the play Antigone by Sophocles are those of bravery and boldness. She likewise passes on a feeling of profound conviction in the quest for truth as she gazed profound into the eyes of foul play by her oppressor. Valiance is a quality that Antigone has in wealth; she displays this with for all intents and purposes each word she expresses as though she is controlled by the Gods on a honest voyage to let her sibling’s body go in a demonstration of insubordination against the recently designated ruler of Thebes, Creon.

It is nothing unexpected that today Antigone is viewed as a good example for ladies and all the more explicitly women’s activists. To genuinely welcome the character we should investigate the setting of her condition. Male centric society was alive and solid in antiquated Greece and men ruled the political and social range. Their techniques for support originated from traditional folklore. This helped them in building up their power over ladies. One case of Greek folklore that speaks to their belief systems is Pandora, a human lady who released all shades of malice by opening the taboo box as delineated by Hesiod an antiquated Greek artist whom present day researchers allude to as a noteworthy wellspring of Greek folklore. Hesiod’s works bolstered the thought that ladies were substandard compared to men and these compositions were the premise of man’s authority over ladies (Batista 1).

With such a nearsighted view from men towards ladies we would already be able to see that the chances have been stacked against Antigone many-crease, which puts forth the defense for her being a main case for women’s activists around the globe much increasingly substantial. Obviously with each saint there is in reality a miscreant. For this situation we experience Creon, the King of Thebes. Creon’s viewpoint on ladies mirrors the general public in which Sophocles grew up. Antiquated Athens was viewed as a male ruled culture, a culture where men related themselves with other people were seen as having no place in the matter of men. Creon saw ladies as having a less imperative job in Greek society which incorporated their family life and additionally their lives in the city. Creon’s view point that a lady’s job in the public arena is constrained legitimizes itself when Creon expresses the words ‘starting now and into the foreseeable future they’ll act like ladies. Tie them up, not any more running free’ (Sophocles 668). This statement mirrors his assessment that ladies ought to be limited consistently and inability to do as such would follow in tumult and furthermore what he thinks about noncompliance to men and the city of Thebes. You could state a feeling of uncertainty courses through Creon’s mind with regards to the possibility of a lady passing on quality and assurance. His words mirror a basic distrustfulness over his predominance and can be seen when he is talking about who could have covered the assemblage of Polynices; ‘Certain nationals who could scarcely stand the soul of my routine, protesting against me out of the loop, heads together’ (Sophocles 661). One of the principal indications of shortcoming in Creon is appeared and this echoes his intuitive sentiments as he is filled by his inner self and mindlessness.

Sophocles paints Creon as a chauvinist ruler with a low assessment towards ladies and this prompts Creon’s ruin. This indisputably surrenders holding unjust qualities can result in one’s crumple. The mix of numbness and weakness can be a dangerous mixed drink of attributes. Supporting your own self-esteem by cutting down another through preferences can possibly estrange yourself to those that you genuinely hold dearest. Creon’s musings and activities were the impetus for his child, Haemon, to submit suicide and towards the finish of Antigone he himself understands the blunder of his routes by saying ‘the blame is all mine, can never be settled on another man, no getaway for me. I executed you, lord have mercy on me, I let it out all!’ (Sophocles 687). Reality in the long run gets up to speed to Creon’s bent outlook and demonstrates that an absence of reflection can send you spiraling down to a dull pit of disappointment and distress.

Creon sets the phase all through Antigone for our champion to submit her demonstrations of common rebellion. The main women’s activist quality that Antigone shows to the group of onlookers happens when she challenges Creon’s position. The test speaks to a demonstration of defiance towards Creon’s laws and amid Antigone’s first cooperation with Creon in the play she shows an exceptionally striking and firm tone concerning her feeling. ‘I’ve been blamed for a habit by a trick’ (Sophocles 665). This explicit line focuses towards Antigone’s women’s activist frame of mind by suggesting that Creon is a trick. This means Antigone has no regard for Creon’s status as a ruler or, to a further degree, as a man. By depicting the quality of a man notwithstanding persecution, Sophocles plants the seed of deference in the peruser’s brain as Antigone’s notoriety of being a solid and brave lady starts to develop when she sees herself as equivalent to men and better than Creon.

Aspects of a Tragic Hero To be a tragic hero, the character must show a great strength of heroism, including a vulnerability, that could lead to his or her demise. Sophocles, the great ancient playwright of the Greek Empire was as popular then as he is today. Antigone, one of his many plays, is still appreciated in modern day literature. Sophocles’ main characters Antigone and Creon are both similar and diverse in which they could qualify as tragic heroes. Antigone and Creon have very many similar traits that could qualify them both as tragic heroes.

Creon demonstrates excessive pride by declaring that “He would never have any dealings with an enemy of the people” (1. 26-27 Sophocles). Creon only wanted Antigone to be an enemy of the people to allow his pride to stand strong. Even though Creon had sent down the orders to lay Antigione‘s brother, Polyneices, “out for the birds”, Antigone is determined to go against Creon’s demands for what she feels is right, therefore becoming a battle of wills. In contrasting Antigone and Creon, Antigone’s actions could be viewed as hubris, but she was only doing what was right for the sake of someone else, and probably would have done it for anybody.

Where as Creon uses every moment to prove his power, instead of even considering what is right. This is proven true, even to the end when Creon wants to kill Antigone for her betrayal to him and his pride, while Antigone accepts it and decides to die with dignity. Unlike a samurai in Japan dying with dignity would not be submitting to their enemy, it would have been to take it into your own hands before the enemy had the pleasure (Strayer394). Antigone and Creon could qualify as tragic heroes because they were both equally Traylor2 engrossed in preserving their own pride.

In the play, the gods look down upon Creon in his actions he took toward the burials of Etocles and Polyneices. This was enough for the gods to create a dust storm, so the reader thinks, until the dust settles. They soon realize it was Antigone creating it to cover up her underhanded plans to give her brother a proper burial. As you can see, both Antigone and Creon will go to tragic lengths to fulfill their desires. Traylor3 Works Cited Sophocles. “Antigone. ” Holt McDougal Literature. Texas: Holt McDougal. 1068-1106. Print. Strayer, Robert W. Ways of the World: a Brief Global History. Boston: Bedford/St Martin’s, 2009. Print.

Aristotle defines a tragic hero as “having high estate, nobility of soul, ability to have free will, having tragic flaw, also somebody we are able to empathize with, a person who suffers from reversal of fortune, achieving enlightenment, accepting responsibility for his/her fall and being able to die bravely. ” I am going to use Aristotle’s definition of a tragic hero to support evidence to the character Antigone, in the play Antigone. To me, the tragic hero in the play is Antigone. Antigone, who is the daughter of Oedipus and Jocasta, becomes infuriated with Creon, who is the king of Thebes and her uncle.

Creon will not allow Antigone’s brother, Polynices, to be buried. Antigone tells her sister, Ismene, that she will defy Creon’s ruling even though she knows the consequences, which is death. The first on Aristotle’s tragic hero list is that the character “should be of high estate/class. ” Antigone comes from high estate; she was considered a princess and was to be married to Creon’s son, Haemon. Though Antigone came from high estate/class, she still did not carry out the power to make changes; therefore, Antigone’s character of having high estate, yet no power, complies a little with Aristotle’s tragic hero.

Second on Aristotle’s tragic hero list, was that the character “should have nobility of soul or tragic greatness. ” Antigone showed nobility of soul because she stood-up for what she believed in knowing the outcomes would cost her life. An example of her nobility was when she first told her sister, Ismene, of what she was going to do. Antigone said, “I’ll bury him myself. And even if I die in the act, that death will be a glory. ” I think that this quote shows nobility of soul, as well as, a tragic greatness.

She saw it as glory to die for doing the right thing. (Line 85) Third on Aristotle’s tragic hero list, was that the character “should have free will and make important choices. ” From the beginning of the play, until Antigone’s death, she kept her free will, as well as, making important choices for herself. When Antigone had gotten caught by the guards while burying her brother, she was taken to Creon to announce what she had done. There is a quote in there that shows how free willed of a person she was, Antigone says to Creon “Of course I did it.

It wasn’t Zeus, not in the least, who made this proclamation—not to me…These laws—I was not about to break them, not out of fear of some man’s wounded pride, and face the retribution of the gods. ” This quote by Antigone shows that she was capable of making her own choices, whether she would follow man’s law or the gods. She also showed that she was not afraid of the choices she made for herself. (Line 500) Aristotle’s fourth tragic hero listing is that the character “should have a tragic flaw or hamartia. Antigone made plenty of mistakes, her first one was defying Creon’s ruling. Though it was understandable why she made that choice, it probably would have spared her from going through all this trouble if she would have just asked Creon for a proper burial. Unfortunately, Antigone’s stubbornness gets in the way of her thinking and results in her acting off of her emotions. Also, when it comes to Antigone’s death, if she would have not taken the matters into her own hand again, Creon had made the decision to free her and give her brother the proper burial.

Yet, it is understandable that she does not want Creon to get satisfaction off of her death, as well as, not knowing that Creon would change his mind and actually side with her. Aristotle’s fifth tragic hero listing is that the character “should be someone with whom we can empathize. ” Antigone had this down packed with the audience. The whole city empathized with Antigone and felt that “No woman ever deserved death less, and such a brutal death for such a glorious action. She, with her own dear brother lying in his blood she couldn’t bear to leave him dead, unburied, food for the wild dogs or wheeling vultures.

Death? She deserves a glowing crown of gold! ” I feel that quote right there sums it up. (Line 775) The sixth tragic hero listing that Aristotle feels is necessary, is that the character “should suffer a reversal of fortune (peripeteia), falling from a pinnacle to the depths. ” Antigone was considered a princess and to be married to the king’s son, Haemon. After being caught by the guards, she was sentenced to death by the king, Creon. Now she is looked upon as a slave, not as a princess. She is treated like trash and looked down upon. She went from being of royalty to quickly being nothing.

Antigone definitely serves the sixth tragic hero listing. The seventh tragic hero listing that Aristotle has is that the character “should achieve anagnorisis or enlightenment; should accept responsibility for his/her fall. ” Antigone takes responsibility when she is first brought to Creon and asked if she was the one to give Polynices a proper burial, Antigone responded with “I did it. I don’t deny a thing. ” Then Antigone shows her commonality with humanity when she is arguing with Creon about the citizens feeling like she did about his ruling.

For example, Creon says “You alone, of all the people in Thebes, see things that way. ” Antigone replies with “They see it that way but defer to you and keep their tongues in leash. ” (Lines 492, 570) The last trait that Aristotle has listed that the tragic hero should carry is that the character “should die bravely. ” Antigone died for love, for respect and for doing what she and many others believed what was right. She did not bravely give her life to defy one man’s wants; it just unfortunately came down to her having to do that.

Antigone gave up “…bridal-song, the bridal-bed, denied all joy of marriage, raising children—deserted by loved ones, struck by fate…” just to give her brother, Polynices a proper burial. I think she clearly defines dying bravely. (Line 1009) In conclusion, the tragic hero in the play Antigone is herself, Antigone. Antigone shows how her character meets the requirements of Aristotle’s tragic hero, as well as, many other aspects that we find in a common hero. Antigone, from the beginning to the end of the play, lived and died for what she believed in.

The Tragic Hero of Antigone In Sophocles’ play Antigone, both Creon, and Antigone display some characteristics of a tragic hero. Creon is the king of Thebes following the late Oedipus and his sons. He decrees that no one should ever bury Polyneices because he was a traitor to his city, while Eteocles would be buried with full military honors. Antigone hears this proclamation and decides to bury her brother, Polyneices, in order to follow the laws of the gods. They could both arguably be the tragic hero of the story. A tragic hero is usually of high birth that has a tragic flaw that causes them to fall from a great height after having a moment of recognition all too late. This comparison between Creon and Antigone will show that Creon best fits the characteristics of a tragic hero. The definition of a tragic hero includes having an anagnorisis, or moment of recognition when they realize their tragic flaw, and this is one way in which Antigone does not qualify as a tragic hero while Creon does. In the beginning, is very stubborn in his decision to kill Antigone for burying her brother.

Even after he hears Teiresias’ prophecy, de does not change his mind. It is not until later he realizes that “it is worse to risk everything for stubborn pride” though it is still much too late for him. He sees that “the laws of the gods are mighty, and a man must serve them to the last day of his life! ”. He has not served the gods by denying Polyneices a proper burial. By foolishly rejecting the laws of the gods, his “own blind heart has brought [him] from darkness to final darkness”. Now he has recognized the wrongs he has committed against Oedipus’ children, which ultimately causes his downfall. Antigone, on the other hand, is aware of the consequences of her actions from the very beginning. She says to her sister “I will bury him; and if I must die, I say that this crime is holy”, showing that she has very consciously made this decision. She is also aware of the inevitable outcome of her decision, but it does not stop here as she says to Creon, “I knew I must die, even without your decree”.

She ends up accepting her punishment, and still stands by her decision. Even as Creon is about to send her to her death, she says sternly, “I have not sinned before God”. In contrast to Creon’s blind decision making, Antigone made her rash, yet conscious, decision fully aware of the bleak ending, so she never has a moment when she realizes her flaw. In Antigone, Creon is an excellent example of a tragic hero. He has a major tragic flaw and falls from a great height. It could be argued that his tragic flaw is excessive pride. He tries to reason his decision to kill Antigone by asking the Choragos, “Who is the man here, /She or I if the crime goes unpunished? ”. The power of being king seems to have gone to his head. He believes that his “voice is the one voice giving orders in this city! ”, which is true, but his edict is still not popular with many of the citizens. He is so prideful, he will even hurt his son, Haimon, to prove his point. He plans to “Let [Antigone] die before his eyes! ”.

In the end, Creon locks Antigone up in a stone vault to kill her, but he was so full of pride and did not want to be proven wrong that he was willing to hurt his son. Another way that Creon is a very good tragic hero is that he falls from a great height. This great height is the throne of Thebes. Since the death of Oedipus and his sons, he has “succeeded to the full power of the throne”. He is now the most powerful man in the land. Creon states that “whoever is chosen to govern should be obeyed”, and he insists on showing just how much power he holds. However, after he has his moment of recognition and his fortunes are reversed, he has fallen lower than anyone else. He says that now he has “neither life nor substance”. He has killed Antigone unjustly and indirectly murdered his son and wife. There is not much more miserable than that, in great contrast to his once high and honorable position as king. Through an examination of his tragic flaw and fall from grace, it is easy to see why he is a great example of a tragic hero. One of Oedipus’ daughters, Antigone, could also arguably be the tragic hero of Sophocles’ play.

She has some of the main characteristics of a tragic hero, like having a tragic flaw, although she does not have a moment of recognition or fall from a great height. It seems that her tragic flaw is also excessive pride in addition to making impulsive decisions. After Creon’s decree, she refuses to give up, claiming “Creon is not strong enough to stand in my way”. Then, when her sister, Ismene, tries to caution her against such a rash and dangerous decision, Antigone rejects her, as she says, “I should not want you, even if you asked to come”. Sometimes, her great amount of pride comes off as insolence. While she is speaking to Creon prior to her death she says rudely, “Ah the good fortune of kings, Licensed to say whatever they please! ”. Ultimately, her pride and lack of thoughtful decision making cause her demise. But even though she has this tragic flaw, she does not fall from a great height. Her status in society is relatively low, especially compared to that of Creon. As her sister puts it, “We are only women”. In ancient Thebes, women are very low on the social ladder.

Also, her family’s “curse” does not help her status as a woman. The Chorus says that they “have seen this gathering sorrow. Loom upon Oedipus’ children”. The story of her father and family has brought her no honor because “The blasphemy of [her] birth” has plagued her entire life. So, when she has been found burying Polyneices and is condemned, she does not fall from honor, as a true tragic hero would. Even though Antigone does possess some characteristics of a tragic hero, she does not match the definition as closely as Creon does. All in all, Creon is the true tragic hero of Antigone. He is a perfect example of one, because he has a significant tragic flaw, a moment of recognition, and falls from a very high place. Some may argue that the tragic hero is Antigone because she has a tragic flaw. But she does not have a moment of recognition or fall from a great height. Clearly, through these examples, Creon is the tragic hero of the play.

Reference

1. Sophocles. Antigone. Trans. Dudley Fitts and Robert Fitzgerald. The Oedipus Cycle. USA: Harcourt, 1977. 186-245.

Joachim Ogundipe English Comp 2 Tragic Hero: Antigone or Creon? In Antigone, a play written by Sophocles, the characters Creon and Antigone both fit into a few of Aristotle’s criteria. They are both choices of tragic heroes. They both are neither good nor evil in the extreme but just a man like any of us; they are both born of a better social status than most of us, and both have a tragic flaw in their characters. But even though the story is called Antigone, it is not necessary for Antigone to be the tragic hero.

Other things that only Creon does that make him the tragic hero should be responsible for his downfall, the misfortune they get should be greater than what he deserves, and should also have recognition of a truth about himself. By many of Creons actions, he shows all of the characteristics of a tragic hero and fits in these descriptions perfectly. Creon fits in all of the characteristics of Aristotle’s criteria and is the tragic hero. Creon is neither good nor bad. He is not completely bad because he didn’t really want to kill Antigone.

Instead, he just wanted to keep all of the laws in order to make his men follow his orders. He was just a stubborn man who wanted to show his people that he was a man of his word. Creon is the king in the play and he is definitely more powerful than the rest of the characters. Creon makes it a point to show of his pride. Self-pride is the tragic flaw Creon faces in this play. He showed so much arrogance in every decision he made. Creon insisted on punishing Antigone and would not change his mind. He is responsible for his own downfall.

Even though Creon sentenced Antigone, his misfortune is way worse than hers. All he wanted was to keep his country at peace, and did not want to let people go against his laws. In conclusion, the play titled Antigone by Sophocles has Creon as the tragic hero. Creon shows all of the characteristics of a tragic hero. He is neither good nor bad in the extreme, he is in a high status than us, he receives pity through the audience, recognizes his weakness, and his downfall comes from his own self-pride. Therefore, he is definitely the tragic hero of this play.

In, being self-centered about Ideas frequently affects peoples’ judgement Sophocles raises this Issue in his play Antigone. He believes that listening to the wise benefits your judgement, but the result of refusing to listen leads to tragic outcomes. Sophocles uses Ate to develop the characters’ Inability to take In others’ perspectlve_ Sophocles first addresses the tragic results of not listening through Anugone’s refusal to take advice. In Sophocles’s prologue, Ismene states “[Shel has no strength” for burying Polynlces against the states’ jurisdiction, while Antigone pronounces that

Ismene “use[s] that excuse” to avoid trouble (Sophocles 76-83}. Even though Ismene says she doesnt have the strength to go against the state, she really means that she doesnt have the willpower to choose between the Gods’ and Creon’s law because defying either law will result In punishment. Even though Ismene Is belng cautious ot her choices, Antigone believes Ismene is toolish tor not siding with her. Antigone chose to believe herselt without thinking about Ismene’s point ot view. In result, Antigone ends up putting herselt between both the laws ot the lands and the God’s law, which results in her entombment.

In addition to Antigone putting off her sisters’ point of view, Sophocles uses Antigones inability to take others perspective into consideration. During CreonS and Antigone’s argument. Creon expresses his opinion of Polynices betrayal of the city by saying. “The good dont want to share honors with the bad” (Sophocles 534-6). Antigone retaliates by mentioning, Mho knows that is considered righteous below . . I cannot share their hate, only their love” (Sophocles 536-8). Creon’s belief that Polynices shouldnt be honored in burial conflict with Antigones’, in which Polynices deserves burial to honor the Gods’ lavi

Antigone doesn’t realize Creon’s point of view, standing up for the city, and goes with her own belief without taking Creons’ into account. Despite standing up for herself, Antigone’s failure to acknowledge Creon’s perspective causes her demise Even after being locked away behind a boulder, Sophocles proves Antigone’s disastrous consequences when Antigone, “[hangs herself] by the neck, fastened by a noose of fine linen” (Sophocles 1226-7)_ Antigone, trapped In a cave due her actions, hung herself so she wouldn’t die at the hand of Creon. Anugone’s refusal to listen to others’

Ideas, such as creons, lead her to trouble and death, supporung Sophocles’s maln point that tragic consequences come from refusing to listen. Antigone’s refusal to take advice results In her unfortunate demise. In addltlon to Antigone’s downfall due to blind recklessness, Sophocles uses Creon to display how tragic consequences develop trom not listening. During the first scene ot Antigone, the Guard explains to Creon that he “[wlshesl to tell [Creon his time, Creon’s reaction is that, “[The Guard] is trying to talk around the problem. ” (Sophocles 245).

The guard is cautious of explaining the bad news, trying to void blame, while Creon assumes the guard is guilty due to him talking around the problem. Creon’s lack of the guard’s point of view causes him to blame the innocent, which later causes Haemon commit suicide because Creon punishes his love. Even though Sophocles uses Creon’s actions to show tragic outcomes, he also uses Creon’s frustration to demonstrate his inability to look at other peoples’ perspective. During a dialogue between Creon and the Guard, the guards asks, “May I say something, or should I Just turn and go? (Sophocles 325) Creon, agitated due to the breaking of his aw, exclaims, miou have annoyed me Just by saying that” (Sophocles 326). Creon’s frustration towards someone breaking his law resulted in him not fully understanding that the guard didn’t want to bother the king while he was mad.. The guard was nervous to explain his point of view to Creon due to his recklessness after Antigone defied his law. In result to the guards inability to explain his perspective, Creon becomes even more agitated and promises to kill him if he doesn’t find out who touched the body.

Sophocles ends his play by showing the reader Creon’s destroyed life after not taking advice through others’ perspective. Creon’s son guided the sword, leaned on it and thrust it into his ribs.. ” while Haemon “. Creon’s wife ” struck herself in the heart with her own hand. ” (Sophocles 1240-1; 1321) Creon’s wife and son both killed themselves due to his refusal to listen to others advice. If Creon had only listen to others and used their perspective as well, his family wouldn’t have taken their own lives. Creon’s self centered ways of not taking advice destroyed his family.

Even though Creon is used to show that consequences develop through not taking advice, Sophocles also uses Creon’s and Haemon’s stubbornness to demonstrate the tragic result of not listening. Sophocles provides an argument between Creon and Haemon in which Haemon retaliates to Creon’s saying, “At our age, taught reason by a man so young” by declaring “Taught nothing that is not Just! If I am young, I do not need more time to study what’s right” (Sophocles 738-40). Creon believes that Haemon is too young to be credible and taken seriously because of his age.

Haemon however, considers himself credible due to the fact that Creon is making horrible decisions . Creon, not yet knowing that his decisions are tragic, and Haemon, not knowing that his dad doesnt see what’s going on, end up fighting. Because Haemon’s nd Creon’s stubbornness get in the way of them seeing each others point of view, Haemon runs away and ends up committing suicide. After discussing credibility and getting nowhere, the father and son discuss the distinction between what the “fellow- citizens deny’ and “[how the city shouldn’t] tell [Creon] how [he] ought to rule it” (Sophocles 745-6).

Haemon brings up the issue of the citizens siding with Antigone to bury Polynices body. They believe Polynices should obtain a proper burial no matter what even if he betrayed the city or not. Creon argues that the citizens of Thebes shouldn’t be telling the king how to rule the city. Creon believes that the king should uphold all the power and not give the citizens a choice. Creon and Haemon argue for two different sides of the law neither, which adds even more tension and perspective. After all of this arguing between Haemon and his father, Haemon “. thrusts a sword] into his ribs” and Creon loses everyone who he cared about (Sophocles 1241). Haemon killed himself due to the lack of support he was shown by his father. Creon’s inability to listen to Haemon’s point of view cause his own son to kill himself. By not listening to each other, both Haemon and Creon suffer from onsequences with one of them dying and the other one having to go through life without anyone who cares for him. Creon and Haemon suffered because they both lacked the capability to express other ideas than their own.

As a different way to express his theme, Sophocles uses Ismene’s and Antigone’s discussion to prove not taking helpful advice can ruin a relationship. After learning Antigone was caught, Ismene admits, “l did the deed if she consents, and I will take and bear the charge” (Sophocles 552-3). Antigone answered with, “But Justice will not allow this to you, since neither did you want nor did I share it. (Sophocles 554-5). Ismene, caring for her only family member left, tries to save her sister from death with the cost of hers.

But Antigone doesn’t allow Ismene to do this and convinces Creon that she definitely broke the burial law. This causes Antigone to be doomed by the law of the land, resulting in her death. After having her sister announced guilty, Ismene asks, “But now-what can I do to help you now’ (Sophocles 568). Antigone replies by telling her, “Save yourself. I do not grudge you your escape” (Sophocles 569). Ismene gives her last efforts to comfort Antigone through her time of need, but Antigone rejects Ismene’s offer and declares she wants nothing.

Antigone didn’t listen to her sister, overcome with pride for burying the body, and Just gave up her only way to live. By letting her pride take place of her mind, Antigone gives up her life because she didn’t listen to Ismene’s offer. Due to Antigone’s actions, she “[hangs herself by a noose]” and Ismene disappeared, never being mentioned again (Sophocles 1227). Ismene, not wanted by her sister in anyway, disappears from the play to never be spoken of again. Antigone however, suffers from not letting her sister take the blame and finally commits suicide to end the pain.

Antigone would not be dead if she let her sister take the blame, but due to her inability to listen to good advice, she ends up dying. In the end, both Ismene and Antigone suffer due to Antigone’s rejection of advice. Sophocles demonstrated listening to others’ advice and the consequences of not throughout the play. From being stubborn and not taking beneficial advice to not opening your mind to another persons’ point of view. Sophocles wrote Antigone with many lessons for our current society. His most important lesson being that listening to good counsel benefits you now but also in the future.