Creon

Arthur Pendragon; Fit For A King? Arthur was crowned king not only at a young age but also completely unexpectedly. Arthur did not ask to be king, he was still a child and did not feel he was worthy of such a position. Arthur’s lack of confidence and trust in himself defines him as a king and his ability to rule. Arthur’s dependency on others proves to be King Arthur’s tragic flaw. As a child Arthur was brought up as Sir Kay, his foster brother’s, Squire. He grew up serving to others demands, it was never necessary for him to make his own decisions. Arthur just did what he was told and tried to please Sir Kay.

This flaw first appears in the book The Sword and the Circle, Sir Kay tried to take credit for pulling the sword out of the stone when in reality Arthur had been the one to retrieve it. Sir Kay took all the glory and was going to allow him to be unjustly crowned. Arthur did not speak up or question Kay’s story; He did not receive the credit he deserved until Sir Kay admitted to not being the one to have relinquished the sword. Even after Arthur was appointed king he did not make decisions on his own. He had Merlin by his side to help him. When Merlin left King Arthur to rule on his own Arthur did not know what to do.

He was left in a state of uncertainty and fell into what seemed like depression. Also In the book The Sword and the Circle, Arthur discovers the love affair between Lancelot and his wife, Guinevere, and punishes them both but Lancelot ends up rescuing Guinevere. Sir Lancelot asks for King Arthur’s forgiveness and as much as Arthur would like to Gawain will not allow him to accept the apology. Later Sir Mordred and Sir Gawain convince Arthur to go to war against Lancelot. This leads to the splitting of the Knights of the Round Table and the battle between Sir Mordred and King Arthur, which eventually lead to King Arthur’s death.

If Arthur had stood by his decision and was not so easily convinced by Gawain the battle could have been avoided and Arthur could have changed the course of his and his kingdom’s fate. On many other accounts King Arthur’s decisions depended on the influence of others, this being one of his tragic flaws can be held accountable for the downfall of King Arthur and his Kingdom. Although technically Arthur was born to be king he did not possess the attributes to be one. He had to compensate in other ways to make up for his weakness, but overall this personality fluke immobilizes Arthur from becoming the great king he had the potential to be.

A work that many have, at least heard a piece, of is Carmina Burana. Carl Orff composed this piece of music in 1936. A German, he was one of few composers that continued work during the Anti-Semitic rule of the country. Orff based his work off of a collection of poems found at the monastery of Benedikbeuren that dates back to the Twelfth Century. Carmina Burana is a set of twenty-five pieces that concern many of things going in everyone’s life today.

Drinking, gambling, love, sex, fate, and fortune are just a few of the topics Orff composed of. In this concert report I will go through the pieces that stood out the most to me. As mentioned, the most famous piece of this work is the opening sequence, “O Fortuna”. This glamorous piece begins with the full orchestra and chorus playing a loud, brave tone that quickly drops off into, what I hear as a loud whisper, sung by the entire chorus. Orff doesn’t let the listener take a break by coming back with same loud tone that the piece began with.

Percussion instruments can be vividly heard throughout this opening piece, seemingly above the rest of the instruments. Early in this work, Orff establishes his theme of a “Wheel of Fortune”.

With the boldness of the opening sounds I feel that Orff is setting the tone for the whole work. Although the work is sung entirely in Latin, the translation of the first movement may surprise most people. The opening words “O Fortune” gives the listener an idea what the piece is about. As the piece goes, Orff describes fortune as oppressing and poor, in what I believe he was feeling at the time.

The last words of this movement, in translation “ everyone weep with me “ were the biggest surprise to me because the orchestra ends the piece in carnival like melody. The second movement of Orff’s work is titled “Fortune plango vulnera“. This is personally my favorite piece of the work because of the hit or miss harmony. Different instruments take turns using the high-low rhythms, along with the chorus. The male voice is prominent at the beginning but soon after you can hear the voice of the full orchestra. Before reading the text n translation, this piece gave the idea of a rabbit jumping through to pasture or meadow to a novice listener like myself. This piece picks up from the last movement still pertaining to fortune. In the latter part of this piece Orff actually wrote in his overall theme by mentioning “the wheel of Fortune turns”. The fourth movement, “Omnia sol temperat” is sung in a completely different way. It begins with a male soloist singing, accompanied softly by violins. The way Orff chose to display this movement shows that there is no defined rhythm he is following.

The soloist singing in a profound masculine voice sets the tone for this movement. The next movement discussed stands out as being one of the longest works of the cantata. “In taberna quando sumus” opens with stringed instruments followed by percussion, and then a variety of other instruments join with the chorus. “When we are in the tavern”, the title sets this piece up for what I think would have a been a popular movement when it originated. Orff tells of drinking and gambling at the tavern, then goes on to list thirty names such as “the rich man” and “the poor man” that all drink.

This stood out to me because I didn’t see this coming at all! It is also my least my favorite piece of the work. With the setting what it is, I didn’t particularly like the minor tone heard on and off in this movement. Orff could have been trying to relay a message by this of the tavern as a sometimes dark, bad place. The last movement of the cantata, “O Fortuna” begins just as the piece began with the same instruments and harmony. The last movement mirrors the first in a way that makes the listener understand the true tone of this work.

I compliment Orff for doing this because I feel it is necessary. With a piece as strong and bold as this, I would think most composers would have chose to do this. After going back and re-listening to the first and last piece, there is no difference to my ear. The last movement does not lack any of the strength of the first movement; it’s a repeat that is well deserved. This theme has been used in many American movies, but sadly it is seldom recognized. Carl Orff made his mark in music history with Carmina Burana, namely the first and last movements “O Fortuna”.

There are many more movements in this piece that all have uniqueness and glamour. Even though I am not the most avid Carl Orff fan, this piece surprised me with every movement. The overall performance of this piece was outstanding, with all the different melodies and tones, the use of full orchestra to solo vocalist, and an excellent job of conducting by Jeffery Thomas, I can see how this piece gained as much fame as it did.

References

1. “ The Enjoyment of Music” Eleventh Edition, Kristine Forney and Joseph Machlis
2. http://classicalmusic. about. com/od/20thcenturymusic/a/carmina_burana. htm

Compare / Contrast Antigone and Creon There is always going to be some kind of conflict in a family. It may happen often, and sometimes rarely. In the century-old story Antigone there is a huge conflict. Antigones brother, Polyneices, refuses to pass on the throne. Therefore, he and his brother Etheocles go to war, and they both end up killing each other. Therefore, it resulted in Polyneices death. When he died, Creon; the ruler of Thebes, refuses to let anyone bury him.

So he will be left in public shame. Not regarding any of the laws Creon created, and ignoring what her family says, Antigone goes ahead and covers him with some dirt and “buries” him. To begin with, Antigone has gone through a hardship. She has lost her brother and her family is very mad with her, since they have also been brought into the conflict. Antigone is very strong; she does what she wants without thinking twice. She is also very sneaky. She buried her brother without anyone noticing.

The blame was even put on her timid sister, Ismene. Who was later questioned by Creon, and also was held by him until she was found innocent. But Antigone already knows her consequences, so she is ready if she is caught. Antigone also follows the Gods law. She believes that manmade law must harmonize with the Gods law. She is lead by her emotions and what her heart tells her to do. Antigone strongly believes that both of her brothers deserve burial rights, therefore she fights for it.

On the other hand, Creon differs somewhat. Creon inherited the throne after Oedipus was killed. He only honored Ethocles, and announced that no one would be allowed to bury Polyneices. As you can tell, Creon likes to go by the laws he created, not by the Gods. Creon doesn’t like to listen to others opinions about the situation. Haemon, his son, tries to convince Creon to not bury Antigone. Yet, he doesn’t even take a second to think about it. Haemon then mentions Creons ruling is tyranny, not government.

In Sophocles’ Antigone, the audience experiences a catharsis wherein sympathy and fear is evoked for Creon, a tragic hero whose Kingship was spoilt by corruption, human fallibility and pride. Throughout the play, Creon has demonstrated how even rulers with a strong moral stance can still fail in their attempts to do good, unfortunately due to exceeding the limits of their humanity. To begin, the tragedy that befalls Creon as a man devoted to his country and to his religion seems to feel undeserved.

Creon declares “whoever places a friend above the good of his own country, he is nothing” as an expression of his loyalty to his State; the dramatic element is accentuated through the term “nothing” which reverberates off the script in an echo that demands the viewer’s reverence and attention. In this way, Creon’s stance on leadership is magnanimous because Creon no longer works on the order of his family’s needs but on the order of the Gods and his state.

To highlight this, we see the chorus exclaim: “the king of the realm is coming… whatever the gods are sending now… / what new plan will he launch” The significance of this “realm” is interpreted as something divine yet disconnected from humanity, so as to highlight Creon as merely a servant to the Gods. In this sense, Creon is a character that is empathized with for his respect towards the Gods, thus his actions can be attributed to the will of the Gods. “Exactly when did you last see the gods celebrating traitors? Inconceivable! exclaims Creon, whose actions are characterised by a morality modeled after their will. A modern audience will interpret the duty of the King to come as a direct order from the Gods, therefore whatever law Creon enacts, and whatever cause he chooses to pursue, would have been the Gods’ law. The question thus arises: was Creon’s tragedy truly of his own doing? The authority of the King diminishes when put into perspective with the Gods, and the audience can view how even a man of superior rank can still be thwarted by the almighty powers of God.

This, as a result, can reinforce a feeling of fear, or caution for those watching. However, one question seems to question the purity of his intentions: “Am I to rule this land for others—or myself? ” Although, contextually speaking, this question was meant to demonstrate his loyalty to the state, it does include dark, subtle undertones that could reveal Creon’s hidden intention. The hyphen in the ending of the question “—or myself? ” seems to delay the response and give a slight hesitance to Creon’s speech.

The question stands: does Creon make decision because he believes it is best for his country? Or does he rule because the influence of power has enabled him to act upon his own bias? Creon’s kingship creates an extension of itself with Haemon, whose “flesh and blood” describes how profoundly connected Haemon is to his father. The tie between Creon and Haemon explores how kingship challenges both the emotional and human relationship between father and son. Perhaps he invests so much of himself into the idea of “father and son, the same blood” that a part of him equally dies with his son.

Haemon has been included into Creon’s life as an indispensable structure, a piece inseparable piece from the framework of Creon himself. In fact, Creon cries to the “harbor of Death” asking “why me? why are you killing me? ”, thereby portraying how the blood link that connects both father and son is interwoven in their lives so that one life is married to the other. Creon describes himself as a “shattered” man after the death of his son, thereby illuminating his vulnerability as a flawed human being.

As such, the audience, witnessing his fall, can experience a heightened catharsis knowing a man of such supremacy can crumple so easily and in such a wretched fashion. It is implied that Creon himself has the power to shape Haemon’s destiny and his duty as a person by “produc[ing] good sons—a household full of them, dutiful and attentive”. Creon describes his son to be “bred and reared” for a specific purpose. Both terms “produce” and “bred” create the effect of a human fabricated at certain specifications.

This puts Creon in a state of authority not only over the mores his son must live by, but the way his son is formed as a human being, which is eerily reminiscent of the divine authorities and the power of the fates to write out a person’s destiny. In a sense, Creon compares the greatness of his sovereignty to that of the Gods, thus portraying how his power is a prerequisite to his hubris. Moreover, Creon establishes dominance over other men using his title as King, naturally elevating him beyond the rank of mortal men.

To demonstrate his frightening autocracy, Antigone claims that “[the chorus] would praise me too/ if their lips weren’t locked in fear”. This fear of Creon is further bolstered by powerful oratory, which Creon uses as a tool in commanding his people’s patriotism and emotions. The expressive visual imagery characterized of Creon’s speech can turn a traitor into a fiend who “thirsted to drink his kinsmen’s blood. ” The impact of the words “thirsted” and “blood” stress this graphic image of death and blight, which Creon manipulates to kindle hate and passion in his people against Creon’s enemies.

Although a ruler is meant to serve the state and protect it, Creon uses his rhetoric to advance his own beliefs—a decision characterized by greed. What is debatable about where Creon’s sense of leadership is whether he is doing this as an act of greed or an act of what he believes is correct for the state. Leading on from power, the audience understands that Creon’s arrogance comes from the notion that his power ennobles him beyond the ranks of mere humanity. They see him gain much more authority as a saint, savior or being closely linked to God.

His sentries all address him as “My lord” and Creon is able to issue death sentences to reinforce his superiority. Creon uses terms that are definitive of a person’s fate, despite the fact that he has no control over their fate in any substantial way: “Not a word of hope—your doom is sealed. ” The precise diction of “doom” recalls the notion of a terrible fate that stretches beyond the mere human life, and forwards into the dark murkiness of afterlife. To pronounce it as “sealed” is to imply it is fixed; Creon uses this to strike fear in the heart of Antigone, yet it also presupposes that our fates, once written, are unchangeable.

The dramatic irony that comes with Creon proclaiming this as his fate is being written heightens the tragic ending of the play—the Katastasis. Creon’s arrogance could be seen as a shift in character from what the audience knows of Creon in Sophocles’ Oedipus the King. Creon once proclaimed, “if you think crude, mindless stubbornness such a gift, you’ve lost your sense of balance” as a display of humility and rationality. Before his reign as King of Thebes, Creon understood the natural traits found in a good leader involved a sense of poise and understanding of one’s own limits.

Yet, once he had possessed “the throne and all its powers”, there was a change in character. “All its powers” incorporates the idea of excess and abundance, which is characterised as hubris, therefore the audience might feel a sense of fear for the upcoming and inevitable demise that may come for Creon. Naturally, when this power is questioned, Creon’s insecurities begin to appear and after some time, become more pronounced and irrational. Creon expresses his shame and his exasperation of Antigone’s defiance through the terms “laughing, / mocking us to our face with what she’d done”.

These words hint to a sense of stigma that comes with a woman defying the rules set out for her by the authorities that govern her. Drawing from the cultural context of Sophocles’ play, women were mainly viewed as inferior beings—often they were weak or even dangerous, which makes the defiance against the state and Creon’s edict more grave and scandalous. Creon portrays his fear of being diminished by a woman through his cry: “I am not the man, not now: she is the man / if this victory goes to her and she goes free. / Never! ” because essentially, her freedom would mean his defeat, which in the end would blemish, or even completely fracture, his stature as an omnipotent ruler. Moreover, Creon becomes erratic as he is faced with his flaws as a human being. When he is first notified of his errors by a sentry: “Oh it’s terrible when the one who does the judging / judges things all wrong”, he retaliates in a unnecessarily cruel manner: “you just be clever about your judgments— / … you’ll swear your dirty money brought you pain. Personally, his cruelty can be interpreted as a defensive insult inflicted to shield himself from the truth of his humanity. This interpretation is supported by the way Creon storms off by “turning sharply”, as his actions seem to portray a sense of flinching (characterized by “sharply”) annoyance. This same effect is particularly seen in Creon’s dialogue with Tiresias after he is told of his fate. Creon’s language becomes more infused with anger and insecurity, making him appear weaker: “you shoot your arrows at my head like archers at the target—” He seems to refute his own guilt, and justify imself as a person of superiority: “are you aware you’re speaking to the king? ”, which makes him appear untouchable. Creon’s spite is felt through his sharp intonation of “Spit it out! ” and “lust for injustice! ” His reaction to his fate up until his concession is characterized by defensiveness and verbal insults, which can highlight how much of his power and glory he is afraid of losing, Creon becomes frightened by the prospect wherein he would have to concede to his hamartia and undeniable fallibility as a human.

The main purpose of these effects is to illuminate Creon’s very human flaws: his insecurities, his paranoia of being thwarted by a woman of lesser importance, and his irritable temper. These flaws consequently form the nature of his demise and conclude the circle of his journey as the Tragic Hero. Essentially, his kingship has brought upon him his downfall because power is inseparable from vanity, and vanity became the hamartia of the Creon’s character.

Antigone as a Feminist Icon Male authority is a dominant theme in Sophocles’ “Antigone. ” Men occupied the land, ruled the towns and assigned the women duties to perform. Antigone, however, believed that she was just as strong as the men who ruled society during that time, which led to her downfall. The goal of the feminist movement has generally been to seek equality between the sexes. Through the women’s movement, women have won the right to vote, and can now compete for traditionally male roles in the workplace.

Although the feminist movement has largely taken place during the last 200 year, many figures in history have embodied characteristics of the contemporary feminist, such as the character of Antigone in Sophocles’ “Antigone. ” Antigone’s introduction as a feminist is within the context of a fiercely sexist civilization. Sophocles paints a vivid portrait of a male dominated society. In 442 BC, women believed that they were inferior to men because men held power and influence over the people and the cities.

The patriarchy consisted of men who considered themselves of higher importance and standing, and men who would assign women duties and expect them to perform without question. This authoritarian rule placed women in a subordinate role and extinguished any hopes of power. In the face of this efficiently and tightly controlled agency, Antigone rebels with what Catherine Holland describes as an “otherness” and an “anti-authoritarian” bent. Her very existence as the protagonist and, simultaneously, the antagonist defines her character as the adversary of man and thereby the adversary of the world.

Antigone’s razor sharp temerity captures the spirit of modern and nascent feminism as she slashes the societal fabric into which she is woven. Antigone’s relationship with her sister Ismene also acutely expresses her feminist attributes. Ismene says “You ought to realize we are only women, not meant in nature to fight against men, and that we are ruled by those who are stronger. ” These words provide insight into the female animus. Antigone confronts the difficult situation of whether or not to bury her brother Polynices against the wishes of her uncle, Creon the king.

Ismene believes that women, including herself and Antigone, should not and cannot disobey Creon’s orders by burying their own brother. Antigone disagrees and decides to proceed with her plan. Her divergent thought puts her at odds with her entire family and her own survival. This speaks to the power of feminist thought. Antigone shines as a beacon for her contemporaries and for future generations who aspire to emulate her courage and honor. Vital to the play is Antigone’s conflict with Creon.

Her resolute feminist ideology is perhaps most profound in regards to her interaction and relationship with her misogynistic and powerful uncle, the King of Thebes. Creon is a central patriarchal figure in society, and he renounces his beliefs in order to follow the laws of man. He values the laws of man above all other creeds, be they religious or moral. Conversely, Antigone follows the laws of the gods. She holds these principals paramount to the laws of Creon. When her mores, in particular, her family values, are impugned by the oppressive, myopic laws of the day, Antigone clashes with the intolerable, indulgent influence of Creon.

With a fearless countenance she collides with Creon in a representative “battle of the sexes. ” Creon forbids the burial of Antigone’s brother Polynices, which vexes the core of her family values. This profound allegiance compels her to disregard her place in society, while concurrently adhering to the traditional duty of women of that era. She now embodies a complicated and dynamic actor in her own story and the narrative of feminist thought. Antigone manifests the apogee of human probity, including fortitude and approbation for the gods.

The law of the gods mandate that a proper burial right be given to a body. To Antigone this was more salient than Creon’s declaration otherwise. She reserves a traditional role as a woman; while also brazenly confronting this image. Challenging him through word and deed, she verbally criticizes him and ignores his decree against burying her brother. Creon becomes enraged by this rejection of his autonomy and condemns Antigone to death. Even though Creon knows that Antigone is the daughter of Jocasta, he knows that he must consummate his judgment to conserve his command over and respect of the people of Thebes.

This battle between chauvinism of Creon and the conscious of Antigone sets the stage for the new king to secure his role as a strong and worthy leader. If he is feared and admired, he will be confirmed as the sublime authoritative force in Thebes. His deference to the state will engender the obedience of the people. Creon’s derisive manipulation to coerce others conflicts with Antigone’s courageous challenge to his leadership. Many of the men of Thebes embraced Creon’s bold assertions against women. As a model of defiance, Antigone is used to set an example to all of Thebes.

Antigone is not only the first woman but first person whom intentionally defies Creon’s order to not bury her brother, who has been acknowledged a traitor to Thebes. Creon refuses to humble himself before others, or compromise on the issue but most importantly with women. He states that it is ” Better to fall from power, if fall we must, at the hands of a man-never to rated inferior to a woman, never”. Antigone does not give Creon additional respect based on the fact that he a man in patriarchal society or because he is king. Rather she argues that there shall be equality under God and the equality among all of the sexes.

Antigone makes it clear to Ismene that she will take action relating to their brother regardless if Ismene agrees or not. Although they argue, there difference in opinion stand out in the end. Antigone is brave enough to stand firm on her decision and although Ismene is far too weak to defy the kings laws, she still feels as if she holds somewhat of a responsibility towards her sister. Without the help of her sister, Iseme, Antigone is willing to put her life at risk in order to provide for her brother and give him what deserves as far as the what the Gods say should be done.

Despite Creon, Antigone is willing to test male authority although it may mean not fulfilling her duties as a sister. Ismene states: “Remember we are women, we’re not born to contend with men. Then too, we’re underlings, ruled by much stronger hands, so we must submit in this, and things still worse”. These words express Ismene’s extreme fear of subordination towards men. It shows her viewpoint on how the laws restricted the lives of woman and inferiority men placed upon women.

A sense of responsibility is place upon Ismene to die with her sister as the the result of Antigone’s plea for help and her fear of being without family. When Creon spoke to Haemon, about the actions of his fiance, he strongly stresses the importance of obligations and the relationships of a man to his father over his wife. Furthermore, he emphasizes the position of males in judgment making by stating, “ Oh Haemon, never loose your sense of judgment over a woman” Haemon’s defiance to his father lead Creon to proclaim him a “woman’s slave,” a man who is unfortunately sided with a woman.

Creon had strong belief that these types of actions were close to committing a sin. If Antigone had been born the son of Oedipus, Creon would not have the authority to choose, as his crown would rest upon Antigone’s head. If Antigone were a male and Creon had been king, the possibility of her opinion on Polynices burial may have been considered. However, Antigone’s femininity made her situation more problematic than it was, as the King completely overlooked Antigone’s judgment over the matter. In conclusion, Antigone validates feminist opinions in numerous ways.

She begins to challenge society by her existence in the establishment of a dominant male society guided by her own uncle. Antigone defies her own sister and her own mortality as she stays loyal to her beliefs regardless of Creon’s devotion to his own laws. Antigone as a woman, acted out in obligation as a duty for her family and for the Gods. Her integrity serves as an example for her society. Antigone faced her mortality head on, which suggest that she possesses a strong characteristic of bravery and obstinacy. Her legacy will live on to inspire many other insurgents to take a stand on their principles.

Antigone’s solid feminist stance as a rebelling and male-controlled dictator shows that individualistic thinking and actions can be very powerful in both past and present modern day society. Works Cited Amacher, Richard E. “Antigone: “The Most Misread of Ancient Plays”. ” National Council of Teachers of English 20. 7 Apr. (1959): 355-58. Web. 4 Nov. 2012. ;http://www. jstor. org/stable/372655;. Holland, Catherine A. “After Antigone: Women, the Past, and the Future of Feminist Political Thought. ” American Journal of Politcal Science 42. Oct. (1998): 1108-32. Web. 4 Nov. 2012. ;http://www. Jstor. org/stable/2991851;. Klemperer, Klemens V. “”What is the Law That Lies behind These Words? ” Antigones Question and the German Resistance against Hitler. ” The Chicago Press 64 Dec. (1992): S102-11. Web. 4 Nov. 2012. ;http://www. jstor. org/stable/2124971;. Knapp, Charles. “A Point in the Interpretation of the Antigone of Sophocles. ” The American Journal of Philology 37. 3 (1916): 300-16. Web. 4 Nov. 2012. ;http://www. jstor. org/stable/849663;. Schilb, John, and John

Brutus: The Tragic Hero “A tragic hero is a character who is not eminently good and just, yet whose misfortune is brought about not by vice and depravity, but by some error or frailty. ” Brutus fits the definition of a tragic hero because of his lust for power, his tragic flaw, and his downfall. So, because of heroic qualities and poor judgment, Brutus is the tragic hero of William Shakespeare’s Julius Caesar. To begin with, Brutus’ lust for power is one of the many ways that make him to be the tragic hero.

It all started when the conspirators and himself discussed/planned the assassination of Caesar. During the agreement and arrangement of the assassination, is when Brutus gains his power and gets what he wants. He then gets more involved with the killing of Caesar, making him feel more powerful. “Ay, every man away. Brutus shall lead, and we will grace his heels with the most boldest and best hearts of Rome. ” (iii, I, 119-121). Although Brutus can single handily take over the conspirator group and over rule Cassius, as a tragic hero he is to begin to lose power.

This takes place throughout the falling action in act4 when Antony makes the angry mob turn against him. It will eventually lead up to his untimely death/downfall. Secondly, the fact that Brutus has a tragic flaw is another way that makes him the tragic hero. His tragic flaw would be being to noble; which leads to naivety and allows him to be deceived by the characters (mainly Antony) and to his downfall. He shows his flaw by over trusting Antony to speak at Caesar’s funeral even when Cassius advised him otherwise, but still Brutus did not listen. Brutus, a word with you. You know not what you do; do not consent that Antony speaks in his funeral; know you how much the people may be moved by that which he will utter? ” (iii, I, 232-234). Brutus then fails to listen to his conspirators as they try to persuade him. This demonstrates his tragic flaw clearly as he trusts Antony not to deceive him, and is too naive of his true motives because of his judgment overruling his want of giving Caesar a proper memorial (in order to show his honor).

Lastly, Brutus’ downfall of him dying at the end of the play also shows of him being the tragic hero. Him committing his suicidal death/downfall ends up making him the noblest Roman of them all. When Brutus finally realizes his role in the destruction of Rome; that was worse than he believed Caesar would have done, he then proceeds with his downfall. “Farewell, good Strato – Caesar, now be still; I killed not thee with half so good a will” (iiiii, IIIII, 50-51). His final words told his unbearable remorse feeling for Caesar’s death.

Brutus killing himself is his realization that it is nobler to commit suicide than become captured and dragged through Rome, and a noble man Brutus was. The fact that Brutus has heroic qualities and poor judgment, both make him the tragic hero of Julius Caesar. The way of Brutus showing his qualities is through his lust for power, his tragic flaw of being too noble and naive and finally his downfall (suicide). “The legacy of heroes is the memory of a great name, and the inheritance of a great example. “

Mia Britton Mrs. Baker DRA 110 4 March 2013 The play Burial at Thebes is a modern translation of Antigone by Sophocles and Seamus Heaney is credited for this recent translation. The plot structure used in Heaney’s work can be described as episodic. This play stands out as episodic because of its early point of attack. For example, at the start of the opening scene Antigone approaches her sister Ismene with news that King Creon has issued a proclamation that their brothers body should not receive a proper burial, and that anyone trying to bury him will be stoned to death.

She intends to resist the law and bury Polynecies but, Ismene refuses to assist Antigone. Therefore, Antigone disowns Ismene and pledges never to accept her aid. Another example of episodic play structure in The Burial at Thebes when Eurydice hears from the messengers the death of her son she leaves in silence and King Creon returns with his dead son Haemon in his arms. The messengers approach King Creon with grievous news that his wife Eurydice has taken her life. These examples prove that Seamus Heaney’s work is episodic because after one incident another incident approaches.

The protagonist can be defined as the central character in a play or the person who the story is about and experiences the most changes. In Seamus Heaney’s play there are two possible protagonists Antigone and Ismene. Antigone can be considered a protagonist because the play revolves around her rebelling against the King and his resolution to not bury her brother’s body. Another protagonist is Ismene because during the opening scene she tells Antigone that she will not assist her in burying her brother.

As the course of the play continues Ismene realizes what is right and defends her sister against King Creon by saying that she will die along with her sister. Ismene also tries to convince King Creon to not take her sisters life by asking him whether he would kill the bride of his son since Haemon is meant to marry Antigone. Ismene’s attitude changes from a noble citizen to that of a martyr. An antagonist can be defined as a person who is opposed to the protagonist or the goal of the protagonist. In Burial at

Thebes King Creon appears to be the antagonist because he is against burying or awarding any ceremonial rights to Antigone and Ismenes brother. As the play begins King Creon tells the elders of Thebes that anyone who awards a proper burial for Polyneices would be put to death. When King Creon finds about Antigone’s actions he declares that both sisters will be put to death. Antigone explains that she knew of his decree and she only answers to Zeus, the gods didn’t lay down these laws for manipulation, and that she will endure the god’s judgment for the burial.

King Creon decides that he doesn’t want the blood of Antigone on his hand so he believes the best way to take her life is by burying her under rocks with food. These acts made by King Creon are evidence that he is the antagonist in the play Burial at Thebes. The play Burial at Thebes was intended to teach and educate its audience on societies and politics. Seamus Heaney displays a powerful King that doesn’t take advice from anyone. A few examples of King Creon not heeding to advice is first seen when his son Haemon tries to urge him to be open to both opinions.

He dismisses his son calling him a woman slave. Even the elders’ question King Creon’s by stating that he should listen to his son’s request. Creon becomes irritated and questions the elders whether they should be taught by a young boy. King Creon was also approached by Teirasis and says, “The gods do not take the prayers or sacrifices of the Thebans, and the birds’ cries are muffled because the birds’ throats are glutted with the blood of Polyneices”. Teiresias explains the significance of taking counsel, and says that a man who makes a mistake and then corrects it brings no shame on himself.

King Creon once again does not heed to wise counsel and believes that just because he has authoritative power that he doesn’t require counsel. Seamus Heaney also exhibits bravery in his characters in which his audience members can learn from. For example, not only did Antigone represent bravery, but Haemon exemplified Bravery by standing up to his father. These acts of bravery appeared small at the beginning, but towards the end of the play they actually made a difference. All in all, these examples proved that Seamus Heaney’s work is educational and displayed politics.