The Tragic Hero of “Antigone” Free Essays

Lindsey Folcik Mrs. Monzel Period 1 8 April 2010 The Tragic Hero of Antigone In Sophocles’ play Antigone, both Creon and Antigone show a few qualities of an appalling saint. Creon is the ruler of Thebes following the late Oedipus and his children. We will compose a custom exposition test on The Tragic Hero of â€Å"Antigone† or then again any comparable subject just for you Request Now He announces that nobody ought to ever cover Polyneices since he was a double crosser to his city, while Eteocles would be covered with full military distinctions. Antigone hears this declaration and chooses to cover her sibling, Polyneices, so as to observe the laws of the divine beings. The two of them could seemingly be the grievous saint of the story. A deplorable legend is as a rule of high birth that has a disastrous defect that makes them tumble from an incredible tallness in the wake of having a snapshot of acknowledgment very late. This correlation among Creon and Antigone will show that Creon best fits the qualities of an appalling saint. The meaning of a disastrous saint incorporates having an anagnorsis, or snapshot of acknowledgment when they understand their heartbreaking imperfection, and this is one manner by which Antigone doesn't qualify as an unfortunate legend while Creon does. First and foremost, Creon is obstinate in his choice to murder Antigone for covering her sibling. Much after he hears Teiresias’ prediction, de doesn't adjust his perspective. It isn't until later he understands that â€Å"it is more regrettable to chance everything for difficult pride† however it is still excessively late for him (235). He sees that â€Å"the laws of the divine beings are compelling, and a man must serve them to the most recent day of his life! † (236). He has not served the divine beings by denying Polyneices a legitimate internment. By absurdly dismissing the laws of the divine beings, his â€Å"own daze heart has brought [him] from obscurity to last darkness† (242). Presently he has perceived the wrongs he has submitted against Oedipus’ youngsters, which eventually causes his ruin. Antigone, then again, knows about the outcomes of her activities from the earliest starting point. She says to her sister â€Å"I will cover him; and on the off chance that I should bite the dust, I state that this wrongdoing is holy†, demonstrating that she has deliberately settled on this choice. She is additionally mindful of the inescapable result of her choice, yet it doesn't stop her as she says to Creon, â€Å"I realized I should kick the bucket, even without your decree† (208). She winds up tolerating her discipline, and still stands by her choice. Indeed, even as Creon is going to send her to her demise, she says harshly, â€Å"I have not trespassed before God† (227). As opposed to Creon’s daze dynamic, Antigone made her rash, yet cognizant, choice completely mindful of the dreary consummation, so she never has a second when she understands her defect. In Antigone, Creon is a fantastic case of an awful legend. He has a significant appalling blemish and tumbles from an extraordinary stature. It could be contended that his grievous defect is unreasonable pride. He attempts to reason his choice to slaughter Antigone by asking the Choragos, â€Å"Who is the man here,/She or I, if the wrongdoing goes unpunished? † (209). The intensity of being above all else appears to have gone to his head. He accepts that his â€Å"voice is the one voice providing orders in this city! †, which is valid, yet his proclamation is as yet not famous with a significant number of the residents (220). He is so prideful, he will even damage his child, Haimon, to demonstrate his point. He plans to â€Å"Let [Antigone] pass on before his eyes! † (222). At long last, Creon secures Antigone up a stone vault to slaughter her, however he was so brimming proudly and would not like to be refuted that he was eager to hurt his child. Another way that Creon is a generally excellent awful legend is that he tumbles from an incredible stature. This extraordinary tallness is the seat of Thebes. Since the demise of Oedipus and his children, he has â€Å"succeeded to the full intensity of the throne† (196). He is presently the most influential man in the land. Creon expresses that â€Å"whoever is picked to oversee ought to be obeyed†, and he demands indicating exactly how much force he holds. In any case, after he has his snapshot of acknowledgment and his fortunes are turned around, he has fallen lower that any other individual. He says that now he has â€Å"neither life nor substance† (244). He has executed Antigone shamefully and by implication killed his child and spouse. There isn't considerably more hopeless than that, in extraordinary complexity to his once high and fair situation as lord. Through an assessment of his disastrous imperfection and go wrong, it is anything but difficult to perceive any reason why he is an incredible case of a deplorable legend. One of Oedipus’ little girls, Antigone, could likewise apparently be the terrible saint of Sophocles’ play. She has a portion of the principle attributes of a sad saint, such as having a heartbreaking defect, in spite of the fact that she doesn't have a snapshot of acknowledgment or tumble from an extraordinary tallness. It appears that her disastrous blemish is additionally unreasonable pride notwithstanding settling on incautious choices. After Creon’s order, she won't quit any pretense of, guaranteeing â€Å"Creon isn't sufficiently able to remain in my way† (191). At that point, when her sister, Ismene, attempts to alert her against such a rash and risky choice, Antigone dismisses her, as she says, â€Å"I ought not need you, regardless of whether you asked to come† (192). Once in a while, her extraordinary measure of pride appears to be impoliteness. While she is addressing Creon before her demise she says discourteously, â€Å"Ah the favorable luck of lords,/Licensed to state whatever they please! † (210). At last, her pride and absence of mindful dynamic reason her end. Be that as it may, despite the fact that she has this grievous defect, she doesn't tumble from an extraordinary stature. Her status in the public arena is moderately low, particularly contrasted with that of Creon. As her sister puts it, â€Å"We are just women† (191). In old Thebes, ladies are low on the social stepping stool. Likewise, her family’s â€Å"curse† doesn't help her status as a lady. The Chorus says that they â€Å"have seen this social occasion distress . . . /Loom upon Oedipus’ children† (215). The account of her dad and family has brought her no respect on the grounds that â€Å"The lewdness of [her] birth† has tormented her whole life (226). In this way, when she has been discovered covering Polyneices and is censured, she doesn't tumble from respect, as a genuine disastrous legend would. Despite the fact that Antigone does forces a few qualities of a lamentable legend, she doesn't coordinate the definition as intently as Creon does. With everything taken into account, Creon is the genuine awful legend of Antigone. He is an ideal case of one, since he has a critical appalling imperfection, a snapshot of acknowledgment, and tumbles from an extremely high spot. Some may contend that the heartbreaking legend is Antigone, since she has a disastrous defect. In any case, she doesn't have a snapshot of acknowledgment or tumble from an incredible tallness. Unmistakably, through these models, Creon is the disastrous legend of the play. Works Cited Sophocles. Antigone. Trans. Dudley Fitts and Robert Fitzgerald. The Oedipus Cycle. USA: Harcourt, 1977. 186-245. The most effective method to refer to The Tragic Hero of â€Å"Antigone†, Papers