In Sophocles' play "Antigone," the chorus expresses conflicting views on the burial of Polyneices. At first, they support Antigone's decision to honor her brother by burying him, as they believe in the importance of religious and familial obligations. However, as the play progresses, the chorus also voices concerns about the consequences of defying King Creon's decree, highlighting the tension between individual conscience and obedience to authority. Ultimately, the chorus serves as a complex and multifaceted voice that reflects the moral dilemmas central to the play.
According to Creon in Sophocles' "Antigone," Polyneices committed the crime of treason by leading an attack against Thebes. He is deemed a traitor for attempting to overthrow the city and is denied a proper burial as punishment for his actions. Creon views his refusal to honor Polyneices as a necessary stance to uphold law and order in Thebes.
The circle is the shape that describes Antigone. All of the elements in a circle are at the same distance from a given point. The notion of equal distance calls to mind the notion of equal treatment. Antigone most definitely believes in equal treatment for all Thebans. She shows her commitment when she acts on behalf of her dead brother Polyneices. Thebans are guaranteed proper burial rites and rituals just by being Theban, and according to the will of the gods. Her brother Eteocles is given a proper burial. So Antigone sees to it that Polyneices gets his due also. Additionally, a circle has no identifiable beginning or end. Antigone most definitely sees no clear end to life and no clear beginning to death. She instead views life as flowing into death, and the experience of death as affected by the experience of life.
In "Antigone," the phrase "this crime is holy" reflects Antigone's belief that her actions—defying King Creon's orders to give her brother Polyneices a proper burial—are morally and divinely justified. She views her duty to honor the gods and her family as paramount, even if it means breaking the law. This highlights the central conflict between human law and divine law, emphasizing the theme of individual moral responsibility versus state authority. Antigone's conviction underscores her commitment to what she perceives as a higher justice.
That his nephew becomes the enemy of Thebes is a way in which Creon's decision regarding Polyneices' burial is justified in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, Theban King Creon views his nephew Polyneices as an enemy for marrying into the Argive royal family and then leading combined Argive and Theban forces in an invasion of Thebes. Victors in ancient Greece get to leave the enemy dead above ground and exposed to desecration and dismemberment by wildlife. Creon decides that Thebans who attack their hometown in defense of a legitimate royal claim cease to be Thebans. He therefore concludes that the disloyal Theban dead no longer are eligible for god-given rights of all Thebans to below-ground burials and proper funeral rites.
That it complicates situations is the way in which the chorus views love in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the choral discussion of love comes at the end of Theban Prince Haemon's interaction with Creon in the third scene. The chorus members criticize love for its passionate lack of control. It also disdains the way in which love wreaks havoc with reason.
According to Creon in Sophocles' "Antigone," Polyneices committed the crime of treason by leading an attack against Thebes. He is deemed a traitor for attempting to overthrow the city and is denied a proper burial as punishment for his actions. Creon views his refusal to honor Polyneices as a necessary stance to uphold law and order in Thebes.
It is in the interrogation scene that Antigone's and Creon's views of justice conflict in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, Theban Princess Antigone defends the burial of her brother Polyneices because she says that punishment ends with death. But her uncle Creon demands that Theban traitors be treated like any other enemy dead. He therefore sees justice as continuing into death with the denial of god-given rights of all Thebans to below ground burials. Creon thinks that the only dead enemy is an exposed dead enemy be the enemy Theban or not.
The circle is the shape that describes Antigone. All of the elements in a circle are at the same distance from a given point. The notion of equal distance calls to mind the notion of equal treatment. Antigone most definitely believes in equal treatment for all Thebans. She shows her commitment when she acts on behalf of her dead brother Polyneices. Thebans are guaranteed proper burial rites and rituals just by being Theban, and according to the will of the gods. Her brother Eteocles is given a proper burial. So Antigone sees to it that Polyneices gets his due also. Additionally, a circle has no identifiable beginning or end. Antigone most definitely sees no clear end to life and no clear beginning to death. She instead views life as flowing into death, and the experience of death as affected by the experience of life.
In "Antigone," the phrase "this crime is holy" reflects Antigone's belief that her actions—defying King Creon's orders to give her brother Polyneices a proper burial—are morally and divinely justified. She views her duty to honor the gods and her family as paramount, even if it means breaking the law. This highlights the central conflict between human law and divine law, emphasizing the theme of individual moral responsibility versus state authority. Antigone's conviction underscores her commitment to what she perceives as a higher justice.
That his nephew becomes the enemy of Thebes is a way in which Creon's decision regarding Polyneices' burial is justified in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, Theban King Creon views his nephew Polyneices as an enemy for marrying into the Argive royal family and then leading combined Argive and Theban forces in an invasion of Thebes. Victors in ancient Greece get to leave the enemy dead above ground and exposed to desecration and dismemberment by wildlife. Creon decides that Thebans who attack their hometown in defense of a legitimate royal claim cease to be Thebans. He therefore concludes that the disloyal Theban dead no longer are eligible for god-given rights of all Thebans to below-ground burials and proper funeral rites.
That it complicates situations is the way in which the chorus views love in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, the choral discussion of love comes at the end of Theban Prince Haemon's interaction with Creon in the third scene. The chorus members criticize love for its passionate lack of control. It also disdains the way in which love wreaks havoc with reason.
Negatively by Creon, positively byHaemonand Teiresias, and questioningly by the chorus and Ismene are the ways in which Antigone is perceived by the other characters in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, Theban King Creon views Princess Antigone as a foolish lawbreaker who allows her emotions to run wild. Prince Haemon sees Antigone as the defender of divine will and cherished Theban traditions and finds support in that idea from Teiresias the blind prophet and the Theban people. The chorus and Princess Ismene question the way Antigone is willing to stand out in a crowd for her convictions.
Creon accuses Ismene because he believes that she is complicit in Antigone's act of defying his edict against burying their brother Polyneices. Although Ismene initially refuses to help Antigone, Creon views her as a potential threat due to her familial ties and the possibility that she shares Antigone's rebellious spirit. By targeting Ismene, Creon aims to eliminate any potential support for Antigone and reinforce his authority. This act also underscores the themes of loyalty and the consequences of defiance in the play.
One important scene is the meeting between the sisters, Antigone and Ismene. Antigone foredooms her tragedy by deciding to violate the non-burial law by honoring the corpse of her brother Polyneices. A second important scene is Theban King Creon's announcement of his non-burial decree. The King foredooms his tragedy by deciding to violate the god-given rights of all Thebans to proper burial rites and rituals. A third important scene is the announcement by the Sentry of the law's violation with the honoring of Polyneices' corpse. The result is the King's decision to arrest and punish the perpetrator. Antigone's arrest and court appearance bring the criminal and the punisher together in the tragedy of deliberate crime and equally deliberate punishment. A fourth important scene is Antigone's sentencing. The commuting of the capital punishment from death by stoning to death by live burial in a walled-up, remote cave opens up the possibility of the victim's suicide. A fifth important scene is the meeting between Theban King Creon and his son, Haemon. Their opposing views on Antigone's fate foredoom Haemon's tragedy. Haemon must decide whether to repudiate or rescue his cousin and bride-to-be. A sixth important scene is the meeting between Teiresias the blind prophet and Theban King Creon. The King's insults and threats lead the Prophet to reveal the woeful fate of the royal household. A seventh important scene is the meeting of the King with the dead Antigone and the mourning Haemon in the cave. Haemon's suicide is one of two straws to break the camel's back. The second straw, in the eighth important scene, is the news of the suicide of Queen Eurydice. It's all over for King Creon, who once had it all.
Creon decides not to bury Polyneices because he views him as a traitor who attacked Thebes, opposing the state's authority and values. By denying him a proper burial, Creon aims to reinforce his edict and assert his power as ruler, demonstrating that disloyalty will not be tolerated. This decision reflects Creon's rigid adherence to law and order, but it ultimately leads to tragic consequences.
Antigone justifies burying Polynices by emphasizing her belief in the divine laws of the gods, which prioritize the sanctity of burial rites over human laws. She views her obligation to honor her brother in death as a moral duty, especially since he fought for his homeland, despite being deemed a traitor by Creon. Antigone's strong sense of loyalty to family and the sacredness of burial rites compel her to act, setting Polynices apart from other relatives whose actions did not warrant such devotion.
The chorus in "Antigone" largely reflects the views of the Theban elders, who initially support Creon's decree as a means of maintaining order and authority in the state. However, as the play progresses, they become more sympathetic to Antigone's moral stance and the importance of divine law over human law. Ultimately, their position highlights the tension between upholding civic duty and recognizing higher moral principles. This shift illustrates the complexity of loyalty to the state versus individual conscience.