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Antigone is not the antagonist nor is Creon the protagonist in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the antagonist is the opposite of the protagonist. The protagonist is the main character, the hero and the doer of great deeds. Theban Princess Antigone meets the criteria of a protagonist what with the course of all action being determined by her great deeds. She sets the stage for the conflict over the separation or union of church and state by breaking Creon's illegal edict of non-burial, burying her brother Polyneices, enduring her death sentence and inspiring an entire city with her courage and perseverance.

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Why is conflict important to drama?

Conflict is essential to drama because it drives the narrative and develops characters. It creates tension and stakes, engaging the audience emotionally and prompting them to invest in the outcome. Through conflict, themes are explored and resolved, allowing for character growth and transformation. Ultimately, conflict propels the story forward and keeps viewers captivated.


Why is conflict an important part of drama?

Conflict is a crucial element of drama because it drives the narrative and develops characters. It creates tension and stakes, compelling the audience to engage emotionally with the story. Through conflict, characters face challenges that lead to growth, transformation, or resolution, ultimately revealing deeper themes and truths about the human experience. Without conflict, drama would lack the dynamism and complexity that captivates an audience.


What is conflict in A Midsummer Night's Dream?

There are a number of conflicts which drive the play. There is a conflict between Hermia and Lysander on the one hand and Egeus and Demetrius on the other over who should marry Hermia (and who should decide). Theseus' answer to Hermia causes friction with Hippolyta in many productions. As the lovers' plot develops, conflict erupts between Hermia and Helena. The play starts also with conflict between Titania and Oberon over the Indian boy.


Whose laws does Creon realize are broken in 'Antigone'?

Human and divine laws are the laws that Creon realizes are broken in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).Specifically, Theban King Creon issues an edict that contradicts divinely ordained rights to below-ground burials and funeral rites for all Thebans. His niece, Princess Antigone, breaks the law and is sentenced to death. All Creon cares about is the breaking of his law. It is not until Teiresias the blind prophet warns him of divine fury descending upon and destroying the royal household that Creon develops a conscience about breaking the pre-existing divine law by issuing his contrary human law.


How are the Aristotelean principles of tragedy employed in 'Oedipus Rex' and 'Oedipus at Colonus' and 'Antigone'?

Some of the principles of tragedy as identified by Aristotle [384 B.C.E.* - 322 B.C.E.] may be found in the plays by the playwright Sophocles [496 B.C.E. - 406 B.C.E.]. In the case of the surviving Theban cycle, the ending is unhappy for at least one main character in 'Antigone', 'Oedipus at Colonus', and 'Oedipus Rex'. In the beginning of all three plays, the misfortune appears preventable. But as the plot develops, the miserable outcome takes on the appearance of inevitability. And in each of the three cases, the inevitability springs from at least one tragic flaw in the main, heroic character.*Before the Christian Era

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