Antigone

Creon is not a tragic hero in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, a hero is someone who does great deeds, has great powers and is the main character in the play. Neither the title nor the position description applies to Theban King Creon. In fact, it is doubtful that Creon is intended to be anything other than the play's villain because of his defiance of divine will and cherished Theban traditions.

Exile for heinous crimes and the royal succession are the reasons why Theban King Oedipus leaves some of his children behind. Albeit unknowingly, he's the murderer of his father and sovereign, Theban King Laius. Albeit unknowingly, he's the husband of his own mother, Theban Queen Jocasta. The punishment for such offenses against the gods and mortals is execution or exile. Oedipus loses his reputation, his possessions, his job, and his home. But he gets to keep his life.

Oedipus' twin sons, Eteocles and Polyneices, are left behind in Thebes. Despite their parents' scandalous behavior, they still are heirs to the throne. It's theirs once their father is exiled.

As with the case of her brothers, Antigone's fate is presented consistently from ancient sources. She accompanies her father into exile. After his death in Colonus, she returns to Thebes.

But there are differing stories as to where Oedipus' daughter Ismene is in all of this. Her fate isn't something that passes down in consistent form from ancient sources. She may have remained in Thebes and died during the subsequent, fatal conflict between her two brothers. Or she may have accompanied Oedipus in his exile that ultimately leads to Colonus.

At first that women need to do what men and kings tell them to do and then that a woman can be right and a man and a king wrong are what Theban Princess Ismene thinks of the actions of Antigone and Creon in the play "Antigone" by ancient Greek playwright Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Ismene indicates in the play's Prologue that women are on earth to obey men and the laws of kings. She therefore thinks that her sister, Theban Princess Antigone, needs to obey Theban King Creon's law against the burial of the body of their brother, Polyneices. But in Episode 2, when she sees that her sister faces the death sentence for respecting the gods when kings contradict divinely expressed will, Ismene decides that a woman does not have to act in a certain male-defined way if that way and that man are wrong.

That Polyneices' body is reburied and that the perpetrator is captured are the reasons why Creon is upset when he enters the second scene of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon issues an edict against burial of the disloyal Theban dead. He knows of one attempt by an unknown perpetrator to bury the body of his disgraced nephew Polyneices. He lets his sentries leave with the warning that it will be their lives or that of the perpetrator. He tries to control his emotions about his edict being defied once more and to ready himself for the knowledge of who is opponent is.

"For seven captains at seven gates, matched against seven..." is an example of assonance in the first ode of "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the term assonance describes the repetition of vowel sounds to create internal rhythm. The above mentioned passage fits the description. An internal rhythm is started with the predominant "e" sound throughout the entire line: seven, left, their, set, death.

That it is crushing is what Creon says about fate in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon appears not to worry about fate during most of the play. He even may be said to give the impression of considering it as something that happens to others or that his fate is charmed. But the Furies of fate ultimately trip up all mortals who disrespect them and the gods, as Creon discovers at great personal and professional loss.

"Antigone," which is last in terms of the unfolding of the myth's timeline, is considered to have been written by the ancient Greek Sophocles (c. 496 B.C.E. - c. 406 B.C.E.) by 441 B.C.E.

"Oedipus Rex," which is first in terms of the unfolding storyline, is considered to have been written by Sophocles by 429 B.C.E.

"Oedipus at Colonus," which is second, is considered to have been written by Sophocles shortly before his death, around 406 B.C.E. In fact, the first performance of the play is recorded as 401 B.C.E. The performance was organized by Sophocles' namesake and grandson after the famous playwright's death.

No, Thebes does not die in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the city of Thebes is polluted by the unburied bodies of the dead Argive enemies and Theban traitors from the recent civil war over the royal succession. Teiresias the blind prophet indicates that the contamination will end with the burial of Polyneices' body and Antigone's release from the remote cave in which she is buried alive. The pestilential environment indeed does end with Polyneices' timely burial even though Antigone kills herself before she can be freed.

That it is buried is what Creon says happens to Polyneices' body in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon refuses to allow the bodies of his nephew Polyneices and of the other disloyal Theban dead to be buried. He requires re-exposure of Polyneices' body both times that it is partially buried by Princess Antigone. But he ultimately reverses his non-burial edict. He says that the proper burial is done.

Interact directly with the main characters is what the chorus leader can do but that the other chorus members cannot in "Antigone" by Sophocles (495 B.C. - 405 B.C.E.).

Specifically, the chorus entertains by dancing and singing back and forth across the stage. Its members also explain cultural and historical contexts and give insights into onstage and offstage events. But they cannot speak directly with any of the play's characters.

That he wants absolute obedience and unswerving loyalty from everyone in Thebes is the motive for Creon's forbidding burial and funeral rights to Polyneices in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Thebans have divinely guaranteed rights to below-ground burials and funeral rites. Creon honors those rights for Thebans who die loyal to Thebes in the recent civil war over the royal succession. He denies them to those who die disloyally fighting against Thebes. So the underlying message is the respecting of rights and privileges only if the Theban is considered to be on Creon's side in all Theban matters.

That she's married to a man who'll be killed by their sonis the fate that Theban Queen Jocasta knows about. So she and her husband think they can avert that fate by killing their new born son. In ancient Thebes, and indeed all Greece, it's considered far worse to kill one's parents than one's children.

But there's another part to that fate. Jocasta doesn't know anything about that part. But she finds out in the end. It's that she also is fated to marry her own son.

A change from criticizing the other person to expressing concern over the outcome is the change in the chorus during Creon's scene with Haemon in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the chorus members blame Theban Princess Antigone in her disastrous interactions with her uncle, King Creon. The focus on her perceived faults without doing the same in terms of Creon and his non-burial edict. But the chorus moves to warn of the outcome when Prince Haemon defends Antigone and then leaves upset. In essence, they suggest that Creon may not be in control and that the situation may be getting out of hand in the royal palace and throughout Thebes.

That love has its own rationale that beats all reason is the view that the chorus expresses in the brief ode following Creon's scene with Haemon in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the chorus leader expresses concern over how upset and out of control Theban Prince Haemon seems to be in taking leave of his father, King Creon. The chorus then describes love as the most powerful force in the world of the gods and in the lives of mortals. They basically conclude with the warning to beware of the havoc that can be created by two lovers whose love is being threatened.

That he will bury Polyneices and release Antigone is what Creon decides after Tiresias exits in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Teiresias the blind prophet warns that the pain and suffering of all Thebes will be visited upon Theban King Creon's own family if he does not honor Polyneices' god-given right as a Theban to a below-ground burial and if he does not rescue Antigone from being buried alive. Creon remains stubborn until after Creon leaves. But Creon backs down once the chorus leader tells him to do what Teiresias says.

Theban Queen Jocasta brings up a prophecy to show that her second husband, Theban King Oedipus, can't have killed her first husband, Theban King Laius. According to a long ago prophecy, Laius was to die at the hands of his own son. Jocasta believes Oedipus to be the son of Corinthian King Polybus and Corinthian Queen Merope. She also believes that her only son, at the age of three days, was killed by a shepherd in her confidence and employ.

But little does Jocasta know that Oedipus was raised as the heir apparent to adoptive/foster royal parents in Corinth. Little likewise does she know that her son didn't die, under her orders and at the hands of her most trusted shepherd. The shepherd could no more force himself to kill the defenseless infant than could Jocasta. So he entrusted Oedipus' upbringing to a shepherd who was going home to Corinth.

And so the prophecy that's intended to reassure Jocasta and Oedipus in the correctness and innocence of their actions insted drives them apart, destroys their lives, and brings humiliation, shame and strife to the royal household and the entire city of Thebes. Jocasta ends up killing herself. Oedipus ends up blinding himself and spending the rest of his life as a miserable beggar. Thebes experiences the violence of Oedipus' twin sons fighting over the royal powers and then the repressive rule of Theban King Creon, Oedipus' brother-in-law and uncle.

A moment of discovery is a realization of truth. That moment takes place in regard to oneself and in regard to the opinions that others hold. For Antigone, that moment regarding the opinions of others takes place when the people of Thebes learn of her arrest for burying her dead brother Polyneices. That's the one and main truth that Thebans discover about her, and they find her obedience to god given laws and respect for the Theban dead admirable.

That moment in regard to herself takes place three times for Antigone. The first moment is at the play's beginning when she says that she knows what's right and she'll do it regardless of what her sister Ismene thinks. The second moment is at the play's middle when she tells Ismene and her uncle, Theban King Creon, of her lifelong sense of obligation to those of her family who await her in the realm of the dead. The third moment is towards the play's end when she tells the chorus that her responsibility to her dead brother's body is overriding in the absence of the joys of husband and children.

For Creon, that moment regarding the opinions of others is finalized at the end of the play, with his forced exile and the suicides of his wife and son. In terms of his family, neither his son Haemon nor his wife, Theban Queen Eurydice, want to continue living with him and his laws so lacking in compassion for his subjects and in respect for the gods. In terms of his people, no Theban wants Creon to continue on a job that he so botches.

That moment in regard to himself takes place during Creon's meeting with the blind prophet Teiresias. Teiresias warns the King of the doom that awaits the royal family as a result of the tragic suffering of Thebans under a law that contradicts divine will. It's at that point that Creon realizes the error of his ways.

The main movies in which Antigone is compared or mentioned are those that are based upon the three Theban plays in which her character first occurs. The suite of plays calledOedipus Rex*, Oedipus at Colonus, and Antigone are all available in filmed versions.

The play 'Antigone' may be found in three well known movie versions. One is the 1961/1962 version that director/writer Yorgos Javellas [1916-1976] and producer Demetrios Paris based upon the original play by Sophocles [496 B.C.E.** - 406 B.C.E.]. Another is the 1974 version that director Gerald Freedman [b. June 25, 1927] and writers Jean Marie Lucien Pierre Anouilh [June 23, 1910-October 3, 1987] and Lewis Galantiere [1895-1977] based upon Anouilh's play. Still another is the 1984 television version by director Don Taylor [June 30, 1936-November 11, 2003], who also filmed 'Oedipus at Colonus' and 'Oedipus Rex'.

The play 'Oedipus Rex' is the most filmed of the three dramatic tragedies. There are four well known movie versions, including the Taylor version mentioned above. The 1957 version by director Sir William Tyrone Guthrie [July 2, 1900-May 15, 1971] and Abraham Lincoln Polonsky [December 5, 1910-October 26, 1999], and by producer Leonid Kipnis [October 10, 1899-September 13, 1968] is based upon the English translation by William Butler Yeats [June 13, 1865-January 28, 1939]. The 1967 version is by director Pier Paolo Pasolini [March 5, 1922-November 2, 1975] and producer Alfredo Bini [b. December 12, 1926]. The 1968 version is by director Philip Saville [b. October 28, 1930] and producer Michael Charles Deane Luke [March 21, 1925-March 24, 2005].

*Also called 'Oedipus the King' and 'Oedipus Tyrannos'

**Before the Christian Era

An abomination describes someone who deserves to be hated and who's worthy of disgust. Theban King Oedipus is an abomination throughout the play 'Oedipus Rex'. But in the beginning, not one of the characters realizes this fact.

By the end, though, everyone and most particularly Oedipus realizes the horror of what he is. What happens between the prologue and the exodus is the information on Oedipus' true identity and the true nature of his marriage to Theban Queen Jocasta. By the end, Thebans understand that they've been upholding an indecent relationship as a model marriage, and a double murderer and sex offender as a hero. And Oedipus understands too.