Antigone

No, the city does not agree with Creon's actions in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon allows Theban loyalists to be buried below ground but refuses that god-given right to his perceived enemies in the recent civil war over the royal succession. By his own admission, his edict of non-burial is not popular with Thebans. The complete lack of public agreement is repeated in comments by Princess Antigone, Prince Haemon and Teiresias the blind prophet.

Antagonistic versus schoolmarmish or motherly is the difference between Antigone and her mother in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone gives the impression of being interested only in voicing, pursuing and defending her convictions. Her interactions with her sister Ismene and with her uncle, King Creon, seem more like a debate that she is bound determined to win even if winning means losing her life. In contrast, Queen Jocasta gives the impression of leading a discussion on the day's classroom instruction or helping a child with homework. She is more conciliatory and seems more bent on a successful group experience than on one triumphant individual.

Strong in terms of Antigone is a way of describing the role of family ties in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone honors her gods, loves her family and respects her city's traditions. She is the strongest expression of the importance of family in the play. She risks her life to give her disgraced brother Polyneices the burial that he is guaranteed as a Theban but that he illegally is denied by his uncle, King Creon.

Both Antigone and Creon meet tragic ends, but Antigone's is more tragic in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, an end is tragic when the outcome of a human life leads to suffering or takes an unfortunate turn. The description fits both Theban Princess Antigone and King Creon. Antigone's end is tragic because she loses her life and therefore forfeits the opportunity to marry her beloved first cousin, Prince Haemon and to have children with him. Creon's end is a bit less tragic since he still lives at the play's end even though he loses everyone and everything that gives his life meaning.

Personal versus practical and long versus short termexplains the conflict of values and ideas between Antigone and Ismene in "Oedipus Rex" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone appreciates divinely approved standards of conduct and family life whereas her sister, Princess Ismene, values civil obedience and survival. Personal ties therefore conflict with practicality. The different values influence the way in which the sisters perceive situations. For example, Antigone looks to the wider picture and the longer term by considering the impact of behavior in life on status in the Underworld of the afterlife. In contrast, Ismene prioritizes the short term since she is a survivalist.

That it hurts Polyneices and that it violates divine will and Theban traditions are reasons why Antigone opposes the decree in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone opposes the royal edict on non-burial of the disloyal Theban dead. According to divine will and in line with Theban tradition, Thebans expect to receive below ground burials and Theban style funeral rites. But the edict illegally denies these rights to those who attack Thebes in the recent civil war over the royal succession. Antigone therefore decides that she must respect divine will, disrespect royal law and bury her brother Polyneices. Otherwise, Polyneices accesses the Underworld of the afterlife in a desecrated, dismembered form.

Theban King Creon appears at the beginning of the third episode, as a logical connectionbetween that episode and the second episode of 'Antigone'. The third episode deals with the King's relationship with his son Haemon. It's the logical, natural progression from the second episode's ending with Antigone, Creon, and Ismene all purporting to know Haemon's feelings. For example, Creon claims that Haemon, as his son, undoubtedly wants better than the 'evil wife' that Antigone will make if allowed to live. He therefore takes up that point, and the notion that women are replaceable in men's emotions and responsibilities, in his interactions with Haemon in the third episode.

The third episode therefore allows Haemon the opportunity to present his feelings. It gives the audience the opportunity to see whether father, fianc

It is Ismene who is more practical than Antigone in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban Princess Antigone fights for her family and her gods. She therefore focuses on challenges and uphill fights that draw on hope over reality. In contrast, Ismene is a survivalist who concerns herself with such practical matters as getting along with her guardian and sovereign and following his rules.

It is his daughter Antigone that convinces Oedipus to hear what Polyneices has to say in "Oedipus at Colonus" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, disgraced Theban King Oedipus dislikes his twin sons, Eteocles and Polyneices, for not helping him at the time of his overthrow for criminal acts and immoral behavior. He does not plan to meet with either one of them ever again. But he ends up being convinced to do so when his daughter, Princess Antigone, persuades him that Polyneices deserves an audience since Eteocles is denying his legitimate claim to the Theban throne.

That more than one opinion complicates things and that only one person rules are the feelings that Creon reveals to Haemon about democracy and leadership in "Antigone" by Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, Theban King Creon does not share royal powers with anyone. He likes it that way. He says that he needs to be in control and cannot look out of control by adjusting what he does according to the latest thought or consequence in Thebes.

When Theban King Creon orders that a proper burial be given to the body of Polyneices and that Antigone be released from her cave is the point at which the reversal occurs in the play "Antigone" by ancient Greek playwright Sophocles (495 B.C.E. - 405 B.C.E.).

Specifically, the reversal in a play refers to the point at which the course of events are changed by the action being stopped in one direction and taking up in a completely opposite sense. In the play's final scene (exodus), Creon changes his mind about the edict that he issues at the play's beginning and that he insists upon enforcing through much of the play. Previously, Creon says that his nephew Polyneices, for having betrayed Thebes, must be left to the ravages of inclement weather and hungry birds and dogs and that his niece Antigone, for having buried her brother Polyneices, must be punished.

Once Creon realizes that a tragedy has been set in motion and that it will affect even his own wife and son, he moves from single-minded enforcement to abandonment of the provisions and consequences of his own edict. This reversal changes the course of events by ending the pollution that afflicts all Thebes and by respecting the will of the gods in terms of according burial to all Thebans, whether they die loyal or disloyal to their city.

What the reversal does not stop is the death of Antigone.

Theban King Laius is the true, biological father of the son, Theban King Oedipus, who ends up killing him.

Specifically, as a young man, Oedipus hears a rumor that King Polybus and Queen Merope of Corinth are his foster or adoptive parents instead of the biological parents that he believes them to be. The Delphic Oracle depresses and scares Oedipus even further by predicting his fate to kill his father and marry his mother.

In reponse, Oedipus decides not to return home to Corinth. Instead, he decides to flee to Thebes, his real hometown. On the way there, Oedipus kills a man who is old enough to be his father and whom he somewhat resembles. Once in Thebes, Oedipus soon marries the beautiful, recently widowed Theban Queen Jocasta, who is old enough to be his mother.

Ironically, the stranger that Oedipus kills and the stranger that Oedipus marries indeed are his respective father and mother.