Antigone

Yes they do,they make me look stupid every hunting season, but they do think, but their thinking is more of a survival thought process.

This is an interesting and difficult question - one that isn't possible to answer completely, since we can't ask the deer. The answer you get is going to depend on who you ask.

The modern materialist position (neuroscience) holds that deer think the same way as people - our brains are just more complicated. This theory fails in several important ways, however - casual observation indicates that deer and people think differently (there is no deer art or deer philosophy; deer don't ask questions about whether other animals think), and neuroscientists know far less about the brain than they let on. The simplest explanation in these cases is usually the best, and the materialist position only makes sense if you are committed to materialism a priori, and are willing to ignore evidence.

At any rate, I agree with the above poster - they think after a fashion, but there is a real, qualitative difference and it would be a stretch to say they think like people. It seems to be more of an automatic process - something happens to them and they react. They don't seem to be conscious and self-aware. >>M.T.<<

of course we can, but his innocent needs to prove it through the prophecy , fate and destiny

Theban King Creon views his son as someone to carry out his wishes. In fact, he says, 'Yea, this, my son, should be thy heart's fixed law - in all things to obey thy father's will. [...] But disobedience is the worst of evils'. The King further specifies that his friends must be Haemon's, his enemies Haemon's, and his choice or rejection of a bride Haemon's.

In order to build suspense or create humor.

The first time she buried him, Creon ordered that the body be dug up again, so she buried him a second time accordingly.

He is the son of a king. C

Fear for his own life is the reason that Theban King Oedipus gives for finding the murderer of Theban King Laius. The reason is strange on two counts. On the one hand, that isn't the reason that's given by the Oracle at Apollo's Shrine for the man hunt. The Oracle says that the murderer must be identified, and punished with death or exile, in order for the devastating pestilence to end in Thebes. On the other hand, the reason is ironically strange, because Oedipus in fact is the murderer.

She wants the pride for herself. She doesn't want to share it with Ismene especially Ismene didn't help bury Polynieces.

Additionally, Antigone is a care-giver. She is the only one of Oedipus' children to accompany him into exile and ease his last days. It is consistent with her character to not allow her sister to take the blame for her actions, which would result in her sister's death. It would have been different if Ismene actually had committed the act, but since she refused, Ismene deserved neither the fate nor the glory.

Antigone owes a longer allegiance to death than to life. According to her, she will spend far more time in the realm of the dead than in the world of the living. She therefore wants to behave in such a way that she's welcomed by family and loved ones after her death.

He indeed marries his mother and has for kids with her. Oedipus was not aware that she was his mother. When they find out that he married his mother, she kills herself and he scratches his own eyes out.

A piece of literature is considered great when it's remarkable in its effectiveness. For example, its characters and its plot find universal appeal among audiences throughout all times and in all places. In the case of 'Oedipus Rex', play readers and stage goers are drawn into the intense emotional conflict that's nowhere more perfectly exhibited than within the very character of the play's hero and anti-hero, Theban King Oedipus. The commentary and the entertainment of the choral odes link very closely and logically with what happens to the characters in the play's dramatic episodes. And so readers and viewers feel horrified fascination with Oedipus' headlong slide from heroism into villainy. The play's dramatic irony hits close to home as the reading and viewing audience witness the play's characters becoming ever more entangled in their fates just as they try so hard to escape.

The battlefield deaths of his nephews and the suicides of his wife, son and niece are the family tragedies that Theban King Creon suffers in 'Antigone'. From the previous 'Oedipus Rex', we know that Creon carries the weight of previous family tragedies. Specifically, there's the murder of his first brother-in-law, Theban King Laius. There's the suicideof his only sister, Theban Queen Jocasta. There's the self-blinding and exile of his second brother-in-law, Theban King Oedipus. There's the constant reminder of the previous tragedies in Creon's being responsible for Oedipus' and Jocasta's two daughters, Antigone and Ismene, the children of an incestuous mother-son marriage.

Argos.

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Yes, actual equivalents of the play 'Antigone' may be found in real life. In any place and at any time that individuals hold fast to their beliefs, the equivalents of Antigone may be found. All changes and all challenges to the inhumanity of government or of a majority to an individual or a minority come about because of individuals such as Antigone who come to the assistance of those who face injustice and can't defend themselves. For example, in the play, Antigone defends the disloyal Theban dead. They don't stop being Theban or being loved with death. But in death they rely on the living to make sure that they receive the proper preparation for proper reception into the underworld realm of the dead.

In the play 'Antigone', the main character of the same name commits suicide by hanging herself with her own halter. The play doesn't explain why Antigone chooses this particular method. The other two suicides are by stabbing. For Antigone's first cousin and fiance, Haemon, turns his own sword on himself. And Haemon's mother Queen Eurydice stabs herself in the chest. Hanging is considered a loathsome form of capital punishment. On her way to her final resting place in a remote cave, Antigone regrets having no husband or children. But she may not be articulating these unrealizable dreams out of self-loathing. Instead, she's a practical individual who considers the consequences of her acts. It may be that in the realm of means, hanging is the method that guarantees the quickest and surest end to her suffering in the world of the living. For Antigone says that she respects the dead, and looks forward to her time in the realms of the underworld god.

In the beginning of the play 'Antigone', Theban King Creon is haughty in his treatment of others. He is so secure in his kingly powers that he brooks no opposition, from family and non-family alike. At the end, the King is miserable. He loses everything that, without his realizing or appreciating it, gave his life meaning. For he no longer has the presence of his wife Eurydice or of his only surviving son Haemon. Neither does he have any longer the respect of the blind prophet Teiresias or of his people. During most of the play, he rules alone without regard for the experiences, feelings, and opinions of others. And so in the end, he leads his now empty personal and professional life on his own too.

A love for one's mother and a lack of it for one's fathermay be said to be the basis for the Oedipus complex, and for Theban King Oedipus' problems. According to the complex, a healthy adult male needs to move a childhood stage of making the mother important to an adolescent stage of listening to his father. Oedipus can be said not to do so. He kills his father, and takes his father's place by marrying his father's wife. That wife isn't a stepmother. She's Oedipus' biological mother.

Antigone's plan to bury her brother Polyneices is dangerous. It's against the law to give a proper burial to the dead among the Argive enemy and their traitorous Theban allies. It's a difficult job to do. Antigone asks for her sister Ismene's help, which isn't forthcoming. The punishment is death by stoning.

In the comparison between Antigone and Creon, her uncle and her king, both characters have strong wills. As an example, Antigone is as determined to respect the god-given laws regarding the dead as Theban King Creon is determined to enact and enforce his own manmade laws. Both chance losing a great deal if what they do boomerangs on them. For example, Antigone risks losing her life for violating the law, and the King risks losing his kingdom for enacting and enforcing an inhumane, unfair, unjust, unpopular law. And both are descended from Cadmus, the founder of Thebes. Antigone descends from Cadmus through her father King Oedipus. The King and Jocasta, the mother of Antigone and the wife of Oedipus, descend from Cadmus through their father, Menoeceus. In contrast, Antigone believes that manmade laws must harmonize with the higher god-given justice, morality, rites, rituals and traditions. But the King believes that he can issue his own manmade laws that directly contradict the god-given. Additionally, Antigone considers the hatreds of a lifetime as ending with death. She therefore believes that both the disloyal and the loyal Theban dead need to be given proper burial. But the King considers a dead enemy as much an enemy as a live enemy, and therefore not deserving of the same funerary treatment as living and dead friends. And finally, Antigone thinks of the consequences of her actions, in terms of the passage through life into death. But the King considers only his own needs and wants, as he consolidates his power over his family and his people. He doesn't think in advance of the repercussions of what he does. And he certainly doesn't think of the pain and suffering of the loved ones that the dead leave behind. In fact, he doesn't think of anything regarding the living and the dead until his deeds and misdeeds catch him up in the end.