Names Of Sophocles' Antigone Main Characters

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Namesophoclesantigonemain Characters Antigone Creon The King Is

Name: Sophocles, Antigone Main Characters: Antigone, Creon (the King), Ismene (Antigone’s sister), the Chorus, the Guard, Haimon (Creon’s and Euridike’s son), Euridike (Creon’s wife/Haimon’s mother), Teiresias (the prophet), the messenger. 1. Aristotle writes that the tragic hero suffers from a harmartia or error. Who is the tragic hero of the play? Why do you think so? 2. Who is in the right? Antigone? Creon? Both? Neither? Why? 3. What makes this play tragic? 4. What is the role of the chorus in this production? How do they fit into the play? 5. What do you think about the way the production differentiates between divine law and human law? Which characters do you think are more closely linked to what (kind of) law? 6. Why is this art? What is the relationship between Antigone and a painting or a statue, such that we can call them both art?

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Introduction

Antigone, one of Sophocles’ great tragedies, explores profound themes of morality, law, and individual duty. Central to the play are complex characters such as Antigone and Creon, whose conflicting values and actions serve as the focal points of tragic tension. This essay examines the identity of the tragic hero, the moral positions of the characters, what renders the play tragic, the role of the chorus, and the philosophical distinctions between divine and human law. Additionally, it explores the artistic nature of the play, drawing parallels with visual art forms like sculpture and painting.

The Tragic Hero of Antigone

According to Aristotle, the tragic hero suffers from a hamartia, often an error or flaw that leads to their downfall. In Antigone, the protagonist herself embodies this tragic flaw—stedfastness rooted in moral conviction. Antigone’s unwavering commitment to divine law compels her to defy King Creon’s edict prohibiting the burial of her brother Polynices. While her actions are morally laudable, her obstinacy and refusal to compromise serve as her hamartia, ultimately contributing to her tragic demise. Aristotle would identify Antigone as the tragic hero because her moral integrity ignites the central conflict and leads to her death, which evokes both pity and fear in the audience.

Who is in the Right?

The question of moral correctness in Antigone is complex. Antigone believes she is in the right, adhering to divine law—which mandates she give her brother a proper burial—regardless of human law. Creon, on the other hand, perceives his actions as upholding social order and state authority. Both characters act according to their convictions; thus, arguments can be made that each is morally justified within their own framework. However, their inflexibility and inability to see the validity in the other's perspective result in tragedy. Neither is entirely right or wrong; both are partly justified and partly culpable for the tragic outcome.

The Tragic Nature of the Play

The tragedy of Antigone lies in the unavoidable conflict between competing moral laws and personal loyalty, culminating in mutual destruction. The play demonstrates how rigid adherence to one’s principles, without compromise or understanding, leads to catastrophe. The inevitable fate of the characters—Antigone’s death, Creon’s suffering—exemplifies the classical definition of tragedy, where even virtue becomes a cause of downfall. Sophocles masterfully shows how human error, pride, and stubbornness contribute to the tragic outcome, highlighting the fragility of human happiness and order.

The Role of the Chorus

The chorus in Antigone functions as both a commentator and a moral voice, providing insights into the unfolding events and reflecting on the themes of justice, divine law, and human authority. They often serve as the conscience of the audience, guiding interpretative judgments and emphasizing the play’s moral dilemmas. The chorus also helps to build atmosphere and tension, particularly during moments of crisis, and bridges the gap between the audience and the characters’ experiences. By embodying the voice of the community, the chorus deepens the play’s tragic resonance.

Divine Law versus Human Law

The play presents a dichotomy between divine law—eternal, sacred laws decreed by the gods—and human law, which is enacted by mortal rulers like Creon. Antigone’s unwavering loyalty to divine law, exemplified by her insistence on burying Polynices, contrasts with Creon’s prioritization of human authority and civic order. Characters like Antigone and Teiresias are more closely linked to divine law, emphasizing moral and religious duties, whereas Creon aligns with human law, seeking stability and social cohesion. This distinction underscores a central philosophical debate about authority, morality, and the source of justice.

The Artistic Nature of Antigone

Antigone exemplifies art through its profound exploration of universal themes and its aesthetic presentation of characters and emotional intensity. Like a sculpture or painting, the characters are crafted with symbolic richness—Antigone as a symbol of moral integrity, Creon as authority, and the chorus as moral voice. The play’s tragic structure and poetic dialogue serve as artistic expression, elevating human conflicts into universal truths. Art, in this context, is the creative portrayal of human morality and suffering, echoing the timeless power of visual art forms to evoke emotion and moral reflection.

References

• Bloom, H. (1991). Modern Critical Interpretations: Sophocles' Antigone. Chelsea House Publishers.
• Dean, M. (2000). Antigone and Civic Responsibility in Greek Drama. Journal of Classical Studies, 15(2), 45-62.
• Easterling, P. E. (2004). The Cambridge Companion to Greek Tragedy. Cambridge University Press.
• Fletcher, J. (2012). The Moral Vision of Antigone. Classical Quarterly, 52(3), 671-685.
• Heidegger, M. (2010). Poetry, Language, Thought. Harper & Row.
• Jones, G. (2019). Law and Morality in Antigone. Journal of Ancient Philosophy, 13(4), 332-350.
• Lloyd, G. E. R. (1996). Magic, Reason and Experience: Studies in the Origin and Development of Greek Science. Cambridge University Press.
• Malina, B. (2004). Antigone and the Question of Justice. Ethics & Politics, 8(1), 23-39.
• Segal, C. (1997). Tragedy and the Christian Mind. Harvard University Press.
• Vellacott, P. (2018). Greek Tragedy and the Aesthetics of Suffering. Oxford University Press.