In this famous tragedy, Sophocles uses the characters Ismene and Antigone to show the different characteristics and roles that woman are typical of interpreting.
Sophocles' Antigone models the classical pattern of tragedy by incorporating key elements such as a tragic hero with a fatal flaw and the Man-God-Society triangle.
Example from play- Antigone has disobeyed him as both man and king and brought on a clash of ego and pride between the two
Quote- ‘’ go down and love you must-love the dead!
While I’m alive, no woman is going to lord it over me’’.
Explanation- Creon has a lot of pride that he would allow Antigone to kill herself before he admits he is wrong.
Antigone's pride leaves her no choice but to martyr herself for her belief
Example from play – Creon will not allow her brother to be buried.
In Sophocles play Antigone the main characters; Antigone, Creon, Ismene and Haemon go through the process of Greek tragedy, which consists of Creon transforming from the proud lord of Thebes to a defeated, grief-stricken mortal. The play takes place in the city of Thebes and its countryside. This story seems the same as other Greek tragedies in that one of the character’s decisions affects other characters, usually with a negative outcome. Creon and Antigone are both stubborn and do not listen to others. Creon declares that Antigone will be killed since she decided to go against his decree, that her brother Polyneices would not be buried since he fought against Thebes and Eteocles. Creon is warned that, “stubborn self-will incurs a charge of stupidity” (L, 1028) and that he should reconsider his options. With no regard to what he’s been told Creon his decision does not falter. Finally when Creon comes to his senses it is too late, he discovers his son Haemon has killed himself and that Antigone is dead too. The play ends with Creon regretting his actions and both dead.
Martin Heidegger in “The Ode on Man in Sophocles’ Antigone” explains, in a rather involved theory, the destruction of Creon’s character: The conflict between the overwhelming presence of the essent as a whole and man’s violent being-there creates the possibility of downfall into the issueless and placeless: disaster....
In Sophocles’s Antigone, the main character (Antigone) acts as a protofeminist by defying the authority of a patriarchal society and taking action according to what she believes is right in her heart.
In order for a play to be considered a tragedy it must achieve the purgation of fear and pity. In the play “Antigone”, Sophocles does a great job of bringing out these two emotions in a reader....
Martin Heidegger in “The Ode on Man in Sophocles’ Antigone” comments on the Greek audience’s sense of history and a drama: Polis means, rather, the place, the there, wherein and as which historical being-there is....
"Oh," someone might say when they discover Antigone's fate, "how tragic." Nevertheless, they do not mean that Antigone is tragic in the classical Greek sense; rather they just mean that Antigone got a bad lot that she didn't deserve....
Sophocles in his tragedy Antigone teaches about “morally desirable attitudes and behavior,” (4) and uses a woman as heroine and another woman in a supporting role to do most of the instructing of the audience in this regard....
Creon must decide whether to punish Antigone, a princess, daughter of king Oedipus, or fail at enforcing his own law and look weak in front of the citizens of Thebes as their new leader....
Although both Antigone and Creon have justified reasons for believing in there own laws only one can be upheld by the play and how Sophocles interoperates the play himself.
The protagonist is generally regarded as the "good guy," and the antagonist is the "bad guy." In Sophocles' play Antigone, the lines between protagonist and antagonist are blurred.
Revealed in the play Antigone, the female character is [exposed as a rebellion] awkward against the government; but in the play Apology, a male philosopher is seen as a martyr for his belief in a true justice system.