The Authorship of Sophocles Antigone the Last of the Three Theban Plays - Essay Example

In this case, Creon’s hubris is what leads to his downfall. Creon’s hubris inspires his ironfisted rule. Creon’s autocratic mien is made manifest in the way he inculcates fear in his subjects. An instance in which this fear is displayed is seen in the instance in which Antigone requests Ismene to contravene the law. At this point, Ismene in scene I fearfully replies, saying, “Think of how deaths terrible than these, our deaths will be, should we go against Creon” (Barnet, William, and William, 441).

Creon’s pride is nevertheless epitomized in him querying the laws of the gods- a thing which the Greeks considered sacrilege. In scene I, this unfortunate event comes into play when Creon issues the command that, “Polyneices… should have no burial: no man should touch him or pray for him; he shall on the plain lie, unburied” (Barnet, William, and William, 444).

Since the parados in Antigone does not only serve as a form of catharsis (emotional relief and purification) for the audience but also as prologue, its consideration as a way of reconstructing Creon’s action suffices. Going by the parados precluding the play, it is most plausible, that Creon’s hard stance comes against a backdrop of a bruising battle. Just as the rest of Thebans, Creon was definitely angry at Polyneices for having betrayed and attacked them. However, Creon should have respected the fact that the gods demanded proper burial rituals.

Although some point out Antigone as the character likely to serve as the tragic hero, yet she does not fit this description more than Creon on several counts. On one count, it is important to note that despite Antigone having the same flaw as her uncle Creon’s, her hubris does not match her uncle’s. In spite of her being proud, she shows some aspects of modesty. In her stanza Epode, she says that it is no longer right for unhappy her to view the holy eye of light.

In relation to the foregoing, it is important to note that part of what is considered Antigone’s pride is partially self-confidence which is a meaningful virtue. An instance where this self-confidence shows is seen in her statement in the 86th to 90th lines of Exodus that:
“Nothing you say can touch me anymore.
My own blind heart has brought me
From darkness. Here you see
The father murdering, the murdered son--
And all my civic wisdom!” (Robert, 420)

Apart from Sarmatia, the protagonist or the central character must be in a high state. Usually, the protagonist is a partaker of royalty (queen, king, princess, or prince) or one who possesses extraordinary abilities in battle or wisdom. It is from this status that the protagonist must fall, in order to bring about the aspect of tragedy. In the three episodes that succeed the parados in Antigone, Creon is an exceedingly wealthy and powerful king. What makes his royalty outstanding is the immense depth of loyalty that he enjoys from his subjects. Thus, the wealth, power, and loyalty, and fear that Creon obtains from the hoi polloi do not only present Creon with dignity but a position from whence he should fall. The aforementioned loyalty plays out in the instance Creon issues the decree on Polyneices’ burial. Particularly, in Scene, I, Choragos as the representative and the spokesperson of the masses tells Creon, “If that is your will, then you Creon, son of Menoikus have the right to enforce it: we are all yours” (Barnet, William, and William, 444).

Reflection and Conclusion
Stories such as Antigone may not just be sidestepped as myths, especially when the story of Creon comes into consideration. On the converse, it is important that people factor in the reality that Antigone exists for the admonition of the rest of humanity. By extension, the essence of the story is that humanity is entirely weak despite the many achievements it may realize. The consummation of human weakness is death. This notion is well underscored in the two strophes and two antistrophes that divide the ode into four sections. As a chorus, Strophe II elaborates the achievements of man but reiterates that man has an inevitable destiny with death. The same is underscored by the first Stasimon of Antigone.

Herein, the chorus praises the awesomeness of man as the most outstanding wonder in the universe. These two allude to Creon’s achievements and his tragic end that would be brought about by fatal pride. The rest of mankind has an appointment with this reality, given that despite its achievements, it still has an appointment with death. The crux of the matter herein is that there is no room for pride in mankind.