In Sophocles' Antigone, Creon best fulfills the requirements of the tragic hero. Support this claim with quotes and paraphrases - Essay Example

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Insert Name Tutor Course Date Introduction The authorship of Sophocles’ Antigone dates back to 441 BC and features as the last of the three Theban plays, though it was the first to be written. The striking features of Antigone is not only seen in it predating and expanding on the Theban play legend and picking up from Aeschylus’ Seven against Thebes, but also in the way it builds the theme of Creon fulfilling the requirements of a tragic hero…
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In Sophocles Antigone, Creon best fulfills the requirements of the tragic hero. Support this claim with quotes and paraphrases
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"In Sophocles' Antigone, Creon best fulfills the requirements of the tragic hero. Support this claim with quotes and paraphrases"

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. ...
On one count, it is important to note that despite Antigone having the same flaw with 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 stating in the 86th to 90th lines of Exodus that: “Nothing you say can touch me any more. 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 harmatia, 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 posses 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 the 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 Read More
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