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Antigone and the Greek Tragic Mythos – An Overview

Sophocles’ Antigone, the third part of the so-called Theban trilogy is perhaps the best example of a good Sophoclean tragedy to show the Greek fascination with fate and how it controls people’s lives. In the play of the daughter of Oedipus, Antigone is cast in the hopeless role of obeying the strong, tyrannical Creon who rules the shaken city of Thebes, or obeying her family duty and placing her recently killed brother in battle Polyneices.

Yes Antigone chooses to bury her brother. And how could they not? His actions are not limited to the burial of his beloved brother; by burying Polyneices, Antigone is trying to bury forever the ugly, shameful history of her entire family. Oedipus was born to Laius, the king who gave birth to a child, it was said that he would give birth to a son. When Omu Ediputo was born, the child was left in the coffin and was about to die, but he was killed. As an adult, Oedipus actually killed Laius. He went on to marry his own mother, Jocasta, causing shame and confusion in the family.

Another motive behind Antigone’s actions is to please the gods, who are not angry with the entire tribe of Lapdacus, but because Polyneices is not buried with them. Hades, the god of the earth is deprived of the life that is now his beginning. Antigone uses this argument to win her case with Creon. But the unyielding Creon, worried about changing his mind to kill Antigone for disobeying his strict instructions, stirs up confusion among the Greeks. Such emotionalism is contrary to the Greek concept of self-control. Meanwhile, Ismene, Antigone’s sister refuses to help Polyneices, saying that she will not go out to fight with men, or ignore social norms as it affects the obedient, obedient women in Greek society.

Then the blind Tiresias, the most trusted advisor in the Greek society, calls Creon to tell him about the terrible signs that the old man saw, which, if his advice is ignored, will cause Creon to despair, and Thebes in another chaos. . Tiresias tells the ruler to, in fact, let Antigone go.

As harsh as ever, Creon accuses the blind old man of being foolish, and of seeking money instead of correct predictions. The song begins again, warning Creon that Tiresias has never done anything wrong, and that he should listen. This is the point of the play: The conflict between Antigone and Creon has reached its climax; players are committed to their desired strategies; everyone is waiting for a decision, which everyone knows will not be long in coming. Sophocles wrote this play to take place in one day.

The beginning of the coming conflict of interests, and the result is that Creon feels that he is right, especially since his actions are aimed at protecting the city, and punishing the one who wants to destroy it. Thebes has just endured a civil war; the city still trembles; Creon is put in charge, and he sees his duty as such. Antigone knows that she cannot allow her dead brother’s body to lie on land, to be taken by wild birds and beasts. Ismene sees her role as protecting the Greek sensibilities surrounding women, self-control and respect for duly elected authority. The end comes when Creon listens to the song, and Tiresias, canceling his order that Antigone starve to death in her cave, rushes to safety to find his beloved son Haemon already in Antigone’s cave, which is now a place of refuge. his suicide by hanging. In the ensuing argument Haemon again accuses Creon of not hearing the city’s cries for mercy, and then kills himself to be with his beloved Antigone. Then Creon’s pain increases when his wife Eurydice learns of the death of her son Haemon, and she kills herself again.

The play ends with the death of the five sons and daughters of Thebes, ‘the kinsmen’, as Shakespeare would write a thousand years later. Creon is lost, not knowing if what he said was right or wrong, not knowing that fate has driven him regardless. The great satisfaction, so to speak, of this over-the-top Greek tragedy is that the audience would have applauded, and apparently did, the drama’s takeover by fate. In a full-on brawl, when the match was lit, none of the characters controlled what happened. This was a comforting thought to the ancients: that when we reach a certain point, destiny begins, and the outcome is no longer in doubt.

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