Antigone is a classic work that never ceases to be analyzed by critics and students around the world. The debate over who is the real tragic hero of Sophocles’ play Antigone is a topic that is heavily discussed. To this day there is still no agreement. Some people believe that Antigone is the real tragic hero of this tragedy, while others believe that the hero is in fact her uncle, Creon. It is logical to say that Antigone is the tragic hero of Antigone more so than Creon because she is a likeable character, extracts pity from the audience, and her plight affects many.
To begin, Creon’s character is less likeable to the audience. From his very first lines in the play it is established that he believes that his royalty makes him superior to all. “No man can be fully known, in soul and spirit and mind, until he hath been seen versed in rule and law-giving”(Oates 278). He makes it clear to everyone that he has the final say in matters of the land. He makes the laws and everyone else has to abide by them. Creon thinks that if the gods give him the power make up any law he so pleases that it is obvious that it shall be followed because it is their will that he rule.
In this play, the audience knows, even if not a t first, that Antigone is right in her actions and Creon is wrong. Creon knows deep down inside that he is wrong. However he does not want to be known for backing down to a woman. “In Greek, the word translated as I obey actually mean I get myself persuaded”. (Classic Pages 1). Creon would be ashamed if he were to “obey” a woman. Antigone on the other hand is seen as a “do gooder”. She wants to bury her brother, not to offend anyone or even disobey anyone but to give him a burial that he deserves because she loves him.
She knows the consequences, but is noble enough to be selfless at a time like this. She instantly gains love from the audience this way. After Antigone has done the unlawful deed, her sister, Ismene, tries to say that she took part. Antigone will not have this. She is willing to take full responsibility. “Nay, Justice will not suffer thee to do thatShare not thou my death, nor claim deeds to which thou hast not put thy hand: my death will suffice” (Oates 284). This, coupled with the fact that when face to face with Creon she does not deny the deed to save herself, gives her respect from the audience.
She was respected for being a strong character that held tight to her beliefs. Secondly, Antigone does a good job at extracting pity from the audience. She appeals the sense of emotion with heart felt dialogue. One of the most pitiful points in this play is when she makes her last speech. She then looks back on what actually occurred. This is the first time that Antigone actually realizes her own sorrow. Earlier on she is still blind to the fact that this is the end for her. She will not get to have a life. She will not get to give life to someone else. “see what I suffer, and from whom, because I feared to cast away the fear of Heaven! Oates 291).
Here she is appealing to the gods. She is basically saying, “Look, I am suffering because I so longed to please you (gods). The audience feels sorry for Antigone because she is the accused. Many will side with the accused because their future is doomed. Not only does Antigone extract pity from the audience, she extracts it from other characters in the play. Ismene has always been sympathetic of her plight and shows this by trying to share the blame. The chorus is also sympathetic and so they try to persuade Creon that punishing her may not be the best thing. Lastly, Creon is sympathetic toward Antigone.
When he first becomes aware that she is the culprit, he tries to give her a way out. “knewest thou that an edict had forbidden this? ” (Oates 282) This line implies that if Antigone denied knowing, she would have been set free. Even after he has made the decision that she shall be punished, he goes back on his decision and tries to rescue her. Lastly, Antigone’s plight weighs heavily on the lives of most all the characters in the play. It has already been discussed that Ismene was so hurt by the upcoming death of her dear sister that she wanted to take some of the blame. The next person to be affected was Haemon, son of Creon.
Haemon was supposed to wed Antigone in the future. Because of the stubbornness of his father, he will no longer have the wife that he promised. Haemon has a deep love for Antigone. He argues with his father about the punishment, but Creon stands firm. He tells his son that he may find another bride. Haemon decides to take drastic measures. “No, not at my side- never think it- shall she perish; nor shalt thou ever set eyes more upon my face” (Oates 288). Her fate hurts so badly that he actually disowns his father. Another character so affected by Antigone’s dilemma is Eurydice. She is Haemon’s mother.
When she finds out that her son has killed himself alongside his bride she decides that she, too can no longer live. This domino effect eventually lands on Creon; the very one who has punished Antigone to begin with. Seeing that he was too late to save Antigone after he realizes he is wrong weighs heavily on his heart. As if that was not bad enough, he finds that he has caused the suicides of the two most important people in his life, his wife and son. “Lead me away, I pray you; a rash, foolish man; who have slain thee, ah my son, unwittingly, and thee, too, my wife- unhappy that I am! Oates 298) The fact that Creon is so badly affected is a twist of fate in some sorts.
H. D. F. Kitto states that “The chief agent is Creon; his is the character, his the faults and merits, which are immediately relevant to the play” (Kitto 133). However, this quote just further proves the point that Antigone is the hero. Creon has all the faults, while Antigone is a virtuous character that may be respected throughout the play. Creon is the opposite. Creon thinks that by freeing Antigone he will lose more. It turned out that he lost more by punishing her.
He needed the help of the Chorus and his own son to make him realize that he was wrong. Antigone knew what position she should take from the beginning, and it proved to be the right one in the end. While his characteristics are relevant to the plot, they only complement those of Antigone. There is no doubt that Antigone is the tragic hero of the play. She is a likeable character whose deeds earn a merit of admiration from all. Then, she touches the emotions of the reader because of her suffering. Also, she affects everyone in the play in some way.
She adds depth to the resolution of the story. “Antigone’s action is ultimately more heroic; she defies the power of the state out of love for her brother and faith in her conscience. The gods themselves validate her position” (Classic Pages 9). At times stubborn and offensive, she is nevertheless the character who has always captured the imaginations of the audience since the play’s first presentation many years ago. Her deeds go beyond the possibilities of normal human action, as she sets her individual conscience and her love for her dead brother above and against the power of her ruler.
