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Creon?s Transformation: From "Oedipus" to "Antigone", 2006.
This paper analyzes the transformation of Creon from innocent spectator to corrupt ruler in Sophocles' "Oedipus the King" and "Antigone."
890 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper follows the transformation of Creon in two of Sophocles' plays "Oedipus the King" and "Antigone." Throughout the course of the two plays, Creon transforms from an innocent spectator in "Oedipus the King," to a corrupt ruler and tragic figure in "Antigone." Creon's character in "Oedipus the King" depicts a kind, selfless and forgiving person. His good nature allows him to value the opinion of the people of Thebes. Yet in "Antigone," Creon uses his power as a king to punish and dictate laws without the consent of the people of Thebes. The writer contends that Creon's transformation which leads to his own suffering manages to invoke pity from those who dislike his character. A perfect ending for a tragic play.
From the Paper
"Creon's character in Oedipus the King shows a kind, selfless, and forgiving person. His good nature allows him to value the opinion of the people of Thebes. As he expresses in a speech to Oedipus and the citizens of Thebes, "I stand / In all men's favor, I am all men's friend." Creon is loved by the Thebans and they manifest this in their loyalty towards him. In the midst of Oedipus' troubles he accuses Creon of being a traitor. To devise the proper punishment, Oedipus asks the Thebans to decide on Creon's fate: death or banishment. The Thebans respond in Creon's favor."
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Oedipus the King and Antigone, 2008.
An analysis of the underlying themes and character development in Sophocles' "Oedipus the King," "Antigone" and "Oedipus Colonus."
1,464 words (approx. 5.9 pages), 3 sources, MLA, $ 48.95
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Abstract
This paper analyzes the deeper inferences that Sophocles portrays through the vivid character history of the main characters in his "Three Theban Plays." It describes the characters and the development of the character Oedipus as the model for the tragic hero in "Oedipus the King," "Antigone" and "Oedipus Colonus." The paper concludes that the life of suffering is the underlying theme in the story of Oedipus and Antigone.
From the Paper
"It is also important to note that 'innocence' is not rewarded with an escape from any type of suffering. As in the case with Jocasta and Ismene, who play passive roles, both experience an element of suffering. While many view Jocasta as more a tragic character than Ismene, it is important to note that Ismene is governed by fear of man, rather than will of the gods; serving as the perfect foil to her older sister Antigone.
"Ultimately, the life of suffering is the underlying theme in the story of Oedipus and Antigone. In both plays, the hero's suffer extreme consequences for the choices laid upon them, regardless of their favor to the gods. In this sense, suffering is not only a consequence of choice, but also an inherent part of life. Sophocles portrays this theme perfectly through his tragic hero's and characters, laying the groundwork for many tragedians in the future."
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Sophocles' "Oedipus Rex" and "Antigone": The Inadequacy of Man, 1999.
A paper arguing that Sophocles believes that human intelligence is merely an illusion and that men are incapable of rationally plotting their own destiny.
1,953 words (approx. 7.8 pages), 15 sources, $ 62.95
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From the Paper
"The Greek ode to man at the beginning of Antigone states that man is the most wonderful of many marvels in this world, but it is not such a confident statement as it first appears. The adjective used to describe man, deinos, means not only "wonderful," but also "terrible" and "fearful" (Woodard, 71). The greatest ambiguity, however, lies in man himself. Man claims control and domination of the world, yet he cannot control himself. The task of guiding men is left up to the gods, whose complete knowledge allows for just actions. In Oedipus Rex and Antigone, Sophocles displays the Greek conception that the fates determined by the gods are inevitable. He also teaches, through the tragic stories of Oedipus and Creon, that men who try to assume responsibility for their own fates will not only still be subject to the fates determined by the gods, but will destroy themselves in their attempt. Men do not possess the knowledge of the gods. Human intelligence is merely an illusion. Thus, men are incapable of rationally plotting their own destiny. If they try, as Oedipus and Creon did, they will blindly follow a path of ignorance, which leads only to destruction."
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"Oedipus the King" and "Antigone", 1992.
Compares the depiction of the character and his development in the plays by Sophocles.
1,575 words (approx. 6.3 pages), 1 source, $ 55.95
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From the Paper
"This study will examine the depiction of the character Creon in the two plays by Sophocles, Oedipus the King and Antigone. The study will argue that the portrayals of Creon in the two plays offer up serious contradictions, but in fact these are not contradictions but merely parts of a developing character.
The Creon in Oedipus the King is a far more sympathetic character than the Creon of Antigone. If we can assume---and we can do so fairly and accurately in this case---that the character did not undergo some revolutionary transformation internally in the period between the two plays, then we can conclude that he was affected by external circumstances. And, in fact, that is precisely what occurred. The major difference between the plays, with respect to the development of Creon, is that in the first play, Oedipus the King, Creon is not a powerful individual, at ..."
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Creon in "Antigone" and "Oedipus the King", 2004.
Discusses he character of Creon in Sophocles's "Antigone" and "Oedipus the King", describing the same man in differing circumstances.
1,222 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
In the play, "Oedipus the King", and in "Antigone", Sophocles has Creon as one of the central characters. This paper argues that a first look at Creon in the two plays suggests that Creon?s character has changed substantially. However, a closer look reveals that Creon remains the same basic character, only differing in appearance because of the situations he is in.
From the Paper
"The first character trait that defines Creon is his pride. This trait is clear in Antigone, where it is the major reason he refuses to change the law and allow Antigone to bury her brother, despite her many pleas. Creon initially makes the law out of a need to save Thebes. He is then unable to even consider changing the law, as doing so would show that he was wrong to make the law. In this way, his driving force is his pride. Creon?s actions in refusing to allow Antigone to bury her brother is often considered a sign of Creon?s cruel nature. This view fails to notice that, while the outcome may seem like cruelty to Antigone, Creon?s intention is not to be cruel. Therefore, a tendency toward cruelty should not be considered as part of Creon?s character. Instead, the outcome is a result of Creon?s character trait of pride. Creon?s motivation of pride is also seen where he makes the decision to send Antigone to her death. In deciding this Creon says, ?For since I have taken her, alone of all the city, in open disobedience, I will not make myself a liar to my people-I will slay her? (Sophocles, Antigone)."
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"Antigone" and "Oedipus", 2002.
Explores these works by Sophocles to discuss Aristotle's concept of a flawed hero.
650 words (approx. 2.6 pages), 8 sources, $ 26.95
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Abstract
According to Aristotle, tragedy requires, among other things, a character whom we admire greatly, but who possesses a flaw--hamartia, or some error in judgment. He falls from happiness into misery as the play progresses through what is sometimes translated as "serious action," action which is complete, noble, and poetical. The total effect invokes dismay and horror. In the end comes the anagnorisis: the recognition or uncovering of the error. In the naive form, a hero or heroine recognizes a person or thing previously mistaken in identity, through some scar or mark or other sign. Iphegenia, for example, recognizes her brother as she is about to sacrifice him to the gods. It is the purpose of this paper to discuss how the fear of God's wrath can make some punish themselves in worse manners than the Gods would actually do. It is also the intent of this paper to examine the works of Sophocles, "Antigone" and "Oedipus Rex" to shed further light on this subject.
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Antigone and Creon, 2002.
A comparison of the two characters Antigone and Creone in Greek philosopher, Sophocles' play, "Antigone" and their understanding of politics.
1,316 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
The paper discusses the two main characters in the ancient Greek play "Antigone" written by Sophocles. It shows how each has powerful views on politics, but they disagree on nearly every aspect of political life and law. One main conflict is that Antigone wholeheartedly believes in divine law, whereas Creon believes fully in Civil Law. The paper discusses issues such as personal principles, breadth of law, freedom, character and political and personal ethics.
From the Paper
"Antigone and Creon both understand certain aspects of political life, but neither comprehends all facets of politics. Antigone is pious but unswerving in her principles. Creon desires to create a stabile community, but he is cruel and unfeeling in order to set a precedent. Sophocles does not want us to emulate Antigone or Creon. Antigone epitomizes behaviors that reinforce or destabilize the Polis. Additionally, Antigone celebrates human power in the political system, whether advantageous or not. Individuals possess the powerful and dangerous tool of persuasion that must be used cautiously. Moreover, through the phenomenon of death in the play Antigone, the distinction between what individuals should attempt to control and what should be governed by a higher power, are illuminated. Creon and Antigone believe opposite forces should wholly preside over individuals, and neither will compromise their ideals. The characters in Antigone do not attain a ?happy medium? between divine law and law of the Polis. Human limitation should be addressed by incorporating both human and divine law into our lives."
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"Antigone" and "Another Antigone", 2002.
A literary comparison between Sophocles' "Antigone" and Gurney's "Another Antigone".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This is a compare/contrast essay on Sophocles' "Antigone" and Gurney's "Another Antigone". The paper discusses the main similarities and diferences between the female characters of each book.
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Creon's Politics in Sophocles' "Antigone", 1998.
Why Creon does not fit the definition of a true politician as laid out in Plato's "Gorgias".
1,212 words (approx. 4.8 pages), 2 sources, $ 41.95
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From the Paper
"Creon, in Sophocles? Antigone, does not meet the standards of a true politician according to Socrates? definition from Plato?s Gorgias. Socrates discusses the art of a true politician in Gorgias and asserts that a true politician follows three credos: 1) to always do what its best for the state as derived from reason, 2) to improve the soul and 3) to present strictly the truth to the people whether they have a desire to hear it or not. The true politician is just and happy as a result of his adherence to these principles. Socrates despises those who practice the pseudo-art of rhetoric and he dismisses it as a tool used to implore pleasure and avoid the truth. Creon attempts to maneuver around the truth and pursue his personal will, contrary to the desires of the Greek gods. As a result of Creon?s incompetence and refusal to effectively use reason or compromise he loses several of his kin and is left without an effective legitimacy of governing."
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Sophocles' "Antigone", 2008.
This paper discusses the conflict which arises between Antigone and Creon in Sophocles' "Antigone".
1,615 words (approx. 6.5 pages), 3 sources, MLA, $ 52.95
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Abstract
This paper explains that Sophocles'"Antigone" presents the trials and tribulations of one of Oedipus' daughters, Antigone, as she attempts to fulfill the obligations she feels towards the shattered family. The author points out that the conflict between Antigone and Creon is a conflict of perceptions. The paper relates that Creon believes that one's highest duty is to respect the rules, which govern citizenship, thus complying with all city laws and edicts irrespective of personal opinions and moral codes. The author stress that, Antigone, on the other hand, within the context of her moral code, believes that the laws of a state should be compliant with divine laws. The paper states that, since Antigone thinks that Creon's edict is deemed incongruous with divine law and disrespectful of blood ties, Antigone believes that obedience towards Creon's laws would be immoral and wrong so she disobeys them at the cost of her own life.
From the Paper
"Creon considers it unconscionable that someone would put their duties as a family member ahead of their duties as a citizen. "And a man who thinks more highly of a friend than of his country, well, he means nothing to me." A person who is capable of valuing his own family members over his fellow citizens has no worth as a citizen, which is the only measure of any significance as far as Creon is concerned. In his eyes, it is precisely our existence as good citizens that give value to our lives. As Howenstein explains, according to Creon, ruling is grounded in the incontestable power of the sovereign and the absolute subservience of his people."
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Anouilh's "Antigone", 2006.
Antigone and Creon are poised against each other in a battle of reasoning in Anouilh's "Antigone". This paper explores the degenerative qualities of their innate opposition.
1,106 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
Following brief, brutal conflict, the opposing qualities between Antigone and Creon prove to cause disastrous results on both sides of the opposition, though Antigone pays the greater price. Using a scholarly article entitled "Patterns of Imagery and Anouilh's Antigone" by the widely respected William Calin, this paper explores, in detail, the images associated with Antigone and Creon and what the consequences of their brutal interaction are in Anouilh's work, "Antigone". The first comparison examines Antigone's youthful naivety in comparison to Creon's aged indifference. Next, Antigone's association with nature is set against Creon's ties with civilization. In another comparison, this paper explores Antigone's beauty in comparison to Creon's ugliness. Finally, the paper delves into Creon's qualities of dominion which are thrown into upheaval by Antigone's rebelliousness. The paper closes by questioning whether or not Creon is actually victorious in spite of Antigone's death.
From the Paper
"Throughout her entire argument with Creon, Antigone remains violently opposed to whatever Creon has to say; even when Creon makes a valid point to diffuse Antigone's argument, she modifies her stance just to stay in opposition with Creon. It is almost as if a law governs Antigone's personality, one that does not allow her to wholly agree on anything Creon says, thus perpetually putting her at odds, inevitably calling for her death."
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The Weight of Tragedy in "Antigone", 2003.
A comparative analysis of the characters of Antigone and Creon in Sophocles's "Antigone"
1,239 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper examines Sophocles's tragic Greek play, "Antigone", where characters who value love, emotions, duty, bravery, and honor, meet the characters that are full of hate, fear, carelessness, and disgrace. It shows how the brightest among them are Antigone and Creon and discusses how Antigone carries the tragic focus throughout the play, but Creon overtakes that ?role? at the very end. It shows how, although Antigone suffers, waiting for her death for the most of the play, she wants to die, and she dies in glory and how, although Creon is the bad character throughout the play, only at the very end do we see that he is the real tragic figure.
From the Paper
"Antigone has to go over hard times, bringing on her shoulders the shame that her father brought upon her family. Antigone has even stronger feelings about her relatives who are dead because they cannot protect themselves from peoples? gossips. Antigone cannot stand the fact that her brother Polynices lies unburied, his body being torn by the animals. And Gods are unhappy too; the body needs to be given the burial right. As Tiresias tells Creon that he had robbed the Gods below, keeping the dead body up on earth (stanza 1188). Antigone cannot let more disgrace go upon her family. She buries her brother?s body with her own hands."
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Conflict in Antigone, 2005.
This paper interprets the conflict between Antigone and Creon in Sophocles' "Antigone."
2,250 words (approx. 9.0 pages), 6 sources, $ 89.95
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Abstract
The paper discusses how the fundamental conflict in this play is not between Antigone and Creon, but rather is located in the laws of the gods as opposed to those of human beings. The paper shows how Creon represents the ruler's perspective, while Antigone holds the opposing view and each character is adamant and determined in their position. The paper illustrates how the tragedy primarily is concerned with the conflict as it illustrates the relationship between mortals and the gods, but within the overall context of ancient Greek society.
From the Paper
"Sophocles' "Antigone" is pertinent for all ages and any individual who has experienced conflict can relate to the play. The essence and theme of this tragedy is personal conflict, with two extremely stubborn individuals locked in opposition. The problem is that neither Antigone nor Creon is willing to compromise. Sophocles complicates the conflict by depicting the two central characters as being remarkably similar. In addition, he invites sympathy for both characters. However, as in all Greek tragedy, the fundamental conflict in this play is not between Antigone and Creon, but rather is located in the laws of the gods as opposed to those of human beings."
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Tragedy in 'Antigone', 2000.
A research paper analyzing Sophocles' play 'Antigone', with special reference to the characters Antigone and Creon and the themes of the play.
1,815 words (approx. 7.3 pages), 1 source, $ 58.95
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Abstract
This research paper is an examination of the play Antigone by Sophocles. It proves how the author intended for both the characters Antigone and Creon to be tragic figures. Specifically, it expands on the themes of the play that contribute to both characters? downfall: Antigone?s devotion to her family and her own internal character flaws and Creon?s obsession with the state and his personal defects.
From the Paper
"A careful analysis of the play Antigone will show that Sophocles intended for both Antigone and Creon to be tragic figures. Antigone?s devotion to her family combined with her character flaws lead to her death. Similarly, Creon?s love of the state together with his own innate defects cause his downfall. The themes that permeate the play also illustrate the inclusion of both the main characters as part of the tragedy. "
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The Role of Women in "Agamemnon" and "Antigone", 2006.
A comparison of the roles of women in "Agamemnon" and "Antigone" from the "Oedipus" trilogy.
958 words (approx. 3.8 pages), 1 source, MLA, $ 34.95
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Abstract
In this paper the author looks at the role of women in "Agamemnon" and "Antigone" from the Oedipus trilogy. He compares the characters of the main women in the both books, Clytaemestra and Antigone, looking at the way they deal with certain circumstances. For example, how Clytaemestra is devious and plans to murder her husband, Agamemnon, out of fury over his sacrifice of their daughter, Iphigenia. Whereas Antigone defies an edict by insisting on the burial of her brother, Polynices because she is acting out of a sense of duty to fulfill a promise made to him before his death. The author concludes that Clytaemestra and Antigone can be seen as personification of woman's most extreme emotions and conflicts. The values that in Antigone are good and true become distorted into hatred and violence in Clytaemestra.
From the Paper
"The strength of Clytemaestra's personality is evident in her first speech, which follows immediately after the scene in which the sacrifice of Iphigenia takes place. She is majestic in her wrath and dominates the entire work from this scene on. She personifies the theme of the conflict between ethics and principles and human emotions. She easily convinces the elders of her story of the fall of Troy. She impresses them with her intellect by which she arranged a complex system of beacons to relay the news. She is audacious and proud, even hinting subtly of her plans, almost inviting the wrath of the gods."
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