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."

Tags:literature, drama, tragedy, greek, sophocles, character, analysis

Abstract
The paper discusses the characters of of Oedipus and Antigone in Sophocles' "Antigone" and "Oedipus the King".

From the Paper
"Aristotle described the tragedy as the imitation of an action that is serious and also as having magnitude complete in itself, in language with pleasurable accessories, each kind brought in separately in the parts of the work in a dramatic, not in a narrative form, with incidents arousing pity and fear wherewith to accomplish its catharsis of such emotions. Central to the accomplishment of these goals is some sort of dramatic life-changing..."

Tags:Antigone, Oedipus the King, Sophocles

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."

Tags:suffering, theban, tragic

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)."

Tags:sophocles, character, trait

Abstract
The paper uses the two plays as the main source of reference in analyzing the concept of human suffering and the association that Sophocles portrays between human suffering by man versus man and man versus gods. It also uses two sources to introduce a psychological context to the paper, inferring that Sophocles was no doubt attempting to project an element of fatalism in his works.

From the Paper
"Sophocles is renown and credited for his development of the Greek tragedy, and this is most apparent in his works Oedipus the King, Antigone, and Oedipus Colonus, better known as the The Three Theban Plays. Many argue that the development of the character Oedipus is the model for the tragic hero. However, this paper will analyze the deeper inferences that Sophocles portrays through the vivid character history of the main characters. The Three Theban Plays have been attributed to the success of many psychology philosophers such as Freud, and Humanist theorists have touched on the subjects surrounding Oedipus, Creon and Antigone."

Tags:oedipus, tragedy, antigone

Abstract
The paper compares and contrasts the characters of the three Theban kings, Creon, Oedipus, and Pentheus, from the plays "Antigone", "Oedipus the King", and "The Bacchae" respectively. The paper illustrates how these tragic heroes all shared the same destiny of misfortune as a result of their own decisions and actions.

From the Paper
"A common recurring theme in many Greek tragedies is the appearance of the "tragic hero." These characters are usually the protagonists, who, by their own actions and decisions, come to a tragic and unfortunate ending. The character and persona of the tragic hero tends to be very similar in many Greek tragedies. This can be seen in plays such as Antigone, Oedipus the King, and The Bacchae. These three plays have several things in common; not only are all three plays set in the city of Thebes, but the tragic heroes of all three plays are also the king. However, it is important to note that Antigone and Oedipus the King were composed by Sophocles, whereas The Bacchae was composed by Euripides. By comparing the three Theban kings, Creon, Oedipus, and Pentheus, one can gain a better understanding of the works previously mentioned as well as the overall character of the tragic hero."

Tags:heroes, tragedy, misfortune, power, tyranny, pride, downfall

Abstract
The paper argues that reading the three plays "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order gives us more insight into Sophocles' narrative skill. The paper explains that one is able to fully savor the strange fusion of character and destiny that Sophocles manages to pull off as a playwright and storyteller. The paper argues further that although the play cycle has occasional lapses in chronology and internal inconsistencies, the plays also show us how certain characters, in particular, Creon, are able to radically transform themselves over time.

From the Paper
"Sophocles composed the Theban plays during a thirty-six year span. The three plays were actually not composed in chronological order; Antigone was penned first, followed by Oedipus the King, and finally, Oedipus at Colonus, shortly before Sophocles's death. As such, the three plays are rife with inconsistencies that come out when one reads them closely in chronological (i.e. sequential) order. Most notably, at the end of Oedipus the King, Creon has emerged as the undisputed King. He decides to expel Oedipus from Thebes after consulting with Apollo. Creon is then asked to look after Antigone and Ismene, the two daughters of Oedipus, which he agrees to do. In the subsequent plays, however, the two daughters are found wandering about on their own, either having fled with Oedipus or actively campaigning against Creon, who is supposed to be looking after them."

Tags:playwright, storyteller, Antigone, Ismene, Oedipus, Creon

Abstract
This paper looks at how Sophocles and Homer portrayed their female characters in "Oedipus the King" and the "Odyssey", respectively. The author examines how in both works women display superior qualities and are catalysts for action, but never the equals of men. The paper exhibits the Greek view of women as powerful, strong, necessary testers of heroes, but ultimately lesser creatures.

From the Paper
"In both Homer's The "Odyssey" and Sophocles "Oedipus the King" the role of women is subordinate to the central male figures, as was the norm in Greek Society. Women were expected to follow established roles and Sophocles and Homer made sure that they did. Both works are named for the men who are the heroic focus, but both are structured around women who are essential to the artistic purpose. In The "Odyssey", being much larger in scope, Homer presents a variety of female figures, while in "Oedipus the King" Sophocles offers mainly Jocasta to represent his vision of womankind. The "Odyssey" centers around the travels of a male hero, but it is women who provide the core of his adventures. Odysseus is trying to get home to his beloved woman, after the Trojan War, which was fought over a woman. Athena, a female goddess, literally guides and forms the action. Odysseus is a hero as his journey begins, but the women he meets, enlarge his quest for self knowledge and his heroism. Homer's attitude toward women sometimes seems inconsistent, but he is simply depicting varieties of women in his world."

Tags:homer, greece, sophocles, jocasta, oedipus, odyssey, odysseus, queen, klytemmnestra, antigone, trojan, war, kirke, kalypso, goddess, aphrodite, helen, character, thebes, female

Abstract
This paper will discuss the plays of Sophocles: Oedipus the King, Oedipus at Colonus, and Antigone and describe, for each of them, a brief description, their characters and plot, their modern performances being produced and detail about how they are being made in the modern spectrum of theatre. By revealing the way that these plays function, we can see how they were created in the great spirit of the Greek tragedy and can tell us how the Greeks lived within their times through this medium. Also, we can learn how these plays function within our society at present and tell us how times have changed, but themes such as these are still purveying within this scope.

Abstract
This paper explains that, while there has long been the typecast in drama that men are in control of their women, this is not always the case; many times the women are the ones in charge. The author points out that the female characters Antigone and Ismene from Sophocles' "Oedipus the King" and Desdemona and Bianca from Shakespeare's "Othello" are women who are submissive to the men in their lives. The paper relates that the characters Jocaste from Sophocles' "Oedipus the King", Emilia from Shakespeare's "Othello" and Kristine Linde, and Nora Helmer from Henrik Ibsen's "A Doll's House" are women who are portrayed as strong and in possession of power in their respective relationships.

From the Paper
"Women are not always subject to the men in their lives though. Many times the women are the ones with all the power in a relationship and men are the ones left with the more compliant role. Such is the case with Henrik Ibsen's A Doll's House and two of it's main characters, Nora Helmer and Kristine Linde. These two women each possess the level of power with their respective men that allow them to truly run the show. First off is Nora Helmer, a housewife who is more than she seems to be. At first glance, she appears to be completely dependant on her husband Torvald but the audience soon finds out that this is not the case. When Torvald became ill and near death, Nora took it upon her self to raise the money needed to help save his life, something unheard of in that time, as women were not even allowed to take out a loan without their husband's permission."

Tags:mistress, control, typecast, submissive, strong