He is, after all, the tragic figure of the play. Creon declares himself King of Thebes after the death of the two rightful heirs, the brothers Eteocles and Polyneices. As the play opens, Creon the uncle of the dead brothers and their sisters Antigone and Ismene has made himself king and attempts to establish legitimate rule with a speech and decree.
Extract from the Encyclopaedia Britannica Online entry on tragedy12 April, George Wilhelm Friedrich Hegelthe immensely influential German philosopher, in his Aesthetikproposed that the sufferings of the tragic hero are merely a means of reconciling opposing moral claims.
The operation is a success because of, not in spite of, the fact that the patient dies. According to Hegel's account of Greek tragedy, the conflict is not between good and evil but between goods that are each making too exclusive a claim.
The heroes of ancient tragedy, by adhering to the one ethical system by which they molded their own personality, must come into conflict with the ethical claims of another. It is the moral one-sidedness of the tragic actor, not any negatively tragic fault in his morality or in the forces opposed to him, that proves his undoing, for both sides of the contradiction, if taken by themselves, are justified.
The nuclear Greek tragedy for Hegel is, understandably, Sophocles' Antigone, with its conflict between the valid claims of conscience Antigone's obligation to give her brother a suitable burial and law King Creon's edict that enemies of the state should not be allowed burial. The two claims represent what Hegel regards as essentially concordant ethical claims.
Antigone and Creon are, in this view, rather like pawns in the Hegelian dialectic--his theory that thought progresses from a thesis i. At the end of Antigone, something of the sense of mutually appeased, if not concordant, forces does obtain after Antigone's suicide and the destruction of Creon's family.
Thus, in contrast to Aristotle's statement that the tragic actors should represent not an extreme of good or evil but something between, Hegel would have them too good to live; that is, too extreme an embodiment of a particular good to survive in the world.
He also tends to dismiss other traditional categories of tragic theory. For instance, he prefers his own kind of catharsis to Aristotle's--the feeling of reconciliation.
Hegel's emphasis on the correction of moral imbalances in tragedy is reminiscent of the "poetic justice" of Neoclassical theory, with its similar dialectic of crime and punishment. He sounds remarkably like Racine when he claims that, in the tragic denouement, the necessity of all that has been experienced by particular individuals is seen to be in complete accord with reason and is harmonized on a true ethical basis.
But where the Neoclassicists were preoccupied with the unities of time and place, Hegel's concerns, like those of other Romantics, are inward.
For him, the final issue of tragedy is not the misfortune and suffering of the tragic antagonists but rather the satisfaction of spirit arising from "reconciliation. Hegel's system is not applicable to Shakespearean or Romantic tragedy.
They behave as they do, says Hegel, now speaking outside of his scheme of tragedy, simply because they are the kind of men they are. In a statement pointing up the essence of uninhibited romantic lust and willfulness Hegel said:Creon as a Tragic Character in “Antigone” Creon is the tragic character in the play “Antigone”.
Creon’s tragic flaw, hubris, causes his downfall. Creon will not listen to anyone.
He is stubborn and his pride is so great, he can not bring himself to acknowledge that he could ever wrong. When Creon is talking to Teiresias, he thinks. Sophocles’ Antigone: Protagonist Essay; A literal “age old” argument that has sparked intelligent conversation since the BC era is still as potent as ever in Sophocles’ Greek tragedy, Antigone.
Since the play’s origin, there has always been a toss-up as to who the true tragic hero, or protagonist, is. A popular misconception is that. Struggling with the true tragic hero antigone and research papers, neither your question fast from real experts.
Do you think antigone essays for heroclix and a biography of . A tragedy is supposed to be a drama where the main character has a tragic flaw which causes him or her to suffer from certain consequences. Antigone is a real tragedy because the characters portrayed in it have tragic flaws.
Antigone for one is too outspoken for the time period. Antigone - Creon Defines the Tragic Hero Antigone, written by Sophocles is a tale of a tragic hero who suffers with the recognition and realization of his tragic flaw. Although this short story is titled after Antigone, Creon is the main character and he provides the moral significance in the play.
In reading Antigone, Medea and Hamlet, look at the role of justice and/or Eventually the Aristotelian tragic hero dies a tragic death, having fallen from great heights and having made an irreversible mistake. The hero must courageously accept their death with honour.