Through Antigone play, Sophocles explores the ideas, motives, aspirations, utterances dispositions, and actions of different characters, thus allowing audiences to come to terms with the various characters. All the characters seem to be motivated by the desire to achieve some commendable objective. Based on the play’s events, it is thus not easy to definitively assign any character the label of ‘tragic hero’. In the traditional sense, a ‘tragic hero’ is a character who falls from grace to shame owing to the character’s inherent flaw of judgment. This character is influential. Their disgrace thus has a significant effect on their compatriots. The play’s 2 central characters, namely Creon and Antigone, are influential based on their respective social statuses. Antigone is a princess under is Creon’s foster daughter. Likewise, Creon is the ruler of Thebes. The 2 characters’ fall from grace thus greatly affects Theban people. Reverting to the issue of who between the 2 is a tragic hero, it is important to note that the reason for the duo’s demise has some moral and practical backing. The conventional definition of a ‘tragic hero’ thus fails to accurately apply to either Creon or Antigone.
The preceding realization brings us to another concept, namely, Hegel’s definition of tragedy. This philosopher notes that tragic collisions are the central elements within tragedies. Hegel adds that these collisions do not arise owing to various characters’ evil or good actions. Instead, Hegel’s holds that tragic collisions arise from characters’ clash over different opinions. It is important to note that each of these varied opinions has a tinge of goodness in it. Hegel’s ideology accurately applies to the case of Creon and Antigone. These characters have some valid points for backing their ideas. Further, the 2 characters clash over their divergent viewpoints.
To illustrate, after arresting Antigone, Creon informs the girl that the former seeks to uphold law and order in Thebes, hence his decision to refuse Polynices a decent burial. This treatment of Polynices – who is a brother to Antigone – is the genesis of Creon’s disagreement with the young girl. The ruler then explains that his actions are consistent with the policies of the Theban governing system. Such a confession by Creon shows that his actions satisfy the rules set out by Hegel. To expound, Creon’s edict against burying Polynices has both a bright as well as a dark side (Sophocles, Fagles, and Bernard 76). Regarding the bright side, by issuing and implementing this decree, Creon is attempting to preserve order in Thebes. With an order, peace, and prosperity will follow. This is a commendable intention that abides by Hegel’s theory of tragic collisions.
On the other hand, Creon’s edict has vestiges of unpleasant elements, thus abiding by the theory proposed by Hegel. For instance, Creon demonstrates partiality through his discriminative decree. Such bias is evident through the ruler’s seeming disregard of the fact that Polynices is as guilty as Eteocles. It is thus improper to deem either brother as better than the other. Eteocles instigated the conflict by refusing to hand over the leadership mantle to Polynices. Oedipus – the 2 character’s father – instructed the sons to rule in turns, an order that Eteocles quashes. Polynices’ fault occurs when he attempts to forcefully wrestle power from his brother rather than follow peaceful means. Further, both brothers attempted to overthrow Oedipus. Despite this glaring truth, Creon orders for Eteocles to be correctly buried, with Polynices’ corpse being left to rot in the fields. This is a biased approach that exposes Creon’s dark side. For fairness to prevail, Creon should have accorded equal treatment to the 2 brothers’ bodies. Such partiality on the part of Creon proves that he satisfies the rules for tragic collisions set out by Hegel.
Further, Creon listens to and even appreciates the motives making Antigone bury the body of Polynices – her brother. Creon’s show of understanding for Antigone’s motivations plays out in the play when Antigone points out that the king’s directives are unjust. This awareness pushes Creon to implore Antigone to pity the ruler. In addition, Haemon – Creon’s son – warns the father that the ruler’s decree is causing disquiet in Thebes. Despite being privy to such clear reasons for Antigone’s actions, Creon goes ahead to order for her interment. This is an erroneous action on the part of Creon. Through such an action, Creon demonstrates that he has characteristics that make him satisfy the guidelines set out by Hegel.
On her part, Antigone makes certain actions that identify her as someone who satisfies the rules of tragic collision set out by Hegel. Some of Antigone’s actions are correct while others are flawed. For example, by choosing to stand up against the injustice being meted out on her dead brother, Antigone does an honourable action. She is aware that the administration is unjustly punishing Polynices – one of the deceased brothers. The gallant girl thus resolves to set things straight with the administration. She clandestinely buries the corpse. In addition, she tells off Creon when the latter tries to persuade her to abandon her defiant position. Considering that Antigone’s actions resonate with those of the larger Theban society, her actions are justified. She thus satisfies the guidelines for tragic collisions stipulated by Hegel.
On the contrary, Antigone does several acts that are erroneous, thus delineation herself as a person who satisfies Hegel’s rules of the tragic collision. To illustrate, she gives up her love for Haemon, thereby causing the latter much heartache. At one point, Antigone is quoted as categorically informing Haemon that she will not be able to love him. This statement may explain Haemon’s troubled status and his eventual tragic suicide. For the aforementioned reasons, Antigone satisfies the requirements stipulated by Hegel about tragic collisions.
To summarize, Sophocles Antigone play has no definite tragic hero. Rather, the play has 2 characters, namely, Antigone and Creon, who exhibit both positive and negative behaviour. Such behaviour makes the 2 people clash. Hegel’s idea of tragic collision thus comes to the fore, replacing the notion of a tragic hero. Through their divergent opinions, Creon and Antigone clash throughout the play. These clashes highlight both Antigone and Creon’s strong and weak points. Regarding the negative behaviour, Creon disregards justice, thus unjustly ordering Polynices’ bodies to be allowed to rot in the fields. Creon however accords Eteocles, who is as guilty as Polynices, a fitting burial. On the positive side, Creon aspires to uphold order and law in Thebes, thus facilitating peace and prosperity. It is thus clear that Creon has both negative and positive aspirations that cause his clash with Antigone. Likewise, Antigone depicts several pleasant behaviours, for instance, she boldly opposes Creon’s partiality concerning the treatment given to the corpses of Eteocles and Polynices. On the contrary, Antigone allows her desires to push her away from Haemon – her lover. The preceding traits designate Antigone as a character who satisfies Hegel’s ideology of tragic collision.
Work Cited
Sophocles, Fagles, Robert and Knox, and Bernard MacGregor Walker. The Three Theban Plays. New York: Penguin, 1984. Print.