Croon does not accept and understands his flaws, his tragedy basically happens due to his stubbornness, narcissism and tyrant-Like behavior. Croon suffers the most because he Is the guilty one, he does the most wrong which causes a lot of the dark turns In the play. He deliberately Ignores the fact that his family is suffering and even his people.
His uncle argues that Polyneices was a traitor to the city and consequently, his burial ought to be forbidden as a punishment for his crime of treason. Moreover, between the harrowing conflict between uncle and niece, a third dimension will appear on the piece embodied by the characters of Ismene and Haemon.
Both characters will try to avoid the tragic development of the events proposing a third path for understanding the law in the play. Certainly, a relevant aspect of this masterpiece is its universality and the variety of topics which can be developed; a first lecture of the piece remains as an open door to multiple topics as family, the State, justice, repression and transgression.
Furthermore, there is not any coincidence on the choice of the lexicon by Sophocles in the Antigone; a reflexion on the law is a central matter. In a first step we will argue that the Antigone is an instructive piece about mistakes on the exercise of practical reason and its tragic consequences if law makers are blinded by vices.
Secondly, this tragedy emphasizes the importance of the commitment of the law in preventing the apparition of apparent incommensurable conflicts.
According to Aristotle, a tragedy is an "imitation of an action that is serious, complete, and of a certain magnitude: Hence, tragedies and particularly the Antigone have an instructive aspect for Greek citizens and in particular about character mistakes.
Thus it will be argued that the first dimension of this tragedy is about mistakes on the exercise of practical reason and its tragic consequences if law makers are blinded by vices. He argues that there are several mistakes on phronesis such as immaturity and incontinence, akrasia.
In this sense, it will be argued that the characters of Antigone and Creon embody these false judgements. Their most striking mistake, as Martha C. Creon embodies the laws of the city, while Antigone watches for the law of the family.
Nevertheless, they made their own conception of the goods mutually exclusive. On one side, Creon considers the security and safety of the city as a totalizing value without considering his familiar duties as a fundamental value which must be realized.
Indeed, Creon is the next male descendant of the family and in accordance with tradition he must fulfil his duty and bury Polyneices.
Nevertheless, he denies his duties towards his family prioritizing his role as king of Thebes. Her reply illustrates her refuse of Creon law denying the civic importance of his law.
Additionally, the spectators realize the characters manipulation of the law to justify their actions, excluding each other the possibility of reaching any possible common frame. In short there is a perverse simulation of a deliberation.
This first approach is crucial for understanding the will of the character denying since the beginning any possibility of a rational deliberation in order to find any common frame. The bigger the resistance The bigger the collapse.
Thus, the vices of both characters are evident by their constant appeal to their own laws to deny one another a common ground for a deliberation. Furthermore, his apparition on the play gives some rays of practical wisdom providing the spectator an example of wise reasoning and strategy.
In this sense, Haemon is the most fascinating character in his use of 13 Ibid p. But do we use it right? In that sense too Haemon appears as a wise person by his capacity to understand the vices of his father and to adopt the most adequate reasoning to make him reconsider.
In other words, the logical web that Haemon is constructing can be translated in this way; Creon you are probably wrong in punishing Antigone in this way.CREON'S ROLE IN SOPHOCLES' ANTIGONE by John Joseph Ailgallen, S.J.
A Thesis Submitted to the Paoulty or the Graduate School of Loyola University in Partial Fulfillment ot .
At the play’s end, Creon blames Antigone for all his suffering. _____ The tragic hero must be neither totally good nor totally evil. _____ When Creon proclaims his edict, the audience knows that Antigone is already planning the burial.
This is dramatic irony. Part . Sophocles’ Antigone (Aris & Philips, ), especially by his editorial notes. Note that in this translation the numbers in square brackets refer to the Greek text, . Antigone's fatal flaw is her rash and headstrong behavior. "Like father, like daughter: both headstrong, deaf to reason!" (Ode I, Scene II, line 85) Her headstrong behaviour is displayed twice in the play.
Creon. Antigone's uncle, the powerfully built King Creon is a weary, wrinkled man suffering the burdens of rule.
Get an answer for 'In Antigone by Sophocles, is Ismene a pathetic character?' and find homework help for other Antigone questions at eNotes pain and suffering. For Antigone to cut her off in. Antigone’s uncle, Creon, the new, untested king, has ruled that Polyneices’ body must remain above the earth, and that anyone who breaks this law will be put to death. Antigone openly and intentionally defies individuals and communities heal from suffering and loss. He is . In the Greek play Antigone writer Sophocles illustrates the clash between the story’s main character Antigone and her powerful uncle, Creon. King Creon of Thebes is an ignorant and oppressive ruler.
Before the deaths of Oedipus and his sons, he dedicated himself to art patronage but has now surrendered himself entirely to the throne. Creon dismisses Teiresias's advice, saying that he believes he's become a target.
He believes that all the prophets have been "bought and sold" and claims that even if Zeus himself commanded it he would not bury Polyneices's body.