A popular misconception is that the character Antigone must be the protagonist due to her direct name being the title.
In the classic model of dramatic structure, two characters move the action of the play from introduction to climax to resolution with their conflict. One of these characters is the protagonist; the other is the antagonist.
The protagonist is generally regarded as the "good guy," and the antagonist is the "bad guy. In the Greek tradition, the title character is the protagonist, but in this play, the supposed antagonist Creon also displays characteristics of the protagonist.
Webster's Dictionary defines protagonist as "one who takes the leading part in a drama; hence, one who takes lead in some great scene, enterprise, conflict, or the like.
Her actions and the following consequences certainly form the plot of the play. She first decides to bury her dead brother in violation of Creon's edict. When soldiers of Thebes unbury the body, she returns to bury it a second time. She is caught in the act and brought before Creon, who sentences her to die.
She commits suicide in prison as a final attempt to thwart Creon's plans. The fact that Creon is on his way to release her from jail when her dead body is discovered is yet another example of stubbornness.
She will not give in to adversity or strife under any circumstances, which is both admirable and, in the case of Antigone, fatal.
Creon is portrayed as a strict leader who believes in adherence to his laws over those of the gods. He is not a fan of extenuating circumstances, either. His actions can only follow from those of Antigone, so he cannot be the traditional protagonist like Oedipus in Oedipus the King.
However, the way his actions work and feed the conflict throughout also make Creon fit our definition of a protagonist. After Antigone's capture, the play centers on Creon. He boasts of his decision to the town leaders the Chorus in this playand he argues with Tiresias about his actions and leadership ability.
Tiresias' endless enforcement of truth forces Creon to face his mistakes, even though his pride is hurt: Not only does Creon possess too much pride, but he is also stubborn, not unlike Antigone. However, Creon's pride and stubbornness are related.
He does not want to admit to himself or others that he could be wrong, so he makes the same mistakes over again. He could have pardoned Antigone, or reversed his edict after his point was made clear, but no, he does not. Perhaps he is afraid of admitting that he is capable of making mistakes in light of his less than perfect predecessors Laius, Oedipus, Eteocles, and Polynices, none of whom make very good role models for aspiring kings.
Maybe he has been king long enough that he has developed a large ego and does not recognize his own mortality. Either way, his pride and stubbornness reflect in nearly every action that Creon makes in Antigone.
Creon undergoes a full realization in the play, which is something that Antigone does not appear to do. At the beginning, Creon thinks he is doing the right thing by forbidding anyone to bury the body of Polynices, even though this is in direct contradiction with a longstanding law of the gods that all bodies must be properly buried to allow the soul entrance to the underworld.
After his enlightenment by Tiresias, he realizes that this was in itself a mistake, and his sentence of Antigone for her loyalty to gods and family is also wrong.
This realization on the part of Creon is in conflict with his flaws of pride and stubbornness, but he overcomes his flaws by admitting his mistakes and trying to correct them.
Unfortunately, Antigone's plan to hinder Creon works all too well, and even his good intentions fail to produce the intended result.
In addition, Creon's son and wife also commit suicide. His realization is complete, and he now has loss to accompany it. On the other hand, Antigone never fully realizes her mistakes.
She is stubborn and to some extent proud, but she does not renounce these flaws. One possibility is because they do not really work as flaws in this play. Her stubbornness leads to her capture and her demise, but if one looks at her death as being necessary to bring about Creon's self-realization, it is a needed element in the plot.
This perspective would actually transform Antigone into the antagonist, since she would be aggravator of Creon the protagonist.Antigone becomes the tragic figure and protagonist in the play because she is the one who seeks justice in a world that is devoid of it. I think that another reason why one can argue that she is.
The Real Protagonist of Antigone “My belt holds my pants up, but the belt loops hold the belt up. So which one’s the real hero?” Mitch Hedberg The quote by Mitch Hedberg encompasses the great story of Antigone written by the Greek tragedy writer, Sophocles.
In Sophocles' play Antigone, the lines between protagonist and antagonist are blurred. In the Greek tradition, the title character is the protagonist, but in this play, the supposed antagonist Creon also displays characteristics of the protagonist. Antagonist Character Role Analysis Creon.
If Antigone is the protagonist that means Creon has got to be the rutadeltambor.com he's a real . If Antigone is the protagonist that means Creon has got to be the antagonist.
And he's a real jerk. And he's a real jerk. He's the force that Antigone goes up against. The protagonist of the play Antigone by Sophocles is the title character, Antigone. She is a woman who defends herself, defies the cultural roles and expectations of women, and is .