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Required Essay 1. Title: A ‘sense of the complexity of conflict, where there is right on both sides […] is fundamental to Sophocles’ play’ (SIMON GOLDHILL). To what extent do you agree with this reading of Sophocles’ Antigone?...

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A ‘sense of the complexity of conflict, where there is right on both sides […] is fundamental to Sophocles’ play’ (SIMON GOLDHILL). To what extent do you agree with this reading of Sophocles’ Antigone?

The ‘sense of complexity’ is a substantial feature in Sophocles’ Antigone. The Theban War acts as the catalyst for the play, as post-war complications immediately arise, predetermining the tragedies that occur. Thus, all incidents, which are based on this initial ‘conflict,’ is ‘fundamental’ to the play. For an Athenian audience, Creon, was a renowned character and embedded in their cultural understanding due to the legend of Oedipus. 1 Consequently, he would have been recognised as a tyrant. Therefore, for him be in the ‘right’ for an Athenian audience would have been challenging, as his hubris surpasses him. In addition, the trope of a single virtuous woman against the male political power was a familiar plot line to Athenians, again suggesting that the idea of ‘right’ would be clearly placed with Antigone. As the war precedes the action of the play, the audience is thrusted into the midst of this; conflict becomes inescapable. The play begins with Antigone, who establishes the first conflict between the polis and herself. She desperately wishes to bury her brother, Polyneices, body against her uncle, Creon’s, decree to leave him unburied. This ultimately initiates the second conflict, between Antigone and Ismene. Antigone, is eager for Ismene to join her to perform the burial rites, but Ismene refuses. Antigone attempts to lure Ismene in through emotional empathy, as she forces her to question, ‘unhappiness, calamity, disgrace, dishonour – which of these have you and I not known?’ 2 Sophocles portrays Antigone to be similar to a political speaker, by 1 Graves, Robert, The Greek Myths: Volume Two (London, England: Penguin Books, 1955). 2 Sophocles, Antigone, ed. by Hall, Edith, trans. by Kitto, H. D. F (United States: Oxford University Press Inc., 1994), p. 3.

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showing her attempt to seek future happiness through the Theban war. Nevertheless, this only implicates that Antigone will not receive what she wishes. Due to the nature of tragedy, this misfortune will only be extended for her and her family. Thus, Antigone becomes an emblem of hopelessness. Sophocles immediately forces the audience to question whether her belief and strength to fight against the domineering political power will becomes her hamartia. It could be argued that this sisterly conflict is meaningless to the play, as Antigone, being the determined woman, will bury her brother regardless, but this is too much of a simplistic approach for Sophocles. Conflicts are not crafted solely for the plot, but also for the audience’s response. Sophocles begins portray a family that is being destroyed, therefore as the characters are being aggravated by these continuous conflicts, so is the audience. As for Ismene, the audience may resent her decision, as she states she is too ‘weak’ 3 to follow her conscience as she is woman. Nevertheless, her character represents a realistic woman of Athens, and a direct juxtaposition to her sister, Antigone. Antigone can be perceived as the ‘anti-woman,’ 4 as she becomes a representation of great Athenian political discourse, thus similar to a man. Although their city was democratic, the authority and vote ultimately lied with the male. A woman’s role lies with her oikos, owned by her father, or husband. Thus, by conforming, Ismene believes she is doing the ‘right’ thing. This direct contrast of characters show how the war has driven members of a family to be alone and estranged from each other. Each character has been forced to make individual decisions based on their tragic past, allowing conflicts to easily arise. The audience, forced to experience an intense feeling of pathos from these two conflicts, is only the beginning; Sophocles prepares the audience. As by using the Theban War as a catalyst and a parallel to the 3 ibid., p. 5 4 Jacobs, Carol, 'Dusting Antigone', in MLN, 111.5, Comparative Literature Issue (1996), pp. 889-917.

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characters’ relationships, Sophocles has established the strong characters against the weak, foreboding where the problems for conflict lie. Thus, each conflict is a catalyst for the next; the play becomes a continuous tragedy. Therefore, it is clear that conflict is a fundamental aspect of the play. In addition to these conflicts so early on in the play, the audience must also consider that all the characters have not had a lot of time to recover from war. Therefore, the characters are still riled from the civil war. Thus, conflict becomes fundamental again as it leads to an inflammation of emotions and rash decisions, and the idea of ‘right’ can become lost. As Creon, who is a representation of the polis as well as Antigone, is confronted with the burial of his two nephews, and has the supremacy to punish Polyneices actions, whilst praising Eteocles’ through death. What Polyneices brought upon the Theban people, is unforgettable, and especially cannot be forgotten immediately after a war. Creon, without delay, chooses to place his state above the burial rites ordained by the gods, and so dishonourable Polyneices should be ‘devoured by dogs and birds, mangled most hideously.’ 5 Antigone also describes in detail the destruction of Polyneices, as imagines his body becoming a victim for ‘hungry birds of prey to swoop and feast.’6 This repetition of Polyneices’ body being demolished, highlights Antigone’s and Creon’s overwhelming, but juxtaposing emotions towards Polyneices’ unburied body. Nevertheless, this all becomes amplified as Polyneices’ body becomes a symbol of their principles, which creates this, and forthcoming conflicts. Thus, it is not only the conflicts themselves, but the after effects of conflict, which is the foundation of Sophocles’ play.

5 Sophocles,. p. 9. 6 Sophocles, p. 4. 3

The vast majority of Greek tragedy is not concerned with the moralistic issues of right and wrong, but rather the downfall of tragic heroes. This is part of their lasting appeal. Nevertheless, this is atypical in Antigone, as there is a clear division between right and wrong. Antigone has the right to bury her brother Polyneices, as well as her cultural duty to mourn for him through the burial process. Antigone is aware that she is breaking the laws of the polis, yet she is committing a ‘pure crime,’7 as she is not dishonouring ‘the sacred laws that Heaven holds in honour.’8 Subsequently, the audience become aware the Antigone will become a martyr, as she has understood the hierarchy of the ‘complex’ and unjust world in which she lives. Thus, her crime is celebrated, and Creon is identified as the villain of this play. Additionally, Antigone becomes parallel with Sophocles own crimes for ‘expressing beliefs not recognised by the state,’ 9 and accepts his death set by the state. Both Antigone and Sophocles, through their ‘pure crimes’ 10 express how political power is limited, and how one should consider whether in doing anything, is one doing right or wrong. The breakthrough of rational thinking became revolutionary to ancient Greeks, as this influenced the ways of life and society to form a ‘theoretical utopia.’ 11 Therefore, Sophocles purposely portrays Creon to be the opposite of a logical thinker by constituting his own laws against the gods, as he proudly declares, ‘never shall I allow the villain 7 Sophocles, p. 5. 8 Sophocles, p. 5. 9 Jarret S. Lovell, Crimes of Dissent: Civil Disobedience, Criminal Justice, and the Politics of Conscience (United States: New York University Press, 2009), p. 66.

10 Sophocles, p. 5. 11 The Greek City: From Homer to Alexander, ed. by Murray, Oswyn, and Price, Simon (United States: Oxford University Press, 1990).

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to win more honour than the upright.’ 12 His ignorance, or hubris that he possesses becomes his hamartia, as Creon becomes forced to live with the consequences of Antigone’s ‘pure crime.’ 13 Thus, it becomes clear that there is not a ‘right’ on both sides to this conflict. In addition, and of more of a consequence, is the conflict between Creon and the gods. Not only is this conflict fundamental to Antigone, but fundamental to all Greek art, myths, plays and so on, as they portray how Greek society lived in conflict with the gods. Indeed, the more trivial conflict of the Theban War has blinded Creon, yet, the far more significant conflict is with the gods. Creon has forgotten that his reason ‘is subject to the wider jurisdiction of’ 14 his moirai. In Greek mythology, it was believed that moirai was not solely determined by the gods, as characters have the opportunity to reason according with the divine laws. Nonetheless, by refusing the burial rites of Polyneices, Creon has set up his own downfall. In terms of the staging of the play, the most obvious example of conflict with the gods is with the inclusion with the blind prophet, Teiresias and Creon. Teiresias comes to Creon, proclaiming the conflict he has foreseen of ‘birds screaming in rage… tearing at each other with murderous claws.’ 15 The birds become a symbolism of death, as Creon’s underlying conflict with the gods forebode the brutal consequences of his decision to leave Polyneices unburied. This is exaggerated through the screaming of the birds, as they represent the attempt to reach Creon with correct moral reasoning. However, no matter how significant the divine laws may be, Creon chooses to ignore this and his hubris becomes his ‘plague.’ 16 This further causes him to believe that Teiresias is using him for money. Creon is clearly convinced that he is the right now, as he is the king, thus it 12 Sophocles, p. 9. 13 Sophocles, p. 5. 14 Adam Gearey, Law and Aesthetics, ed. By Gardener, John (North America: Hart Publishing, 2001), p. 95. 15 Sophocles, p. 35. 5

could be argued that there is ‘right’ on both sides of the conflict. However, as the audience become aware that Creon is a ‘tyrant’17 through Teiresias, Creon’s sense of ‘right’ is deluded. The rule of the gods is always superior to the rule of the state. Integral to the relaying the plot of the play is the Chorus. Their function is also to relay to us the complexity of the conflicts, as demonstrated through their fluctuating loyalties through the majority of the play. However, the Chorus have the final say, thus making the final judgement, and this is clearly in the favour of Antigone. The Chorus sing how Creon has been ‘schooled in wisdom’18 by disobeying the gods. Thus, having ‘a right on both sides’ becomes irrelevant, as it becomes evident that Creon was never the character to possess arête due to his ‘distrusting nature,’19 as Antigone’s arête was portrayed through her death. This supports what could have been the Athenian perspective, as this is aligned with the authority of the gods. As with much of Greek tragedy and mythology, conflict with the gods is at the very core of this play, and a ‘fundamental part of the plot.’ Were it not for Creon’s conflict with the gods, much of the tragedy of the play would have been avoided. Indeed, conflict with the gods is further explored in Sophocles’ other plays, Oedipus the King and Electra. However, the issue of ‘right’ is more ambiguous in terms of whether it drives the plot of the play as similar to other Greek tragedies, as the only characters who are ever fully in the ‘right’ are the gods. 16 Sophocles, p. 36. 17 Sophocles, p. 36. 18 Sophocles, p. 45. 19 Joseph Daly, ‘Three Keys to the “Antigone”’ in Thought: Fordham University Quarterly, 42, (1967),

[accessed 29 November 2016].

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Bibliography

Daly, Joseph, ‘Three Keys to the “Antigone”’ in Thought: Fordham University Quarterly, 42, (1967), [accessed 29 November 2016].

Gearey, Adam, Law and Aesthetics , ed. by Gardener, John (North America: Hart Publishing, 2001).

Graves, Robert, The Greek Myths: Volume Two (London, England: Penguin Books, 1955).

Lovell, Jarret S., Crimes of Dissent: Civil Disobedience, Criminal Justice, and the Politics of Conscience (United States: New York University Press, 2009).

Sophocles, Antigone, ed. by Hall, Edith, trans. by Kitto, H. D. F (United States: Oxford University Press Inc., 1994).

The Greek City: From Homer to Alexander, ed. by Murray, Oswyn, and Price, Simon (United States: Oxford University Press, 1990).

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