Antigone and classical Greek tragedy

Antigone: A Kaleidoscopic Woman of Different Hues

Classical Greek literature succeeds in capturing the imagination primarily because the works contain universally valid and insightful interpretations of the human personality. This characteristic of Greek literature has even led psychoanalysts such as George Devereux to relate the structure of Greek tragedy to the structure of the human mind and personality (Hook, 2001). Interestingly, Devereux's view finds a correlation in Aristotle's definition of a tragedy as requiring, among other things, hamartia or a flaw in an otherwise admirable character (Lines, 1999). The correlation between Devereux and Aristotle's viewpoint can be made because both appear to be tacitly acknowledging that the construct of the human persona allows for both strength and weakness, vice and virtue to coexist simultaneously. Indeed, such a construct can be seen in Sophocles's characterization of Antigone as a woman who has within her the traits of courage and cowardice, the masculine and feminine, and the capacity to both honor and dishonor love. In fact, it is precisely the presence of such kaleidoscopical traits in Antigone's character that ultimately causes a tragedy of virtually epic proportions.

Antigone is often seen as a paragon of virtue who has the courage to stand up for everything that is divine and just. Yet, her actions lead to tragic consequences, implying that either Sophocles departed from the Aristotelian formula for tragedy in this particular drama, or that he intended to comment on something more complex than just a moral conflict (Berlin, p. 11; Lines, 1999). This question of Sophocles intent is perhaps best answered through an analysis of his characterization of the seemingly heroic Antigone. for, such an analysis reveals that Sophocles's portrayal of Antigone was not straightforward but was intended to highlight the kaleidoscopical nature of the human personality. Indeed, this fact is evident in the manner in which Antigone displays courage and cowardice, masculine and feminine qualities, and the capacity to both honor and dishonor love.

Antigone: A paradoxical display of courage and cowardice

The claim that Antigone displays both courage and cowardice may be, prima facie, a startling one. However, a close examination of the text reveals sufficient evidence to argue that while Antigone undoubtedly shows admirable courage in defying the edict of a king, she fails to display the same amount of courage in other areas of life. for, after all, if Antigone, a lone woman chooses to "battle men" and "spite the law and the power of the king," (72-4), she also chooses to commit what is often called a cowardly act, namely, suicide.

In any case, the quality of courage itself has many different dimensions. For instance, it can be said that if Antigone was courageous in defying the might of a ruler, Ismene was equally courageous in deciding to bear her lot and live with the pain. In fact, Ismene's courage is implied in her words, "No, we must obey, even in this, / even if something could hurt more." (76-7) it is also significant that the play begins not just by setting up a contrast between two women caught up in the same circumstances, but in setting up a contrast between the courage to defy and the courage to forebear pain. This dialectic or contradictory idea of courage is picked up again later when Antigone commits suicide, an act that clearly shows her inability to live with the pain of being abandoned and entombed. Thus, by arranging to have Antigone commit suicide, Sophocles demonstrates that her courage, though laudable, was flawed and kaleidoscopic in nature.

Lines (1999) posits a similar argument when she observes that the chorus reminds Antigone of three examples in which those imprisoned within the earth forbeared and ultimately survived their rocky prisons. In spite of this, "she will pay no attention to their advice. Neither forbearance nor the ability to take advice is among her virtues." Ultimately, therefore, it is Antigone's cowardice that leads her into opting for death as an escape. for, had she only the courage to face her punishment, she may have been freed, thereby averting her own and the tragic deaths of Haimon and Eurydice.

The masculine and feminine principle in Antigone's persona

One of Antigone's greatest appeals is possibly the fact that a woman is shown as being courageous enough to battle powerful men in her quest for justice. Of course, Antigone stays within the bounds of the traditional female role of protecting and defending the family. In other words, Antigone dares to defy Kreon only because she feels compelled to honor her dead brother by giving him a proper burial. This indicates that Antigone was merely defending her own family. Indeed, this is perhaps the reason why Antigone has often been described as a conflict between what might be called masculine and feminine principles or, in Greek terms, between the polis (affairs of the state) and the oikia, or the home and family (Hook, 2001).

In focusing on the overt, external conflict between the masculine and the feminine, however, a point that is often overlooked is the coexistence of the masculine and feminine principles within Antigone's persona itself. For instance, it can be inferred that Antigone's masculine side or need for self-assertion drives her into taking the courageous step of burying Polyneices, while clearly it is her feminine side, which provides the motivation. Similarly, the masculine principle of self-assertion can be seen to operate in Antigone's repeatedly asserting the rightness of her action. So much so, that Koryphaios calls her stubborn: "Clearly, she's her father's child, hard and raw. / He never learned to yield for all his troubles." (576-7)

Thus, while Antigone may be seen as a champion of the feminine principle, there is ground to argue that her masculine qualities drove her into being relentlessly defiant and unyielding. In fact, it may have been this aspect of Antigone's character that aroused Kreon's anger more than her act of defiance itself. Indeed, this is implied as much in his repeatedly stating that he would not allow a woman to rule (589-90; 645; 716; 822-4). While modern day feminists may applaud Antigone's stand against a patriarchal society, the fact is that the same stance would have been viewed as an error in judgment or hamartia in Sophocles's time.

Love honored and dishonored

Sophocles also reveals Antigone's kaleidoscopical nature by contrasting the differences in her attitude towards Polyneices and Ismene. As both Lines (1999) and Berlin (p. 13) have pointed out, her devotion to a dead brother stands in sharp contrast to her cold indifference to and scornful rejection of Ismene, her only remaining relative. Berlin (p. 14) terms this as the terrible paradox of love leading to a denial of love. While there may be a great deal of merit in Berlin's view, Antigone's contradictory behavior can also be interpreted simply as reflective of her multifaceted personality. for, what other possible explanation could there be for a person displaying tremendous loyalty and devotion to one sibling, while scorning another's offer, albeit belated, of loyalty?