Antigone Philosophers Like Aristotle Noticed

Antigone

Philosophers like Aristotle noticed that most tragedies have at their root a tragic hero: a human being who becomes blind to self-destructive pride. Therefore, when Sophocles' Antigone is described as a classic Greek tragedy, readers automatically infer that the play's title character is a classical tragic hero. Yet more progressive audiences can read Antigone with a fresh perspective, viewing its protagonist not as a woman consumed by hubris but as a woman disturbed by social injustice, sexism, and senseless law. While Antigone is most certainly stubborn, she is not necessarily a classical tragic hero. For example, in standing up for what she believed in, Antigone can be framed as a victim of political injustice rather than a victim of false pride. Antigone is a tragic hero not because of the tragic flaw of hubris but because she was willing to die for political justice and social transformation.

Antigone did not rebel against authority to pad her own ego, even if she comes across as being arrogant. Antigone genuinely did not want to marry a man she did not love; therefore, Antigone may be one of the first feminist characters in literature. As a feminist, she is a tragic hero because she was continually thwarted by her lack of authority as a woman. Throughout the play, other people pressure Antigone into marrying Haemon but she refuses to bow down. Her resistance can be easily dismissed as a product of hubris. However, when Antigone is viewed as a victim of patriarchy she emerges as a different type of tragic hero, one who suffers a downfall because of social and political injustice.

Antigone shares the stage with her uncle, who unwittingly rose to power. The audience can sympathize with Creon as it does with Antigone. Creon is not a harsh ruler. In fact, he is a reluctant leader who hopes to enforce the law by the books. Yet because Creon is as stubborn as Antigone in his inflexible interpretation of political and social laws, the king is also a tragic hero.

Therefore, Antigone has two tragic heroes. Both Antigone and Creon are determined and obstinate. Both exhibit the tragic flaw of hubris, because neither one is willing to surrender his or her will. However, Creon was in the position to avert the tragic ending of the play without sacrificing much more than his pride. Antigone, on the other hand, would have lost everything she believed in and her self-respect if she humbly accepted the marriage and did not raise a voice to Creon. Like Ismene, Antigone would have been another docile woman willing to accept the status quo and as such, she would not have been the play's heroine, tragic or not. Antigone's actions actually show her to be a remarkable hero who cared more for existential peace than for false security or meaningless laws. The tragedy at the end of the play testifies to Antigone's courage and strength.