Sign Up Now
Get instant access to over 1 million+ study documents
OR
Already registered? click here to login
By creating your account, you agree to our terms of service, privacy policy and student honor code.
Antigone's Fate / Antigone: The Game Of Fate
The play Antigone, composed by Sophocles, informs us that fate cannot be controlled by anyone. Fate is an essential part of many tragedies. As for the characters in Antigone, their fates end up being unavoidable, whether it is due to the reason that they refused to accept it until it was very late, or they accepted the fate and permitted it to come to pass. The character's lives possess set conclusions, and there exits some clues on what these conclusions shall be, and when they shall happen. The characters are frequently capable of knowing their fate and reacting to it. At certain periods, characters accept their fate since it is vital to them, or they trust that it is unavoidable (Stegar, 1). A vital theme of Antigone is the conflict amidst fate and a person's action. Whereas free decisions, like the choice of Antigone to disobey Creon's orders, are important, fate is actually accountable for most of the very overwhelming and vital occurrences of the trilogy. Through raising the fate's significance, Sophocles implies that characters cannot be completely accountable for their undertakings. It gets challenging, for instance, to blame Oedipus for marrying mother, provided his ignorance (Shmoop, 3).
Thesis Statement
The main character's fate in the play "Antigone" by Sophocles shows the risks of extreme pride. The forces of the gods or fate, bears grave and weighty impacts on the lives of human beings. Various tragic results might certainly arise from the will of the gods, and not simply a human weakness or fault (Sophocles, 275-550).
Antigone's Fate
Fate can be described as an individual's destiny, or the predetermined results of the will of the gods, or the outcome of a certain action. The play drives the dispute whether fate is much stronger in comparison to an individual's free will, or not. Man appears to be restricted by his/her fate and mortality, or predetermined future. The function of tragedy is to illustrate how humans bring down fate upon themselves. More than one option normally...
However, Antigone is entrapped in a legacy of fate, which plagues all the members of the family of Oedipus. Her fate appears to be more arranged and less her fault, although she causes it upon herself through revolting against Creon. In as much as she possesses a free will, she exercises it against the law of the king and this bears some consequences. Creon, nonetheless, appears to suffer through his own stubbornness and decisions. After Teiresias highlights to him the fate that awaits him if he continues, he surrender's mentioning that "one cannot fight / Against Necessity" (Novelguide, 6-7).
In the play "Antigone," events commence with the discussion regarding burying the body of Polynieces. Antigone, together with Ismene, discusses the consequences of this action that has been made illegal. The discussion outlines the fate of Antigone as she chooses to bury her brother and faces the repercussions. She is completely aware of her fate and accepts it. According to her, following her set fate arranged by the gods is more essential than following a set of laws by the king. She informs her sister, who chooses to obey the law, that she ought to set her own fate. Antigone follows her fate all through the play. She buries her brother and is arrested by guards; she is presented to Creon and admits her faults. The acceptance of her destiny is seen when she faces a punishment of death; she mentions that her fate triggers no tears. Antigone…
References
Novelguide. Antigone: Theme Analysis. 1999. Web. 8th October, 2015.
Shmoop Editorial Team. Antigone Theme of Fate and Free Will. Shmoop.com. Shmoop University, Inc., 11 November 2008. Web. 8th October 2015.
Stegar, Keith. Fate in Antigone. Culture and Memory. 3rd October 2011. Web. 8th October 2015.
Sophocles, Antogine. Prestwick House, Inc. Clayton, DE.2005.
Fall Though in Paradise Lost it may appear that "the Fall" is synonymous with the act of disobeying God, a closer reading shows a certain paradoxical duality to the act of falling -- namely, that what is called the Fall is a forced physical and psychic humiliation and prostration which God enacts on those who refuse to willingly prostrate themselves in worship to him. Two opposing categories of fallenness exist,
William Shakespeare and Thomas Middleton explore the depth and range of the human psyche in their plays, Hamlet and the Revenger's Tragedy. Through the characters of Hamlet and Vindici, we discover different motivations to their feelings of vengeance, illustrating the complexity of human nature as it relates to revenge. However, while both plays operate under the same theme of vengeance, they are quite different in terms of how each protagonist
Hamlet fits within Anoulih's discussion of tragedy. In this play most of the characters die. It is expect that death will befall them. Since the play's beginning, the foundation for tragedy is set. We learn that Hamlet is in mourning. The King is trying to convince him to show sorrow. It is unmanly. Hence, a foundation for irony is set up. Tis sweet and commendable in your nature, Hamlet, To give these
1960, the world of women (especially American women) was limited in very many aspects, from the workplace to family life. American women who were employed in 1960 were largely restricted to jobs such as being nurses, teachers or secretaries. Women were in general not welcome in professional fields. Friedan's work, The Feminine Mystique, captured and detailed the lives of quite a number of housewives from across the United States
revenged activates the actual action of revenge, as demonstrated in "Hamlet" and "The Revenger's Tragedy," however, we may be in doubt when cataloguing their actions as logical and premeditated (Vindice) or full of incertitude and hesitance. Indeed, in my opinion, it is an important note to be made, as the originality of each main character is not determined as much by their underlying motivation, common in both cases, but by