Antigone Written By Sophocles: Ineffective Plot And Tragic Hero

One of the better-known Greek tragedies is “Antigone”, written by the famous tragedian playwriter, Sophocles. Though with its fame, is it a truly effect tragedy? Through the foundations Aristotle laid out about what makes a tragedy effective, the key fundamentals to an effective tragedy are the aspects to character and plot. Regarding that, “Antigone” is an ineffective plot.

First and foremost, the plot of “Antigone” is lacking. Aristotle stated that a complex plot has the change in fortune involving reversal and recognition (Simple & Complex Plots, 6.2). In the vase of “Antigone”, the change in fortune is Creon, not necessarily being all too good or bad but average, going from being a powerful king with many loved ones to a shameful person with everyone around him dead. From his wife killing herself (pg. 1105, lines 102), to his son stabbing himself to death after seeing Antigone his lover dead (pg. 1104, lines 60-70). All of this brought great shame and unhappiness to Creon as he wanted to be taken away and the chorus agreed (pg. 1106). This indeed is the change in fate and for the plot to be complex it needs to involve the reversal, which as Aristotle states, “A reversal is a change to the opposite in the actions being performed.” (6.3 Reversal). Basically, a reversal is when the opposite of the action’s intent occurs. Indeed, the change in fate does coincide with the reversal, this can be seen from the fact that all this chaos and disorder has been caused by Creon’s lust for keeping order through his laws and actions. Which can all be seen here, “Good, that is the way to behave, subordinate… of all the people in this city, only she had contempt for my law and broken it… How shall I earn the world’s obedience?… I have no dealing with lawbreakers… whoever is chose to govern should be obeyed.” (Sc. 3, lines 25-35). In result of Creon’s desire for order, he has only created disorder, which in it of itself is the reversal as he intended for order with his strict laws but that only created disorder. The change in fate is this disorder and suffering, caused by Creon’s need for order, therefor the plot in this regard is complex as the change in fortune correlates with the reversal. Though, there is one more key factor to a plot and with, that it’s complexity, and that is recognition, which “Antigone” misses entirely. Recognition is simply put as, “A change from ignorance to knowledge.” (6.4 Recognition). In “Antigone” the “recognition” is when Creon realizes that he shouldn’t kill Antigone which then he goes to her tomb to free her. (pg. 1101, lines 105). To the likes of Aristotle that is barely a recognition because Creon isn’t going from ignorance to knowledge as he knew full well on what he was doing and that he wanted Antigone dead for breaking his law. In general, the plot is missing a key component entirely, the recognition. With that, Creon’s recognition comes before the change in fortune and reversal as he realizes that he shouldn’t kill Antigone only to then see the pain and suffering he has caused. Which as Aristotle says, “Recognition is best when it occurs simultaneously with a reversal.” (6.4 Recognition). This weak recognition does not even occur in the right spot, therefor making it completely ineffective and hindering the reversal because of this. Overall the plot is hurt because of this missing component, which results in the plot being lacking. Although the plot is complex because the change in fortune happens with the reversal, it lacks the recognition and therefor isn’t as complex as Aristotle would like it to be.

With all of that in mind, we know “Antigone” lacks in the first fundamental for tragedy, as for the second, character, it is lacking. Aristotle immediately says to be effective with characters they need goodness so that it’s tragic when bad things happen to them, you don’t care when something bad happens to a bad character. Secondly, they need to have appropriateness which entails that characters must be appropriate for what they are as you can have a courageous woman, but she can never be as courageous as a man. Thirdly they must have likeness as they must be like us. Characters, even the most courageous ones, still fear what we’re scared of and are still like us. Fourthly characters must be consistent. With that all in mind, goodness is somewhat there. For example, Antigone wants to bury her brother as it’s the right thing to do and it’s what the gods wish for and she wants to respect her fallen family (pg. 1070-71). Antigone perishes for her want for doing the right thing and that is tragic, which is what you want in your characters. Though on the contrary, Creon the tragic hero, has no goodness. Creon wants what is best for the state, though ultimately is just in it for his own selfish desires so what happens to him is not tragic and you don’t pity him. Creon wants the worlds obedience to himself and that is why he is so strict with this law (Sc. 3, lines 25-35). Because he is selfish and only wants what is best for him, he doesn’t have goodness and his demise is ineffective. This overall leads to the goodness in characters only being somewhat there. As for appropriateness and likeness, once against it’s just not there and is missing the mark. Antigone stands out most as she is not appropriate what so ever as she acts just as a man would and with that against man as is said by Ismene her sister, “We are only women; We cannot fight against man Antigone.” (pg. 1070, lines 45). Aristotle clearly states that it is inappropriate for a woman to act as a man would, and Antigone being this courageous against her superior is inappropriate. Along with that, Antigone has absolutely no likeness. For example, Antigone’s courage is so high that she doesn’t even fear what everyone, no matter how courageous, would fear. Throughout the play she did know she would die for her actions, but, when she was charged by several soldiers, she showed no fear as you can see, “She was not afraid, not even when we charged her with what she had done.” (pg. 1082, lines 45). The fact that she shows no fear and wasn’t afraid what so ever when several soldiers came to her and charged her removes her likeness, as even the most courageous of people still can be afraid, in situations like this where your life is on the line. That is a universal human fear and Antigone doesn’t have that which results in the likeness of characters not being there, therefor being ineffective. Though lastly, the characters in the end are very consistent. Antigone in the entirety of the play wants to do the right thing even when the end of her life is nigh. In the beginning she accepts that she may die but will die a holy death (pg. 1071, lines 55). Then when her death is near, she still accepts it and says, “O tomb vaulted bride-bed in eternal rock, soon I shall be with my own again.” (pg. 1096, lines 60). She still is a very consistent character and that is effective. So on with Creon, he remains consistent from beginning to end as he is still selfish and wanting to follow through with his laws to prove his power. Even in the end when Creon decides to do the right thing, he still says, “It troubles me, oh it is hard to give in! But it is worse to risk everything for stubborn pride.” (pg. 1101, lines 91). He still has the same heart and is reluctant to change his mind and go against his desires. He stays consistent as he has the same selfish stubborn heart. Through the other points for character lacking, they are still very consistent.

All in all, “Antigone” is ineffective as it lacks in the two most important pieces to a tragedy’s effectiveness. The plot is in it of itself complex but still lacks all of the recognition and its placement, throwing everything off. As for characters, not all of them have goodness and you don’t really feel for them. Also, the big character Antigone isn’t even appropriate, nor does she have likeness. Though they are consistent, which leads to character just still lacking, it’s almost there but not completely effective. Which results in “Antigone” being Ineffective.