Once Apollo attempts to halt their punishment of Orestes, they proclaim their right to do so, ordering him not to “try to talk [them] out of [their] ancient privilege.” (III.181). This talk of old powers and privileges continues on throughout the play, appealing to the credibility of their character. The goddesses later question whether Orestes can be guiltless when Apollo himself, the one who ordered the murder of Clytemnestra, was “still dripping with blood” (III. 155). When their hypocrisy in torturing only Orestes is objected to, as his mother committed mariticide and was not hounded, they defend themselves, arguing “[i]t [was] not kindred blood,” and thus it “[did] not count” (III.165).
It is significant that Antigone immediately states she “will bury [Polyneices]; and if [she] must die…the crime is holy” upon hearing Creon’s ruling because Antigone validates that she isn’t committing this crime for attention or proving a point to the law, but because it is what she believes to be right and moral (60). Antigone later responds to Creon, stating that his ruling is “not Zeus’ proclamation” therefore she would never “transgress the laws of heaven” because of a statement Creon decreed (450). Antigone refuses to abide by political rule and her action serves as a means of justice not only to her brother, but also as an act to uphold the divine law. The reiteration of ancient ideals through the hierarchy of law is emphasized by Antigone’s self-condemning act, asserting that the political law is not what controls her actions, but the divine law she believes is morally correct. The result of Antigone’s act of disobedience is concluded by the Chorus, stating the universal attitude of all ancient Greeks—that there is “no wisdom but in submission to the gods,” affirming that no human is superior to another (1350).
The Misfit is certain that he does not follow Jesus Christ and his morals while the grandmother is uncertain of her morals. She transitions from believing in Jesus’s beliefs to denying them, finally concluding that he didn’t raise the dead. At the end of the story, The Misfit indirectly references her lack of morals. “‘She would have been a good woman’ The Misfit said, if it had been somebody there to shoot her every minute of her life (O’Connor 245).”
Lucy is the most rebellious out of the three, as even her name – the female version of Lucifer, the fallen angel – suggests. She rejects her mother’s attempt to make her the ideal daughter who is ethical, submissive and decent. She claims that she rather be dead than become the echo of her mother, as the fact that she is identical to her mother scares her. Lucy states: “I did not want to be like my mother…. ‘You can run away, but you cannot escape the fact that I am your mother…’”
Antigone’s most important trait is also the fatal flaw that leads to her own demise. Antigone is so loyal ad determined to bury her brother that she would go against the word of the king to do so. It is because of this determination that she antagonizes Creon into sentencing her to death. Sophocles not only portrays Antigone as a tragic hero, but also as a martyr. She believes in something so much that she is willing to go against the law, and in turn die for it.
Lady Capulet was an irresponsible mother who turned her back on her daughter when Juliet needed her the most. It seems very likely that Lady Capulet’s wedding was arranged by her family too and when Juliet rebels against this, she is against the kind of marriage her mother had. Lady Capulet is obedient to Juliet’s father and urges obedience from Juliet. Lord and Lady Capulet, although not directly killing Romeo and Juliet, prompted it from the
This is why it made it so hard for Antigone’s sister, Ismene, to watch her sister follow through with her plan on burying her exiled brother. Ismene is affected by the Greek Ideology. This ideology is “dominant pattern of ideas… certain orthodox ideas are encouraged, financed, and pushed forward by the most powerful mechanisms of Harry 2 our culture. These ideas are preferred because they are safe, they don’t threaten established wealth or power” (Invention 109).
If she left him, she’d be losing those assets. However, since George doesn’t have these assets, he has no incentive for Myrtle to stay with him, so he has to remove her from the affair by force. Plus, the law is clearly still applicable to those of lower status, as it’s present when Myrtle is killed, We know that Myrtle is killed by Gatsby’s car, but there is no follow through from the law apparent. In fact, some of the only consequences in the book is George's act of renegade
Offred’s thoughts relieves a glimmer of anguish by drawing connections of her liberal past to remember humanity and remain sane. Indeed, Atwood exemplifies humans taking for granted basic rights as latently important. Although conscious of the implications Offred passively accepts her new name. The naivety of the Handmaids makes Gilead dangerous, as their tyranny has no bounds. Furthermore, the patronymic composition, “Of” and the Commander’s name expresses the objectification of Handmaids as property of the Commander thus dehumanizes the Handmaid and accentuate their absence of personhood.
Elizabeth was the main character that the author represented its main idea through her. Elizabeth is independent and insubordinate standing against society’s social norms of marriage. Unlike Lydia, her youngest sister, Elizabeth fights the social norms by believing in herself and in her feelings of marriage and love. Mr. Collins proposal to Elizabeth was countered by this “You could not make me happy, and I am convinced that I am the last woman in the world who would make you so” (Austen 104).
In this tragedy, there are two types of law: man’s law and the gods’ law. While these laws are supposed to coincide, King Kreon decides to go against the gods’ law and prohibit the grieving and burial of Polyneices, who is seen as a traitor. Antigone, justified in doing so, disregards Kreon’s proclamation and buries her brother anyways. She states that she must “perform this crime of piety; for I must please those down below a longer time than those up her (line 75).” By this, she means that it is better to not disobey those of whom she is to spend eternity with, regardless of when she dies.
Not only was Medea exiled from inanimate things, but Jason also exiled her from himself. She was a misfit in Corinth. She associated with the wrong religion, wrong language, wrong relatives, and alas, not nearly as astounding or useful to the ambitious Jason as Glauce, daughter of King Creon of Corinth. Jason didn’t want to deal with the problems Medea held, so he did what he could to get rid of her as quick as possible. To do this, he married Glauce and banished Medea so that she was not present with the problems she had the potential to cause.
In the play, Antigone, by Sophocles, Polyneices and Eteocles, have killed each other and Creon orders Eteocles to have an honored burial while Polyneices is to be left without a burial. Antigone tells Ismene, who are both sisters of Polyneices and Eteocles, that they must bury Polyneices, Ismene tells her she can not so Antigone buries Polyneices alone in defiance to the state laws. Creon and Antigone have conflicting values. Creon holds the laws of the city higher even when other beliefs state otherwise.
Antigone and the city’s rights are not made fairly and obeyed equally by all people. Creon uses his power to make choices that put him above everyone. Antigone’s rights and fate depends on Creon’s actions and proclamation. In Sophocles Antigone, Antigone faces harsh consequences for her actions throughout the story.. Why is Antigone going to lose her life?
"Arrogance is weakness disguised as strength" -Annon. In the script "Antigone", Antigone breaks a conflicting law by burrying her brother. This makes Creon, the newly crowned king, furious, causing him to make "questionable" decisions. Antigone provides a foil to Creon's character; and Thor interactions advance the theme of how blinding arrogance leads to self-injury.