Antigone
Antigone– The Characterization
Sophocles’ tragic drama, Antigone, presents to the reader a full range of characters: static and dynamic, flat and round; they are portrayed mostly through the showing technique.
In “Sophocles’ Praise of Man and the Conflicts of the Antigone,” Charles Paul Segal takes the stand that there are two protagonists in the drama (which conflicts with this reader’s interpretation):
This is not to say that there are not conceptual issues involved in the characters of Creon and Antigone. But the issues are too complex to be satisfactorily reduced to a single antithetical formulation. We must avoid seeing the protagonists as one-dimensional representatives of simple oppositions: right and wrong, reason and emotion, state and individual, or the like (62).
Werner Jaeger in “Sophocles’ Mastery of Character Development” pays the dramatist the very highest compliment with regard to character development:
The ineffaceable impression which Sophocles makes on us today and his imperishable position in the literature of the world are both due to his character-drawing. If we ask which of the men and women of Greek tragedy have an independent life in the imagination apart from the stage and from the actual plot in which they appear, we must answer, ‘those created by Sophocles, above all others’ (36).
The dialogue, action and motivation revolve about the characters in the story (Abrams 32-33). Surely it can be said of Sophocles’ main characters that they grow beyond the two dimensional aspect into really rounded physical presences. This is done through mostly the showing technique, though the chorus at times is involved in the telling technique, telling the audience various pieces of information. The drama begins with Antigone inviting Ismene outside the palace doors to tell her privately: “What, hath not Creon destined our brothers, the one to honoured burial, the other to unburied
Sophocles’ tragic drama, Antigone, presents to the reader a full range of characters: static and dynamic, flat and round; they are portrayed mostly through the showing technique.
In “Sophocles’ Praise of Man and the Conflicts of the Antigone,” Charles Paul Segal takes the stand that there are two protagonists in the drama (which conflicts with this reader’s interpretation):
This is not to say that there are not conceptual issues involved in the characters of Creon and Antigone. But the issues are too complex to be satisfactorily reduced to a single antithetical formulation. We must avoid seeing the protagonists as one-dimensional representatives of simple oppositions: right and wrong, reason and emotion, state and individual, or the like (62).
Werner Jaeger in “Sophocles’ Mastery of Character Development” pays the dramatist the very highest compliment with regard to character development:
The ineffaceable impression which Sophocles makes on us today and his imperishable position in the literature of the world are both due to his character-drawing. If we ask which of the men and women of Greek tragedy have an independent life in the imagination apart from the stage and from the actual plot in which they appear, we must answer, ‘those created by Sophocles, above all others’ (36).
The dialogue, action and motivation revolve about the characters in the story (Abrams 32-33). Surely it can be said of Sophocles’ main characters that they grow beyond the two dimensional aspect into really rounded physical presences. This is done through mostly the showing technique, though the chorus at times is involved in the telling technique, telling the audience various pieces of information. The drama begins with Antigone inviting Ismene outside the palace doors to tell her privately: “What, hath not Creon destined our brothers, the one to honoured burial, the other to unburied
Cited: Abrams, M. H. A Glossary of Literary Terms, 7th ed. New York: Harcourt Brace College Publishers, 1999. Antigone by Sophocles. Translated by R. C. Jebb. no pag. http://classics.mit.edu/Sophocles/antigone.html Heidegger, Martin. “The Ode on Man in Sophocles’ Antigone.” In Sophocles: A Collection of Critical Essays, edited by Thomas Woodard. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966. Jaeger, Werner. “Sophocles’ Mastery of Character Development.” In Readings on Sophocles, edited by Don Nardo. San Diego, CA: Greenhaven Press, 1997.