Philip Zimbardo's Audacious Antigone: An Unlikely Hero

Audacious Antigone: An Unlikely Hero Countless forms of storytelling make us question what a hero is. Films, video games, novels, and other modes of writing, let us answer for ourselves; every hero in every story is varied and can make us realize the answers lie within a gray area. Often heroes are quintessential saviors, while in other instances they take the form of the ever popular antihero with questionable motivations. Those motivations greatly inform and alter the hero’s narrative. Infamous psychologist Philip Zimbardo has done extensive research on heroism and he wrote an article that aims to answer the question its title asks - “What Makes a Hero?” In the article, Zimbardo claims, “The key to heroism is a concern for other people in
need—a concern to defend a moral cause, knowing there is a personal risk, done without expectation of reward.” In Sophocles’ third Theban tragedy, Antigone, the titular character ignores the word of the king in favor of remaining true to herself, her family, and the gods. Antigone defends the honor of her late brother with regard to her chosen duty to the pantheon. She also volunteers knowing she will surely be punished if caught, with no prospect of a prize. According to Zimbardo’s ideas on what makes a hero, Antigone is one. However, it would be difficult to argue that Antigone is not a victim of terrible circumstances. She notes to her sister younger Ismene, “There’s no suffering, / no shame, no ruin—not one dishonour— / which I have not seen in all the troubles you and I go through” (Sophocles 5-8). Those troubles include the unfortunate revelation of her father, Oedipus, as the son of her mother, Jocasta, her mother’s suicide, the self-blinding of her father, a battle between her brothers Eteocles and Polyneices, and has lived through the deaths of her immediate family members - apart from Ismene. Zimbardo contests that “having survived a disaster or personal trauma makes you three times more likely to be a hero and a volunteer”. Although she is a mythological figure, it is clear that Antigone has endured more than her fair share of personal disasters. While she is certainly a victim of several trials and tribulations, she unintentionally manages to become a hero in her own right. One of Zimbardo’s criteria for a hero states that an act of heroism is performed for the benefit of others or in order to adhere to a belief. Throughout the play, Antigone insists that the reasons behind her action are to honor her brother, in addition to abiding by the law of the gods. When Antigone first describes her plan and recounts to Ismene their uncle Creon’s decisions regarding the differing burials of their two brothers, she reminds her sister that “[Creon’s] honouring one with a full funeral / and treating the other one disgracefully!” (26-27). Antigone explains that Eteocles will be buried according to custom and appealing to the law of the divine, while Polyneices will receive no funeral procession. The protagonist is appalled not only at the thought of her brother being dishonored in such a way, but the gods as well. While being questioned by her uncle why she disobeyed him, Antigone says, “I did not think / anything which you proclaimed strong enough / to let a mortal override the gods / and their unwritten and unchanging laws” (510-513). Antigone chose to disregard the word of king Creon in order to respect the memory of her late brother - no matter his rebellious actions - and honor her devotion to the Grecian pantheon. Antigone is not fulfilling a selfish desire but rather carrying out an honorific act of her own choosing. Originally, Antigone seeks assistance in her scheme but ends up working and dying alone. In many works of fiction, heroes who work alone find it more difficult to thwart foes or reach goals, as opposed to those who work on a team or are in a sort of faction. Zimbardo claims “heroes are most effective not alone but in a network.” While explaining her plan to Ismene, Antigone asks her sister, “Will you help these hands / take up Polyneices’ corpse and bury it?” (55-56). Whether she genuinely wanted to include her sister in the familial burial or simply did not want to act on her own, Antigone wanted Ismene’s help; she likely figured it would be more logical and efficient if the two carried out the elder’s plan together, and she probably did want her sister to be involved in their brother’s funeral rites. Antigone does not just choose to act for reasons separate from herself, she does so without fear of sure consequences. Another tenet of Zimbardo’s ideas on heroism explains that a hero readily recognizes and accepts the risks anticipated when carrying out an act of valor. During the initial explanation of her intentions, Antigone tells Ismene, “Anyone who acts against the order / will be stoned to death before the city” (43-44). Antigone knows the consequence of her pending action before even planning it out; she is ready to possibly sacrifice her life in order to revere her late brother and the gods. Despite Ismene’s insistence that she reconsider due to her sister’s likely demise, Antigone is steadfast in her decision, saying, “I’ll still bury him. It would be fine to die / while doing that” (89-90). Not even her closest relative can sway Antigone. She wants to carry out her course of action no matter the cost; she is not only willing to give up her life, but seems content knowing that her death will carry pertinent significance, and is almost dying on her own terms. When Antigone is caught by Creon’s men while performing burial rites and brought to Creon, they recount “she was not afraid at all… She just kept standing there, / denying nothing” (489-492). Despite being caught in the act, Antigone remains her composure and gets led by the king’s men without refusal, knowing full well she is about to be punished and likely killed. While she ultimately does not finish the rites for her brother, Antigone’s intention and following actions gives her a sense of heroism that she and others seem to acknowledge. Real and fabled heroes alike usually dislike referring to themselves as such, and most do not expect rewards for their services.
One more of Zimbardo’s heroic beliefs says that heroic actions are “performed without external gain anticipated at the time of the act performed without external gain anticipated at the time of the act.” One can surmise that when Antigone was in the process of honoring and burying her brother her mind was free of thoughts surrounding any type of prize. When one imagines themselves in her situation, it is easy to see that she was simply performing the task at hand in the swiftest and most respectful manner possible. During her interrogation by Creon, Antigone says, “But where could I gain greater glory / than setting my own brother in his grave? All those here would confirm this pleases them / if their lips weren’t sealed by fear” (570-573). Antigone knows she and her family are destined for tragedy but she manages to retain a sense of dignity and takes pride in the honorific action she took. Furthermore, she perceives that the Theban people, though they cannot admit it outright, support what she did. This is proven when Antigone is led to her tomb and the Chorus states, “Surely you carry fame with you and praise, / as you move to the deep home of the dead… You were in charge of your own fate” (924-928). Antigone had a prideful moment and now the people of Thebes are singing her praise, urging her to recognize that she has in fact gained praise. Additionally, they note she was the owner of her fate. Sophocles’ three Theban plays are full of prophesies by way of the blind prophet, Tiresias, and can make one question whether any of the characters’ decisions are their own. Whether by fate or her own volition, Antigone nonetheless decides to perform burial rights for her brother because she simply believes it to be just, and she gains the respect of the Theban people - and likely that of the
gods. It is incredibly easy to identify the protagonist of a story. Like Antigone, they are often mentioned in the title. Numerous literary devices, context clues, and even blatant dialogue aid readers pretty early on in the plot in discovering who they will be reading about. However, those protagonists are not always heroes - or, at least, not obvious heroes. The protagonist’s thoughts and actions inform whether or not they can or should be deemed a hero. Actions such as saving a person or an entire planet are obviously heroic. Somewhat less exciting but certainly no more less significant actions make Antigone a hero. Not only is she a woman living in a male-dominated society, she is willing to sacrifice her life to remain steadfast to her family and faith. While she does not at all seek it, Antigone earns fame fit for a hero.