During the discussions, several aspects of the life of women in ancient Greece were presented to the class. The aspects brought to light were the social expectations of women and the roles they could and could not fulfil. Women were under the control of a male relative and did not work. An exception to this was in religious functions, where women served a number of purposes.

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After this discussion, it appears clear to me why Ismene is so cautious towards burying Polyneices: &ldquo;We must remember that we were born women, not to fight against men; [...] I will obey those who are in power. It is senseless to overstep our bounds.&rdquo; (54-60) Ismene represents the typical case of how a woman was expected to behave at the time: she should be submissive and recognise that she cannot rebel against men.

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The section on gender roles further clarified why Creon states that Antigone and Ismene &ldquo;From now on must be women and not go wandering outside.&rdquo; (544,545). Ismene accepts that she must stay in the house to carry out her duties, but Antigone&rsquo;s personality is opposite to that of Ismene because she acts fearlessly, aggressively and does not accept the role she has been relegated to in society by disregarding Creon&rsquo;s decree, going out of her house to bury Polyneices.

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The reference to women&rsquo;s important role in religion, as priestesses, shed light on the culture of the time, and made me understand why Antigone would act so recklessly to bury Polyneices in the face of the state. According to the article, women&rsquo;s only influence in society was through religion. This explains to me why Antigone states that Ismene will &ldquo;go on dishonouring the laws honoured by the gods.&rdquo; (66,67): Antigone wants to preserve the only&nbsp;dignity granted to her by society, and through her character Sophocles questions whether loyalty to state or to family and religion is more important.

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From the presentations, it emerged that marriage at the time was not something women had power over, and that true love was something rare&ndash; this is demonstrated by Creon&rsquo;s dismissive reactions towards the marriage between Haemon and Antigone: &ldquo;I won&rsquo;t have any criminal wives for my sons!&rdquo; (537). Nevertheless, through the characters&rsquo; actions, Sophocles furthers the image of Antigone as challenging the state using the image of young people in love rejecting all authorities and restrictions.

A war broke out between the Thebans and the Argives, led by the warriors Eteocles and Polyneices respectively. The brothers had agreed to rule over Thebes in alternating years, but after his first year as a ruler, Eteocles was unwilling to give up his position as king. Therefore, Polyneices, a returning exile, declared war, in which the two brothers killed each other, and Thebes emerged triumphant. Ascending the throne, their uncle Creon declared that Eteocles should receive all honours in his funeral, but that Polyneices&rsquo; body would be left, exposed for the animals. Creon decreed that anyone who tried to bury Polyneices would be stoned to death.

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King Creon first enters the play delivering a powerful speech in which he declares his rescript. &ldquo;Eteocles [...] will be buried in a tomb and honoured [...] Polyneices [...] will not be dignified with burial or lamentation&rdquo; (183-191). He justifies this by proclaiming himself the defender of Thebes and invokes the protection of Zeus to testify that he acts in the interests of the state, putting Thebes above his own family. The reasons for his decree are explained by the Chorus through the image of a &ldquo;white-shielded soldier&rdquo; (98); this synecdoche represents the Argives, depicted as &ldquo;Screaming like an eagle, / Shadowing our country (Thebes)&rdquo; (103, 104). They were threatening civic order, bringing danger and fear to society. Later, the Chorus proposes: &ldquo;Let us visit all the temples of the gods/ With nightlong dancing and song.&rdquo; (149,150). Overall, the Chorus conveys the necessity to defend the state, have peace in Thebes and give thanks to the Gods, reasons which could justify Creon&rsquo;s order. However, the Chorus appears to be circumspect with regards to Creon&rsquo;s fiat. On being asked to uphold it, they say: &ldquo;Lay this burden on a younger man.&rdquo; (200). The Chorus is adopting an evasive stance, suggesting that they do not necessarily agree with Creon&rsquo;s diktat, preferring to distance themselves from it. Indeed, when Creon demands that the Chorus not side with whoever disobeys the decree, he receives the response: &ldquo;No-one is such a fool that he is in love with death.&rdquo; (204): the Chorus is implicitly complying with his requests not through agreement but through fear.

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The audience, therefore, is left in doubt as to the validity of Creon&rsquo;s decision: it may appear to be justified, and it is arguable that Creon is presented as a reasonable king at this point in the play, but on the other hand the Chorus seems reluctant to endorse his decree.

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Next, there is a conflict between Creon and the sentry, who hesitantly informs the king that Polyneices&rsquo; body has been buried. Upon hearing this, Creon jumps to the conclusion that his guards have been bribed; his outraged reaction displays the markings of a tyrant, and exposes his intemperance and anger, two of his tragic flaws: &ldquo;they will pay the penalty&rdquo; (274, 275). Creon is suspecting those around him of disloyalty and fears their potential to be easily corrupted into turning against him: &ldquo;Money often destroys men through their greed.&rdquo; (205). Sophocles even goes one step further and shows Creon&rsquo;s insecurity and another of his flaws, his suspiciousness: &ldquo;All this time men in the city have been muttering against me [...] and resenting my rule&rdquo; (266, 267), as he thinks that his position as a king is already unsafe. The sentry, knowing Creon&rsquo;s reputation and fearing that Creon thinks he has been bribed, attempts to convince him of his innocence, saying that he was not involved in the event: &ldquo;I want to tell you first on my account: I didn&rsquo;t do it!&rdquo; (221). But Creon acts imperiously, threatening the sentry: &ldquo;you will be strung up alive&rdquo; (280). The sentry, however, resists Creon&rsquo;s threats: &ldquo;It is a terrible thing when someone with the power to judge judges wrongly&rdquo; (296, 297), suggesting that Creon may be mistaken. Indeed, Creon&rsquo;s outraged reaction appears to the audience as extreme and unjust &ndash;showing some sign of Creon&rsquo;s flaws, as he is prone to overreact. Indeed, Creon goes as far as rejecting the Chorus&rsquo; suggestion the burial is the work of the Gods: &ldquo;Can you [the Chorus] see the Gods honouring evil men?&rdquo; (264, 265). Creon&rsquo;s hubris, another of his flaws, emerges again, as he commits to his idea that he is acting with the support of the Gods.

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Caught by two guards in the attempt of burying her brother&rsquo;s remains a second time, Antigone is brought to Creon. Again, Creon&rsquo;s violent reaction: &ldquo;You, lurking in my house like a viper, secretly drinking my blood!&rdquo; (495, 496) shows that he is paranoid, and he jumps to collective guilt with no grounds: &ldquo;I accuse her [Antigone] and her sister equally of plotting this burial&rdquo; (448, 449). Interestingly, he refers to Ismene as &ldquo;her sister&rdquo;, rather than calling her a niece, thus distancing himself from her. Creon thinks he must punish Antigone to demonstrate his masculinity, his domination over women and his strong grip as a ruler, since being emasculated would exclude him from the polis: &ldquo;surely, I am not the man now &ndash; she is! &ndash; if victory goes to her without punishment&rdquo; (444,445). Creon is portrayed as a typical tyrant who acts intemperately and unjustly.

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Antigone&rsquo;s viewpoint: &ldquo;I would say that all these people here [the Chorus] would approve of what I have done, if fear did not shut their mouths&rdquo; (461-463) suggests that Creon is enforcing his rule rather than being a just king, using his position of power to threaten Antigone and anyone else disobeying him, effectively establishing a dictatorship; Creon wants to be obeyed by everyone: &ldquo;the man the city puts in charge must be listened to&rdquo; (624), not realising that he is overreaching himself and that through his actions he is losing the loyalty of those around him.

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When Creon states that he &ldquo;won&rsquo;t have any criminal wives for [his] son&rdquo; (537), he is disregarding the fact that his decision to kill Antigone will spark his son&rsquo;s fury against him, leading to a new conflict, foreshadowed by Ismene, who exclaims: &ldquo;Dearest Haemon, how your father wrongs you!&rdquo; (538). By this point, the Chorus is strongly doubting Creon&rsquo;s actions: &ldquo;But no mortal life/ Climbs to the heights of power/ Without disaster&rdquo; (578-580). This is a reference to the fact that people in power, like Creon, end in disaster if they display too much hubris. Furthermore, Creon&rsquo;s unreasonableness cripples his reputation as a king, as Haemon refers to &ldquo;the dark rumour that spreads in secret&rdquo; (650), hinting at the dissent from Creon&rsquo;s edict. However, Creon goes against everyone. Haemon attempts to convince his father to backtrack: &ldquo;Let your anger go, and allow change&rdquo; (666) and is supported by the Chorus: &ldquo;My lord, if what he says is timely, it is right that you learn from him&rdquo; (670). Haemon is telling his father to not assume that his judgement is perfect. Nevertheless, Creon takes extreme measures, resolving to immure Antigone in a chamber of rock. Sophocles displays Creon&rsquo;s obstinacy in denying what the Chorus is telling him, and at the same time shows his hubristic nature, as he doesn&rsquo;t doubt himself.

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By depicting Creon as displaying a tyrannical attitude towards the people close to him, Sophocles creates antipathy in the audience and shows his lack of rationality, since his actions are unjustified and exaggerated. Indeed, Creon goes further, saying: &ldquo;Let her [Antigone] sing hymns to Zeus who protects the family&rdquo; (618, 619). The dismissive tone, bordering on blasphemy, as Creon disregards Antigone&rsquo;s prayers to Zeus, at the same time demeans Zeus, and brings to light his profanity, another tragic flaw.

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Creon is further depicted as a blasphemous character when the seer Teiresias enters and declares that the city is polluted because of him; his decision not to bury Polyneices has led to a double religious crime: not only has he buried a living person, he has also denied the gods below a corpse and the corpse its honour, and for these reasons he will be punished&nbsp;by &ldquo;the Furies of Hades and of the gods&rdquo; (1040). However, Creon believes that Teiresias is corrupt and again blasphemes: &ldquo;you will not bury that man in a tomb, / not even if the eagles of Zeus care to plunder the carrion&rdquo; (1006, 1007). Indignant at Creon&rsquo;s refusal to accept that there could be greater powers than him, Teiresias prophesises that Creon &ldquo;will not live through many more racing journeys of the sun before giving one born of his loins as a corpse in exchange for corpses!&rdquo; (1031-1033).

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In conclusion, Creon&rsquo;s decree not to bury Polyneices results in him losing all the people close to him and the honourable position he had gained. Creon finally acknowledges he must take responsibility for his actions; because of his tragic flaws, notably his hubris and unreasonableness, he has polluted the entire state. Creon&rsquo;s mistakes are summarised perfectly by the Chorus at the end of the play: &ldquo;No irreverence/ Must be shown to the gods. / The mighty words of overproud men/ With mighty blows are punished,&rdquo; (1322-1325).

Sophocles, et al. Antigone. Cambridge University Press, 2003.

To What Extent Does The Student Show How Their Understanding Of Cultural And Contextual Elements Was Developed Through The Interactive Oral?

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