According to Aristotle, a sad gunslinger in a serious music drama moldiness advert certain requirements. The sad torpedo must(prenominal) be of portentous birth, be fundamentally good, must have a tragic flaw, and must have a indorsement of realization at some point in the work. Although Antigone is the namesake of the Sophocles play and is a scrapper in her give-up the ghost right, she is non a tragic hero. Creon is the true tragic hero of Antigone in the conventional sense of the term. Both Antigone and Creon were born of courtly blood as they argon members of the same family. However, Antigones birth is misdirect as she is the minor of a brother and sister. This most at a time disqualifies her as the tragic hero. Antigone is to a greater extent than basically good; she neer waivers from her position because she knows that she is right, whereas Creon stands someplace in the middle of the road. He is basically good, but he stern easily be lend astray by his own flaws as the reader sees immediately. Antigone neer has a moment of recognition. From the root word of the play she knows and accepts her caboodle for upholding her object lesson beliefs. This is not a proceeds of a flaw, rather it is a virtuous trait. Creons unexplored fate becomes increasingly apparent throughout the play and is distinctly a product of his dynamic use flaws.
Antigone is a clear-sighted dupe of Creons tyranny and mortal law, almost a sufferer; Creon suffers because his self-conceit causes him to transgress a higher(prenominal) law, the law of the gods. Thus, the decisive difference between the tragic appraise of the two characters lies in the reputation and cause of their suffering. In the end, Creon recognizes his flaws and in doing so reaches an empyrean recite of understanding. Though Antigone faces... If you want to get a undecomposed essay, pasture it on our website:
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