Does Antigone hold strong until the end? Is Antigone the hero? Today, Dcn. Garlick is joined again by David Niles and Dr. Frank Grabowski to discuss the second part of Sophocles' Antigone.
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15. How does Haemon’s interaction with Creon highlight his character and challenge Creon’s perspective?
Haemon, Creon’s son and Antigone’s betrothed, enters around line 700 and is described by David as “one of my favorite characters” for his wisdom and patience, contrasting with Creon’s “chaotic” and “irrational” behavior. Haemon employs “masterful rhetoric,” as Dcn. Garlick contends, that balances filial piety with a Socratic challenge to Creon’s stubbornness, urging him to reconsider his decree to execute Antigone. He suggests the polis mourns for Antigone, saying, “It’s for me to catch the murmurs in the dark, the way the city mourns for this young girl” (ln. 775), undermining Creon’s belief that the polis supports him. Dr. Grabowski notes Haemon’s “epistemological challenge,” raising “human fallibility” and the “voice of the people” to suggest Creon may have erred. However, Creon’s ironic responses, like “Are you coming now raving against your father or do you love me no matter what I do?” (ln. 707), reveal his fixation on his own political authority and the familial piety Haemon owes him. Sophocles makes Creon an incredibly ironic character, who will often advise to others exactly what he himself should be doing.
16. How does Creon’s character evolve in the latter half of the drama?
Creon (arguably) begins the play prioritizing the polis’ common good, but in the second half, there is a “shift” toward tyranny as his view becomes myopically focused on his own authority. Initially, he justifies leaving Polyneices unburied as justice for being a traitor, but by line 748, he declares, “The man the city places in authority, his orders must be obeyed, large and small, right and wrong,” signaling a move from considerations of justice to his own authority. The standard by which he makes his decision seems to shift. His question, “Am I to rule this land for others or myself?” (ln. 823), elicits Haemon’s rebuke, “It’s no city at all owned by one man alone” (ln. 824). Creon’s claim, “Show me the man who rules his household well. I’ll show you someone fit to rule the state” (ln. 739), is deeply ironic, as he fails to rule his household, foreshadowing his spiral into tragedy. His fixation on anarchy as “a greater crime in all the earth” (ln. 752) over blasphemy further reveals his “blindness” to the divine, cementing his “de-evolution” into tyranny, as Dcn. Garlick notes. Under Creon, the cosmos whole that was first interpreted through the political now seems to simply be reducible to Creon’s will. He becomes the tyrant.
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