Antigone Is Not Feminist
Actual word limit: 550 | My word count: ~1047 | I finished this over two days despite having two weeks and being assigned to do this essay in split parts (thesis, intro, body, conclusion, final draft).
Feminism, although newly controversial, was started to fight for female rights. Antigone is Greek play that is best known for showcasing rebellion against governing authority and hubris (tragic flaw), but it may seem feminist because female Antigone rebels against kings. Although author of Antigone clearly critiques position of women in society, Antigone did not intend to stand for her female rights and thus should not be described as feminist.
Detractors note that Antigone, female, rebels against male state within patriarchy; clearly, this reflects feminist motives. Ismene states, “Think how much more terrible than these our own death would be if we should go against Creon! We are only women; we cannot fight with men!” (Prologue, Lines 44-47) Creon tries to assert his masculinity by enforcing these laws – evidenced by his question: “Who is the man here, she or I, if this crime goes unpunished? [...] She and her sister win bitter death for this!” (Scene 2, Lines 82-86) He later commands his servants to “take them away, and guard them well: for they are but women, and even brave men run when they see Death coming,” (Scene 2, Lines 163-165) implying that women are hysterical cowards, despite Antigone proclaiming: “This death of mine is of no importance; but if I had left my brother lying in death unburied, I should have suffered. Now I do not.” (Scene 2, Lines 69-72) This desire for masculinity extends further when Creon demands that “ we keep laws then, and lawmakers, and no woman shall seduce us. If we must lose, let us lose to man, at least! Is woman stronger than we?” Furthermore, he wants patriarchal model for state, noted in his talk with Haimon. When Haimon says, “No marriage means more to me than your continuing wisdom,” Creon is satisfied, as “that is way to behave: subordinate, everything else, my son, to your father’s will.” He suggests that breaking his “sworn word” in favor of “family ties” would “show [himself] weak before the people” and not “earn world’s obedience.” (Scene 3, Lines 11-48)
However, this play mostly comments on dynamic between monarchies and their subjects, rather than dynamic between sexes. Ismene says, “The law is strong; we must give in to law in this thing, and in worse. I beg the Dead to forgive me, but I am helpless: I must yield to those in authority. I think it dangerous business to be always meddling. [...] I have no strength to break laws that were made for public good.” Antigone defends her crime as holy, because “dead, not living, make longest demands” and she “will bury the brother [she loves]” and that she is “not afraid of danger; if it means death, it will not be worst of deaths – death without honor.” (Prologue, Lines 48-84) Even those who were innocent feared for their life under this decree of Creon, as seen by Sentry’s insistent and anxious defence. “Every time I stopped to think about what I have to tell you, I felt like going back. [internal conflict] At least I hope it was good sense, and here I am with story that makes no sense, but I’ll tell it anyhow...” As Creon insists for him to “come to point” and explain reason for his defence, Sentry barely strings sentence together: “The dead man– Polyneices– out there– someone,– New dust on the slimy flesh!” (Scene 1, Lines 52-70) Sentry later continues with excess detail about what he saw, with asyndeton hinting at hurried tone. After Choragos dares to suggest that gods may approve of Polyneices’ burial, Creon furiously yells about how there were “stiff-necked anarchists [...] scheming against [him] alleys [who] bribed own guard to do this thing.” and criticizes Choragos for his “senile opinion that gos love to honor bad men”. Sentry exits, saying that he “would like nothing better than bringing man! but bring him or not, you have seen last of me here. At any rate, I am safe!” (Scene 2, Lines 98-139)
Creon’s method of ruling displays hubris by mostly refusing to listen to others. Antigone serves to go against laws because “that final Justice that rules the world below makes no such laws. Your edict, King, was strong, but all your strength is weakness itself against immortal unrecorded laws of God [... that] shall be operative for ever, beyond man utterly.” (Scene 2, Lines 59-62) She begs Creon to “kill [her]. [...] I should have praise and honor for what I have done. All these men here would praise me were their lips not frozen shut with fear of you.” (Scene 2, Lines 95-102) Haimon provides further evidence of this city-wide praise and begs his father to meet reason: “ Your temper terrifies them – everyone will tell you only what you like to hear. But I can listen and have heard them whispering about this girl. They say no woman has ever died such shameful death for generous act: ‘She covered her brother’s body. Is this indecent? [...] Death?–She should have all honor that we can give!’ That is how they talk in city. [...] I beg you, do not believe that you alone can be right.” However, Creon maintains his arrogant position because of his “years and experience” and rejects idea that his city has any place in how he rules, as he “will have no dealings with lawbreakers, critics of government; those chosen to govern must always be obeyed. My voice is sole voice that orders City! State is King!” (Scene 3, 10-105) Despite believing that State should not kill her – because “she shall have food, as custom is, to absolve State of her death” – Creon realizes error of his ways only due to advice from Teiresias and Choragos which came too late to stop chain of deaths. His last lamentation reads: “I have been rash and foolish. I have killed my son and wife. I look for comfort; my comfort lies here dead. Whatever my hands have touched has come to nothing. Fate has brought my pride to thought of dust.”
This play is iconic for its commentary on citizen’s rights to go against unjust governments and king’s tragic downfall from pride, but no character advocates for women’s rights; thus, none can be labelled feminist.
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