Post by mmazzucco9 on Sept 28, 2011 18:02:06 GMT -5
Through Antigone’s utilization of her speech and actions she gives a feeble attempt to contrive some sort of appreciation from the people for her illegal, yet necessary, burial of Polyneices. It is clear that Antigone is prideful to the point that she possesses the negative attribute of hubris. Such an example is evident during her conversation with Ismene when Antigone orders her sister to “tell it! Tell everyone” (Sophocles 193). Antigone wants everyone to hear of her defiance towards Creon’s despicable rule through her act of burying her disgraced brother; her strength and pride are continuously obvious throughout the play. Although Antigone believes that burying Polyneices was a righteous act and one that should be commended by everyone, as evident in her prideful boasting of her deed when confronted by Creon earlier in the play, the people have not shown her any sign of admiration. Thus Antigone’s pride is not rewarded and she is left to find a way to fill the void. Antigone utilizes clever diction repeatedly in order to grab the attention of the people and expose some sort of adoration for her. One of her many methods is to constantly refer to the lack of heat that she is experiencing. Antigone bids the sun, the epitome for sources of heat, farewell because “the sun that shines for me no longer” (225). Antigone also refers to the depths of hell as being a place lacking in warmth by mentioning that her death “summons me down to Acheron, that cold shore” (225). Warmth represents comfort, community, and solitude; on the other hand the cold portrays isolation. Therefore by referencing the cold, Antigone reveals the confinement from pride and honor that she has been experiencing.
Antigone continues to emphasize the loneliness that she is subjugated to by referencing her other senses, most notably her sense of hearing. Antigone believes she is at the moment entering a world of silence with the remark that “there is no bridesong there, nor any music”(225). Antigone further drives home her loneliness by acknowledging the fact that there will be “no song, but silence” (227). A place where there is neither warmth nor sound is clearly a cell for one to be imprisoned in alone. Antigone is unsuccessfully delivering to the people the fact that she is forced into isolation. By drawing attention to her loneliness Antigone transports this emotion to the forefront and attempts to have the people recognize her situation. Antigone further tries to seize the attention of the people by moving from side to side as seen in the strophe and antistrophe stage directions included before five of her eight lines in the scene. Obviously Antigone is doing her best to be visible as well as audible to the people, and in doing so she is attempting to receive as much appreciation as possible from the people in order to revive her curtailing sense of pride.
Antigone continues to emphasize the loneliness that she is subjugated to by referencing her other senses, most notably her sense of hearing. Antigone believes she is at the moment entering a world of silence with the remark that “there is no bridesong there, nor any music”(225). Antigone further drives home her loneliness by acknowledging the fact that there will be “no song, but silence” (227). A place where there is neither warmth nor sound is clearly a cell for one to be imprisoned in alone. Antigone is unsuccessfully delivering to the people the fact that she is forced into isolation. By drawing attention to her loneliness Antigone transports this emotion to the forefront and attempts to have the people recognize her situation. Antigone further tries to seize the attention of the people by moving from side to side as seen in the strophe and antistrophe stage directions included before five of her eight lines in the scene. Obviously Antigone is doing her best to be visible as well as audible to the people, and in doing so she is attempting to receive as much appreciation as possible from the people in order to revive her curtailing sense of pride.