antigone and hamlet comparative essay

Hamlet and Antigone Comparative Essay Example

A story’s tragic hero is a defining feature of a work of literature, often symbolizing the consequences of a fatal flaw of the power of fate. This specific literary device was a trademark of classic Greek dramas such as Sophocles’ Antigone and Shakespeare’s Hamlet. While the title characters and protagonists of these two plays are alike in many ways, they also differ vastly in other regards. Though the two characters, both with strong wills and headstrong natures, share experiences of loss and grief, Hamlet and Antigone each face tragic challenges created by their unique and separate fatal flaws. 

According to Aristotle in his work, Poetics, a protagonist must possess specific traits to be considered a tragic hero: Firstly, a character must be, for the most part, virtuous and noble; Perhaps the character is driven by their strong morals or by their desire to uphold the honor of Greek culture and tradition. Additionally, a tragic hero must have some kind of fatal flaw, or hamartia, that will contribute to their downfall later in the story. Often times in ancient Greek literature, this flaw is hubris, jealousy, or disloyalty. The presence of this shortcoming in a characters’ description allows the audience to relate to the character. In fact, a good tragic hero should evoke catharsis, therefore “provocative of the emotions of tragic fear and pity, as they are described by Aristotle” from the audience (Schauroth, 353). Finally, to be a tragic hero, a character must experience a “reversal of fortunes” or a fall from grace, often leaving the character to deal with death and destruction at the conclusion of the work, hence the term “tragic” hero. 

Both Hamlet and Antigone fulfill these requirements and can therefore be considered the tragic heroes of their respective stories. For example, Antigone’s is motivated by tradition to bury her brother, Polyneices, against the orders of King Creon, establishing her noble intentions: “She is not upholding divine law, as such, against the laws of man.” (Adams, 49). Furthermore, Antigone’s fatal flaw of stubborn will pushes her to participate in acts of civil disobedience against the leaders of Thebes, evoking a threat of punishment from King Creon and ultimately leading to Antigone’s suicide. Hamlet also establishes his nobility throughout Hamlet, often putting his own needs aside in order to secure the kingdom of Denmark and ensure that justice is served. In addition, Hamlet also meets his downfall, death at the hands of Laertes’ poisoned sword, due to his fatal flaw of indecision. 

One of the biggest differences between Hamlet and Antigone as tragic heroes is their unique hamartia: defects in a character that eventually lead to their downfall. In Antigone, Antigone’s tragic flaw, as well as her greatest strength, is her stubborn nature. Antigone is able to overcome any fear or uncertainty in her belief by her resolve to always do the right thing, no matter what. Unfortunately, it is her unwavering confidence in her decision to provide her brother with a proper Greek burial, despite an official decree, that sparks condemnation from King Creon and ultimately leading to Antigone’s collapse. However, some argue that Antigone’s stubbornness was not the true cause of her death, but rather, the hubris of the story’s antagonist, King Creon, is to blame instead. Despite his catharsis, Creon chooses not to show Antigone mercy because of his excessive pride, rendering him incapable of effectively dealing with conflicts, and resulting in not only his own downfall, but that of Antigone as well. In fact, some argue that Antigone is not a tragic heroine at all due to the fact that her motives are entirely too pure; “She may fail to win our full sympathy because to us she seems too good to be the reflection of ourselves.” (Schauroth, 362). Nevertheless, because Antigone’s death occurs at her own hands, one thing is certain: “Antigone met her death through defiance of an edict forbidding the burial of Polyneices' body.” (Adams, 47). 

In contrast, Hamlet’s hamartia happens to be his extreme indecision. Hamlet swears vengeance after learning that his father was slain by Claudius, yet, he takes an inordinate amount of time in doing so, hesitating to take definitive action against his father's assassin. Ruled his by intellect and deliberate in his actions, Hamlet procrastinates taking his vengeance, waiting and waiting for the perfect window of opportunity; “Before he kills the King, he must have evidence and certainty, for evil spirits sometimes assume the shape of departed familiars in order to bring men to madness.” (McCloskey, 446). Another big part of Hamlet’s uncertainty was his internal struggle with morals and responsibilities. Hamlet feels a loyalty to his country and to the preservation of justice and therefore does not want to act rashly or without sound cause. It is this uninhibited idealism, fatalism, and analysis that halts Hamlet’s plan for revenge. In the end unfortunately, Hamlet’s delay leads not only to his own death, but that of those around him: Gertrude, Ophelia, Laertes, and Claudius. 

With their differences set aside, Hamlet and Antigone are similar in many ways as tragic heroes. One of the most obvious similarities between the two protagonists is their shared struggle with loss and grief. While Antigone struggles with the death of her brother, Polyneices, Hamlet mourns the loss of his father, King Hamlet. Additionally, both characters set goals as means to cope with their grief, each setting out on a path of vengeance and justice: Antigone sets her mind to ensuring that Polyneices receives a proper Greek burial while Hamlet resolves to avenge the death of his father by killing his murderer, Claudius. Both heroes feel that completing these tasks will lessen their grief and will go to any lengths necessary to do so, no matter the consequences. S.M. Adams explains the sincerity of Antigone’s sentiment: “If it means her death, there are worse fates than that.” (Adams, 49).

Another similarity between Hamlet and Antigone is that they both suffer from “tunneled vision”, often leaving them to act without thinking of the consequences. On many occasions throughout their respective stories, the two characters demonstrate apathy towards those around them, prioritizing their goals and desires over the wellbeing of their loved ones. For example, Hamlet’s cruelty towards Ophelia contributes to her spiral into madness after the death of her father at the hands of Hamlet himself. In the words of D.J. Snider, “The order of the world is thus turned upside down; he knows that he is born to set it right - that this is the highest duty, to which every inferior duty must yield.” (Snider, 85-86). Similarly, Antigone disregards the opinions of her sister, Ismene, concerning the issue of Polyneices’ burial, deciding instead to act of her own accord despite the consequences her actions might have on others. 

In conclusion, the two tragic Greek heroes of Antigone and Hamlet are alike in many ways while also demonstrating several important differences. Though both characters suffer great loss and reversals of fortunes, their downfalls come about as a result of different hamartia: Antigone’s being stubborn will and Hamlet’s being indecision. However, despite their differing routes to demise, the two protagonists meet their bitter end all the same, painting them as the tragic heroes of their stories and allowing the audience to learn valuable lessons from their mistakes.

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1. This is Love. Compare, analyze, and assess the ways in which...

Answer & explanation.

In the texts "Antigone" and "Hamlet," love is depicted and explored in complex and multifaceted ways. Both plays offer insights into the nature of love, its manifestations, and its implications for the human subject.

In "Antigone," love is primarily portrayed through the relationships within the Theban royal family. Antigone's love for her brother Polyneices drives her to defy the king's decree and give him a proper burial, demonstrating a profound familial bond. Ismene's reluctance to participate in this act reflects a different perspective on love - one that prioritizes obedience to authority over familial duty. Creon's love for power and order leads him to act harshly against his own family, revealing the darker side of love when it is intertwined with authority and control.

In "Hamlet," love is explored through the lens of romantic relationships. Hamlet's love for Ophelia is complicated by his feigned madness and internal struggles, causing confusion and emotional turmoil. Polonius's concern for his children, Ophelia and Laertes, is rooted in paternal love, but it often manifests as control and manipulation. Gertrude's hasty marriage to Claudius after her husband's death raises questions about the nature of her love and her understanding of loyalty.

Analyzing these texts, it becomes evident that love is not singular; rather, it takes on different forms and motivations. Love can be familial, romantic, or even self-interested, and its expressions can be both genuine and tainted by external factors. In both plays, love is often intertwined with power dynamics, authority, and conflicting obligations.

From these depictions, we can draw certain conclusions about how love is experienced and conceived. Love is a powerful and complex emotion that can drive individuals to both virtuous and destructive actions. It can be transformative, inspiring acts of bravery and selflessness, as seen in Antigone's defiance and Hamlet's quest for justice. However, love can also be a source of conflict, manipulation, and tragedy when it is distorted by personal ambitions or societal pressures.

Regarding the role of love in the production of the human subject, we can argue that love plays a significant role in shaping individuals' identities and actions. Love influences decision-making, shapes values and priorities, and even challenges social norms. The way characters in these plays experience and conceive of love contributes to their development as human subjects, influencing their moral compass, relationships, and sense of self.

In conclusion, "Antigone" and "Hamlet" offer nuanced explorations of love, highlighting its multifaceted nature and its impact on the human subject. Love can be both a driving force for virtue and a source of conflict and tragedy, reflecting the complexities of human nature and relationships. The ways in which characters in these plays experience and navigate love contribute to their individual journeys and shape their roles as human subjects within their respective contexts.

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Everything you need for every book you read.

Welcome to the LitCharts study guide on Sophocles's Antigone . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Antigone: Introduction

Antigone: plot summary, antigone: detailed summary & analysis, antigone: themes, antigone: quotes, antigone: characters, antigone: symbols, antigone: theme wheel, brief biography of sophocles.

Historical Context of Antigone

Other books related to antigone.

• Full Title: Antigone
• When Written: Circa 442 B.C.E.
• Where Written: Athens, Greece
• Literary Period: Classical
• Genre: Tragic drama
• Setting: The royal house of Thebes
• Climax: The suicides of Antigone and Haemon
• Antagonist: Creon

Extra Credit for Antigone

World War II Antigone: In 1944, when Paris was occupied by the Nazis, Jean Anouilh produced a version of Antigone in which the audience was able to identify Antigone with the French Resistance fighters and Creon with the occupying forces.

World War II Antigone 2: The German poet and playwright Bertolt Brecht produced a version of the play in German, in 1948, which had even more obvious references to the Nazis. Brecht's version of the play begins in a Berlin air-raid shelter.

Literary Theory and Criticism

Home › Drama Criticism › Analysis of Sophocles’ Antigone

Analysis of Sophocles’ Antigone

By NASRULLAH MAMBROL on July 29, 2020 • ( 0 )

Within this single drama—in great part, a harsh critique of Athenian society and the Greek city-state in general—Sophocles tells of the eternal struggle between the state and the individual, human and natural law, and the enormous gulf between what we attempt here on earth and what fate has in store for us all. In this magnificent dramatic work, almost incidentally so, we find nearly every reason why we are now what we are.

—Victor D. Hanson and John Heath, Who Killed Homer? The Demise of Classical Education and the Recovery of Greek Wisdom

With Antigone Sophocles forcibly demonstrates that the power of tragedy derives not from the conflict between right and wrong but from the confrontation between right and right. As the play opens the succession battle between the sons of Oedipus—Polynices and Eteocles—over control of Thebes has resulted in both of their deaths. Their uncle Creon, who has now assumed the throne, asserts his authority to end a destructive civil war and decrees that only Eteocles, the city’s defender, should receive honorable burial. Polynices, who has led a foreign army against Thebes, is branded a traitor. His corpse is to be left on the battlefield “to be chewed up by birds and dogs and violated,” with death the penalty for anyone who attempts to bury him and supply the rites necessary for the dead to reach the underworld. Antigone, Polynices’ sister, is determined to defy Creon’s order, setting in motion a tragic collision between opposed laws and duties: between natural and divine commands that dictate the burial of the dead and the secular edicts of a ruler determined to restore civic order, between family allegiance and private conscience and public duty and the rule of law that restricts personal liberty for the common good. Like the proverbial immovable object meeting an irresistible force, Antigone arranges the impact of seemingly irreconcilable conceptions of rights and responsibilities, producing one of drama’s enduring illuminations of human nature and the human condition.

Antigone is one of Sophocles’ greatest achievements and one of the most influential dramas ever staged. “Between 1790 and 1905,” critic George Steiner reports, “it was widely held by European poets, philosophers, [and] scholars that Sophocles’ Antigone was not only the fi nest of Greek tragedies, but a work of art nearer to perfection than any other produced by the human spirit.” Its theme of the opposition between the individual and authority has resonated through the centuries, with numerous playwrights, most notably Jean Anouilh, Bertolt Brecht, and Athol Fugard grafting contemporary concerns and values onto the moral and political dramatic framework that Sophocles established. The play has elicited paradoxical responses reflecting changing cultural and moral imperatives. Antigone, who has been described as “the first heroine of Western drama,” has been interpreted both as a heroic martyr to conscience and as a willfully stubborn fanatic who causes her own death and that of two other innocent people, forsaking her duty to the living on behalf of the dead. Creon has similarly divided critics between censure and sympathy. Despite the play’s title, some have suggested that the tragedy is Creon’s, not Antigone’s, and it is his abuse of authority and his violations of personal, family, and divine obligations that center the drama’s tragedy. The brilliance of Sophocles’ play rests in the complexity of motive and the competing absolute claims that the drama displays. As novelist George Eliot observed,

It is a very superficial criticism which interprets the character of Creon as that of hypocritical tyrant, and regards Antigone as a blameless victim. Coarse contrasts like this are not the materials handled by great dramatists. The exquisite art of Sophocles is shown in the touches by which he makes us feel that Creon, as well as Antigone, is contending for what he believes to be the right, while both are also conscious that, in following out one principle, they are laying themselves open to just blame for transgressing another.

Eliot would call the play’s focus the “antagonism of valid principles,” demonstrating a point of universal significance that “Wherever the strength of a man’s intellect, or moral sense, or affection brings him into opposition with the rules which society has sanctioned, there is renewed conflict between Antigone and Creon; such a man must not only dare to be right, he must also dare to be wrong—to shake faith, to wound friendship, perhaps, to hem in his own powers.” Sophocles’ Antigone is less a play about the pathetic end of a victim of tyranny or the corruption of authority than about the inevitable cost and con-sequence between competing imperatives that define the human condition. From opposite and opposed positions, both Antigone and Creon ultimately meet at the shared suffering each has caused. They have destroyed each other and themselves by who they are and what they believe. They are both right and wrong in a world that lacks moral certainty and simple choices. The Chorus summarizes what Antigone will vividly enact: “The powerful words of the proud are paid in full with mighty blows of fate, and at long last those blows will teach us wisdom.”

As the play opens Antigone declares her intention to her sister Ismene to defy Creon’s impious and inhumane order and enlists her sister’s aid to bury their brother. Ismene responds that as women they must not oppose the will of men or the authority of the city and invite death. Ismene’s timidity and deference underscores Antigone’s courage and defiance. Antigone asserts a greater allegiance to blood kinship and divine law declaring that the burial is a “holy crime,” justified even by death. Ismene responds by calling her sister “a lover of the impossible,” an accurate description of the tragic hero, who, according to scholar Bernard Knox, is Sophocles’ most important contribution to drama: “Sophocles presents us for the first time with what we recognize as a ‘tragic hero’: one who, unsupported by the gods and in the face of human opposition, makes a decision which springs from the deepest layer of his individual nature, his physis , and then blindly, ferociously, heroically maintains that decision even to the point of self-destruction.” Antigone exactly conforms to Knox’s description, choosing her conception of duty over sensible self-preservation and gender-prescribed submission to male authority, turning on her sister and all who oppose her. Certain in her decision and self-sufficient, Antigone rejects both her sister’s practical advice and kinship. Ironically Antigone denies to her sister, when Ismene resists her will, the same blood kinship that claims Antigone’s supreme allegiance in burying her brother. For Antigone the demands of the dead overpower duty to the living, and she does not hesitate in claiming both to know and act for the divine will. As critic Gilbert Norwood observes, “It is Antigone’s splendid though perverse valor which creates the drama.”

Before the apprehended Antigone, who has been taken in the act of scattering dust on her brother’s corpse, lamenting, and pouring libations, is brought before Creon and the dramatic crux of the play, the Chorus of The-ban elders delivers what has been called the fi nest song in all Greek tragedy, the so-called Ode to Man, that begins “Wonders are many, and none is more wonderful than man.” This magnificent celebration of human power over nature and resourcefulness in reason and invention ends with a stark recognition of humanity’s ultimate helplessness—“Only against Death shall he call for aid in vain.” Death will test the resolve and principles of both Antigone and Creon, while, as critic Edouard Schuré asserts, “It brings before us the most extraordinary psychological evolution that has ever been represented on stage.”

When Antigone is brought in judgment before Creon, obstinacy meets its match. Both stand on principle, but both reveal the human source of their actions. Creon betrays himself as a paranoid autocrat; Antigone as an individual whose powerful hatred outstrips her capacity for love. She defiantly and proudly admits that she is guilty of disobeying Creon’s decree and that he has no power to override divine law. Nor does Antigone concede any mitigation of her personal obligation in the competing claims of a niece, a sister, or a citizen. Creon is maddened by what he perceives to be Antigone’s insolence in justifying her crime by diminishing his authority, provoking him to ignore all moderating claims of family, natural, or divine extenuation. When Ismene is brought in as a co-conspirator, she accepts her share of guilt in solidarity with her sister, but again Antigone spurns her, calling her “a friend who loves in words,” denying Ismene’s selfless act of loyalty and sympathy with a cold dismissal and self-sufficiency, stating, “Never share my dying, / don’t lay claim to what you never touched.” However, Ismene raises the ante for both Antigone and Creon by asking her uncle whether by condemning Antigone he will kill his own son’s betrothed. Creon remains adamant, and his judgment on Antigone and Ismene, along with his subsequent argument with his son, Haemon, reveals that Creon’s principles are self-centered, contradictory, and compromised by his own pride, fears, and anxieties. Antigone’s challenge to his authority, coming from a woman, is demeaning. If she goes free in defiance of his authority, Creon declares, “I am not the man, she is.” To the urging of Haemon that Creon should show mercy, tempering his judgment to the will of Theban opinion that sympathizes with Antigone, Creon asserts that he cares nothing for the will of the town, whose welfare Creon’s original edict against Polynices was meant to serve. Creon, moreover, resents being schooled in expediency by his son. Inflamed by his son’s advocacy on behalf of Antigone, Creon brands Haemon a “woman’s slave,” and after vacillating between stoning Antigone and executing her and her sister in front of Haemon, Creon rules that Antigone alone is to perish by being buried alive. Having begun the drama with a decree that a dead man should remain unburied, Creon reverses himself, ironically, by ordering the premature burial of a living woman.

Antigone, being led to her entombment, is shown stripped of her former confidence and defiance, searching for the justification that can steel her acceptance of the fate that her actions have caused. Contemplating her living descent into the underworld and the death that awaits her, Antigone regrets dying without marriage and children. Gone is her reliance on divine and natural law to justify her act as she equivocates to find the emotional source to sustain her. A husband and children could be replaced, she rationalizes, but since her mother and father are dead, no brother can ever replace Polynices. Antigone’s tortured logic here, so different from the former woman of principle, has been rejected by some editors as spurious. Others have judged this emotionally wrought speech essential for humanizing Antigone, revealing her capacity to suffer and her painful search for some consolation.

The drama concludes with the emphasis shifted back to Creon and the consequences of his judgment. The blind prophet Teiresias comes to warn Creon that Polynices’ unburied body has offended the gods and that Creon is responsible for the sickness that has descended on Thebes. Creon has kept from Hades one who belongs there and is sending to Hades another who does not. The gods confirm the rightness of Antigone’s action, but justice evades the working out of the drama’s climax. The release of Antigone comes too late; she has hung herself. Haemon commits suicide, and Eurydice, Creon’s wife, kills herself after cursing Creon for the death of their son. Having denied the obligation of family, Creon loses his own. Creon’s rule, marked by ignoring or transgressing cosmic and family law, is shown as ultimately inadequate and destructive. Creon is made to realize that he has been rash and foolish, that “Whatever I have touched has come to nothing.” Both Creon and Antigone have been pushed to terrifying ends in which what truly matters to both are made starkly clear. Antigone’s moral imperatives have been affirmed but also their immense cost in suffering has been exposed. Antigone explores a fundamental rift between public and private worlds. The central opposition in the play between Antigone and Creon, between duty to self and duty to state, dramatizes critical antimonies in the human condition. Sophocles’ genius is his resistance of easy and consoling simplifications to resolve the oppositions. Both sides are ultimately tested; both reveal the potential for greatness and destruction.

24 lectures on Greek Tragedy by Dr. Elizabeth Vandiver.

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Compare and contrast between Antigone and Hamlet

Dilemma of ExistenceHamlet and AntigoneThe two classic plays Hamlet and Antigone share many themes and traits. They both challenge the ideas of life and death but still keep things on a level that anyone can relate to. This is why they are considered classics and are still read to this day. In this essay, I will be discussing the similarities and differences of these two classics and also analyzing the characters. One theme that is present in both books is pride. Antigone has a lot of pride.

She goes against what the government says and buries her brother. She has pride in what she did. Antigone says, “I won’t insist, no, even if you should have a change of heart, I’d never welcome you in the labor”( Sophocles 63). She wants to be know for what she did. She also says, “Dear God, shout it from the rooftops. I’ll hate you all the more for silence” (Sophocles 64). This just reinforces the fact that she was proud of what she did and wanted everyone to know. The same thing kind of happens in Hamlet.

When Hamlet kills Polonius. He doesn’t try to shift blame of to remove blame from himself but he admits to it and then says, “you shall nose him as you go up the stairs into the lobby” (Shakespeare 222). Both main characters have extreme pride in all that they do however the two books do differ in one way. This way is the punishment and treatment of their actions. In Hamlet, Hamlet’s actions are, for the most part, ignored because he hides the body and they cannot pin the murder of Polonius on him.

In Antigone, Antigone is witnessed burying the body and when confronted about it she admits fully to the burial. This just shows little differences in the actions of the two main characters. Another theme present in both books is tyrrany. In Antigone, Creon is in many ways a sympathetic character, but he abuses his power subtly – mainly by decreeing man’s law as a consequence of divine will. His faults do not necessarily stem from a lust for power, for he often has noble intentions. He is completely loyal to the state, but is subject to human weakness and poor judgment.

Indeed, at the beginning of the play he frequently comments on his desire to do what’s best for Thebes and gains the confidence of both Haemon and the Chorus of Elders, who say that they will follow him if that is his goal. And though he continues to reprise this theme, Creon is clearly more concerned with preserving certain values of law rather than the good of the city. When faced with a choice that would preserve ‘tradition’ or his own interpretation of the law he chooses to go with his own interpretation of the law.

This theme is also present in Hamlet. I believe that there is something rotten in Denmark. When Claudius takes over for King Hamlet, it is not Claudius’s place to take over the country. It is actually Hamlet’s right to take over the

kingdom. Hamlet actually states this when he says:Does it not, think thee, stand me now upon- He that hath killed my king and whored my mother, Popped in between th’ elections and my hopes, Thrown out his angle for my proper life (Shakespeare 304). This shows that Hamlet didn’t like Claudius from the beginning.

The ghost informed Hamlet about the murder and that pushed him to seek revenge against Claudius. Now we must analyze the characters. Hamlet has fascinated audiences and readers for centuries, and the first thing to point out about him is that he is enigmatic. There is always more to him than the other characters in the play can figure out; even the most careful and clever readers come away with the sense that they don’t know everything there is to know about this character. I think that Hamlet knows more than we think he does.

At the end of the book, I think Hamlet realized that Laerates and Claudius are going to kill him. He ends up taking everyone out with him which I think kind of eludes to the fact that he knew. He was very self-aware about his death. T. S. Eliot says, “The “madness” of Hamlet lay to Shakespeare’s hand; in the earlier play a simple ruse, and to the end, we may presume, understood as a ruse by the audience”(). This was similar to Antigone. Antigone was aware of her end too. She knew that burying her brother would bring about her demise and she was okay with that.

Antigone says, “Of course I did. It wasn’t Zeus, not in the least, who made this proclamation- not to me” (82). This showed that she wasn’t afraid of people killing her because her judgment would be passed onto the gods. Emily Wood states, “Antigone’s realization of her death does not affect her, it merely urges her to do what she feels is right” (Wood 1). These two characters are very similar. They are also very different. Hamlet uses words to play games and ridicule people. Antigone only uses words to convey what she thinks.

For example, Antigone says, “I did it, I don’t deny a thing” (81). On the other hand, Hamlet would say something like:Claudius: Now, Hamlet, where is Polonius? Hamlet: At supper. Claudius: At supper where? Hamlet: Not where he eats, but where he is eaten. A certain convocation of politic worms are e’en at him (Shakespeare 220-222). Both of these quotes refer to their crimes. You can see the differences in their answers and how the react to the questions posed. Antigone reacts with a poised and calm response while Hamlet responds with questions and ridicules the questioner.

Antigone and Hamlet are not the only characters that matter in these two plays. Two other essential characters are Creon and Claudius. These characters end up being the bad guys of the plays. They both are very similar. In Antigone, Creon sentences Antigone to death. He then realized that his own personal beliefs are not the answer to the greater good and by the time he

realizes it Antigone is already dead. Creon says, “Ohh, so senseless, so insane. .. my crimes” (Sophocles 124). In Hamlet, Claudius follows his own personal beliefs too.

He seizes the kingdom from King Hamlet but then he repents for what he has done. He says, “Oh, my offense is rank. It smells to heaven. ” These two individuals realize the error in their ways and thus try to cover for them. By the time they realize their errors it was too late. In conclusion, Antigone and Hamlet are both great tragedies. They relate the serious topics of life and death to a subject matter that all can understand. These plays were great in their times and are still great today.

Both stories share many aspects including similar characters and themes. They influence many today and will continue to be great literary influences. Work Cited1. Eliot, T. S. “Hamlet and His Problems. ” The Sacred Wood: Essays on Poetry and Criticism (1922). 12 Feb. 2008. 2. Shakespeare, William. Hamlet. Ed. Laurie Barnett. New York: Spark, 2003. 3. Sophocles. The Three Theban Plays: Antigone. Trans. Robert Fagles. New York: Penguin Group, 1984. 59-128. 4. Wood, Emily. “‘Antigone’ Poses Moral Challenge. ” The Daily Yomiuri (2003). 13 Feb. 2008.

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• The Indecision of Hamlet

The Indecision of Hamlet - Essay Example

• Subject: Literature
• Type: Essay
• Level: College
• Pages: 5 (1250 words)
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Review of shakespeares hamlet on the stage, soliloquies in hamlet, hamlet is a philospher and therefore could neve be a solid leader, behavior of hamlet, to be or not to be, unlocking shakespeares language: hamlets madness, the tragedy of the revenge- oriented prince of denmark, hamlet: a guide to the play.

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Literary Critique of Antigone and Hamlet Essay Example

• Pages: 4 (1019 words)
• Published: July 30, 2021

When considering the use of hamartia in the plays Antigone and Hamlet, one wonders what flaws in the characters ultimately result in their tragic outcomes. Antigone, written by Sophocles, was staged during a period when the Athens and Greek civilizations were at their zenith.

Creon's tragic flaw is pride. Hamlet, a play written by William Shakespeare between 1599-1601, is widely regarded as one of his greatest works. The story revolves around Hamlet, a young man consumed by the desire for revenge after his father's untimely death, but who struggles to take action. Some argue that Hamlet has multiple fatal flaws or hamartia, with his inability to act being a significant one. At the beginning of the play, Hamlet encounters the ghost of his father, who reveals that King Claudius, his uncle, killed him in order to seize the throne and marry Queen Gertrude—Hamlet's own m

other. The ghost implores Hamlet to carefully consider its revelations.

Hamlet: Speak. I am obligated to listen.

Ghost: You are also obligated to seek revenge when you hear about his foul and incredibly unnatural murder.

Hamlet: Murder!

Ghost: It is a very foul murder, the worst kind of murder. However, this murder is particularly foul, strange, and unnatural.

Hamlet: Haste me to know’t, that I, with wings as swift as meditation or the thoughts of love, may sweep to my revenge. (Hamlet 1.5.10-30) Throughout this work, Hamlet's descent into madness becomes increasingly evident. He often speaks foolishly and behaves erratically, resembling a madman. His deceased father's ghost instructs him to murder his uncle, the current king, as retribution for his father's premature death and his unfaithful wife. Despite Hamlet's strong desire to avenge his

father, his tendency to procrastinate and be easily distracted due to his youthful nature is his tragic flaw. A careful analysis of Shakespeare's writing reveals Hamlet's frequent inability to take decisive action.

Hamlet's consistent failure to take action is evident in his inability to commit suicide, his reluctance to confront the guilt of killing his mother, his decision to stage a play to postpone the murder of Claudius, and his hesitation to kill Claudius while he is praying. Throughout the play, Hamlet repeatedly chooses inaction. One of the reasons for this is his internal struggle with the desire to end his own life. However, suicide is considered sinful and goes against Christian principles. The following quote reflects Hamlet's feeling of emptiness and despair, yet he cannot bring himself to sin by taking his own life.

Hamlet voices his fatigue and discontentment with the world, claiming that even the idea of suicide does not appeal to him. This apprehension about the unknown prevents him from acting. In a different soliloquy, he contemplates whether or not to end his life but ultimately rejects the notion due to his fear of what awaits after death. If he opts against committing suicide, he acknowledges that he must take action and seek retribution for his father. Nonetheless, his hesitation once again results in inertia.

Both Hamlet and Antigone are consumed by their emotions, causing them to become immobilized in different ways. Hamlet is overwhelmed with sorrow after the death of his father, dedicating most of his time to his emotional downfall. He speaks like a deranged lunatic, devises absurd plans and monologues, and contemplates revenge and suicide. This grief-induced paralysis prevents him from

taking action, even though he considers killing his mother or sparing her. On the other hand, Antigone also feels a strong desire to rectify the injustices done to her brother Polyneices. However, unlike Hamlet who is immobilized by fear of vengeance, Antigone's desire for justice propels her into a reckless spiral of hasty actions.

While her brothers killed one another, Eteocles alone received a proper burial to ensure his entrance into the afterlife. The king, Creon, refused to grant Polyneices a burial and the associated rights, thus depriving him of an afterlife. Antigone acted out of a sense of righteous fury and, in her impatience, defied the king's orders by burying her brother and conducting the necessary rites to facilitate his journey to the afterlife alongside their family. However, her downfall ultimately stemmed from her stubbornness, leading to both her own death and that of her lover. In the following quote, one can hear hints of her unwavering determination and youthful impetuosity: "Antigone:…Be as you choose to be; but for myself I myself will bury him. It will be good to die, so doing."

I will gladly remain by his side, loving him as he loved me; I will be a criminal, but one driven by religious beliefs. The duration of my duty to please the departed is longer than my duty to please the living. For in the realm of the dead, I will find eternal happiness. If you wish, you can bring shame upon what the gods have revered. Ismene: I will bring dishonor upon them, but defying the laws and regulations imposed by society is not within my capabilities. Antigone: Let that serve as

your justification.

But I will go to heap the earth on the grave of my loved brother. (Antigone 79-94) Both Hamlet and Antigone conclude tragically, with the main characters meeting a tragic demise, amidst the senseless deaths of those around them. In the end, Hamlet commits regicide, but he himself is also murdered. Similarly, as he seeks revenge, Ophelia, his beloved, her father, her brother, and even Hamlet's mother, the queen, meet their untimely deaths. In Antigone’s case, she too is ultimately killed; however, tragedy befalls not only her execution but also leads to the suicide of her lover, his mother, and the destruction of the king.

Both stories go to show how pride is a fatal flaw of the kings, which keeps them from seeing the flaws in their own

Works Cited

• “William Shakespeare Hamlet.” Mays, Kelly J. The Norton Introduction to Literature, 13th ed. W. W. Norton & Company, 2020.
• “Sophocles Antigone.” Mays, Kelly J. The Norton Introduction to Literature. 13th ed. W. W.

Norton & Company, 2020

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