Has human nature really developed?

In a world where every aspect of life can be monitored, uploaded and observed, what could we possibly stand to learn from ancient worlds of rudimentary, primitive functionalities? Surprisingly enough, despite the technological and medicinal and (supposedly) moral advances, the world as we know it is not much dissimilar.

Have we really evolved as human beings?

 

It was whilst studying Antigone that I realised the fabric of human nature and our capabilities as human beings have not changed. In Sophocles’ tragedy, Antigone, the female protagonist who defies the conforms of society, has to choose between honouring the gods and her family (thus risking her life) and respecting the laws of the state embodied through the character of King Creon (ensuring she remains alive). The concept presented here is entirely relevant today. It challenges the morals of the audience: if the laws of a state contradict human values, should you defy them? Is it wise to follow your head or your heart? These questions appear to be hyperbolic but they perfectly summarise the issue that Antigone has to confront. This situation is one that is prevalent in everyday life.

Antigone values family and religion over the state: is this still relevant today?

 

Of course, the strong-willed Antigone chooses her obligation to religion and family over her obligation to society by providing her brother Polynices with proper burial rites. For this, Creon demands that she be walled up alive and therefore killed slowly. Interestingly, we now see Antigone develop into a softer character, despite her stubborn, relentless, headstrong nature (which is not dissimilar to Creon). Antigone laments the future she will never experience, generating a sense of empathy amongst the audience. Antigone is a young princess, a young girl, doomed by her fated family. It is through this emotive device that Sophocles has created another link to modern society. We are reminded that although the play was originally written over 2000 years ago, the protagonists are equally as human as we are and face the same issues and hold the same values. This aspect of Classics is precisely what enraptures me: the fact that we have not definitively evolved in terms of human nature, and that, over 2000 years ago, there were people just like us wondering the world and trying to make sense of it.

The Iliad: Who do you consider to be a greater hero- Achilleus or Hektor?

This post is an essay I compiled last year on The Iliad. I thought it was intriguing how the concept of a ‘hero’ has changed since the Ancient times, and the structure is similar to that of an essay question typical of the AQA exam paper. I completed this as homework at the very start of my course, so be aware that my grasp of the text was quite basic.

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Who do you consider to be the greater hero- Achilleus or Hektor?

Throughout The Iliad, Homer uses themes of war, relationships and bravery to develop the characters of Gods, heroes and ordinary men. Often the aspects of each theme are explored in different ways, as displayed through Hektor and Achilleus- although both are considered heroes, they are presented in alternating ways, and either could be perceived as a greater hero than the other.

Hektor is introduced as a mighty warrior of the Trojan army, and could be viewed as the superior hero because of his family orientated lifestyle and devoted nature. As Hektor is situated nearby to his family in The Iliad, his protective and considerate qualities can be demonstrated. For example, Hektor is described as being ‘consistently kind’ towards Helen in Book 3, despite her role in the cause of the war and the general hesitance toward her from the rest of people. In addition, after initially berating Paris with critical words, Hektor conducts himself with forgiveness toward Paris, although they have contrasting priorities. In Book 6, Hektor visits his wife Andromache and instructs her to remain at home. As Hektor does this, his looming war helmet intimidates his young son, so he affectionately removes it- this exhibits the contrast between Hektor’s responsibility to his family and his obligation to the army. Hektor’s refusal to stand down and retreat from his military commitments continues at the start of Book 22; his parents attempt to persuade him to withdraw. I believe that although Hektor selects country above family, he does this to keep his family safe, as he knows that without the army, they would be insecure and at risk of danger.      Furthermore, Hektor displays many feats of military importance that could be regarded as heroic. For instance, Hektor is the first and only Trojan warrior to set fire to an Achaean ship; he slays Patroklos and leads an assault. These accomplishments may contradict what a modern hero is perceived to be, as Hektor commits a crime and performs many offensive acts, but I believe that these achievements would make him a hero, as the faults are only made as a defensive mechanism against the Trojan’s rival.      Regardless of his undertakings in the army, Hektor often can be questioned in his leadership skills. He is depicted as fleeing the Great Ajax twice, and only recovers after receiving angry insults and words of criticism from his fellow Trojans, Glaucus and Aeneas. This insinuates that Hektor is not a powerful leader, as even his comrades abuse him. Moreover, Hektor displays evidence of being emotionally unstable, as he is abruptly cruel to enemies and overly confident in military regards.

Eric Bana in the film adaptation ‘Troy’

As Hektor’s counterpart, Achilleus is portrayed as possessive of superhuman strength and abilities, and is often referred to as ‘godlike’- whether for his connections to the Gods or his otherworldly attributes, it is unknown. Like Hektor, Achilleus is a mighty warrior, but of the Achaeans.      Achilleus is first presented in Book 1, in conflict with his military superior, Agamemnon. I believe that Achilleus is relatively rational in the beginning of the first book, as he holds an assembly to discover the cause of the suffering from Apollo- which Agamemnon is at fault for. However, rather than accept the blame for the punishment, Agamemnon insists that Achilleus must pay for it as well; infuriating Achilleus and damaging his pride. Therefore, although Achilleus is slightly over defensive, I believe that he is justified for his actions, as Agamemnon is behaving in a petty and trivial manner.    When Patroklos is murdered by Hektor in Book 16, Achilleus goes to extreme measures to avenge his death and mourn the loss of his friend. The forbearer of the news of Patroklos’ death, Antilochos, is described as being ‘afraid that Achilleus might take a knife and cut his own throat’. This severe and intense observation shows that Achilleus is very loyal and emotionally invested in his friends. Achilleus later seeks revenge for Patroklos’ death in the form of Hektor.      Another way in which Achilleus may be observed as the superior hero is his compassionate and empathetic manner in the final book. When King Priam appeals to Achilleus’ considerate side for the return of Hektor’s corpse, Achilleus relents. Many say that this is because King Priam reminds Achilleus of his own father, Peleus.      Although Achilleus is aesthetically pleasing, strong and ‘godlike’, he is also often dishonourable and selfish. Throughout The Iliad, Achilleus is rendered as ruled by his irrepressible rage and pride- shown from Book  1 where he abandons his own army and wishes death upon them for reasons which are selfish, to Book 24, where he continues to desecrate Hektor’s body. Indeed, Achilleus’ anger is never lessened, and he remains controlled by bloodlust to the very end. Furthermore, Achilleus is willing to sacrifice everything to be recognised, which may be thought of as admirable, although I think it could be interpreted as negative since it is for selfish and arrogant reasons. Finally, Achilleus is a pitiless and harsh killer- he desecrates Hektor, sacrifices young Trojans and shamelessly takes on a river.

Brad Pitt in the film adaptation ‘Troy’

In conclusion, I believe that Hektor is a greater hero than Achilleus. Although both characters possess attractive qualities and traits, I think Hektor is more consistently heroic than Achilleus. Achilleus could be likened to a modern day hero- attractive, strong and a leader, whereas Hektor is heroic in a more sentimental, sensitive and intimate way. Achilleus often manipulates his good aspects into bad ones, and differs from Hektor in his priorities, manner and attainments, however Hektor is family-lead and honourable.

Antigone: How has Sophocles introduced the themes of his play through the portrayal of Antigone and Creon?

Since September, my Classics class has been analysing ‘Antigone’ by Sophocles as a part of the AQA A Level Option C: Greek Tragedy unit. This is the first homework essay I had to write for my tutor, and I received an A+ for the assignment. I thought it might be useful to upload the essay as it not only provides a general idea of the play’s main protagonists, but also depicts a structure that I find easy to complete in exams.

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Throughout the play ‘Antigone’ Sophocles explores and develops themes such as the role of females in a male dominated society, mortality, the role of the Gods, and- arguably the most prominent theme of all- hubris. These themes are often depicted in the context of important individuals within the play, including the main protagonist herself, Antigone. Indeed, the conflict between Antigone and Creon, directly addresses themes of fate, rules and order and the influence of power.

As a paranoid, ignorant and ruthless king, the presence of Creon enables Sophocles to clearly illustrate themes of hubris and law and order. The new king is initially introduced as capable and assertive, as reinforced by his declarative phrase ‘I now possess the throne and all its powers’- Creon is not uncertain or weak, and can therefore be regarded as a sufficient king, especially when considering the required qualities of a leader at a time when military and typically masculine features were essential. Furthermore, Creon appears to be honest and sincere; a king whose first concern is his kingdom: ‘whoever places a friend above the country, he is nothing’. Throughout Creon’s first speech in the play, Sophocles has generated an image of the king as driven by loyalty to the state, a leader who values law and order over all else. This representation is completely polarised by Antigone, who is the epitome of recklessness and disruption.    Antigone’s introduction marks the beginning of the tragedy itself, and immediately her sense of determination and overwhelming love for her family are highlighted. Antigone laments the curse that afflicts her family, declaring that ‘many griefs’ have been ‘handed down’ to her from her father, Oedipus. This example of foreshadowing develops themes of family honour and fate, as it appears to the audience that Antigone’s fortune has already been decided by existential forces. The main protagonist’s apparent devotion to her family emanates from her plan to honour the corpse of her brother, Polynices, who has been deliberately denied funeral rites as a consequence of his challenging of authority in the form of her other brother, Eteocles and Creon. The motivation for this action- which will clearly be against the laws of the state- is not the result of a bias concerning the brothers, but rather out of equal love for both of them, and to follow the wishes of the Gods, as exemplified when Antigone commends the ‘full military honours’ bestowed upon Eteocles: ‘rightly so’. The contrast between Antigone’s values and Creon’s values enables the audience to identify multiple themes: Antigone values loyalty to the Gods and family, whereas Creon values loyalty to the state- and the two cannot intertwine as a direct result of Creon’s decision to disallow the proper burial of Polynices. As a result of the contrasting natures presented in ‘Antigone’, Sophocles is able to question whether allegiance to family (and the risk of death) or the state (with no repercussions) is more important.

The theme of hubris is heightened by Creon’s communication with Antigone following the revelation that his niece has disobeyed the state. Creon aims to mark a distinction between those loyal to the state- and therefore, him- and traitors by refusing to acknowledge that ‘death longs for the same rites for all’, instead replying that it is ‘never the same’. Creon’s undeviating refusal to follow the decree of the Gods would have been regarded as a bad omen by the intended viewer, as ‘Antigone’ was first staged for an Ancient Greek audience- society widely accepted the Gods, and many lived their lives attempting to appease them. The interpretation of Creon as the villain of the play is continued by his damnation not only of Antigone, but also of her sister Ismene. Creon promises the two sisters the ‘most barbaric death’, however, it is clear to the audience that Ismene had refused to participate in Antigone’s plans- Creon is presented as an ignorant, and arguably arrogant fool, features which are associated with the theme of hubris.

Another theme which is developed by the two protagonists is the role of the Gods and mortality. The subject is explored by the chorus, who depict humans as ‘ready’ and ‘resourceful’- as a creature that has not only dominated other animals, but also the earth itself. However, in an attempt to justify her actions, Antigone repeatedly portrays the Gods as overmighty and omnipresent, and insists that herself and others are ‘mere [mortals]’ who cannot ‘override’ the Gods that ‘live forever’ in favour of Creon’s pride. By aligning herself with the laws of Gods, it can be argued that a Greek audience would be more inclined to support Antigone’s moral decisions. Antigone’s motivations for giving Polynices his burial rites are not only family orientated, she also wishes to obey the Gods- perhaps due to her fear of repercussion in the afterlife. On the other hand, Creon suggests that he holds no regard for the afterlife or respect for the Gods: ‘love if you must- love the dead’.

Finally, the theme of power and its consequences is portrayed through Creon. When comparing the king’s intial speech to later ones, his decline in composure can be attributed to the challenge that has been proposed to his authority, and as a result, his power. Creon claims that he might ‘choke with anger’ when reacting to the news that Polynices has been honoured, and proceeds to insult the leader, branding him ‘senile’ and ‘insane’. In an ironic twist, it is actually Creon who appears to be unstable, with his outrageous fit of anger construing an image of him as childish and foolish. In addition, Creon immediately blames the guards, and suggests that they have been bribed; he views money as ‘rampant…corrupting’. This adverse reaction can be considered to be the result of Creon’s insecurity at the sudden challenge of his authority; the first act that he has decreed has been broken.

To conclude, whilst the separate identities of Antigone and Creon are important to consider when analysing themes, it is arguably their conflicting values and contrasting qualities that enable Sophocles to develop or heighten key themes, such as that of the role of the Gods and mortality. Ultimately, the protagonists represent two sides of a debate which questions whether it is more important to obey the laws of the state and the current life, or to honour the laws of the Gods and the next life.

 

FIRST POST EVER!

As an A Level student who has been on the verge on a coursework induced mental breakdown, I thought it might be helpful to provide a guide to homework essays, exam preparations and noting techniques. The jump from GCSE to AS Levels is significant: you are responsible for your input and teachers very rarely pressurise you into revising well. Personally, I found this very challenging to accept, as I enjoy having a closely monitored work pattern. When completing essays last year I found myself thinking that a simple, accessible guide would be really useful, one that has been produced by a student for a student.
This blog shall be focussed on the areas that I’m generally quite adequate in: English Literature, Classical Civilisations and Medieval History. In the coming year, I’m hoping to achieve A*AA, and to receive an offer from my dream uni (Kings!!!).
Generally speaking, I’m just an average student trying to provide the advice that I would have appreciated, as well as documenting my own experiences at college so as to depict further education for what it really is, rather than the intimidating picture your teachers like to paint!
As a new blogger on WordPress, I would sincerely appreciate any help as I’m pretty much clueless when it comes to this!

-Alice