Creon makes several errors in judgement before the end of Sophocles' Antigone that lead to his downfall. At the end of the play, has Creon become sympathetic?

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After speaking with the blind seer Tiresias, Creon accepts responsibility for angering the gods and proceeds to properly bury Polynices before heading to Antigone's tomb, where he plans on releasing her. When Creon arrives at the tomb, he discovers that Antigone has committed suicide and his son, Haemon, is by her side mourning her death. Haemon then attempts to kill Creon before committing suicide, which fills Creon with grief and remorse. Creon proceeds to carry his deceased son’s body home while admitting that his blind heart has caused the tragedy. A second messenger then arrives to tell Creon that his wife, too, has committed suicide, which influences Creon to pray for death. At the end of the play, Creon is fully aware that he is responsible for the deaths of Antigone, Haemon, and Eurydice.

One could argue that Creon has become sympathetic by the end of the play by accepting responsibility for the tragedy and demonstrating remorse for his actions. As a tragic hero, Creon recognizes his mistakes and experiences overwhelming guilt, which influences the audience to sympathize with his character. By the end of the play, he is no longer the stubborn, authoritative king, who refuses to listen to anyone, and he is portrayed as a remorseful, humble man. Creon himself sympathizes with Haemon's situation when he arrives at Antigone's tomb to discover that she has hanged herself. Creon empathizes with Haemon and is devastated when his son commits suicide. The fact that Creon accepts responsibility, experiences guilt and remorse, and is overwhelmed by the tragedy makes his character sympathetic in the audience’s eyes, which is an essential aspect of a tragic hero.

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At the outset of Sophocles' Antigone, the audience learns that Creon, the king of Thebes, has decreed death for anyone who buries Polyneices, who waged war against Thebes.

When Antigone buries Polyneices, Creon refuses to make an exception to his decree despite the fact that Antigone is his niece and is engaged to marry his son, Haemon. Creon even angrily rejects Haemon's reasonable efforts to get Creon to reconsider his decree of death against Antigone.

Finally, however, Creon is persuaded by the prophet Teiresias to change his mind and reverse his sentence against Antigone. Unfortunately, by the time Creon reaches the place where Antigone has been imprisoned, the girl has already killed herself. Creon's son Haemon also kills himself after his failed attempt to kill Creon. To make matters worse, Creon's wife, in grief over the death of Haemon, kills herself.

While it is difficult for a modern audience not to feel some measure of sorrow or sympathy for Creon, I am hard pressed to find much sympathy for Creon expressed in Sophocles' text. The only speaking parts in the final part of the play, after Creon learns of the death of his wife (the final death of the three for which he is held responsible), belong to the Chorus, which is comprised of elderly Theban men. Creon makes a number of lamentations, but the Theban elders do not offer any remarks that sound like explicit expressions of sympathy. As the play ends, the Theban elders observe that the "boasts of arrogant men / bring on great blows of punishment" (Ian Johnston's translation). This does not sound very sympathic to me.

So, while I personally feel sorry for Creon and he does evoke sympathy from me, I am not finding much sympathy for Creon in the final remarks made by the Chorus.

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