The great plants of Sophocles ‘ “ Antigone ” and Shakespeare ‘s “ The Tragedy of Othello, The Moor of Venice ” portion much in nutriment and idea but besides vary greatly in cardinal secret plan and character development. They both portion the consistence of loss of life, particularly with the dry decease of a married woman killed by the footings of her hubby. Both narratives feed off of the physical incapacities of adult females, but besides illuminate their baronial heroism in the face of moral and spiritual fortunes. There are differences between the two narrations ; including the cardinal issues involved and the methods of their death.
Both narratives encompass a monolithic loss of life at the custodies of the supporters ‘ hubris. In Antigone, both King Creon and Antigone portion an haughtiness that costs them greatly. To the King, it costs him his boy and married woman – and to Antigone, it costs her the desperation of being locked up in a grave. While it may be argued that Antigone remained immaculate, literary grounds supports otherwise. Upon Antigone ‘s reproof by Creon, her sister offers to portion in the penalty, to which Antigone responds, “ Who did the work? / Let the dead and the God of decease bear informant! / I have no love for a friend who loves in words entirely. ” In the same manner, the Moor, Othello smothers his married woman in a supreme act of hubris. Desdemona begs him for one more dark, so half an hr, to which Othello responds, “ It is excessively late. ” Had it non been an act of self-pride, Othello would hold permitted her to support herself, to populate. But with the fright of his repute being ruined farther, he smothered her in a horrifically mutated sense of self-honor. To himself, he was an elevated sense of justice and jury.
In both narratives, a married woman is killed by the actions of her hubby. In Antigone, King Creon ‘s imprisonment of Antigone in a grave causes her fiance , the King ‘s boy Haemon, to kill himself. Upon hearing the intelligence, Eurydice, the Queen kills herself. While Haemon and Antigone were non yet married, it can be argued that Haemon ‘s deficiency of statement for her cause besides permitted her decease. This would farther lend to the list of dry deceases of married womans by the workss of their hubbies. In Othello, the Moor, who is intoxicated with fury at the impression of Desdemona holding an matter, smothers her.
There is besides a strong uniformity in the sensed impression of the infirmity of adult females. Creon, a adult male, says do non bury your brother. And to every other adult female, this was jurisprudence. But, Antigone acted in a higher regard and buried her brother. In Othello, Michael Cassio approaches Desdemona and begs her for her aid in assisting him do integrity with Othello. She decides to carry her hubby and act in high moral respect and responds, “ For thy canvasser shall instead decease / Than give thy cause off. ” Yet, when she comes to confront Othello in her concluding minutes, she begs for her life and does non seek to fight. In both state of affairss, the adult females understand that they are non a physical lucifer for work forces, but hold their morality in higher footings than their physical presence ; finally it costs them their lives.
There are differences in the two narratives, including the methods of decease. Desdemona dies by hanging herself in her grave. Her fiance , Haemon, dies by running himself through with his ain blade. His female parent, Queen Eurydice, stabs herself at the communion table, throwing expletives on her hubby. In Othello, Desdemona dies by being smothered by Othello. Othello stabs himself and so dies shortly after at her side. Meanwhile, Iago loses control of his married woman who spoils his secret plan, to which he stabs and kills her. The grounds and ways that decease comes varies in both narratives dramatically.
Besides, the cardinal secret plans of the two narratives are non symmetrical. Antigone is about a adult female who chooses to carry through the Torahs of the Gods over the Torahs of the male monarch. The King punishes her, and in bend, receives a downpour of penalty by destiny and the Gods. Othello revolves around a black general who couples with a beautiful white adult female. A adult male, who in secret despises him, sets him up for catastrophe and persuades him that his married woman is holding an matter. Drunk with choler, Othello kills his married woman, and so uncovers the truth. He fights Iago, and so takes his ain life in the terminal. Antigone takes topographic point in the far off clip of Thebes, and Othello occurs in Venice and Cyprus much farther down the line.
The two narratives portion much in common, but are besides estranged by underlying differences. The common subjects of decease and the high quality of work forces physically but adult females morally are abundant. Hubris taking to great convulsion can be found in both narratives, conveying a strong sense of sarcasm. In both, there is a hero who loses it all for the interest of one fatal defect. But the barriers of secret plan and puting besides create a immense cranny of difference and individualism. In the terminal, it is words spoken like this that remain in our Black Marias and heads to come in Othello, written by William Shakespeare ; “ I kissed thee ere I killed thee. No manner but this, Killing myself, to decease upon a buss. ”