Creon’s sexual analogy and additionally ensures that Antigone’s become Haemon’s wife merely procreative, an inactive recipient from Haemon’s sexual enhances rather than a real estate agent of free will
In the an enthusiastic outburst, he insists which he “perhaps not help [himself] become beaten because of the a female. / Greatest, whether or not it have to happen, you to definitely one / is to overset myself. / I will not become entitled weakened than simply womankind” (677-680). The latest collective noun “womankind” stresses Creon’s sex essentialism, where female – within the Creon’s worldview – are understood which have intrinsically and widely feminine functions for example “[weakness].” Creon’s stark admission he would-be happy to concede in the event that Antigone was a guy shows his anxiety about flipping power over to help you a female, which may disappointed his religion when you look at the male superiority. Whenever Creon defends his edict that have “there are many furrows to have [Haemon’s] plough,” their farming analogy strips Antigone regarding identity and you may qualities to the girl the female aim of are an object from wedding just like the this lady only function, highlighting the brand new gendered segregation of labor regular for the old Greece. Additionally, the picture out-of Haemon operating the house portrays the latest male profile given that an enthusiastic exploiter off characteristics, given that picture of Antigone once the floor getting tilled aligns womanliness with character and you will portrays the female contour once the an unavoidable target out of exploitation. Creon’s opinions for this reason appear to exemplify the new sex essentialism inside the ancient Greece that aligns maleness with dominance and you may womanliness that have subservience.
This is because sex and you may gender are securely combined within the Creon’s intellectual structure that their imposition out of gendered interpretations to the Haemon’s acts of defiance is actually demonstrated by Miller because the “tyranny
Creon enforces his sex ideology very rigidly he forcibly interprets Haemon’s, Antigone’s and you can Ismene’s steps within this an essentialist gendered contact. In the Peter Miller’s claim that Creon’s “tyranny features compromised the art of Haemon to help you allege a social and gendered identity outside the bounds of his regimen” (164), Creon’s “regime” border not just political measures and in addition gendered of them. As a result, Creon’s “tyranny” comprise just out of despotically implementing his governmental decrees for the different of citizens’ voices, in addition to away from coercively imposing their intercourse ideology – in which gender and you can gender is artificially entwined – upon his victims. ” Instance, Creon spends gender-based insults so you can increasingly relegate Haemon so you can women inferiority: basic, Creon criticizes Haemon if you are “on the woman’s side” (740), upcoming for being “[weaker] than simply a woman” (746), after that eventually for being an excellent “woman’s servant” (756), with each then insult then associating Haemon having subordination and you can weakness. Which seems ironic, just like the Haemon was pretending bravely inside standing to his dad and you can declining Creon’s subjection, for this reason indicating one Creon continues into the enjoying events courtesy an intercourse essentialist contact even with contradictory facts. Additionally, Creon evokes the fresh new gendered character off hearsay to accuse Haemon’s notice having been “poisoned” (746) because of the Antigone, who he accuses of being “unwell that have… disease” (732). Underlying Creon’s accusation lurks the traditional relationship out-of femininity which have spoken marketing and trickery, as the whenever Creon accuses Ismene out-of “lurking such as an effective viper… just who sucked me deceased” (531-532), and therefore couples womanliness with privacy, poisoning as well as immorality. Such as for instance animalistic imagery in addition to aligns womanliness that have character and even barbarity or perhaps the lack of culture. Thus, Creon’s therapy of Haemon, Antigone and you may Ismene next shows brand new essentialist gender impression one revise his worthy of judgments.
Swinging out-of Creon, a single reputation, with the Chorus, a repeating construction in several Greek tragedies, we come across that the Chorus discreetly reinforces intercourse essentialism by using gendered photos you to aligns femininity that have character and passivity, and you will masculinity which have conquest and aggression. The latest Chorus’ earliest physical appearance on the enjoy starts with a great narration of “Sun’s very own shine” (99) glowing into the “the person who’d come from Argos along with their armor / powering now when you look at the headlong anxiety as you shook his bridle 100 % free” (106-107). Here, the latest animalistic pictures researching the new warrior in order to a pony moving his “bridle” 100 % free couples masculinity that have powerful times and untamed course, just like the image of sunshine couples masculinity with white and you may jesus. The new mans “armor,” “of a lot guns” and you can “horse-hair crested helms” (115-116) fall into line maleness having battle and you can warfare, enforcing ancient Greece’s gendered segregation of spots. Also, the Chorus’ the means to access natural artwork stresses womanliness because soft and you may caring and you can maleness since the aggressive and you will aggressive. Including, brand new Chorus means the male warrior due to the fact “yelling shrill, / such as an eagle along the residential property the guy travelled” (111-112). This new Chorus for this reason spends simile to help you liken men so you’re able to birds away from victim, carrying rule more huge runs out-of property. On the other hand, the newest Chorus aligns Ismene which have usually women characteristics away from mental excessively and you can passivity, within the an image of quiet sadness: “She loves the woman brother and you will mourns, / having clouded brow and bloodied cheeks, / tears on her pleasant deal with” (40). That Chorus identifies Ismene’s deal with as the “lovely” even though suspended in the sadness – a beneficial jarring adjective that appears out of perspective – implies that the male position objectifies women fragility in many ways one negate the feminine subject’s agencies.