An Unorthodox Protagonist
In Antigone, a drama written by the ancient Greek playwright Sophocles, the question of who the protagonist of the play is may be easily confused. It is a highly disputed topic concerning exactly which character plays the role of the protagonist, Antigone or Creon. In order to decide which character possesses the merits to be considered the true protagonist, one has to consider: what is the definition of protagonist? Is it simply the title character, or the most relatable or sympathetic character, or are there other qualifications? Greek tradition holds a variation of the definition that has stumped critics and has divided them over which character is best suited for the leading role. The self-realization and recognition of one’s mistakes is also one of the credentials, and with further examination, Creon emerges as being best suited for the role of the protagonist.
We derive our definition of a Greek tragedy from Aristotle, who originated that definition on the basis of plays from his time, such as Antigone. Greek tradition defines the dramatic protagonist as one who is regarded as extraordinary, and is brought from happiness to agony. “The character’s stature is important because it makes his or her fall all the more terrifying” (Meyer 1423). From this basic definition, Aristotle went on to include that the protagonist is the main character that possesses a tragic flaw, and later realizes his or her own faults and mistakes. Aristotle used “hamartia” as the term for these weaknesses (Meyer 1424).
Based on these definitions, Antigone and Creon both have the potential to be qualified as protagonist. They both battle forcefully for something that they believe strongly in. In Antigone's case, she fights for the honorable burial of her brother. She does this because she considers the laws of the gods to be greater than the edict laid down by her uncle Creon. In the case of Creon, the king of Thebes, he fights for adherence to his laws. Creon's battle is not traditionally a conflict that would make him a sympathetic character, nor is the audience lead to feel all that much empathy for him, but he sticks to his own morals just as Antigone remains devoted to her own.
Both Antigone and Creon seem unwilling to concede or compromise with each other, staying dedicated to their position. Creon also seems especially unwilling to concede based on the fact that his opponent is female. “Therefore we must defend the men who live by law, never let some woman triumph over us. Better to fall from power, if fall we must, at the hands of a man – never be rated inferior to a woman, never.” (Sophocles 1488)
After this, when arguing with Haemon, he calls him a “woman’s accomplice”, and a “woman’s slave.” He advises Haemon to “never lose your sense of judgment over a woman” (Sophocles 1487). It is his unwillingness to admit that he could be wrong that leads to his ultimate downfall. The king is upset that his son would take the side of a traitor over him, even though she is his son’s fiancée. He sees his son’s defense of Antigone as unmanly, and as a sign of weakness. He says that it would be better to fall at the hands of a man. “Never be rated inferior to a woman, never” (Sophocles 1488). Haemon is trying to convince his father that his ruling is unjust. Creon just can’t get over him taking a woman’s side. The more the two argue the more it appears that Creon’s stubbornness is cemented by his sexist mindset.
Antigone and Creon both prove themselves to be extremely stubborn and prideful in their own actions. In this, Antigone fulfills the first sense of the word protagonist. The entire play is titled after her name. The plot is focused around her and on her beliefs and the actions she takes to satisfy them. Although, she may possess a tragic flaw that would ultimately make her the undisputed protagonist, her unwavering and defiance of Creon to the very end puts this into question. In keeping with the fight, Antigone decides to kill herself before Creon has the chance, and it is this stubborn quality that most antagonists share: to fight against the protagonist and defy them to the bitter end. She does not take responsibility for her mistakes, and never finds herself to be in the wrong, and it is this lack of epiphany that makes Creon bested suited to be the protagonist.
Although the title of the play is Antigone's name, Creon shows characteristics of a protagonist more so than Antigone herself. When paired with the basic definition, Creon executes the role of protagonist when he recognizes his own faults and tries to mend them. He then accepts responsibility for his actions.
“And the guilt is all mine –
Can never be fixed on another man,
No escape for me. I killed you,
I, god help me, I admit it all.” (Sophocles 1504)
Antigone does not do this. Creon’s intense pride prevents him from relenting in the fight with Antigone until he sentences her to death, against the advice of the town and his own son. By enforcing this punishment, Creon is later make aware that he made mistakes. Creon used this information to recognize his errors, and he attempted to go right his wrongs. He first went to give Polynices a proper burial and then went to the cave to release Antigone from her sentence, but when he arrived, his efforts were too late. He found Antigone dead in her cell. By trying to fix his mistakes, Creon showed characteristics of a protagonist.
Antigone and Creon both fulfill the basic definition of protagonist, but it is the final acceptance of blame that sets the two apart. They both possess the stubborn characteristic of leading characters, but Antigone is stubborn and defiant to the end, while Creon is later devastated and takes responsibility. When taking the second half of the definition of protagonist into consideration, Creon is a more suitable candidate for the central character. He not only plays an important role in the plot, but he also realizes his mistakes and tries to fix them. Unlike Creon, Antigone never recognizes her faults, and she fights Creon to her death, with her very death also being a form of rebelliousness against him, which is a quality that is usually found in the antagonist. Based on these features, Creon shows himself to be an unorthodox contender for title of protagonist.

Works Cited

Meyer, Michael. The Bedford Introduction to Literature. 8th ed. Boston: Bedford/St. Martin’s, 2008. 1423-1425. Print.
Sophocles. “Antigone”. Trans. Robert Fagles. The Bedford Introduction to Literature.
Ed. Michael Meyer. 8th ed. Boston: Bedford/St. Martin’s, 2008. 1469-1505. Print.