Does or how does Antigone exemplify Aristole’s classical definition of tragedy? Why?

According to Aristotle, “Tragedy [...] is an imitation of an action that is serious, complete, and of a certain magnitude.” As the plot of Antigone moves from Creon's refusal to bury Polynices to Polynices's eventual burial and Creon's repentance, the action of the play can be described as complete. The themes include human versus divine law, the nature of justice, what makes a ruler just, and the competing obligations towards city and family. These are obviously serious and of a certain magnitude.
The heroes of tragedy are characters who are greater than average people, often noble and powerful, who make major moral choices, something true of Antigone and Creon. Although the characters in the play are flawed, they are not figures of fun like those in comedy.
Finally, we feel fear and pity as we empathize with the suffering of characters who in their own ways are attempting to behave according to what they judge are their moral obligations.


In his Poetics, Aristotle discusses what he sees as the most important characteristics of a tragedy. Before looking at Antigone in comparison, Aristotle’s basic definition should be looked at.
Aristotle makes two key points about the nature of a tragedy. The first is that a tragedy relies primarily on action, as opposed to its characters.
The second, perhaps more familiar, is that tragedy plays on negative, heavy emotions such as pity and fear.
Aristotle states, “Tragedy, then, is an imitation of an action that is serious, complete, and of a certain magnitude” (23). Aristotle continues this thought later on by saying, “Tragedy is an imitation, not of men, but of an action and of life, and life consists of action” (27). In this way, Aristotle makes his case that in a well-written tragedy, the actions driving the story arc are more important than the characters involved. Aristotle goes so far as to say that “without action there cannot be a tragedy; there may be without character” (27).
His second point on tragedy explains the need for emotional appeal, with “events terrible and pitiful” (39) and “actions which excite pity and fear” (45).
So, how does this relate to Antigone?
Aristotle’s definition of tragedy as driven by action rather than characters fits fairly well with Antigone. The play has a cause-and-effect chain of events that starts before the play itself and continues to the end of Antigone.
The main events of Antigone are the betrayal and death of Polyneices, Creon’s harsh law against his proper burial, and Antigone’s subsequent rebellion against Creon’s law. Antigone is then condemned to death, per Creon’s law. There are a number of other key plot points that are put in motion following Antigone’s actions.
However, it is not just the play’s events that can relate to Aristotle’s action-driven tragedy. I would look closely over the dialogue sections featuring Antigone, Ismene, and/or Creon. Take a look at how their speeches are based on their actions and the actions of other characters.
One example could be Ismene’s role. She first reveals her law-abiding, obedient character as she rejects Antigone’s plan to provide their brother a burial and is later rejected by Antigone for her refusal to act alongside her.
In terms of Aristotle’s definition of tragedy focusing on emotions such as pity and fear, you might look at foreshadowing (think Haimon, Teiresias) for fear and at the many deaths that close the play for pity.
If you’re looking to take your analysis a step further, you might read Aristotle’s discussion of the six parts of tragedy, which include plot, character, diction, thought, spectacle, and song.
https://mthoyibi.files.wordpress.com/2011/05/antigone_2.pdf

https://www.stmarys-ca.edu/sites/default/files/attachments/files/Poetics.pdf

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