I would argue that a true figure of refusal shows dedication to their refusal. Haemon's scene of refusal in The Burial at Thebes shows this dedication, while the women's refusal against the rebellion organized by Lysistrata in the play Lysistrata does not show this dedication. Therefore, Haemon is a stronger figure of refusal than the women in Lysistrata.
The primary reason that Haemon is a stronger figure of refusal than the women in Lysistrata is that he is the only one willing to stand up against Creon. During his scene of refusal, Haemon tells Creon, "I hear everything or overhear it. And all that's talked about in this city now is Antigone. People are heartbroken for her" (Heaney 43). In this quote, Haemon shows that many other people …show more content…
In Haemon's scene of refusal, he carefully chooses his words, oftentimes phrasing things as indirectly as possible to prevent his father, Creon, from becoming angry. Instead of telling Creon that he is wrong, Haemon tells him that he is "Not against you. Against your going wrong" (Heaney 46). By not outright telling Creon he is wrong, only that he is doing something wrong, Haemon makes it more likely that Creon will not get angry. By trying to prevent him from becoming angry, Haemon is also trying to change Creon's mind and get him to not kill Antigone, as Creon is more likely to listen to Haemon if he is not angry. This behavior is entirely different than what occurs in Lysistrata, as the women attempt to overexaggerate the importance of their need to go home. One of the women begins talking to Lysistrata by saying "Oh dear, oh goodness" (Aristophanes 411). While this makes it seem as if she has something important to say, the woman says she has to get home to peel her flax. When Lysistrata realizes the woman does not have anything important to say like she was expecting, she tells the woman to go back inside the acropolis. This dramatic phrasing actually hurts the woman's position of refusal, as Lysistrata realizes that the woman is being dramatic just so she can leave. Therefore, Haemon emphasizes his position as a stronger figure of refusal than the woman in Lysistrata through his careful choosing of
The primary reason that Haemon is a stronger figure of refusal than the women in Lysistrata is that he is the only one willing to stand up against Creon. During his scene of refusal, Haemon tells Creon, "I hear everything or overhear it. And all that's talked about in this city now is Antigone. People are heartbroken for her" (Heaney 43). In this quote, Haemon shows that many other people …show more content…
In Haemon's scene of refusal, he carefully chooses his words, oftentimes phrasing things as indirectly as possible to prevent his father, Creon, from becoming angry. Instead of telling Creon that he is wrong, Haemon tells him that he is "Not against you. Against your going wrong" (Heaney 46). By not outright telling Creon he is wrong, only that he is doing something wrong, Haemon makes it more likely that Creon will not get angry. By trying to prevent him from becoming angry, Haemon is also trying to change Creon's mind and get him to not kill Antigone, as Creon is more likely to listen to Haemon if he is not angry. This behavior is entirely different than what occurs in Lysistrata, as the women attempt to overexaggerate the importance of their need to go home. One of the women begins talking to Lysistrata by saying "Oh dear, oh goodness" (Aristophanes 411). While this makes it seem as if she has something important to say, the woman says she has to get home to peel her flax. When Lysistrata realizes the woman does not have anything important to say like she was expecting, she tells the woman to go back inside the acropolis. This dramatic phrasing actually hurts the woman's position of refusal, as Lysistrata realizes that the woman is being dramatic just so she can leave. Therefore, Haemon emphasizes his position as a stronger figure of refusal than the woman in Lysistrata through his careful choosing of