Prisoners of Society:
The Struggle for Autonomy in Antigone and She Stoops to Conquer
By Madison Blaine
Sophocles’s tragic play Antigone and Oliver Goldsmith’s comedic play She Stoops to Conquer differ in most ways. However, they share a profound similarity: society’s rules and influences dictate their characters' lives. In both narratives, the protagonists are forced to act against society so they may live a life of pleasure, rather than existing merely as servants of the public and its precedents.
In Antigone, this societal pressure manifests as the absolute law of the state. King Creon decrees that the fallen Eteocles be buried, but Polynices is to rot above ground. Antigone feels a deep responsibility for the burial of Polynices because, traditionally, family is expected to take care of it, despite Creon's strict orders to the contrary. She feels strongly about her decision to honor her brother’s death, despite knowing that a punishment will most likely occur. Her sister, Ismene, serves as a tragic foil; she begs Antigone not to proceed because she feels she has to honor Creon’s wishes over her sister’s decision.
Conversely, Goldsmith frames societal captivity through the lens of rigid class structures. In She Stoops to Conquer, Kate assumes the role of a barmaid so that Marlow, the man arranged to meet her, feels more comfortable talking to her. Marlow is a very shy man when it comes to women of his own high social standing. However, when he believes Kate is a working-class barmaid, he is able to talk confidently and is more truthful, allowing both of them to grow fonder of each other. Marlow feels comfortable because he knows he is good enough for her, and to others, he is above her; a dynamic not often allowed in his usual circles. Similarly, Constance Neville meets a man she genuinely loves, and they devise a plan so that they may be together, even though he is not the man picked for her.
Though separated by centuries, Antigone, Ismene, Creon, Kate, Marlow, Constance, and Hastings all battle the fence built by their community, which surrounds them and limits their natural decisions and emotions. Creon is perhaps the ultimate prisoner of society; he could have empathized with Antigone and saved the lives of his future daughter-in-law, his son, and his wife. However, looking strong to others and pleasing them matters more to Creon than any possible consequences of Antigone’s death. Society creates these hierarchies to maintain order, and people actively participate in this system by forcing rules onto everyone through judging those who do not follow.
The contrast between these plays highlights the shifting consequences of social rebellion. Antigone ends in tragedy, proving how easy it is to be punished by death for doing what seems morally right. Meanwhile, She Stoops to Conquer has a much lighter ending, and everyone ends up happier because society is progressing towards more acceptance; however, it takes time, perseverance, and patience to accomplish this elation.
Ultimately, the influences of society deeply impact these characters' lives. The classes that individuals put each other into limit connections and relationships, and the lack of empathy shown highlights the importance placed on public approval over what is morally right. Being a servant of society is not how any person wishes to live, but it is all they know since everyone is an active member, yet it is not free living. Every day, more people battle society and become its enemies. True autonomy requires altering the rules, making life better for all who struggle with the heavy pressure placed upon their shoulders.
Literary Works Analyzed (Formatted for Bibliography):
Goldsmith, Oliver. She Stoops to Conquer. (1773).
Sophocles. Antigone. (c. 441 BCE).