In Sophoclesâ€™ Antigone, the audience experiences a catharsis wherein sympathy and fear is evoked for Creon, a tragic hero whose Kingship was spoilt by corruption, human fallibility and pride. Throughout the play, Creon has demonstrated how even rulers with a strong moral stance can still fail in their attempts to do good, unfortunately due to exceeding the limits of their humanity. To begin, the tragedy that befalls Creon as a man devoted to his country and to his religion seems to feel undeserved.Creon declares â€œwhoever places a friend above the good of his own country, he is nothingâ€ as an expression of his loyalty to his State; the dramatic element is accentuated through the term â€œnothingâ€ which reverberates off the script in an echo that demands the viewerâ€™s reverence and attention. In this way, Creonâ€™s stance on leadership is magnanimous because Creon no longer works on the order of his familyâ€™s needs but on the order of the Gods and his state.To highlight this, we see the chorus exclaim: â€œthe king of the realm is comingâ€¦ whatever the gods are sending nowâ€¦ / what new plan will he launchâ€ The significance of this â€œrealmâ€ is interpreted as something divine yet disconnected from humanity, so as to highlight Creon as merely a servant to the Gods. In this sense, Creon is a character that is empathized with for his respect towards the Gods, thus his actions can be attributed to the will of the Gods. â€œExactly when did you last see the gods celebrating traitors? Inconceivable! exclaims Creon, whose actions are characterised by a morality modeled after their will. A modern audience will interpret the duty of the King to come as a direct order from the Gods, therefore whatever law Creon enacts, and whatever cause he chooses to pursue, would have been the Godsâ€™ law. The question thus arises: was Creonâ€™s tragedy truly of his own doing? The authority of the King diminishes when put into perspective with the Gods, and the audience can view how even a man of superior rank can still be thwarted by the almighty powers of God.This, as a result, can reinforce a feeling of fear, or caution for those watching. However, one question seems to question the purity of his intentions: â€œAm I to rule this land for othersâ€”or myself? â€ Although, contextually speaking, this question was meant to demonstrate his loyalty to the state, it does include dark, subtle undertones that could reveal Creonâ€™s hidden intention. The hyphen in the ending of the question â€œâ€”or myself? â€ seems to delay the response and give a slight hesitance to Creonâ€™s speech.The question stands: does Creon make decision because he believes it is best for his country? Or does he rule because the influence of power has enabled him to act upon his own bias? Creonâ€™s kingship creates an extension of itself with Haemon, whose â€œflesh and bloodâ€ describes how profoundly connected Haemon is to his father. The tie between Creon and Haemon explores how kingship challenges both the emotional and human relationship between father and son. Perhaps he invests so much of himself into the idea of â€œfather and son, the same bloodâ€ that a part of him equally dies with his son.Haemon has been included into Creonâ€™s life as an indispensable structure, a piece inseparable piece from the framework of Creon himself. In fact, Creon cries to the â€œharbor of Deathâ€ asking â€œwhy me? why are you killing me? â€, thereby portraying how the blood link that connects both father and son is interwoven in their lives so that one life is married to the other. Creon describes himself as a â€œshatteredâ€ man after the death of his son, thereby illuminating his vulnerability as a flawed human being.As such, the audience, witnessing his fall, can experience a heightened catharsis knowing a man of such supremacy can crumple so easily and in such a wretched fashion. It is implied that Creon himself has the power to shape Haemonâ€™s destiny and his duty as a person by â€œproduc[ing] good sonsâ€”a household full of them, dutiful and attentiveâ€. Creon describes his son to be â€œbred and rearedâ€ for a specific purpose. Both terms â€œproduceâ€ and â€œbredâ€ create the effect of a human fabricated at certain specifications.This puts Creon in a state of authority not only over the mores his son must live by, but the way his son is formed as a human being, which is eerily reminiscent of the divine authorities and the power of the fates to write out a personâ€™s destiny. In a sense, Creon compares the greatness of his sovereignty to that of the Gods, thus portraying how his power is a prerequisite to his hubris. Moreover, Creon establishes dominance over other men using his title as King, naturally elevating him beyond the rank of mortal men.To demonstrate his frightening autocracy, Antigone claims that â€œ[the chorus] would praise me too/ if their lips werenâ€™t locked in fearâ€. This fear of Creon is further bolstered by powerful oratory, which Creon uses as a tool in commanding his peopleâ€™s patriotism and emotions. The expressive visual imagery characterized of Creonâ€™s speech can turn a traitor into a fiend who â€œthirsted to drink his kinsmenâ€™s blood. â€ The impact of the words â€œthirstedâ€ and â€œbloodâ€ stress this graphic image of death and blight, which Creon manipulates to kindle hate and passion in his people against Creonâ€™s enemies.Although a ruler is meant to serve the state and protect it, Creon uses his rhetoric to advance his own beliefsâ€”a decision characterized by greed. What is debatable about where Creonâ€™s sense of leadership is whether he is doing this as an act of greed or an act of what he believes is correct for the state. Leading on from power, the audience understands that Creonâ€™s arrogance comes from the notion that his power ennobles him beyond the ranks of mere humanity. They see him gain much more authority as a saint, savior or being closely linked to God.His sentries all address him as â€œMy lordâ€ and Creon is able to issue death sentences to reinforce his superiority. Creon uses terms that are definitive of a personâ€™s fate, despite the fact that he has no control over their fate in any substantial way: â€œNot a word of hopeâ€”your doom is sealed. â€ The precise diction of â€œdoomâ€ recalls the notion of a terrible fate that stretches beyond the mere human life, and forwards into the dark murkiness of afterlife. To pronounce it as â€œsealedâ€ is to imply it is fixed; Creon uses this to strike fear in the heart of Antigone, yet it also presupposes that our fates, once written, are unchangeable.The dramatic irony that comes with Creon proclaiming this as his fate is being written heightens the tragic ending of the playâ€”the Katastasis. Creonâ€™s arrogance could be seen as a shift in character from what the audience knows of Creon in Sophoclesâ€™ Oedipus the King. Creon once proclaimed, â€œif you think crude, mindless stubbornness such a gift, youâ€™ve lost your sense of balanceâ€ as a display of humility and rationality. Before his reign as King of Thebes, Creon understood the natural traits found in a good leader involved a sense of poise and understanding of oneâ€™s own limits.Yet, once he had possessed â€œthe throne and all its powersâ€, there was a change in character. â€œAll its powersâ€ incorporates the idea of excess and abundance, which is characterised as hubris, therefore the audience might feel a sense of fear for the upcoming and inevitable demise that may come for Creon. Naturally, when this power is questioned, Creonâ€™s insecurities begin to appear and after some time, become more pronounced and irrational. Creon expresses his shame and his exasperation of Antigoneâ€™s defiance through the terms â€œlaughing, / mocking us to our face with what sheâ€™d doneâ€.These words hint to a sense of stigma that comes with a woman defying the rules set out for her by the authorities that govern her. Drawing from the cultural context of Sophoclesâ€™ play, women were mainly viewed as inferior beingsâ€”often they were weak or even dangerous, which makes the defiance against the state and Creonâ€™s edict more grave and scandalous. Creon portrays his fear of being diminished by a woman through his cry: â€œI am not the man, not now: she is the man / if this victory goes to her and she goes free. / Never! â€ because essentially, her freedom would mean his defeat, which in the end would blemish, or even completely fracture, his stature as an omnipotent ruler. Moreover, Creon becomes erratic as he is faced with his flaws as a human being. When he is first notified of his errors by a sentry: â€œOh itâ€™s terrible when the one who does the judging / judges things all wrongâ€, he retaliates in a unnecessarily cruel manner: â€œyou just be clever about your judgmentsâ€” / â€¦ youâ€™ll swear your dirty money brought you pain. Personally, his cruelty can be interpreted as a defensive insult inflicted to shield himself from the truth of his humanity. This interpretation is supported by the way Creon storms off by â€œturning sharplyâ€, as his actions seem to portray a sense of flinching (characterized by â€œsharplyâ€) annoyance. This same effect is particularly seen in Creonâ€™s dialogue with Tiresias after he is told of his fate. Creonâ€™s language becomes more infused with anger and insecurity, making him appear weaker: â€œyou shoot your arrows at my head like archers at the targetâ€”â€ He seems to refute his own guilt, and justify imself as a person of superiority: â€œare you aware youâ€™re speaking to the king? â€, which makes him appear untouchable. Creonâ€™s spite is felt through his sharp intonation of â€œSpit it out! â€ and â€œlust for injustice! â€ His reaction to his fate up until his concession is characterized by defensiveness and verbal insults, which can highlight how much of his power and glory he is afraid of losing, Creon becomes frightened by the prospect wherein he would have to concede to his hamartia and undeniable fallibility as a human.The main purpose of these effects is to illuminate Creonâ€™s very human flaws: his insecurities, his paranoia of being thwarted by a woman of lesser importance, and his irritable temper. These flaws consequently form the nature of his demise and conclude the circle of his journey as the Tragic Hero. Essentially, his kingship has brought upon him his downfall because power is inseparable from vanity, and vanity became the hamartia of the Creonâ€™s character.
Reproductive Health Bill was introduced by Congresswoman Bellaflor J. Angara -Castillo is also known as Â³Reproductive Health Care Act of 2002Â´,assembled at Senateand House of Representatives of the Philippines, and now known as House Bill 5043 of 2008. ItÂ¶s been years since the bill was approved in the senate, due to some churchconflicts, biomedical ethical issues and some scientific research conflicts. Today thereare still lots of Filipino citizen who are now fully aware about this bill and why this billwas imposed.Before I write this reaction paper I had to read the Bill twice and read somearticles, reaction and comments in the internet I had read books and research which isrelated to reproductive health, sex education and Bioethics, for me to fully understandwhat was the RH bill all about and the reason of the creation of this bill.Poverty, the main problems that the Philippine is facing today and they say thatthe primary factors that lead to poverty is due to overpopulation, the Philippines has apopulation of 64,318,120 in 1990. Today the population is ballooning and estimated toover 94 million according to latest census and the top 12 thÂ country having the mostpopulation. The population is growing by about 2 percent a year, giving the Philippinesone of the worldÂ¶s highest population-growth rates.This is one of the reasons of the creation of the Reproductive Health bill to give asolution to poverty by eradicating the overpopulation problem, by implementing familyplanning, sex education and prevent the sexually transmitted disease.