Sophocles Antigone, Dostoevskys Crime and Punishment and Kafkas The Trial - Research Paper Example

Civil Disobedience in Literature: Sophocles’ Antigone, Dostoevsky’s Crime and Punishment and Kafka’s The Trial Introduction Civil disobedience represents a well-known issue in world literature that has been portrayed by very influential authors around the globe. The most prominent authors, instigators and representations of the movement are Henry David Thoreau, Mahatma Gandhi, Antigone and many other literary pieces that depict civil disobedience in different cultures around the world. Indeed, as a literary theme, civil disobedience often reflects the culture of the society in which it is portrayed, thereby, demonstrating a solid connection between culture and literature. Thus, the current topic analyzes civil disobedience in three different literary works, from different cultures and time periods. Indeed, Sophocles’ Antigone, Dostoevsky’s Crime and Punishment, and Kafka’s The Trial range from the classical period to the 20th century and represent different cultures that would express civil disobedience according to their traditions and the realities in their societies. Even though Antigone, Raskolnikov and Joseph K, the main protagonists of the literary works, have different experiences that motivate their civil disobedience, each of them conveys their culture through their rebellion and predicament. Though representing Theban, Russian and Czech cultures that evolved in different eras, they also share the common goals of challenging authorities in order to defend a cause significant in the stability and survival of their societies. I. Civil Disobedience throughout Time A. Sophocles’ Antigone Sophocles’ Antigone constitutes one of the most significant literary pieces from the ancient period that portrays civil disobedience. Set in a very crucial moment in Thebes, during which, the city was going through a dramatic civil war following Oedipus’ tragic fate and the death of his two sons, the play portrays the heroic effort of Antigone who challenges the authority of her uncle, Creon, in order to establish order. Indeed, unhappy with Creon’s decision to deny a proper burial to her brother, Polyneices, because of his responsibility in the war, Antigone defies Creon and buries him in order not only to defend family ties but also to abide by the unwritten laws of nature. This critic argues: “The discrepancy between human law and the ‘unwritten’ dictates of conscience is, as Thoreau makes quite clear in his landmark essay, at the heart of any act of civil disobedience” (Erenhberg 31). Indeed, the gap between Creon’s decree and Antigone’s understanding of these unwritten laws explains her defiant decision to bury her brother in order to honor his soul and respect the dead despite Creon’s ban. The curse in her family that resulted in the tragic death of so many members justifies her deep belief in the importance of family ties, but she also believes in the ancestral traditions of her Theban culture that recommends the burial of the dead. Antigone clearly expresses her disobedience to Creon: “But I will bury him; and if I must die, / I say that this crime is holy: I shall lie down / With him in death, and I shall be as dear / To him as he to me” (Sophocles 55-60). This strong determination to challenge the authority in order to render justice to her deceased brother demonstrates that Antigone believes in the rightfulness of her action but is also ready to undergo the sacrifices that go with it, including her own life. She does not fear death but scorns the injustice of the authority that denies proper burial to the dead. Moreover, Antigone’s defense of the unwritten laws of nature defies human law embodied by Creon who believes that as the King, his laws overrule everything. However, both the gods and Tiresias acknowledge the unwritten laws and disapprove of Creon’s decision to deny proper burial to the dead. Therefore, Antigone’s disobedience is justified because she finds the approval of the gods who state that no law needs to be written in order to understand that the dead has to be buried; it is not only common sense but God’s decree. This statement informs about these laws: “To Sophocles the unwritten laws are sacred and eternal laws through which the divine powers rule the world. They are not confined to any particular community, and are distinct from all merely human law. An integral and, in fact, dominating part of the poet’s thought and belief, they were bound to meet with consent as well as opposition” (Erenhberg 36). Throughout the play, Sophocles advocates the respect of these natural laws that are more important than human laws that are fallible and ephemeral. Therefore, Antigone’s disobedience was strongly justified because she defied the authority for the implementation of these natural laws. B. Dostoevsky’s Crime and Punishment Fyodor Dostoevsky was a Russian author of the 19th century who published many literary pieces portraying various issues pertaining to his culture and time period. Crime and Punishment foregrounds the mental issues and moral problems of Radion Raskolnikov, a drop out student from Saint Petersburg who plans and murders a woman at a pawn shop. The particularity of this act stems from the fact that, Raskolnikov perpetrates this murder just because of his inner turmoil that urges him to prove that he can actually accomplish this heinous crime. This statement retraces the historical background of Dostoevsky’s portrayal of civil disobedience: “Raskolnikov’s Napoleonic Idea thus supports and in fact approximates the political radicalism of the sixties, which likewise blurs the distinction between crime and civil disobedience” (Verhoven 126). Indeed, the protagonist supports Napoleon Bonaparte’s theory that crime can be justified if it leads to the accomplishment of higher goals. Therefore, Raskolnikov decides to kill the woman in order to steal her woman and then give it to the needy. This reflection reveals the psychological imbalance of the young man and the shaky foundation of this theory. Through this novel, Dostoevsky criticizes Napoleon’s theory and denounces the confusion between crime and civil disobedience. The narrator describes the situation of Raskolnikov’s brain: In a morbid condition of the brain, dreams often have a singular actuality, vividness, and extraordinary semblance of reality. At times monstrous images are created, but the setting and the whole picture are so truth-like and filled with details so delicate, so unexpectedly, but so artistically consistent, that the dreamer, were he an artist like Pushkin or Turgenev even, could never have invented them in the waking state. (Dostoevsky) Dostoevsky’s portrayal of the protagonist constitutes a strong criticism of this form of civil disobedience that conveys more a psychological disturbance that results in violence and crime than anything else. In addition, Dostoevsky’s novel raises issues in the Russian society pertaining to the organization and systems of governance or theories. Therefore, more than just civil disobedience, the novel poses serious political issues of 19th century Russia. In fact, Dostoevsky uses Raskolnikov to draw attention to the inconsistencies in the Napoleonic theory that poses more problems than it can resolve. Through Raskolnikov’s crime, the author foregrounds the shakiness of the motives that turns the protagonist into ridicule. This Critic observes: “It is testimony to Dostoevsky’s brilliance as an artist that the persuasive powers of Crime and Punishment continue to convince readers that Raskolnikov’s double murder is the logical conclusion of nihilism, that the Napoleonic Idea is grotesque, and that socialism goes against the grain of human nature” (Verhoven 126). Indeed, Dostoevsky’s novel and his position about civil disobedience demonstrate the close connection between literature and culture as the author portrays real issues pertaining to the Russian society. C. Kafka’s The Trial Franz Kafka was a 20th century Czech writer who depicts a different form of civil disobedience that is meant to denounce the injustice and corruption going on in the Czech society. Indeed, Joseph K’ rebellion against the authorities that sentenced him to jail without any charges or even given him a chance of a proper trial is fully justified. As an innocent person, not aware of any infringement of any law, K did not take his arrest well, and actually took it as a joke. However, the joke turned into frustration as he realized that he was really being prosecuted. This critic reports his rebellion: “The initial catalyst—his arrest—begins Joseph K.’s defiance of the Law and the Courts, although his resistance ultimately proves to be insubstantial and ineffective. His first reaction to the arresting warders is disbelief, as he thinks that his co-workers are playing a game on him, for it is his birthday” (Sollars 254). The surprise, the absence of answers to his questions and not knowing the charges against him caused his anger that became a rebellion against these ineffective authorities who put innocent people in jail. K explains his frustration in these terms: “That follows from the fact that I’ve been indicted, but can’t think of the slightest offence for which I could be indicted. But even that is all beside the point, the main question is: Who is issuing the indictment? What office is conducting this affair? Are you officials? None of you is wearing a uniform” (Kafka 14). The pertinence of these questions that find no answers from these officials who recognize their limits and their lack of professionalism expressed through their attire give K real motive to rebel against them and whoever ordered his arrest. Besides, Kafka’s novel denounces the inconsistences of the courts that violate the rights of citizens instead of protecting them. This infringement of people’s freedom constitutes a real danger that moves them to civil disobedience, thereby, causing social and political instability in countries. Joseph K’s predicament constitutes an illustration of severe human rights violations in the Czech society; however, what makes matters worse represents the fact that these violations happen at court. This ironic but tragic situation cost Mr. K his freedom and ultimately his life. This assertion addresses these discrepancies: “Kafka’s Courts in The Trial are symbolic of the absurd concerning guilt, justice, and punishment. Any specific crimes K. has committed and charges against K. remain obscured. The reader also quickly realizes that it matters not whether a defendant is guilty or innocent, as the Courts are said to be resistant to all forms of proof and innocence” (Sollars 257). Through the portrayal of Mr. K, Kafka draws the attention to these limitations and even violations of freedom in the judicial system that may result in civil disobedience. The arrest and condemnation of innocent people without any charges constitute a true danger to any society and its people. II. Civil Disobedience and Culture A. Antigone The play conveys Theban culture expressed throughout the various issues portrayed. Antigone’s rebellion against the authority represents an embodiment of the political unrest that characterized Thebes throughout the years. Even during Oedipus’ reign, the power had been several times challenged during the plague either through his conflict against Creon or his misunderstanding with Tiresias. Therefore, Antigone’s civil disobedience follows a tradition of protests that jeopardized the stability of the City and even led to the civil war that cost the lives to Antigone’s brothers. The disagreement between Antigone and Creon exposes the different Antigone points of views they have about the reading of laws. This critic addresses their opposition: “Antigone dramatizes how the preclusion of a genuine exchange over conflicting obligations endangers civic existence. In the disagreement between Creon and Antigone over which obligation should take precedence, political existence of Thebes in put into question” (Kastely 229). Their different interpretations of the law, their perception of these obligations and the absence of a genuine discussion led to this unfortunate situation that cost Antigone’s life. Antigone’s determination to challenge Creon’s authority in order to plead the cause of the dead, her certainty about the correctness of her position led to this civil disobedience. Here is her response to Creon’s boast on his authority: “But all your strength is weakness itself against / The immortal unrecorded laws of God. / They are not merely now: they were, and shall be, / Operative for ever, beyond man utterly” (Sophocles 360-64). Antigone’s beliefs in these natural laws motivate her rebellion because she is convinced that God’s laws are more powerful than those of mere mortals. B. Crime and Punishment Dostoevsky’s novel poses a serious cultural and political issue in the Russian society that stems from Napoleon Bonaparte’s conception of civil disobedience. Indeed, Napoleon’s theory supporting that murder can be acceptable if it leads to the accomplishment of higher deed finds a strong opposition in this novel. The portrayal of the protagonist seems to be a satire because of his physical, emotional, and psychological imbalance that allows the reader to question the foundation of this theory but also the motives. These cultural and political differences in the Russian society become the subject of literature and inform about the meaning of civil disobedience in the society. This critic exposes his understanding of the issue: “Rodions crime was a symbol of his protest against the maddening realization of failure. The act had as its true objective the satisfaction of a psychological, rather than an economic need. Rage against himself was transferred to hatred of the prospective victim” (Squires 486). This author relates the crime to Rodion’s personal failure or even emotional instability than any theory. Indeed, killing a woman in order to take her money and distribute it to needy families does not seem to be right, thereby, questioning the rootedness of this theory that resembles more to a crime than civil disobedience. The narrator reports Rodion’s frustration: A new overwhelming sensation was gaining more and more mastery over him every moment; this was an immeasurable, almost physical, repulsion for everything surrounding him, an obstinate, malignant feeling of hatred. All who met him were loathsome to him—he loathed their faces, their movements, their gestures. If anyone had addressed him, he felt that he might have spat at him or bitten him. (Dostoevsky) This general anger against everybody and everything demonstrates Rodion’s mental disturbance and internal frustration about his life. Thus, the murder may be a result of this psychological disturbance that directed his anger toward this woman. Besides, the need to steal the money stems from the bitterness he feels for her and the envy related to his own financial situation. C. The Trial Kafka’s novel addresses a very crucial cultural issue in the Czech society that endangers the freedom of innocent citizens. The author severely denounces the broken judicial system that sentences innocent people to jail without any charges or even a trial. This injustice falls into a financial officer of a bank who becomes victim of the discrepancy. As a lawful citizen not having broken any laws, Joseph K’s arrest comes as a surprise, and he challenges the authority in order to find the charges against him and the person responsible for his arrest without success. Kafka’s The Trial The discomfort of the situation turns into disobedience because his existential questions found no answers from the arresting officers or even their supervisor. This frustration urges him to challenge the authority of these officers and their bosses whose professionalism and competence he questions. Here is Rodion’s answer when an officer told him that he arrived late: “‘Well maybe I have arrived late, I’m here now.’ There followed loud applause, once more from the right hand side of the hall. Easy people to get on your side, thought K., and was bothered only by the quiet from the left hand side which was directly behind him and from which there was applause from only a few individuals” (Kafka 47). This prompt answer expresses his frustration that turned into disobedience because he does not really care that he is late; he just wants to know the reason for his arrest. Besides, the applause on the court indicates that he is not the only person to be frustrated, so there is a real fear for civil disobedience because people do not want any more to suffer from the errors of these officials. This critic addresses the limitations of the law: “The Law-as-empty-norm becomes reified, an independent entity distinct from its societal evolution and antecedents, taking the form of necessity and punishment. It is this necessitous machinery to which K. and the man from the country become subject” (Glen 35). This court that does no longer render justice to the citizens punishes them instead, and this injustice turns into revolt that becomes civil disobedience. People like Mr. K and the man from the country do not want to pay for mistakes they did not make and are ready to defy the authority in order to get their voices heard. III. Forms of Civil Disobedience A. Antigone Despite the different time periods and the divergent cultural backgrounds, Antigone, Crime and Punishment and The Trial all portray some form of civil disobedience that reflects the traditions and realities of their people. This similarity between these literary works demonstrates that civil disobedience exists in all cultures because people from everywhere may rebel against situations that threaten their freedom, that of their people and the stability of nations. For that reason, Sophocles portrays a form of civil disobedience pertaining to the governance of states and the respect of the unwritten laws of nature and draws the attention to an excessive use of power that violates basic rights of citizens. This difference between human laws and the unwritten laws of nature constitutes the foundation of the conflict between Antigone and Creon. The latter’s greed for power and his determination to express his authority and show that he is in charge allowed him to make a decree denying Polyneices a burial for the part he played in the Theban civil war. This critic addresses the conflict: “Antigone to act as she did was ‘sisterly love’ or family duty. From all we can see in Sophocles’ plays it is clear that the unwritten laws were not confined to family traditions or to the question of burial. They were the rules of the divine order of the world” (Erenhberg 33). Indeed, Sophocles’ point goes beyond Antigone’s determination to bury her brother but addresses any authoritative power that violates the laws of nature. However, Antigone’s rebellion constitutes a form of civil disobedience that results from these discrepancies. The critic adds: “The struggle between the leading characters can end in nothing but disaster, not because of the stubbornness and single-mindedness of their natures, but because there is no chance of reconciling the world of men with that of the gods, the world of Creon with that of Antigone” (Erenhberg 35). Thus, the conflict between Creon and Antigone stems from the different perceptions they have about the laws of nature that take precedence over human law. B. Crime and Punishment Similarly, Dostoevsky also denounces the implementation of faulty political theories that instigate civil disobedience. He especially targets Napoleon Bonaparte’s theory that justifies murder on the basis of accomplishing better purposes. Through Raskolnikov, Dostoevsky severely criticizes this form of civil disobedience that incites crime and may destabilize the society. He warns about the danger of encouraging these nihilist political theories that do not work for the advancement of the society but instead may cause much damage to ordinary citizens. This statement addresses the issue: “Dostoevsky expressly wrote it as an act of resistance against civil government. Quite literally, the novel is an artistic expression of the political idea that Dostoevsky’s contemporaries should not challenge their station in life, and that Russia should remain an autocracy, governed by divine right” (Verhoven 118). These conflicting political visions in Russia led to Rodion’s civil disobedience the novel foregrounds. Indeed, the double murder he committed expresses this authoritative form of government in which people can kill others in order to accomplish their purposes. C. The Trial Kafka also depicts a form of disobedience created by members of the judicial system who arrest and condemn innocent citizens without any charges. Through Joseph K’s ordeal, Kafka denounces the irregularities that deprive ordinary people of their liberty. This abuse of power constitutes a real danger that threatens people’s rights and urges them to rebel against these authorities who subjugate them. Therefore, the system of governance is responsible for the civil disobedience because of their lack of professionalism, incompetence and corruption. This assertion addresses the problem: “The futility of one’s action, and yet the futility of inaction, epitomizes the absurd condition for K.’s defiance against the Courts. K. is cautioned time and again that he must attend to his case with all his time and energies, warnings that K. refuses to follow. His intention is not to become one of the many who have succumbed to a plaintive and penitential existence” (Sollars 256). Joseph K’s rebellion is fully justified because he is frustrated about his arrest and not knowing the charges against him. Thus, Kafka’s novel points out the abnormalities in the Czech system of governance that allows the court to sentence innocent people to jail and even death. Conclusion Sophocles’ Antigone, Dostoevsky’s Crime and Punishment and Kafka’s The Trial address the issue of civil disobedience in the different societies they portray. Each of these works exposes issues related to the traditions and realities in the society, thereby, demonstrating the relationship between literature and culture. These literary works cover different time periods ranging from the Classical period to the 20th century and portray issues in three different countries with different cultural, social and even political background. Even though Antigone, Crime and Punishment and The Trial portray civil disobedience in different eras and different cultures, each of them foregrounds some form of rebellion related to the faulty systems of governance in the societies they represent. This critic argues: “Raskolnikov earned a place in the pantheon of literary creations not as an exemplary repentant and Orthodox convert, but as one of the great modern rebels. And beneath Raskolnikov’s Napoleonic ego, there is enough compassion for the world to remind readers that the residents of the modern age have not only the right, but also the responsibility to rebel against injustice” (Verhoven 127). In fact, Antigone’s defiance of Creon about the laws of nature, Raskolnikov’s implementation of Napoleon’s theory and Joseph K’s rebellion against the authorities who sentenced him to jail without charges constitute severe irregularities in the systems. Works Cited Dostoevsky, Fyodor. Crime and Punishment. Trans. Constance Garnett. Gutenberg.org. Project Gutenberg. 2012. Web. 5 Apr. 2014. Ehrenberg, Victor. “Antigone’s Unwritten Laws.” Bloom’s Literary Themes: Civil Disobedience. Ed. Harold Bloom. New York: Bloom’s Literary Criticism, 2010. 31-48. Print. Glen, Patrick J. “The Deconstruction and Reification of Law in Franz Kafka’s ‘before the Law’ and The Trial.” Southern California Interdisciplinary Law Journal 17:23 (2007): 23-67. Academic Search Premier. Web. 5 Apr. 2014. Kafka, Franz. The Trial. Trans. David Wyllie. Gutenberg.org. Project Gutenberg. 2005. Web. 5 Apr. 2014. Kastely, James L. “From Formalism to Inquiry: A Model of Argument in Antigone.” College English 62.2 (1999): 222-242. ProQuest. Web. 5 Apr. 2014. Sollars, Michael D. “Franz Kafka’s The Trial and Civil Disobedience.” Bloom’s Literary Themes: Civil Disobedience. Ed. Harold Bloom. New York: Bloom’s Literary Criticism, 2010. 253-262. Print. Sophocles. Antigone. Trans. Dudley Fitts and Robert Fitzgerald. Mineola: Dover, 2005. Print. Squires, Paul Chatham. “Dostoevskys Raskolnikov: The Criminalistic Protest.” Journal of Criminal Law and Criminology 28.4 (1937): 478-96. Academic Search Premier. Web. 5 Apr. 2014 Verhoeven, Claudia. “Crime and Punishment Draws the Line.” Bloom’s Literary Themes: Civil Disobedience. Ed. Harold Bloom. New York: Bloom’s Literary Criticism, 2010. 117- 128. Print. Read More