Physis Vs. Nomos In Sophocles' Antigone

Known today as the "Nature versus Nurture" debate, the question of human social conduct and character development has remained a topic of interest for many philosophical discussions. Centered around the natural and socially constructed, ancient Greeks referred to this debate as physis versus nomos - is individual behavior a primary product of custom and convention or absolute natural fact? Greek mythology addresses this dichotomy of mankind through scenarios of interaction between man and the supernatural. The juxtaposition and/or separation of physis and nomos in this way is found in many myths, an overt strategy that is used to convey Greek ideas of inherent moral responsibility.

Sophocles addresses the question of physis versus nomos - in essence, right versus wrong - in his rebellion-inspiring tragedy Antigone. Among others, his main characters, Antigone and Creon, are representative of the two ideologies in contrast. In regards to the burial, or rather, non-burial, of Antigone's slain brother Polyneices, they are constantly battling over polar positions: state against individual citizen, law against conscience, and human nature against divine nature. Ultimately, in following her conscience and sacrificing her life in defiance of nomos, Antigone is validated as a martyr and hero, while Creon is left alone in sorrow and despair.

Given the fates of these two characters, is the fate of man subjective to acting solely on what is morally righteous, essentially upholding physis over nomos? In Antigone's very famous choral ode, the Chorus tributes man's accomplishments and mastery over sea and sky but also emphasizes human inferiority to divine powers: "only against Death shall he call for aid in vain; but from baffling maladies he hath devised escapes." The physis-nomos dichotomy, however, is not addressed in any part of the ode; instead, it is grouped together, leaving fate at the hands of obedience of both land's law and "that justice which he hath sworn by the gods to uphold."1 Though the Chorus means to unify and connect both physis and nomos to emphasize a proud and happy citizen, we find that the juxtaposition of these two completely different concepts proves problematic for the opposing characters in this tragedy.

The human struggle to defy what is intrinsically wrong but established as permissible is openly apparent in the initial scenes of the play - strong-willed and brave-hearted Antigone reveals her plan to unlawfully bury her brother, only to be rejected and dismantled by cautious and law-abiding Ismene. Although Ismene is saddened by her brother's fate, nomos renders her helpless; social constructs have influenced her belief that their standings as women and individual citizens are no match for state law. Consequently, she is appalled that Antigone would even think of defying Creon, believing their brother's fate is out of their hands. She even warns her sister, "tis witless to be over busy."1 Her chance to rightfully bury Polyneices, and more importantly, to realize her innate responsibility to her kin, is temporarily barred by human-allotted law and practice.

Defiant Antigone, on the other hand, draws solely on the laws of physis to justify her worldly crime, a "sinless" act in comparison to Ismene's inaction. Because Ismene remains reliant on her pardoning prayers to the gods, Antigone accuses her of dishonoring the divine laws they have created for man to follow. Antigone's constant decision to obey physis and act on love and compassion for her brother is portrayed as blameless and forgivable by the supernatural, because although she illegally honored an enemy of the state, her true allegiance is to the divinities. Confident her actions are orderly, Antigone advises Ismene to "guide thine own fate aright,"1 as it is she who is in need of counsel and discourse, but even when Ismene chooses to take partial blame for the burial of Polyneices, Antigone refuses to accept her sudden change of heart as worthy of the burial's due glorification - having a guilty conscience is not the same as acting out of nobility and justice.

Creon's desire to exert and establish authority in his new land, however, provides a stronger and more consistent argument for the prevalence of nomos over physis. When the Chorus suggests Polyneices' burial may be the work of the gods, Creon erupts angrily, arguing the gods would never honor a traitor like Polyneices. In fact, any mention of divine interference in stately matters greatly frustrates the king, causing him to act tyrannically. The initial ideas he voiced to the Chorus about loyalty and nationalism are taken to an extreme when he threatens to hang the disobedient. His inability to remain collected when challenged reveals the proud and egotistical aspects of his nomos viewpoint; in trying to create and maintain the superiority of human law, more so his law, over natural law, he has a hard time incorporating moral reasoning and thought into his decisions.

When Antigone and Creon finally go head to head in their argument of physis versus nomos, Creon struggles to separate personal feelings against Antigone from fair jurisdiction. Her defiance of state laws are considered disrespect towards Creon and the state, a crime awaiting dire retribution. In equating Antigone's