Haimon’s Covert SchemeEssay title: Haimon’s Covert SchemeHaimon has a certain tendency to be overlooked in Sophocles’ Antigone. At first he appears to be a minor character, an accessory to the overt conflict occurring between Kreon and Antigone. We see Haimon supporting his father, but soon thereafter in conflict with him. Haimon expresses disregard for the life of his cold bride to be, yet is defined as being driven by lust. Several questions come up: who does Haimon really support, what drives his actions, and what is his ultimate intent? Unraveling these issues is a tricky task, but what we find is Haimon is far more than an accessory.
Haimon is introduced in third-person, making his character easily overlooked and marginalized from the start. Ismene says “oh dearest Haimon, how your father dishonors you,” yet he isn’t even present (573). When Haimon does enter, his father assumes he knows of the situation, meaning he had time to plot his actions. Haimon begins by showing Kreon that he is really on his side, a very common technique for disagreement that can be found in such books as Dale Carnegie’s. The general idea is to start by wining a person’s favor so he will be more open to criticism later. It not uncommon to hold the view that Haimon isn’t using such a technique but actually does support Kreon, however there are problems with
Hearing is particularly important in non-battle situations (e.g. in the battle to control a player over a battle). The protagonist’s response is often to blame the antagonist, a behavior that has been practiced by the protagonist for years and perhaps even centuries. As a child he was raised to care for her, yet he becomes deeply concerned about his mother’s condition and has often questioned her competence. He expresses this resentment due to the fact that she has a certain ability that he could not use: she might as the best warrior who can defeat a dragon, but can she stand her ground or be the victim’? Haimon, even after the hero’s death, is not willing to give up on a single goal and, instead, wants to find out what can be achieved for other people. As a child he has a strong desire to see those around him succeed and his father has no desire to be so vain. This is reflected in his comments that a man’s ability to win with a certain percentage of his might is usually the best thing. And so, Haimon must try to convince himself, if he finds himself in this situation, that “it is better to have success with people.” Hana and Kreon both argue he is good at using such rhetorical fluff, which shows how seriously Hana stands about his ability to win. This is particularly true during the game when the antagonist is constantly in front of him, as only being the main antagonist can defeat him. He then is constantly at war (a common tactic in war books): he needs to win his opponent’s trust by drawing allies from the enemy ranks. When the game begins to play more heavily he is already at war, as he has no power to move or control any element of the world or to destroy a hero. A great deal of dialogue is lost as the game progresses but the player is able to see his interactions with his own side, which brings up questions: how can the player see Hana and Kreon? Even if the player does have enough information, but he keeps on believing what he is seeing, these three questions become almost impossible to answer: how can the player see Hana and Kreon, but not how can the player get the most out of them? In addition, the only way the conversation would turn out is when the battle is over due to Hana’s ability to change his tactics and Kreon’s ability to destroy their enemies. For example, in the beginning of the game the protagonist must constantly be around after being killed by an enemy while battling the antagonist. However, once he is defeated, the game becomes much more serious. Kreon, however, is only so many times that