ANTIGONE KEY LITERARY ELEMENTS
SETTING
This tragedy is set against the background of the Oedipus legend. It illustrates how the
curse on the House of Labdacus (who is the grandson of Cadmus, founder of Thebes,
and the father of Laius, whose son is Oedipus) brought about the deaths of Oedipus
and his wife-mother, Jocasta, as well as the double fratricide of Eteocles and
Polynices. Furthermore, Antigone dies after defying King Creon.
The play is set in Thebes, a powerful city-state north of Athens. Although the play
itself was written in 441 B.C., the legend goes back to the foundations of Hellenic
culture, many centuries before Sophocles’ time.
All the scenes take place in front of the royal palace at Thebes. Thus Sophocles
conforms to the principle of the unity of place. The events unfold in little more than
twenty four hours. The play begins on the night when Antigone attempts to bury her
brother for the first time. Her second attempt at burial occurs at noon the following
day, when Antigone is apprehended. She is convicted and kept overnight in a cell.
The next morning she is taken to a cave, her place of entombment.
On Thebes: Thebes was the most important city of Boeotia, on mainland Greece. It
was one of the chief city-states of ancient Greece, after Athens and Sparta. Sophocles
described it as “the only city where mortal women are the mothers of gods.”
According to Greek legends, the city was founded by Cadmus and was destroyed by
the Epigonoi in the time before the Trojan War. In the sixth century B.C., Thebes
recovered its glory to some extent, and in Sophocles’ time it was still a powerful state.
LIST OF CHARACTERS
Major
Antigone
The daughter of Oedipus, the former King of Thebes. Her mother, Jocasta, was
Creon’s sister. She is willing to risk her life in order to bury Polynices, her dead
brother, thereby defying King Creon’s edict. She is sentenced to death, but commits
suicide by hanging herself.
Creon
The brother of Jocasta, who was the wife and mother of Oedipus. Creon becomes
ruler of Thebes after the deaths of Oedipus’ two sons in the recent civil war. He
orders a state funeral for Eteocles, but denies the rites of burial to Polynices. He is
compelled to sentence Antigone to death when she defies his law. In the end, he
accepts that he has acted wrongly and repents.
The Chorus
The voice of the elders of the city of Thebes. They are the main victims of the
recently fought civil war and hence long for peace and stability. They comment on the
major events that occur in the play and provide the audience with the public reaction
to the private struggles of the ruling family of Thebes.
Minor
Haemon
The only surviving son of Creon. He is in love with Antigone, to whom he is engaged.
He pleads in vain with his father for her life. He commits suicide in Antigone’s tomb
after he discovers that Antigone has taken her own life.
Ismene
The elder sister of Antigone, who initially has reservations about helping Antigone to
bury the body of their brother, Polynices. She later claims a share in Antigone’s guilt
and punishment; Creon refuses to punish her as he considers her temporarily insane.
Tiresias (or Teiresias)
The blind prophet of Thebes, who also appears in Sophocles’ Oedipus Rex. He comes
to warn Creon that dire consequences will follow if he stands by his decision to leave
Polynices’ body unburied.
Eurydice
The wife of Creon. She appears only once in the play, when she hears the news of her
son’s (Haemon’s)
The watchman
Comes to inform death. She commits suicide at the end of the play.
Creon that someone has attempted to bury Polynices during the night. Threatened
with severe punishment for what Creon feels is neglect of duty, the watchman returns
to his watch and succeeds in arresting Antigone. He hands her over to Creon for
sentencing.
The first Messenger
Comes to inform Eurydice about the death of Haemon. He accompanies Creon to the
tomb and later gives a first- hand account of the deaths of Antigone and Haemon.
The Second Messenger
Comes to inform Creon about the death of Eurydice.
The leader of the Chorus
Occasionally speaks a few lines addressed mainly to the audience. He is given the
final lines of the play, in which he draws a moral from the sequence of tragic events
the audience has just witnessed.
CONFLICT
Protagonist
Antigone is the resolute and strong-willed daughter of King Oedipus. She is
determined to give her brother, Polynices, a decent burial. She consciously risks her
life with this action, which violates both Creon’s unjust decree, as well as the ancient
custom of denying burial to enemies of the state. She obeys only the laws of the gods
and the dictates of familial loyalty and social decency.
Antagonist
King Creon regards only the requirement of political expediency. Soon after the civil
strife between Eteocles and Polynices ends in their deaths, he announces a decree
denying Polynices’ burial. He is unrelenting in his stance, as he wants Thebans to
know that he is a firm ruler. Thus he sentences his own niece, Antigone, to death for
defying his law.
Climax
The climax of the play occurs during the encounter between Creon and Antigone. It is
a scene marked by dramatic contrast. Here one can see the incompatibility between
Creon’s world of physical power (which he takes to be absolute) and the world of
spiritual, idealistic strength which Antigone represents. Creon’s vanity is hurt and his
anger aroused by the stubborn disobedience of one whom he considers to be merely a
mad woman. When he realizes he cannot break or bend her will, he resolves to send
her to her doom.
Outcome
The resolution of the play begins when the Chorus succeeds in making Creon see the
injustice of his recent decisions. He orders the burial of Polynices’ body and rushes to
Antigone’s cave, only to find that she has hanged herself. The deaths of Haemon and
Eurydice soon ensue, and at end of the play, Creon is left alone in his wretchedness.
He has paid a heavy price for his folly and rashness. The tragedy lies in the fact that
realization has come to late for Creon.
SHORT PLOT SUMMARY (Synopsis)
Antigone’s brothers, Polynices and Eteocles, had fought a battle for the throne of
Thebes. At the beginning of the play, they are both dead, having killed each other in
combat. Creon, the new monarch, has decided to honor the memory of the younger
brother, Eteocles, by giving him a state funeral. During his lifetime Eteocles had
broken his pact with Polynices, according to which the two brothers had agreed to
take turns at ruling Thebes. This enraged Polynices, who brought an army of Argives
to fight against Eteocles and the Thebans. Creon had supported Eteocles in this
dispute. After the civil war has ended, Creon brands Polynices a “traitor” and
proclaims that anyone who attempts to bury Polynices’ body will have to face death.
Antigone resolves to defy Creon’s edict, and in the opening scene (or Prologus) she
asks her sister, Ismene, to join her in the act of burying Polynices. Ismene refuses to
help Antigone because she does not wish to violate Creon’s order.
Antigone’s strong respect for family bonds and divine laws prompt her to conduct
funeral rites for her brother. She is caught by Creon’s watchman and brought before
the enraged king. At her trial, Antigone pleads that her defiant act is in accordance
with the overriding laws of the gods.
Creon is reluctant to accept this justification and is unrelenting in his harsh stance as
he condemns Antigone to be immured (buried alive) in a cave. Ismene comes forward
to claim a share in Antigone’s guilt and in the penalty that goes with the crime. Creon
dismisses her pleas as he considers her present behavior to be a temporary mental
abnormality, although he had earlier accused her of being Antigone’s partner in crime.
Then Creon’s son, Haemon, pleads vainly with his father to forgive Antigone. The
blind prophet, Tiresias, also threatens Creon with the catastrophic consequences of
defying all divine laws in refusing burial to Polynices. Finally, the Chorus begs Creon
to relent and release Antigone.
At last Creon is moved, and he goes to the cave to find Haemon clasping the dead
Antigone, who has hanged herself. In blind fury, Haemon charges with his sword
towards his father, but misses him and then kills himself. Filled with remorse, Creon
returns to his palace to find that his wife, Eurydice, has already received the tragic
news of the two deaths from a messenger. In deep despair, Eurydice takes her own
life, leaving Creon to grieve alone.
THEMES
Major Themes
Sophocles’ plays often deal with the specific struggle of a strong- willed individual
against fate. In Antigone he depicts a resolute and heroic female protagonist, who pits
her individual free will against the intractable forces of fate and against the irrational
and unjust laws of tyrannical men, like Creon. Basically, the play centers on the
conflict between the steadfast protagonist and an equally resolute antagonist.
Sophocles’ two main characters are placed in peculiar circumstances that force them
to act the way they do. There are fatal consequences for themselves and others. Their
very personalities seem to initiate the play’s central action, and a conflict of interests
soon erupts between these two people of almost equal heroic stature. One is
committed to serving the public, and the other is led by the demands of her
conscience.
Minor Themes
As the central conflict unfolds, Sophocles makes it known that both Creon’s and
Antigone’s firm stances stem from the two great imperatives that underlie all political
action: the needs of the individual versus the rights of the state. Creon is constrained
to act the way he does for reasons of political expediency. He is a newly appointed
ruler who has to rescue his people from the chaotic state of civil war and anarchy
brought on by the bitter rivalry of Polynices and Eteocles. Creon is forced to
formulate unpleasant laws so that political trouble-makers will think twice before
attempting to start another revolt.
Yet Creon’s noble intentions in trying to bring stability back to Thebes ironically
backfires on him. Antigone’s protest against Creon’s decree merely underscores the
fundamental truth that conscience is very often above the law.
MOOD
The action takes place in the period of uneasy calm following the civil war in Thebes.
In this time of tentative peace, Creon’s new edict introduces a note of harsh repression
and punitive malevolence. A mood of uncertainty prevails in Thebes. The Chorus
reacts typically to the flux of public events in these disturbed times. At times, the
singers of the Chorus express a kind of empathy for Antigone’s unhappy situation;
there are other moments when they display silent sympathy for Creon.
As the great debate between the two central figures advances, the elements of
foreboding and impending doom predominate in the atmosphere. Creon’s mounting
rage is matched by Antigone’s willful obstinacy. Finally, as the catastrophe unfolds, a
somber mood prevails as one tragic death follows another. From the pity and terror
the audience feels at the deaths of Antigone, Haemon and Eurydice, it is moved at the
play’s end to sympathize with Creon in his silent, solitary grief. The pathos of human
suffering against the tragic backdrop of death leaves a final impression of catharsis, an
emptying of all emotion after the catastrophic storm. As John Milton says at the close
of his Samson Agonistes, the audience here experiences the same “calm of mind, all
passions spent.”
Author Information
Life of Sophocles (circa 496-406 B.C.)
Sophocles was chronologically the second of the trinity of great Greek tragedians, the
other two being Aeschylus and Euripides. He was born at Colonus, a pleasant rural
suburb of Athens, (probably in 496 B.C.) and died there, ninety years later. His
father, Sophilius, manufactured armor for a living.
As a boy, Sophocles won prizes for both wrestling and music. In his teens, he is
reputed to have led the singing of a lyrical paean to celebrate the famous Greek
victory over the Persians at Salamis (480 B.C.). He produced his first set of plays in
468 B.C., and won the first prize although he was competing with his own mentor,
Aeschylus.
He wrote more than 120 plays (the titles of over 110 of these are known). However,
only seven of his tragedies have survived. Their probable chronological order was:
Antigone (441 B.C.), Ajax, Oedipus Rex (also called Oedipus Tyrannus), Electra,
Trachiniae, and Philoctetes (409 B.C.). He wrote his final work, Oedipus at Colonus,
at the age of ninety. The play was first produced five years after Sophocles’ death by
the younger Sophocles, the grandson of the great playwright.
As a dramatist, Sophocles learned his art from Aeschylus. He was instrumental in
increasing the number of singers of the chorus from twelve to fifteen. He also had
painted scenery in his productions and used three actors, instead of only two, in his
dramas. He is known to have had at least eighteen to twenty victories at drama
festivals (besides being ranked second on several occasions). These festivals were
held at the theater of Dionysus in Athens. His greatest surviving play, Oedipus Rex
managed only second place. Sophocles also staged his plays at the “Lenaea,” or feast
of the wine-vats, held annually in January after 450 B.C. at the theater of Dionysus in
Athens.
Sophocles married twice (first to Nicostrate, and then to Theoris of Sccyon) and had
two sons: Iophon, the tragedian, and Agathon, father of the younger Sophocles, also a
writer of tragedies. The Greeks regarded Sophocles as a kind of tragic Homer, hailed
him as the favorite of the gods and honored him with state sacrifices long after his
death. The last part of his life coincided with the glorious age of Cimon and Pericles,
the period of Athens’ greatest prosperity. Although he showed little interest in politics
and had no special military skills, he was elected as a “strategos” to serve as one of
the ten generals who led the war of 441-438 B.C. He was also chairman of the
Athenian treasury from 441-410 B.C., serving alongside the eminent statesman,
Pericles. In 413 B.C., after the great Athenian disaster in Sicily, he was made one of
the “Probouloi” (special commissioners), mainly due to his widespread fame.
From reliable contemporary accounts one learns that Sophocles was a handsome,
wealthy man of great charm. He had friends like Pericles and Herodotus, the great
Greek historian. The Victorian critic, Matthew Arnold, praised Sophocles as a man
“who saw life steadily and saw it whole.” The ancient biographer, Phyrnicus, says that
Sophocles’ life was happy and that he retained all his faculties to the very end.
Sophocles is reported to have died either by choking on raw grapes or by running out
of breath while reciting lines from Antigone, his favorite play.
The Works of Sophocles
Sophocles’ plays were not like those of either Aeschylus or Euripides. His tragedies
did not deal with abstract problems of guilt and punishment stretching over
generations, like those of Aeschylus (namely his famous trilogy, Oresteia). Sophocles
preferred to depict the specific struggles of resolute individuals against the unyielding
forces of fate. He did not favor the writing of a whole trilogy to cover one subject but
wrote only single plays, such as Antigone or Ajax.
However, Sophocles did write three plays connected to the Oedipus legend from
Greek mythology. The first, called Oedipus Rex, deals with the ill-fated reign of
Oedipus as King of Thebes. It was written in the middle of his career, while the
second, titled Oedipus at Colonus, was written in 406 B.C., when Sophocles was
ninety years old. This play narrates the incidents following Oedipus’ downfall as king
and his life in exile in the forests of Colonus. Here he was looked after by his loyal
daughters, Antigone and Ismene, until his death. The third play in this series is
Antigone, which was actually written first in 441 B.C.
LITERARY / HISTORICAL INFORMATION
To understand a classical play like Antigone it is essential to have a general idea of
Greek tragedy (as a form of drama) as well as specific information about the ill-fated
House of Cadmus, whose tragic family history comes full circle with the death of
Antigone.
Greek Tragedy:
It was originally associated with religious festivals like that of Dionysus, the god of
wine. It was often solemn, poetic and philosophical. It told the tale of a central
character (the protagonist), who was an admirable but not necessarily flawless person.
S/he was confronted by hostile forces and often had to make difficult moral choices in
trying to resolve these conflicts. The protagonist’s struggle ended mostly in defeat or
death.
Most Greek tragedies were based on myths and consisted of a series of dramatic
episodes interspersed with choral odes chanted by an on-stage chorus of ten to fifteen
people. This chorus often commented on the dramatic action or analyzed the pattern
of events in its own way. They sang, danced and recited the odes to the
accompaniment of musical instruments like the lyre, flute or drums. The main
episodes were performed usually by not more than three actors appearing
simultaneously on stage. Men played the women’s parts, and the same actor appeared
in multiple roles. The performers in Greek tragedy wore masks to depict the kind of
characters they were enacting.
In his critical work, The Poetics, Aristotle deals with the major elements of Greek
tragedy. For Aristotle, the most important part of tragedy was the plot (or action). He
felt that any tragic action must be long enough to depict a dramatic change in fortune
(from prosperity to misfortune) of the protagonist. In Antigone it is the antagonist,
Creon, who at the start of the play has just become king. By the end of the play, Creon
has lost both his wife and son and is left despondent. Aristotle holds that character is
the second most significant feature which gives drama its moral dimensions. The
central personage in Greek tragedy must be morally good, of a heroic stature, true to
life and consistent in his/her actions. The change in fortune of the main personage is
often the consequence of a fatal flaw in his/her character, or an error of judgment
called “hamartia.” The failure of the hero (or heroine) is also due to his/her “hubris,” a
false sense of pride in his/her own secure position.
The tragic dramatist must choose suitably heroic characters and place them in a well
constructed plot, which aims at representing actions that will invoke “pity and fear” in
the audience. Tragedy ideally evokes these dual emotions. The downfall of a noble,
well- known, prosperous and moral person naturally evokes one’s pity (in reaction to
the hero’s misfortune) and one’s fear (that such misfortune can overwhelm human
beings). This leads finally to an effect of catharsis, the purgation of these emotions of
pity and fear. This gives tragedy a psychological dimension, as it provides an outlet
for undesirable emotions that humans inevitably experience.
Aristotle also pointed out two important devices of the plot: “peripeteia” and
“anagnorisis.” “Peripeteia” is often wrongly translated as “reversal of fortune,” but
more accurately, it refers to a reversal of the situation: the action turns in a direction
opposite from its original course. “Anagnorisis” refers to a person’s realization of a
situation. It is a change from the state of ignorance to that of enlightenment. Such
changes wrought through “peripeteia” or through “anagnorisis” must occur within the
limits of probability and help to create the effect of dramatic irony.
The Ill-Fated House of Cadmus:
Antigone is virtually the last in the line of Theban royalty belonging to this family of
Cadmus, who was the founder of Thebes. The story of Antigone can be read and
understood entirely only when one takes into account all the tragic consequences that
troubled the family of the founding father, Cadmus.
Cadmus was the legendary founder of the Greek city of Thebes and the son of
Agenor, King of Tyre. Cadmus’ sister, Europa, was carried off by Zeus in the disguise
of a bull. Cadmus, who went in search of Europa, discovered instead the site of
Thebes. Cadmus slew the dragon who was guarding Thebes and planted half the
dragon’s teeth in the soil. From these teeth sprang a group of armed men who fought
each other until only five survived. These five, known as the “spartoi,” were believed
to be the ancestors of the Theban nobility. Thus the city of Thebes was born in a
violent manner.
Cadmus married Harmonia, the daughter of Ares and Aphrodite, and presented his
bride with a necklace which was to prove fatal to the Theban dynasty. At the end of
their lives, Cadmus and his wife were changed into serpents by the gods.
Cadmus’ daughter, Semele, was loved by Zeus and gave birth to the god Dionysus.
Semele was killed when Zeus appeared before her in all his godly glory. Dionysus
himself punished the women of Thebes with madness for refusing to accept his
divinity. Agave, the sister of Semele, brought about the death of her own son,
Pentheus. This story is related in Euripides’ tragedy, Bacchae.
Laius, the father of Oedipus, was the great-grandson of Cadmus. He was killed by his
own son, Oedipus, who was unaware of his father’s identity. The god Apollo had
warned Laius that his own son would kill him. Thus, when Oedipus was born to Laius
and his wife, Jocasta, Laius took the boy and exposed him to the elements on Mount
Cithaeron. But Oedipus survived and was brought up by the King of Corinth. Eager to
discover his true identity, Oedipus set out in the direction of Thebes. In a chance
encounter en route, Oedipus met, quarreled with and then killed his own father, Laius.
He became the monarch of Thebes and unwittingly married his own mother, Jocasta.
The couple had four children: two sons, Polynices and Eteocles, and two daughters,
Antigone and Ismene.
Homer relates that when it was discovered that Oedipus had married his own mother,
Jocasta hanged herself, but he continued to rule as king. However, in Sophocles’
tragedy, Oedipus Rex, Oedipus willfully blinds himself and wanders off in selfimposed exile, accompanied by Antigone. He later went to Colonus where he died.
The present play, Antigone, begins with a reference to the battle fought between
Oedipus’ two sons, Polynices and Eteocles. They had quarreled over their father’s
throne during Oedipus’ lifetime. Oedipus had pronounced a curse on the two,
predicting that they would kill each other. When Oedipus died, his sons decided to
share power. They agreed to allow each other to rule separately for alternate periods
of the year. Eteocles, the younger of the two, began to rule first, but when his reign
was over, he refused to give up the throne to his brother. Polynices, in the meanwhile,
had married the Princess of Argos. Angered at his brother’s betrayal of trust,
Polynices set out with an army from Argos towards Thebes. He placed seven
commanders at the seven gates of Thebes. The Argive army was hopelessly routed by
the Theban army, led by Eteocles, and the two brothers fought and killed each other in
battle. This tale was dramatized by Aeschylus in his Seven Against Thebes.
Creon, the brother of Jocasta and the senior most member of the royal family of
Thebes, assumed power. He had favored Eteocles before the battle and now proclaims
that Eteocles is a hero who will be given a state funeral. However, Creon ordered that
the bodies of the enemies, including Polynices’ body, should not be buried. There are
many traditions and legends regarding what happened next. Sophocles tells one of
these in his play, Antigone. Other stories tell how Antigone was killed by Creon
himself, or was sent into exile for defying Creon’s law and daring to bury her
brother’s body.
Thus the House of Cadmus had from ancient times been plagued by disaster and
tragedy. Antigone’s tragedy is a culmination of the earlier events that look place in
and around Thebes.
SCENE SUMMARIES AND NOTES
Note: Since this particular play has no divisions into acts and scenes, sections have
been created and are designated by line numbers. Breaks have been inserted at the
points when an important character enters or exits.
Lines 1-99 The Prologos or Expository Scene
Summary
The play begins with Antigone’s words addressed to her sister, Ismene. Antigone tells
Ismene that their uncle, King Creon, has decreed that Polynices, their older brother,
not be given a proper burial. Eteocles, their younger brother, has been buried with
great honor as a hero, but Polynices’ body has been left to rot in the open, so that
carrion and dogs can feed on it. Creon has ordered that no one should mourn for
Polynices, and anyone who tries to bury him will be stoned to death.
Asserting that she will not betray the memory of her dead brother, Antigone invites
Ismene to join her in the dangerous task of burying Polynices. Ismene advises her
against breaking Creon’s law. She reminds Antigone about the ruin that has fallen
upon their family. Creon, Ismene believes, will order their deaths if they decide to
bury Polynices. Ismene holds the conventional belief that being a woman, she cannot
challenge Creon’s decree.
Antigone does not force Ismene to help her. She decides to perform this task alone,
and she thinks that it is a great honor to do so. She believes that she has a “duty
towards the dead,” and she accuses Ismene of making weak excuses. She tells Ismene
not to fear for her (Antigone’s) life.
When Ismene promises to keep Antigone’s plan a secret, Antigone asks her not to do
so. Antigone would much rather have her deed made known to the world. She
expresses her wish to die a noble death. Ismene admits that Antigone, though unwise,
is unmatched in “faithful love.”
Notes
In the opening scene of the tragedy, the audience is introduced to the protagonist,
Antigone. She is busy planning a proper burial for her dead brother. She appears
strong-willed and is determined to break Creon’s law, even on penalty of death. In
contrast, Ismene lacks the will to defy Creon. She is concerned only about her own
survival and Antigone’s life. She considers Antigone’s plan to bury Polynices to be
“fool-hardy.” While Ismene wants to live within the bounds of the laws of the state,
Antigone is willing to break them in order to do what she thinks is morally right. She
believes that she owes a duty to her brother. She describes her action as a “holy
crime,” emphasizing that the law of the gods must take precedence over the law of the
king. Antigone believes that she owes obedience to the divine law that demands a
ritual burial for any human being.
The reader (or audience) is also given information regarding Creon’s proclamation
when Antigone informs Ismene of the edict. Sophocles thus draws the audience (who,
like Ismene, is ignorant of the situation) immediately into the center of things. Events
are revealed naturally and chronologically.
Antigone plays the part of a messenger in this first scene as she informs her sister
about recent happenings in Thebes. One also gets an insight into the contrast between
the two sisters when Ismene speaks the following lines: “We need must bear in mind
we are but women,/ Never created to contend with men.”
For Ismene, womanhood is weakness, and she submissively subscribes to the
conventional view that women must obey men. Antigone, on the other hand, does not
wish to please any man, least of all Creon. She is not the “hapless maiden” that
Ismene describes her to be in this scene. Ismene realizes that despite her sister’s
apparent lack of wisdom, there is in her (Antigone) a devotion to duty and a strong
bond of familial love that remains faithful to the very end.
Towards the end of the scene, the sisters are still at odds with each other. Antigone
cannot force Ismene to join her in breaking Creon’s law, nor can Ismene coerce
Antigone into altering her decision regarding the burial of Polynices. In a way,
Antigone’s desire to bury her dead brother is almost a death-wish. So that she can die
an honorable death, she does not want her action to be kept secret. Here again, the two
sisters are polar opposites of each other. While Antigone wishes to die heroically,
Ismene chooses to live a meaningless and cowardly life, in conformity to Creon’s law.
This fact is made more evident in a later scene when Antigone tells Ismene that she
(Ismene) has, in fact, chosen life over death. However, Antigone prefers to die nobly
rather than live a life of timidity and subjugation to conventional authority.
Lines 100-154 The opening Chorus (or Parodos)
Summary
After the initial debate between Ismene and Antigone, the Chorus enters for the first
time in the play. It describes the beginning of a new day which dawns over the seven
gates of Thebes and the fountain of Dirce. According to the Chorus, this is the
“brightest” and “fairest” day that Thebes has seen. The Chorus then gives an account
of the battle recently fought at the gates of Thebes between the two brothers,
Polynices and Eteocles. The soldiers from Argos, who had supported Polynices,
hurried away from the battle because they were losing to the Thebans, led by Eteocles
and Creon.
The Chorus next relates how the warriors of Argos came to wreak destruction on
Thebes: the man of Argos bears “sharp menace” within his breast and is covered in
armor. The Chorus describes the sights and sounds of the furious battle, as the spears
fired by the enemy, “(y)awned wide around the gates that guard (their) homes.”
The Chorus believes that the king of the Greek gods, Zeus, and his son, Atres, the god
of war, were both on the side of Thebes. Zeus hurled down fire on the enemy, and
Ares fought in open battle against the foe. During the battle the seven champions of
the Argive army were matched against seven champions of the Theban forces. The
two brothers, Polynices and Eteocles, were paired against each other and were killed
when they met in combat.
Afterwards the Chorus sings a song about victory and peace. It wishes that the
memories of this battle would be wiped out of people’s minds and that thoughts of
peace would reign once more over Thebes. The Chorus plans to indulge in “holy
dances of delight” and visit every shrine to give thanks to the gods for this newly
found peace.
Notes
In its first appearance the Chorus gives further information about the background of
the play. The Chorus represents the people of the city celebrating the victory of
Thebes over the Argives. It vividly describes the battle between the two brothers and
is conventional in outlook, displaying a strong faith in the gods. Zeus and Ares are
said to have fought for Thebes. The Chorus exults in Thebes’ victory, and at the same
time, it prays for a lasting peace. Joy gives way to ecstasy as the Chorus pays tribute
to Bacchus with “dances of delight” lasting through the night.
Sophocles uses a wide array of imagery in this opening Chorus. The rays of the sun
are compared to the weapons of war that the Thebans used to drive away the Argives.
In an extended metaphor, the man of Argos rises “on eagle wing,” hoping to bring
ruin to Thebes. Like an eagle, the enemy screeches “sharp menace from his breast”
and has a “plumed crest” crowning his helmet. His body is described as wrapped in
armor of steel. Thebes, on the other hand, is the “serpent struggling to be free” of the
predator. Therefore, the Chorus provides a graphic account of the recent battle.
The gods are seen to be taking sides, and they support Thebes. It is Polynices who
comes “breathing madness at the gate.” The battle hangs in the balance until Ares, the
god of war, hurls himself among the Argives and fights for Thebes.
At the end of the battle, the Chorus claims that Pallas Athena, the godess of war (and
victory), descended upon Thebes as a heavenly omen of Thebes’ victory. Hence, to
give thanks to the gods, the Theban chorus visits every shrine “in solemn round.” It
concludes its opening sequence by performing a ritual dance on stage. The Chorus
pays homage not only to the gods of war and victory, but also to Terpsichore, the
Muse of dancing and choral singing.
The Chorus echoes the common citizen’s desire for peace and stability, instead of
war. Ironically, the peace for which the Chorus offers such gratitude will soon be
disturbed by Antigone’s revolt against Creon.
Lines 155-225 The First Episode or Creon’s Opening Speech
Summary
The leader of the Chorus announces Creon’s arrival and informs the audience of
Creon’s newly acquired power. The leader wonders why Creon has called for a
conference of the elders of Thebes.
Creon enters and assures the elders that the kingdom of Thebes is, once again, “on a
smooth course” after the terrible battle between the two sons of Oedipus. Creon has
specially selected the audience of elders from those among the Thebans who are loyal
to the throne of Laius. Creon stakes his claim to rule the land as the next of kin of the
slain ruler, Eteocles. He believes that a good leader should use his power to maintain
order.
Creon promises that he will not “keep silence” if any danger threatens his citizens. He
will not befriend anyone who does not love Thebes. In order to rebuild Thebes as a
great city, Creon proclaims his new decree regarding the two sons of Oedipus. Creon
considers one of them a hero and acords him a proper burial: Eteocles, who had
fought on the Theban side. By contrast, he considers Polynices to be a traitor who
wanted to destroy Thebes. Accordingly, he orders that there will be no burial for
Polynices’ corpse; the body shall lie in the open for dogs and carrion to feed on.
Creon swears that he will never let a crime against the state go unpunished. At the
same time, he promises to honor all those who love the state.
The Chorus accepts Creon’s laws as all-powerful. Creon asks the Chorus of elders to
support and maintain his law. When the Chorus asks Creon if he wants them to watch
over the corpse, he replies in the negative. He wishes only that they do not show favor
to anyone who breaks the law of the state. The Chorus responds by saying that it is
not “in love with death.” Creon believes that some man in the Chorus, hoping for
financial retribution, may betray him by breaking his law.
Notes
In this scene Creon, the antagonist of the play, is introduced. He is Antigone’s uncle
and has now become King of Thebes following Eteocles’ death. Creon is an expert at
political maneuvering. Comparing the state of Thebes to “a noble vessel” (a ship), he
positions himself firmly at the helm.
Creon calls a conference among the elders of Thebes in order to make known to them
his decree. He favors Eteocles. He tells the Chorus of elders that he is not unwilling to
use force to curb any threat to the state. He brands Polynices a traitor to the state and
refuses to give him a decent burial.
In this scene Creon portrays himself as a just and noble ruler, who is willing to go to
any extent to protect the state. In acceptance of Creon’s edict, the Chorus asks, “Who
is so fond as to be in love with death?” This rhetorical question underscores the
absolute authority of the king.
Creon’s speech appears to be a veiled threat to the elders. He does not want any of
them to aid potential subverters of his law. The Chorus promises obedience to Creon:
“And sure, ’tis thine to enforce what law thou wilt/ Both on the dead and all of us who
live.”
Lines 226-331 The Watchmen and Creon
Summary
A watchman (guard) enters. He has come unwillingly to meet Creon. He curses his
fate and tells Creon of his reluctance to come to the palace. The watchman keeps
babbling until Creon demands that he express himself clearly. The watchman tells
Creon that the corpse of Polynices has been given a burial by some unknown person,
who had crept up to it, even though it was guarded by soldiers, during the night. The
next morning, the watchman and his companions discovered that the body had been
covered with a fine layer of dust, and that certain religious rites had been performed
over it. The sentinels then fought amongst themselves and accused each other of
committing the deed. There were no signs that any animals had disturbed the body
during the night. The sentinels had decided to draw lots to select someone to inform
King Creon about the burial. The watchman now speaking is the unlucky one who
was chosen to bring the bad news.
The Chorus tells Creon that some divine power may be at work; it has caused
Polynices to be buried without leaving a trace of human involvement. Creon
admonishes the Chorus of elders, describing them as foolish old men. Once again,
Creon asserts that Polynices was a destroyer and traitor who came to lay waste to the
land of Thebes and its temples. Creon believes that the gods cannot honor such
villainy. Creon angrily accuses the watchman of accepting a bribe from some
“malcontents of Thebes” to bury Polynices’ body. He rants against the evil influence
of money. Money, according to Creon, brings cities to their doom and turns honest
men into thieves and villains. It has taught mankind to be wicked. Creon asserts that
whoever has buried Polynices’ body will surely be punished, and he threatens the
watchman with death, unless he (the watchman) can manage to bring to the court the
person who has buried Polynices. The watchman vehemently denies having anything
to do with the burial and tells Creon that he (Creon) has erred in his judgment. Creon
orders the watchman to leave. The watchman predicts that he will never again be seen
in Creon’s presence. He thanks heaven for his escape this time and exits.
Notes
In this scene, the plot of the tragedy truly begins to unfold. A major event has
occurred which will affect all further action in the play. True to the principles of
Greek tragedy, the major event (the burial of Polynices’ body by Antigone) has taken
place off-stage. Therefore, it needs to be reported by means of a messenger. Here, the
messenger is the unhappy watchman. His reluctance to meet Creon is partly amusing
and partly pathetic. His fears are quite reasonable. He knows that being the bearer of
“unwelcome news,” he is likely to face Creon’s wrath, as indeed he does. The
watchman gives the audience (or reader) a detailed, first-hand account of how he and
his fellow sentinels had discovered that the body of Polynices was given a swift and
incomplete burial. The person who committed this deed was obviously in a great
hurry, as the corpse was only partly covered by dust.
Sophocles creates suspense by delaying the watchman’s description of the night burial
until he (the watchman) has overcome his initial fears. Once again, the element of fate
or destiny appears to play a part here: the watchman is selected by a draw of lots to
convey the news to Creon. The superstitious nature of the Chorus is revealed when it
states that the burial must be the work of a divine being, as there is no trace of the
guilty person.
Creon, having no one else to turn his wrath upon, berates the watchman. Creon also
deliberately mentions the gods in his speech. He wants the people of Thebes to
believe that the gods support his (Creon’s)law. The Chorus has already suggested that
the gods may be against Creon by stating that some divine power has been the cause
of the burial.
Creon puts on a false show of being just and laments that people will do anything for
money. He is aware that there are malcontents within Thebes who will not accept his
rule and are turning restless. He believes that one of these malcontents has bribed the
watchman with gold to bury the body. Creon seems to be well aware of weakness in
others but does not realize that he, too, has his faults.
Lines 332-380 The First Stasimon
The Chorus: “Many a wonder lives...”
Summary
The Chorus sings an ode to man, praising him as the wonder of all things that live and
move. Men have built vessels in which they travel “the gray ocean” and “highswelling seas.” The Chorus asserts that man has even subdued the earth by means of
farming: his ploughs turn the earth year by year. He has learned to hunt for his food
by catching birds, fish and animals in “woven coils of nets.” Man, according to the
Chorus, is thus “craftywise.”
Man, says the Chorus, has been able to tame the wild horse and the tireless mountain
bull by means of his extreme intelligence. He uses these beasts to farm the land. Man
has learned to create shelters against all kinds ofweather, against “biting frost” and
“sharp, roof- penetrating rain.” Man, continues the Chorus, is inventive and
imaginative, endowed with many skills. He meets each new challenge with a new
device. The only thing that mankind cannot vanquish is Death. However, the Chorus
praises the fact that man has been able to discover cures for the most baffling and
dangerous diseases.
Man, the Chorus believes, moves toward either evil or good, depending on whether he
loves his land and fears the gods above. If he follows the laws of the land and remains
true to heaven, the Chorus maintains, then man will keep his high position in the state.
But if he acts dishonorably by committing crimes against the state as well as against
the gods, he will become an outcast, shunned by all.
Now the leader of the Chorus speaks. He notices a sign of evil, an ill-omen from the
gods. He sees that Antigone, the “hapless child of hapless sire” has been arrested. He
assumes that she has recklessly broken Creon’s law and has now been caught in the
act.
Notes
This choral interlude serves to reduce the tension created in the previous scene. It is
the only respite that the audience (or reader) will have for a long time. After this
point, the drama moves headlong into tragedy.
The Chorus’ song in praise of man is highly musical and rich with images
fromagriculture, sailing, fishing, and hunting. Man is shown as noble and allpowerful. He triumphs over both earth and sea, over birds, animals and fish. He is
resourceful and is able to find solutions to almost every problem he faces. Only Death
stands in his way. Yet the Chorus does not praise man blindly. Towards the end of the
song, man is shown to have a capacity for good as well as evil. The good man is one
who follows the laws of the state and of heaven, whereas the bad man breaks these
laws. The Chorus accepts the good man as a respectable member of society, but the
bad man becomes a social outcast. Thus, the Chorus predicts the general reaction to
Antigone’s act of rebellion when it becomes public.
The Chorus’ distinction between good and evil is too simplistic in nature, and will
soon be proved wrong. The Chorus indulges in moralistic preaching and displays
certain prejudices. Antigone may have broken the law of the state, but she is still in
the right. Despite the buoyant mood of the choral song in praise of man, the mention
of Death’s presence changes the tone. It is a harbinger of things to come. And soon
enough, the leader of the Chorus tells of the arrest of the “girl Antigone.” Now the
play is on the threshold of tragedy.
Lines 381- 444
The Second Episode:
The Watchman, Antigone and Creon
Summary
The watchman enters, bringing along with him Antigone, his prisoner. He announces
that it is Antigone who has committed the crime by burying her dead brother and now
demands to meet the king.
Creon enters and inquires into the matter. The watchman tells him that the first
judgment is often proved wrong by subsequent reflection. He had thought that after
the threats he received from Creon the first time, he would never again wish to come
to the palace. But now he has come willingly, bearing Antigone as his prisoner. She
has been: “Caught in the act of caring for the dead.”
This time there was no need to cast lots, and the watchman came voluntarily to bring
the news to Creon. He asks Creon to examine and judge Antigone. The watchman
wishes to be free and to get away from “ the bad business” that he has become a part
of because of his duty as a guard.
At first Creon cannot believe that Antigone is responsible for the deed, but he is soon
persuaded by the watchman’s detailed explanation as to how Antigone was
apprehended. After the burial that took place on the previous night, the guards had
once again laid bare Polynices’ body, according to Creon’s orders. While they were
keeping watch over the corpse in the heat of the noon, there suddenly arose “a
whirlwind from the ground.” A dust-storm ensued and the sentinels were forced to
shut their eyes to keep out the dust. When the storm had ceased and the sentries had
opened their eyes, they saw the girl, Antigone, who cried aloud “in high and bitter
key” when she saw that her brother’s body was, once more, laid bare. Antigone
cursed the guards for undoing her deed of the previous night. Then she took a jar of
brass and from it poured three libations (offerings of liquid to the gods), in honor of
her dead brother.
When they saw this, the guards rushed towards Antigone and seized her. They
charged her with the “crime” of attempting to bury her brother’s body. Antigone
denied nothing, recalls the watchman. He is now both delighted and saddened:
delighted, because he has escaped Creon’s wrath and is now free to go, and saddened,
because he has drawn “a friend” (Antigone) into distress. However, he concludes that
his own well-being is more important to him than that of anyone else.
Creon asks Antigone whether she will confess to the deed or deny it. Antigone asserts
that it is she who has done this deed. Creon bids the watchman to depart. He readily
does so and seems quite disconcerted about his role in the tragedy.
Notes
The plot moves with renewed vigor in this scene. Antigone has been arrested while
trying to give her brother a decent burial for the second time. The watchman at first
claims to be delighted to have discovered the real culprit, for he is now absolved of
the charge of breaking Creon’s law. The real “culprit” is Antigone. Even Creon
appears to be amazed to find that it is Antigone who has broken his law. He obviously
did not expect a mere girl to defy him.
Once again the watchman plays the part of a messenger, reporting to Creon (and the
audience or readers) how Antigone came to be arrested. The sand-storm that
descended on the sentinels at noon is taken to be a sign of the rage of the gods. It is, in
the watchman’s own words, “the God-sent evil.” After the dust had settled, the
watchman recalls how Antigone made a dramatic appearance near the corpse and
attempted to bury it in accordance with the religious rites of ancient Greece. Antigone
had obviously come well-prepared for the rites of burial, for she carried with her a
brass jar containing holy water. She submits meekly to the guards once they discover
her.
Towards the end of his speech, the watchman admits that he is sorry to have brought
in Antigone as a prisoner, for she is “a friend in distress.” Antigone is obviously
admired and well-liked by the watchman, but he prefers not to speak out against
Creon and escapes with his own life. Creon soon dismisses him, but not before he has
begun the interrogation of his niece, Antigone.
Lines 445-523
The ‘Agon’ OR Debate between Antigone and Creon
Summary
This scene continues the action of the previous scene without a break. Creon and
Antigone are the two main characters left on the stage along with the Chorus. After
Creon has sent away the watchman, he turns to Antigone and asks her if she was
aware of his decree concerning Polynices’ body. Antigone curtly responds in the
affirmative. Creon then demands to know why she dares to disobey the edict he had
laid down.
Antigone replies that the law Creon has made is not the law of heaven, nor is it a law
that is in any way just. She asserts that the gods have laid down laws for human
beings to follow. Antigone does not believe that Creon, a mere mortal, can issue
edicts that defy the “infallible, unwritten laws of Heaven.”
Antigone reminds him that the laws of heaven have been in existence from time
immemorial. Nobody can claim to know when they were first framed and set down.
Antigone does not want to incur the wrath of the gods by breaking their divine laws
only because they clash with the man-made laws of the state. She is aware that she
has to die one day, and it does not matter if she dies young. In fact, she prefers an
early death, as she has lived a life of “boundless woe.”
Antigone is not afraid or saddened by the prospect of her own death. However, she
declares that she could not allow her “own mother’s child” (her brother, Polynices) to
lie in the open without a proper burial. She taunts Creon by telling him that if he calls
her a fool for committing the deed, then she is foolish only “in the judgment of a
fool,” the “fool” being Creon.
The Chorus admires Antigone’s fierce resolve and courage in the face of calamity.
But Creon is confident that Antigone’s self- assurance will soon break down. He
asserts that the strongest bar of steel which has been hardened by a long process in the
fire is often shattered to pieces afterwards. He brands Antigone a criminal and
remarks that she has added insolence to her crime by laughing off her offense and
appearing to “glory in it.” Creon declares that he cannot let Antigone go free on the
pretext that she is a woman. He must prove his manliness and new-found powers by
punishing her for the “crime” she has willfully committed. Nor will he spare her
because she is his sister’s daughter.
Creon now states that Ismene, Antigone’s younger sister, is a “co- partner in this
plotted funeral.” He considers her equally guilty of the “crime,” and he summons
Ismene to appear before him. He claims to have seen her recently, walking around the
palace in a frantic manner, like a person who is scheming to undertake some devilish
plot. He believes that Ismene’s disturbed spirit is a sure sign of her guilt although she
has not been caught in the act of committing the deed. Creon promises that the two
sisters shall surely be given the “worst of deaths” by the state.
Antigone asks Creon whether he wants more from her than her life. When Creon
replies that he claims only her life, Antigone requests that she be given death
immediately. Nothing Creon says can change her mind now. She believes that she
could find no greater honor than in burying her own brother. She tells Creon that the
men of Thebes approve of her deed but are unable to speak out openly because they
fear Creon’s power. Antigone sarcastically remarks that being a king has its benefits,
the chief of these being the ability to do as one wishes.
Creon tells Antigone that no Theban supports her, but Antigone rebukes him by
asserting that they do support her, but “curb their voices” due to Creon’s absolute
power. Creon asks Antigone whether she is not ashamed to be the only one to break
the law. Antigone responds by saying that her sisterly piety bears no trace of shame.
Creon asks Antigone if her actions have been harmful to the memory of her other
brother, Eteocles. He tells Antigone that Polynices was a vile traitor who had come to
destroy Thebes. Antigone respects her brothers equally. “Death knows no difference,”
she says.
Creon maintains that enemies must be hated even if they are dead. Antigone, for her
part, has faith in the power of love and not hatred. Creon then sentences her to death
and asserts that he will not be ruled by a woman.
Notes
This is the first major agon (debate, or dramatic conflict) in the play between the two
main characters, Antigone and Creon. Creon tries to subdue Antigone by proclaiming
that she has broken “the published law.” But Antigone is not to be defeated. She is
morally correct and she uses this fact to her advantage. Antigone quite sensibly
believes in following Heaven’s laws and not those laid down by mortals like Creon.
The laws of Heaven are “infallible” for her, as they have existed from the beginning
of time. Creon’s law, on the other hand, is but “newly-born,” as Antigone points out.
For Antigone, the established laws of Heaven have been tried and proven to be
correct.
Antigone holds that death will not bring her as much sorrow as the fact that her
brother’s body lies unburied. Her fierce pride and loyalty to family are evident in this
scene. The Chorus is the first to observe this: “Fierce shows the maiden’s vein from
her fierce sire;/ Calamity doth not subdue her will.”
The Chorus notes that Antigone’s traits have come down to her from her father, King
Oedipus. Despite Antigone’s fierce resolve in the face of calamity, Creon is confident
that he will be able to break her spirit. He accuses her of being insolent and
shameless. His insecurity is evident: her defiance is a threat to his status as a king, and
so he must destroy her, even though she is his sister’s child. Creon tries to detract
from the fact that Antigone’s action is an honorable one by claiming that Antigone
and Ismene had entered into a conspiracy against the state. Antigone, on the other
hand, maintains that she has performed a glorious deed.
The entire debate is an attempt by Creon to demoralize Antigone. He tries to prove
that she is wrong so that he can gain the upper hand in his attempt to win over the
people of Thebes. He asks Antigone whether she has not betrayed the memory of
Eteocles (the brother who had refused to give up the throne of Thebes). Unlike Creon,
who supported Eteocles because it was politically expedient for him to do so,
Antigone treats both her brothers as equals. She does not accept Creon’s argument
that Polynices was a traitor who came to destroy Thebes. For Creon, Polynices is the
wicked brother, hated even in death; but Antigone adheres to the law of love and is
not consumed by hatred for anyone. She makes a powerful and telling statement:
“Death knows no difference, but demands his due.”
At the end of the scene Creon has lost his composure and states that he will never
allow himself to be ruled by a woman. This scene is the climactic point: it
demonstrates the clash between Creon’s world of power and Antigone’s world of
ideals. Antigone is resolute to the end and thoroughly enrages King Creon.
Lines 524-582
Creon, Ismene and Antigone
Summary
The Chorus announces the arrival of Ismene, in tears and full of anxiety. Creon
describes Ismene as “a serpent coiled in the house” and a subverter of his throne. He
asks her whether she will acknowledge her role in the burial of Polynices’ body.
Ismene falsely admits to being a partner in crime with Antigone. Ismene wishes to
bear her part of the blame. Antigone, however, denies that Ismene played any part in
the burial. Ismene wishes to go with her sister to her death, but Antigone forbids her
to do so. Antigone asserts that she has done the deed alone and that she does not need
this verbal support from her sister. Ismene is hurt as she feels that Antigone is now
scorning her.
Ismene laments that she has no joy left in life, but Antigone tells her to save herself.
Ismene had earlier chosen life over death when Antigone first revealed to her the
secret burial plan. Antigone observes that her life, too, has long been spent in the
service of the dead.
Creon upbraids Ismene for taking leave of her senses. He forbids her from addressing
Antigone as her sister, for Antigone is “nothing now.” Ismene asks Creon whether he
intends to kill his son’s (Haemon’s) betrothed. Creon replies by saying that Haemon
“may find other fields to plough upon.” He remarks that Antigone would make a
“wicked consort,” not worthy of Haemon. He resolves that “death must come”
between Haemon and “his joy.” He orders that Antigone and Ismene be taken away
and locked up. It is now settled that Antigone must die.
Notes
This scene includes a debate between Antigone and Ismene. Ismene wishes to claim a
part in the deed so that she will be able to share the fatal punishment with her sister.
But Antigone is unwilling to share with her sister the honor she will receive for
burying her brother in defiance of Creon’s law.
Besides, Antigone reminds Ismene that she (Ismene) has already chosen life over
death. One may recall that in the opening scene of the play, Antigone had requested
Ismene to join her in burying their brother, but Ismene had refused to do so. At that
time, Ismene was afraid that Creon would punish them with death if they were caught.
In the present scene, however, Ismene shows some dignity and nobility. Although she
has not been an accomplice in the deed, she is now willing to accept death with her
sister. Ismene makes a noble offer, but Antigone rejects it. Ismene believes that
Antigone is now scorning her because she (Ismene) had earlier refused to help
Antigone with the burial plan. It is true that Antigone does not want Ismene to share
her glory in dying for her brother; however, Antigone also wants Ismene to live. She
tells Ismene: “Life was the choice you made. Mine was to die.”
Again, as in the first scene, the question of choice or free will arises. Antigone chose
freely to break the law, for which she knew she would be punished, whereas Ismene
chose to live by the laws of the land. Therefore, Ismene has not acquired the right to
die at this point. For Antigone, facing death (even as a “criminal”) is a gift from the
gods, a release from earthly sorrows. Ismene displays the extent of her sisterly
affection in this scene.
When Creon observes the two sisters quarreling over whether Ismene should die with
Antigone or not, he naturally concludes that these two have lost their minds. In any
case it is not up to the sisters to decide whether Ismene should be accused or not; that
is Creon’s prerogative. Creon has already decided that Antigone must die, even
though she is engaged to his son, Haemon. He does not care that he will be causing
great pain to Haemon. Creon is still unsure of whether Ismene should be punished,
although he is certain that Ismene has played her part in the burial by being a silent
supporter of Antigone’s cause.
Lines 583-623
The Second Stasimon
The Chorus: “Blest is the life that never tasted woe.”
Summary
The Chorus now sings a song of woe which forms a prelude to the final scenes of
tragedy which are to follow. They state that the person who has never suffered pain
and anguish in his/her life is indeed blessed. The Chorus remarks that when a house
(here meaning “family”) has undergone its first tragedy, then troubles come upon it in
ever-increasing numbers. Deeper and darker tragedies soon ensue in the manner of the
storms that arise near Thrace and disrupt land and sea.
The descendants of Cadmus, according to the Chorus, have suffered terrible
calamities in quick succession. Fresh sorrows have distressed each new ruler of
Thebes upon ascending the throne. Even the most recent “smiling light” of Thebes has
been extinguished. The Chorus believes that the gods have been ruthless in reducing
the powerful Cadmus dynasty to ashes.
The Chorus then prays to Zeus, the highest of all the Greek gods. They realize that
man is powerless in the face of Zeus’ might. The Chorus remarks that Zeus has ruled
forever.
The Chorus believes that there exists in the world a law of misery which does not
spare anyone. Those who are comforted by hope soon begin to desire more and are
destroyed by the fire of their desire. The Chorus quotes one of the wise men of
ancient Greece as saying that the mind often mistakes evil for good. In this present
time and age, the Chorus considers few people to be able to live a life free of troubles.
Notes
The subdued note that the Chorus strikes in this Stasimon is in sharp contrast to the
note of celebration evident in the previous choral song, “Many a wonder lives.” This
Choral song sets the mood for the remainder of the play: a mood of solemnity and
tragic gloom.
The image of a storm in the sea near Thrace is used to describe the nature of the
problems faced by the House of Cadmus. Cadmus was the legendary founder of
Thebes and the son of the King of Tyre. He was turned into a serpent and taken to
Elysium, and all of his daughters met with disastrous ends. Thus, for a long time, “the
stock of Cadmus” has suffered tragedies. Laius, Oedipus’ father, was the greatgrandson of Cadmus. When he was the King of Thebes, Laius was killed by his own
son, Oedipus, who was ignorant of his father’s identity. Oedipus himself had a tragic
life. He unknowingly married his own mother, Jocasta, and ended his life in tragedy.
Now it is the turn of Oedipus’ daughter, Antigone, to face death. Already her two
brothers have fought against and killed each other. Therefore, as the Chorus rightly
puts it, this is a family destined for disaster. The gods do not ever seem to smile
kindly on them.
“The new smiling light” that the Chorus admires is Antigone, who will soon be lost
“in dark Nonentity.” She used to think about the facts surrounding her birth and life.
In a way, the Chorus reiterates that she, like her father before her, is destined to die a
wretched death.
For the Chorus, it is the gods who control the lives of men. Zeus, the king of the
Greek gods, rules men’s lives from the lofty Mount Olympus. Olympus is the highest
mountain in Greece. According to Greek mythology, twelve Olympian gods lived on
the summit of the mountain.
The Chorus now sounds pessimistic. They believe that misery is endemic to the world
in general, and even if hope exists, it soon results in destruction because it gives rise
to fatal desires. The days seem full of despair, and one cannot tell the difference
between evil and good, for the “angry God” of desire that rules man’s mind also
makes him blind to the truth.
Thrace was a region in the northeast of the Balkan Peninsula. Historians believe that
Greece owes the beginnings of its music, mythology and philosophy to the early
inhabitants of Thrace.
Lines 624-784
The Third Episode:
Creon and Haemon
Summary
The leader of the Chorus announces the arrival of Haemon, Creon’s youngest child.
Haemon appears to be mourning since he has heard of Antigone’s misfortune. The
leader of the Chorus wonders whether Haemon is mourning because Antigone will be
lost in the prime of her youth or because he is to lose a bride.
When Haemon enters, Creon asks him whether he is angry with his father for having
sentenced Antigone, Haemon’s “promised bride,” to death, or whether he will
unquestioningly accept his father’s will. Haemon mildly responds that he will follow
Creon’s orders and that he prefers his father’s “wise government” to the fairest bride.
Creon is pleased with his son’s response and enters into a lengthy monologue on the
virtue of having obedient children. He is happy that Haemon has bowed his “constant
mind” to his father’s will. A child’s loyalty to his father, remarks Creon, is important
because the child can support the father in moments of danger. But a child who is
disloyal brings, according to Creon, only sorrow to his unfortunate father. Creon
advises Haemon against giving up his own worth for the sake of a woman. He
explains that a “wicked wife,” such as Antigone, brings no comfort. He asks Haemon
to reject such a woman and to leave her to her wretched fate.
Antigone was the only one among all the Thebans who refused to submit to Creon’s
law. Creon has asserted that she must die, and now he cannot break his “word before
the state.” Creon cannot tolerate rebels within his own state. He believes that the law
of the state must be respected and obeyed at all costs. His speech now turns into a
lecture on the politics of the state. Creon argues that it is law-breakers, like Antigone,
who destroy law and order, thereby bringing about the downfall of cities. Such
“traitors” cause wars which consequently bring death and destruction. Creon asserts
that he must “defend the law” at all costs and not submit to a woman’s will. He
declares that he would rather be struck down by a man. The Chorus praises Creon for
speaking wisely.
Haemon initially accepts that his father speaks wisely, insofar as he (Creon) is
concerned with protecting the safety of the state. But Haemon warns Creon that the
citizens of Thebes are unhappy that their monarch has condemned Antigone to death.
Haemon observes that the citizens are unable to speak out against Creon’s decision
for fear of punishment. The Thebans in the street, reveals Haemon, mourn for
Antigone and hold her in high esteem for her glorious deed. They feel that Antigone’s
deed merits the highest praise. Haemon labels this unrest among the people as “the
dark rumor spreading silently.”
Haemon declares that his father, a king of high renown, is precious to him. Children
glory in their parent’s fame, notes Haemon. Yet he advises Creon against neglecting
to take into consideration others’ points of view. Haemon states that the man who
presumes he alone is wise is actually a fool. He tells Creon that it is no disgrace to
listen to the voice of reason. Haemon cites the example of the tiny plant which yields
to the flow of torrential waters in order to save its twigs, while the huge tree, which
stubbornly resists the torrent, is swept away. Similarly, Haemon speaks of the mariner
who does not loosen the sail when caught in a storm, and consequently causes his
vessel to capsize because his sail is too tightly set. Haemon pleads with Creon to
relent and accept change, as it is inevitable. Haemon understands that it is good to
possess wisdom, but he also recognizes that man is not infallible, as far as his
judgment is concerned, and so he must learn to accept criticism.
The Chorus now begins to realize that Haemon’s arguments are correct. The Chorus
asks Creon to learn from his son, but it also advises Haemon to be guided by his
father. The truth lies somewhere between the two extreme stances adopted by father
and son.
King Creon will not tolerate being lectured to by his young son. Haemon responds to
this by saying that when it comes to the question of what is right and what is wrong,
age makes no difference. Creon asks Haemon whether he (Haemon) considers
Antigone to be a criminal. Haemon’s reply is that the whole of Thebes denies the
allegation that she has committed a crime. Creon rebukes him by asking, “Am I ruled
by Thebes?” Haemon candidly remarks that a single person does not make up a city.
Creon now accuses Haemon of defending Antigone, to which Haemon replies that he
cares about Creon, his father. Creon had already labeled Haemon “the woman’s
champion”; now Haemon asserts that Creon is “the woman” for whom he is trying to
rescue the situation. Creon is angry with Haemon for showing such impudence.
Haemon observes that he (Creon) has spurned the gods. Creon describes his son as an
“(a)bominable spirit, woman-led!” He proclaims that Antigone will not live to be his
wife. Haemon warns Creon that Antigone’s death will ruin him (Creon). Creon takes
this to be a threat and promises that Haemon shall pay for his insolence. He orders
Antigone to be brought and put to death immediately in the presence of her lover,
Haemon. But Haemon refuses to stay and watch her suffer. He swears that he will
never again see his father and walks out.
The Chorus observes that Haemon has left angrily and warns Creon that Haemon’s
youthful spirit may, in its present condition, cause him to act irresponsibly. Creon
does not care for what Haemon may do, as he has already decided to stand by his
decision to destroy both the sisters, Ismene and Antigone. When the Chorus asks
whether Creon intends to execute both the sisters, Creon finally concedes that only
Antigone, the one who performed the deed, should die. The Chorus asks to be made
aware of the means of execution that Creon proposes to use. Creon replies that
Antigone will be buried alive in a “cave-like vault” in the desert.
Notes
Another important player is introduced in the scene: Haemon, the youngest son of
Creon. Haemon has been betrothed to Antigone, his cousin, and now comes before his
father to challenge his (Creon’s) decision that Antigone must die. This leads to the
third major agon (debate) of the play.
At first, Haemon succeeds in pleasing his father, by stating that he would follow his
father’s will. Creon then enters into one of his lengthy monologues in which he
stresses to Haemon the importance of being obedient to one’s parents. He also dubs
Antigone a “wicked consort” who is not fit for Haemon. Besides, Antigone is a threat
to the state of Thebes, as she has openly defied Creon’s law. Therefore, she must die.
This is Creon’s reasoning, and he wishes to impress upon his son that he (Creon) is
right and that Antigone is in the wrong. In a way, Creon now equates Antigone with
her brother, Polynices, whom he had also branded a traitor. Such people, pronounces
Creon, are a threat to the state, and therefore they should be dealt with firmly. Once
again Creon ends one of his monologues by stating that he will not give in to a
woman’s will. He fears that his image will be tarnished if he allows a woman to get
the better of him. Thus, by justifying Antigone’s punishment, Creon attempts to
pacify Haemon.
Haemon continues to address his father with respect. He accepts that his father is in
the right, as far as matters of the state are concerned. Then he introduces his first note
of dissent. He informs Creon about the unrest among the people of Thebes, who feel
that Antigone is being treated unjustly. While common people cannot speak out
against Creon for fear of incurring his terrible wrath, Haemon can speak more openly,
as he is Creon’s own son. He does not speak as a rebel, but as an advisor, giving
Creon fair warning about the situation. Even as he praises his father for carrying out
the responsibility of a king, Haemon admonishes Creon for not lending“an ear to
reason.” The Chorus had earlier accepted Creon’s words as wise, but now they
acknowledge that Haemon, too, is correct. The Chorus, characteristically, does not
take a side during this debate. It cannot tell which of the two, father or son, is
absolutely correct.
Creon is right in asserting that the law of the state is all-powerful. However, he is
morally wrong because his law contradicts that of the gods. Creon’s insensitivity is
evident in this scene, as he discredits Antigone’s name while speaking to Haemon, her
lover. He does not try to soothe Haemon or calm him down, but instead provokes
Haemon to the point where his son is forced to walk away. Creon shows little human
understanding here. He is utterly tactless in dealing with his son and altogether brutal
in the manner in which he dismisses the idea that Haemon and Antigone could have
been man and wife. His obvious insensitivity stands in sharp contrast to Haemon’s
deep concern, both for Antigone and his father. Creon sees Haemon’s concern as
insolence and swears that he will have Antigone killed in front of Haemon. Creon’s
ruthlessness is the last straw for Haemon, who exits in anger, but not before warning
his father against acting like a cold-blooded dictator: “No city is property of a single
man.”
After Haemon’s exit, Creon states that he wishes to put to death both Antigone and
Ismene. However, the Chorus’ question causes him to change his mind, and he
decides that only Antigone will die. The painful nature of her death (by live burial)
makes the situation appear more tragic and shows Creon in a ruthless light.
Lines 785-803
The Third Stasimon:
The Chorus: “Love unconquered in fight”
Summary
The Chorus sings an ode in praise of love. Love is described as a warrior, who is
“never conquered in fight.” Love wreaks havoc on the wealthy and the famous. Love
is personified as a human being, or a lover, who keeps watch the whole night long in
order to make advances towards a young maiden. Love roams over seas and resides in
lonely dwellings in the forest. Nobody can avoid the thrills and pains of love.
Humans, as well as the gods, are overcome by love and experience its frenzy.
Love, in a light and frivolous manner, leads “righteous minds” into wrong. Thus love
brings about the ruin of those who were once good people. The Chorus blames love
for causing the “unkindly quarrel” to erupt between Creon and Haemon. The Chorus
asserts that even kings and makers of mighty laws are subordinate to the “heartcompelling eye of winsome bride.”
The Chorus ends with the line, “Madly thou mockest men, dread Aphrodite.” The
leader of the Chorus now speaks. He is unable to restrain his tears, for he sees
Antigone making her way to her final resting place.
Notes
Haemon’s appearance in the previous scene and his quarrel with Creon has had its
effect on the Chorus. The Chorus now sings about love and its ability to rule over all.
Love is compared to a soldier who destroys rich, established people. Love keeps
watch all night in order to seduce a young maiden. Love exists in every corner of the
world and rules over everyone, both mortal and immortal. According to Greek
mythology, even the gods hadlove affairs.
The Chorus sees love as a distraction which draws righteous men to their doom. It
conveys the belief that Haemon’s love for Antigone has caused a rift between Creon
and Haemon. The Chorus maintains that a beautiful bride can possess more power
than a mighty king. Therefore, the Chorus concludes that men are helpless under the
spell of the all-powerful emotion of love. Aphrodite, the goddess of love, rules over
men’s hearts and sways men so that they are led towards disaster. She is aptly
described as “dread Aphrodite.”
The leader of the Chorus is deeply moved when he sees Antigone walking to her
place of execution. As a citizen of Thebes, he sympathizes with Antigone and is
unable to distance himself from what is happening. Like the Chorus, the audience
begins to pity Antigone. They respect and admire her for her fascinating courage
Lines 804-944
The Fourth Episode:
Antigone’s Lament
Summary
Antigone is led in by the guards. She addresses the citizens of Thebes, telling them
that she goes to her final resting place. She will take her last look at the sunlight.
Never more will Antigone see the dawn. Antigone laments that she will never be
married and no wedding songs will be sung for her; only an untimely death awaits
her.
The Chorus assures Antigone that her death will not be an inglorious one. She will die
with great honor and fame. The Chorus observes that she is not to die in battle or due
to a terrible disease. Antigone, by contrast, has chosen her own death. Among all
mortals, she alone goes alive to the world of the dead, remarks the Chorus.
Antigone reminds the Chorus of the death of Tantalus’ child, Niobe, who was turned
into a column of stone after the deaths of her children. Niobe met her end on the
heights of Mount Sipylus, and over her “stone-cold breast” the ivy clings and grows,
says Antigone. The dew runs down Niobe’s cheek, and the “eternal snows” cover her
and cause a “tearful stream” to pour down from the mountain. Antigone remarks that,
like Niobe, she also will suffer death because it is her destiny. Like Niobe, she will be
trapped in the earth.
The Chorus reminds Antigone that Niobe was born to a goddess, while Antigone is
merely human. Therefore, the Chorus believes that Antigone has achieved greater
glory in death, even rivaling the fate of Niobe, “a daughter of sire Divine.”
Antigone is distraught and feels that the Chorus mocks her by telling her that her
death is unique. Antigone asks the citizens of Thebes and the landmarks of Thebes,
such as the fount of Dirce and the spacious grove where Theban chariots run, to stand
as witnesses to her lonely and unlawful execution. As she goes towards her doom,
Antigone reveals that she feels completely helpless because she belongs neither to the
land of the living nor that of the dead, but stands somewhere in between.
The Chorus praises Antigone for her courage and tells her that she did not foresee the
full force of Creon’s “Justice.” The Chorus believes that her father’s misfortune now
causes Antigone to be sent to her doom.
On being reminded of her father’s tragedy, Antigone is even more saddened. She
recalls that all the sorrows of the world have been experienced by the family of
Cadmus. She speaks of the “cursed marriage” between her parents, Oedipus and
Jocasta, who unwittingly committed incest. Antigone, who was the fruit of this
unhappy marriage, is now destined to die, young and unmarried. She addresses her
dead brother, Polynices, telling him that in his death, he has also destroyed her.
The Chorus admits that Antigone’s deed was “pious.” However, they also realize that
Creon, whose “power would show,” must not allow anyone in Thebes to defy the laws
that he lays down. The Chorus tells Antigone that she is going to her death because of
“a self-willed passion.”
Antigone once again mourns that she goes “friendless, uncomforted” and
“unmourned” to her death. As dawn breaks, Antigone is led towards her doom.
Creon now enters and mocks Antigone by remarking that if criminals were given time
to make final speeches before their execution, such speeches would never come to an
end. He orders that Antigone be taken away to her “vaulty tomb.” He does not care
whether she lives on or dies in the walled-up cell. He claims that he is not guilty of
causing Antigone’s death.
Antigone begins once again to grieve for herself. Although she is sad that she has to
die young, she is happy at the prospect that she will soon join her father, Oedipus, and
her mother, Jocasta, as well as her brother, Polynices, for whom she has given up her
life. She admits that she would not do as much for a child or a husband as she has
done for her brother: she considers that a husband or child can be replaced, but a
brother cannot. Antigone’s parents are both dead, and she therefore understands what
it means to lose a family member. Antigone breaks down and cries to Heaven. She is
miserable over having been robbed of the right to be a mother or a wife. Despite her
piety, she is being punished as a criminal. She swears that if Creon’s law is to the
liking of the gods, she will repent and ask forgiveness for her deed, but if Creon’s law
is ultimately unjust, then Antigone demands that Creon, too, should suffer the pain
that she is suffering.
The Chorus observes that Antigone’s soul is still passionate, even as she faces death.
As Antigone is led out by the guards, she tells the people of Thebes to observe that
she goes “oppressed” and “unworthily” to her death.
Notes
Up to this point in the play, Antigone has been extremely stoic, not revealing much
emotion. In an earlier scene soon after her arrest, Antigone stated that life to her
meant nothing (lines 463-464), as she has lived a life of sorrow. But now, as she is
being led to her tomb, she cannot control her emotions any longer and laments that
she will not be able to live life to its fullest; she will not fulfill her womanly needs.
She will not be able to enjoy the pleasures of married life or raise children. Only death
waits for her: she becomes in a sense, the bride of death.
The Chorus tries to console her by saying that her death is a glorious and honorable
one, unmatched by any other, for she goes alive to the land of the dead. Antigone
recalls that Niobe, the daughter of Tantalus, had met with a fate similar to her own,
when she was turned to stone on the heights of Mount Sipylus. The use of images
from nature, the “tearful stream” and eternal snows,” adds to the pathos of the
description. The Chorus remarks that since Niobe was born of a goddess, and since
Antigone will suffer a similar fate to Niobe’s, Antigone’s death is indeed a glorious
one.
Antigone believes that the Chorus is making fun of her in her moment of despair. She
asks all those present, as well as the natural landmarks of Thebes (the fountain and
grove), to bear witness to her unwarranted death. Antigone is even more despondent
because she goes alive and friendless to her tomb. At this moment she belongs to
neither the land of the living nor that of the dead. The Chorus’ attempts to soothe her,
however, have the reverse effect, when they remind her of her father, Oedipus, and his
fall. She addresses her dead brother, Polynices, saying that his “princely marriage” to
the daughter of the King of Argos ultimately brought his downfall, as well as
Antigone’s (since Polynices led an army from Argos against Thebes.)
The Chorus now stops trying to console her and instead tries to prepare her for her
death. They play a double game, at times sympathizing with Antigone, at others
asserting that Creon must enforce the law of the state in order for Thebes to have a
stable existence. They point out that it is her “self willed passion” which is the cause
of her downfall.
Creon enters and in his turn tries to wash his hands of the entire matter, claiming that
the state is “guiltless in the matter of this maid.”
He asserts that he is not taking Antigone’s life, but only ordering that she be walled
up in a tomb, with provisions. Whether she lives or dies is none of his business. This
is Creon at his hypocritical best. He knows very well that Antigone is bound to die in
the walled-up cave, yet he pretends that the sentence he has passed on her is not so
serious.
Antigone, who realizes the horror of her impending entombment, now bursts into a
heart-rending lament for herself. She finds comfort in the belief that after death, she
will meet her beloved parents and brothers. She has lost all her composure now and
wonders why she, who has acted honorably, should die the death of a criminal. She
leaves it in the hands of the gods to decide whether she was right or wrong in burying
her brother. If she was right, Antigone asks that the people who pass judgment against
her on earth should suffer as she suffered. This curse becomes something of a
prophecy, as Creon does suffer terrible calamity at the end of play. The Chorus
realizes that Antigone’s spirited nature is still alive, even in her last moments. Finally,
Antigone is taken away. This is the last the audience shall see of her.
The Fourth Stasimon:
The Chorus “Even Danaë’s beauty left the lightsome day.”
Summary
The Chorus sings of Danaë, the daughter of Acrisius, King of Argos, who was
confined in a tower of brass by her father. Yet Zeus loved Danaë and came to meet
her as a shower of gold(“the golden rain”).
Misfortune, which is destined to occur, will come no matter how great or powerful the
sufferers may be. The Chorus recalls how the son of Dryas was trapped in an “eyeless
vault of stone” by the Greek god, Dionysus, as a punishment for having played a
prank on the god and his followers.
The Chorus then sings about the legend of Phineus’ two sons, who were blinded by
their father at the behest of their stepmother. The sons cried out to Heaven for revenge
until Zeus responded by blinding their father, Phineus. However, the sons of Phineus
cried chiefly for their mother, Cleopatra, who was “the source of their rejected birth.”
Cleopatra came from the family of Erechtheus and lived out her life in far off caves,
where she endured terrible storms. Although she was born of divinity, she too
suffered a terrible fate.
Notes
In this choral piece, the audience is told about the inevitability of doom. The Chorus
has just seen Antigone being led to her death and asserts the belief that destiny rules
the lives of everyone, both mortal and immortal. It cites the example of Acrisius, the
King of Argos, who imprisoned his daughter, Danaë, because an oracle had predicted
that her son would kill him. But Acrisius could not escape the hand of Fate and was
killed by his daughter’s son.
The Chorus goes on to tell of the imprisonment of the son of Dryas by Dionysus, and
of the blinding of the sons of Phineus. Fate is seen as striking a blow at Phineus with
her shuttle (a kind of weapon). The Chorus ends by relating the tale of Cleopatra, the
mother of Phineus’ children, who spent her days in isolation in remote caves.
Lines 988-1090
The Fifth Episode:
Tiresias and Creon
Summary
Tiresias, the seer of Thebes, enters, led by a boy. He addresses the “Lords of Thebes”
(the Chorus), saying that since he is blind, he needs the help of the young boy who is
his guide. Creon asks Tiresias why he has come.
Tiresias reminds Creon that his advice to Creon on previous occasions has been sound
and useful, and has saved Thebes from destruction. Creon agrees. Tiresias now warns
Creon that Thebes is once again on the “edge of peril.” Creon admits that he is
frightened by Tiresias’ warning and asks about the nature and cause of the impending
disaster.
Tiresias begins to answer Creon’s question. He relates that once, while he sat on his
ancient seat of divination, he heard birds of prey screeching and fighting among
themselves. He could hear the talons of two birds tearing each other apart. Frightened
by these strange noises, Tiresias offered a sacrifice to the fire-god at the high alter of
Thebes. But the fire did not burn brightly because a liquid had dripped onto the fire
from the bones of the animal which Tiresias had offered as a sacrifice. Thus the fire
was turned into “a sputtering fume.” The animal’s bile was thrown up high into the
air. Tiresias took this as an bad omen. Although Tiresias could not see all of this, it
was reported to him by his helper, a young boy. Tiresias accuses Creon of causing
these strange happenings to occur through his (Creon’s) obstinacy. Tiresias says that
throughout Thebes, the sacred altars have been infected because of the dogs and
vultures who have fed on the decaying body of Polynices, which lies out in the open
due to Creon’s decree.
Tiresias complains that the gods refuse to accept sacrifices from infected altars. He
advises Creon to relent and to listen to reason. He asks Creon not to be inflexible, but
to make amends for his unnatural behavior. He tells Creon that there is no honor in
demeaning the man who is already dead. Tiresias believes that careful counsel “is
precious to the understanding soul.”
Creon describes himself as the target of everyone’s anger. He accuses Tiresias of
having taken a bribe to speak out against Creon. He promises never to allow
Polynices’ body to be buried. Creon asserts that he is not frightened by the
disturbances among the animals and birds of Thebes. He states that defilement among
men cannot rise up to the gods.
Tiresias laments the fact that Creon speaks unwisely. He tells Creon that he (Creon)
suffers from the disease of wealth. Tiresias is angry because Creon has labeled him as
a false prophet. Creon does not relent and calls Tiresias “dishonest.” At this, Tiresias
responds with a prophecy that is almost a curse. He warns Creon that within a few
days two members of Creon’s own family will die as recompense for the death of
Antigone and the cruel manner in which Creon has refused a burial for Polynices’
body. The “powers beneath” (the gods of the Underworld, Hades and Persephone)
demand that Polynices’ corpse be buried. Tiresias tells Creon that the avenging gods
and the “furies of the grave” are waiting to bring “ruinous harm” to Creon’s family.
Tiresias predicts that the palace halls will soon ring with the sound of mourners crying
for the dead. He warns Creon that the people of the cities whose unburied sons lie
outside Thebes are forming armies to attack Thebes. He ends by telling Creon that
since Creon has attacked Tiresias personally, it is now his (Tiresias’) turn to play the
archer and shoot arrows at Creon. Tiresias’ arrows take the form of curses. He leaves
in a hurry, warning Creon not to act unwisely.
Notes
Tiresias, the blind prophet of Thebes, appears as a character in Sophocles’ Oedipus
Rex and Euripides’ Bacchae and Phoenissae. Tiresias was granted the gift of
prophecy by Zeus. As in Oedipus Rex, Tiresias comes to warn the King of Thebes
about the impending dangers awaiting him, and as in the Oedipus play, the king
insults Tiresias and at first refuses to listen to him.
Tiresias, although blind, can “see” more clearly than most men. He has heard the
quarreling among the birds who were fighting for their share of Polynices’ body. For
Tiresias, such an event is a bad omen. Furthermore, his sacrifice to the gods at the
altar of Thebes was rejected. Tiresias concludes that something is wrong within
Thebes, and it is none other than Creon’s edict concerning the burial of Polynices.
The body has begun to decompose and the air surrounding Thebes is now rife with
infection. Tiresias asks Creon to change his thinking and allow for Polynices’ body to
be buried, so that the gods may be satisfied. Then, the people of Thebes can once
again live in an atmosphere free of the stench of death.
Creon is stubbornly unrelenting. He wildly accuses Tiresias of accepting a bribe from
those who wish to see Polynices buried.
Creon has at this point provoked Tiresias’ wrath. Tiresias reveals to Creon all that he
sees as a prophet. He foretells the deaths of two members of Creon’s family in
exchange for the cruel treatment that Creon has meted out to Antigone and for his
refusal to allow Polynices’ burial. Tiresias observes that the gods of the Underworld
are unhappy because Polynices’ body needs to be buried so that his spirit can reach
Hades. Tiresias warns Creon that unless he retracts his proclamation and forgives
Antigone, he shall suffer great tragedy in the days to come. Tiresias, being an old
man, is offended by Creon’s hasty and ill-phrased remarks, and he storms out of the
palace in anger.
Lines 1091-1114
Creon and the Chorus
Summary
After Tiresias’ departure, the Chorus warns Creon that “there is terror” in Tiresias’
prophecy. The Chorus knows that Tiresias, in the many years that he has advised
kings, has “never spoken falsely to the state.” Creon is well aware of this. While he is
full of dread of Tiresias’ words, he finds it difficult to yield to the old prophet.
Creon asks the Chorus of elders to advise him, and he tells them that he will follow
their advice. The Chorus advises him to release Antigone from the vault and to allow
Polynices’ body to be buried. Creon finds this counsel hard to follow, but finally
accepts it as Fate. In spite of his own misgivings as a politician, Creon says that he is
forced to accept the Chorus’ advice. The Chorus tells him to go personally to rescue
the situation, and Creon hurries out with his entourage for the hill where Antigone is
to be entombed. Creon now feels that it is better to conform to tradition.
Notes
In this scene, Creon makes a complete about-face. Right up to this point, Creon has
been resolute, convinced that Antigone should die. Now suddenly he accepts what
Tiresias and the Chorus tell him to do. He has obviously been shaken by Tiresias’
prophecy. However, his repentance comes only after Tiresias’ exit.
As a king, Creon cannot bear to be seen losing face before his subjects. Thus, he does
not yield to Tiresias’ words. It is only when the Chorus of elders speaks on the side of
Tiresias that Creon relents. He finally sees that he has been stubborn to the point of
rigidity. He realizes that the citizens of Thebes, as represented by the Chorus, do not
approve of his proclamation. He rushes out to rectify the wrongs he has committed,
but it turns out that he is too late.
Lines 1115-1154
The Fifth Stasimon:
The Chorus “O God of many a name”
Summary
The Chorus now sings a dithyramb (a short poem), praising the god, Dionysus (or
Bacchus). As the Chorus informs the spectators, Dionysus was born of the union of
Zeus, the king of the gods, and Semele, the daughter of Cadmus, the founder of
Thebes. Dionysus is thus the son of Zeus, who “wields the withering flame.” The
Chorus asserts that Dionysus/Bacchus protects the Greek settlers staying in
southernItaly. The Chorus refers to the legend of the women of Thebes, who refused
to worship Bacchus and were punished with madness.
The Chorus now describes the haunts of Bacchus (the places he frequents). The
worshippers of Bacchus include the nymphs of the Corycian grove, close to Delphi.
The Chorus describes Bacchus as he moves beneath the mountain of Nysa where the
nymphs sing his praises.
The Chorus thanks Bacchus for maintaining Thebes’ prosperity among cities. They
ask Bacchus to bring “healing” to Thebes once again. Bacchus is described as the
leader of a heavenly choir, and the child of him “who dwells in light” (Zeus). The
Chorus requests him to bring joy back to the city.
Notes
In this interlude, the Chorus sings a dithyramb in praise of the god Dionysus. The
dithyramb was developed into a literary genre by the poet, Arion. The dithyramb
became popular among the Greek playwrights in 509 B.C. The dithyrambic Chorus
did not wear masks.
Sophocles introduces the dithyramb not merely as a matter of literary tradition, but
because Dionysus was the son of Semele, a princess of Thebes. Therefore, Dionysus
is identified as a Theban deity, who protects the interests of Thebes. It is only natural,
therefore, that the Theban Chorus should pray to him for help and ask him to heal
their “violent woe.” Like the ordinary citizens of Thebes, the Chorus hopes for peace
and security.
Dionysus is described as a god who brings joy and soothes cares. His followers, the
nymphs, were female personifications of natural objects, such as trees, rivers and
mountains. The nymphs of the Corycian grove looked after Dionysus when he was
young. Thus, Dionysus lived amidst nature’s beauties. The Chorus describes how on
the heights of Mount Nysa, praises are sung to Dionysus by his followers, who
include Satyr, Sileni Maenads and Bassarids, all of whom were collectively known as
the “Bacchi.”
In the last stanza the Chorus requests Dionysus to bring back prosperity and security
to Thebes. Thus the Chorus demonstrates the belief that the lives of men are
determined by the gods, or by Fate. The Chorus laments that Thebes is full of “violent
woe.” It paints a Bacchic (or Dionysian) scene which reveals Dionysus surrounded by
a choir comprising his followers, who sing and dance in ecstasy.
The Exodus: Lines 1155-1242
Eurydice and the Messenger
Summary
A Messenger enters. He addresses the Chorus, telling them he would neither praise
nor criticize any person, since the fortunes of each human being change swiftly. He
remarks that nobody can come to any conclusion from mere observation. The
messenger divulges that at one time he had envied Creon as a king and a powerful
man, the ruler of Thebes. But now, the messenger asserts that Creon has “nothing.”
He describes Creon as “a living corpse.” He asserts that although Creon is still
materially rich, he (Creon) has no happiness left in life.
The Chorus wishes to know what “new affliction” has struck King Creon. The
messenger replies that Haemon has died, by his own hand, as he was filled with rage
at his father for causing the death of Antigone. The Chorus observes that Tiresias’
prophecy is beginning to come true. It now announces the entrance of “Creon’s
unhappy wife, Eurydice.” The Chorus is unsure of whether Eurydice has heard the
news of her son’s death.
Eurydice enters and addresses the Chorus of Thebes, telling them that she had just
come to the gates of the temple of Pallas when she heard news of Haemon’s suicide.
She still cannot believe it to be true and asks the messenger to relate the incident once
more to her. She maintains that she is “no novice in adversity.”
The messenger swears to tell Eurydice all that he has seen. He does not intend to tell
lies that would soften the impact that the tale will have on Eurydice. He intends to tell
her the whole truth, filled as it is with harsh facts. He reports how he followed Creon
to the spot where the body of Polynices lay open. There, Creon and his men sought
forgiveness from the gods of the Underworld, Persephone and Pluto. The body of
Polynices was washed clean and then cremated. Following this, Creon and his
followers went to the vault where Antigone was to be buried alive. On reaching it,
they heard a loud and bitter cry. The messenger recalls that Creon, on hearing
Haemon’s cry, ordered his men to enter the tomb. Creon’s men then entered the vault
and found Antigone hanging in a noose of her own making. Haemon was discovered
on his knees clinging to Antigone. The messenger reports that Creon had entered the
tomb and had begged his son to leave Antigone’s body and to step away. But Haemon
only scowled at his father and made an attempt to pierce Creon with his sword. When
Creon fled from the tomb, Haemon killed himself with his sword, and in a dying
embrace, he held onto Antigone’s body. After hearing all this, Eurydice quietly walks
off.
Notes
The action has now moved to catastrophe. One learns about Antigone’s and
Haemon’s deaths only by means of reportage, as the Greek playwrights of Sophocles’
time did not believe in depicting scenes of violence on the stage.
Once again, Sophocles attempts to create suspense by making the messenger ramble
on for some time before he comes to the crux of the matter. From Antigone’s tragedy,
the play now begins to become the tragedy of Creon’s family. Of course, Creon is no
hero or man of nobility. However, his suffering is great enough in the end to make
him appear as a tragic personage. The messenger himself is overcome with grief as he
reports the scene to Eurydice.
In a single sentence, the messenger damns Creon, laying the entire blame for the
deaths on him: “They are dead, and they that live/ Are guilty of the death.”
Eurydice appears to have taken the messenger’s tale in stride, for she does not weep
openly. But appearance is not reality, and she is to take her own life soon, due to her
despair over Haemon’s death.
The scene of Antigone’s death, although not performed for the audience, is highly
dramatic in description, and yet not unexpected. In an earlier scene, Haemon had
already quarreled with his father regarding Antigone’s punishment. Haemon’s death
is the result of Creon’s obstinacy: Creon was unwilling to bow down to his son’s
demands, and he must now pay the price for being so stubborn. Antigone decides to
take her own life. She preferred death by suicide to being walled up in a cave. Hers is
a brave and noble death, and no cowardly suicide.
Lines 1243 - 1353
Creon: the Final scene/Exodus
Summary
The Chorus wonders at Queen Eurydice’s silent departure. The messenger is filled
with hesitation. The Chorus believes that Eurydice’s inability to grieve openly at
Haemon’s death is a sign that she is actually deeply distressed. It is preferred that she
grieve openly, for suppression of the emotions is bad for the mourner: “There is a
danger, even in too much silence.”
The Chorus now notes the return of Creon, who is carrying the body of Haemon. The
Chorus openly blames Creon for Haemon’s death.
Creon enters carrying his heavy burden. He blames himself for being too stubborn and
repents having passed the decree regarding Polynices’ burial. He curses himself for
being so foolish and rash in his actions. The Chorus laments that Creon has learned to
follow the right path too late. Creon believes that some god has set him on the road to
despair. He cries out as if he has been mortally wounded.
A second messenger enters and tells Creon that he (Creon) is master of sorrows. He
reveals to Creon that Eurydice has stabbed herself. Creon is inconsolable. The
messenger draws open a curtain, behind which lies the body of Eurydice. He recounts
how Eurydice had just mourned at the bed of her dead son, Megareus (who died
defending Thebes), and then at Haemon’s bed, before killing herself with a “keen
knife.” Before dying, she had cursed Creon and blamed him for the death of her sons.
Creon is filled with terror at this news. He asks whether anyone would put him out of
his misery by giving him a mortal blow. He falls into deep distress and begs his
followers to take him away. He sees himself as responsible for Eurydice’s death and
claims that he has nothing left in the world. He laments that he does not wish to live
another day. The Chorus advises Creon that time will determine whether or not he
will survive this catastrophe. The Chorus tells Creon that prayer is useless, as
everything is predestined. Creon cannot bear to remain with the bodies of his wife and
child. He feels that the hand of Fate has fallen heavily upon him. He is taken away by
his followers as the Chorus sings the Exodus, or final song.
The Chorus asserts that those who act wisely will live happily, as long as they also
follow Heaven’s laws. Proud men who boast about themselves will soon be punished
for their pride. They will be forced to suffer immense sorrows. Men will learn to act
wisely, explains the Chorus, only when they are old and experienced.
Notes
The conclusion of the play reveals a sobered Creon. He has lost his will to live, due to
the deaths of his wife and son. He claims to have learned his lesson although it is too
late to remedy the present tragedy. Tiresias’ prophecy has come true. Creon comes to
a realization (what Aristotle would define as “Anagnorisis”) at the play’s end. He
realizes his mistake in passing an unjust proclamation and accepts responsibility for
all that has happened. He had already taken the first step towards repentance when he
personally saw to it that the body of Polynices received a funeral (and burial).
However, he was too late to rescue Antigone.
Once again, fate has played its part. Antigone seems destined to die. She herself
shows an awareness of her destiny throughout the play. Due to chance or misfortune,
Creon arrives too late to save her. Had he come to the vault before burying Polynices’
body, Antigone and Haemon might have been saved. But the wheels of fate, once set
into motion, cannot be stopped. Antigone must die, and Creon must suffer; only then
can there be tragedy.
Eurydice mourns not only for Haemon’s death, but also for the death of her elder son,
Megareus, who was killed in the battle against the Argive army.
The Chorus plays a significant part at the play’s end. When Creon is miserable and
does not wish to live, they remind him that his duty as a king requires that he should
live: “We must attend to present needs.”
The Chorus also reiterates the theme of destiny as an all-powerful force. Their Exodus
is moral in tone and assesses Creon’s behavior throughout the play. Creon began by
acting foolishly and boasting arrogantly. He refused to pay heed to the warnings of
Tiresias and did not believe that the gods were angry with him. Now, through a
painful experience, Creon has learned his lesson. As the Chorus says: “High boastings
of the proud/ Bring sorrow to the height to punish pride.”
OVERALL ANALYSES
CHARACTER ANALYSIS
Antigone
The character of Antigone is one of the most extraordinary portraits in classical Greek
drama. It occupies a unique place in the consciousness of western civilization, from
the ancient Greeks to the present. Sophocles’ Antigone (like his later play, Electra)
focuses on a strong-willed woman who wins the respect of the audience by her
unyielding adherence to an ideal, regardless of the consequences.
The obstinacy of both Antigone and Electra and their unwavering commitment to a
sacred purpose continue to captivate modern audiences. While Electra’s purpose is to
avenge her father’s murder, Antigone insists on burying her dead brother, Polynices.
Antigone sets her intractable will against the forces of fate. It is her inner strength that
enables her to resist manipulation by those who try to draw her away from her
purpose.
For most of the play, Antigone contemplates death stoically and remains morally
undefeated. Sophocles portrays in Antigone a figure through whom he can express his
faith in the tremendous spiritual potential of humankind. He endows his heroine with
the noblest qualities of mind, heart and soul, setting her up as the highest ideal for all
humanity. Her highly developed consciousness stands above and outside all of human
law. She makes the supreme sacrifice of giving up her life to uphold what she believes
is right.
Antigone possesses a well-developed sense of duty based on family ties. It is this
which prompts her to decide that she must bury Polynices’ body. She is keenly aware
of the fact that divine law ordains that a corpse must be buried with the appropriate
religious rites. (The Greeks firmly believed that a soul could not enter the Underworld
after death unless the burial ceremonies were properly conducted.) Furthermore,
Antigone insists on giving her brother a decent burial because it is the last right that
every human being is entitled to. It is a social obligation owed to the dead by the
living.
From the opening scene onwards, the audience sympathizes with Antigone
completely. She permits no doubts to undermine her decision and allows no hesitation
to deter her from her course of action.
However, conflicts do arise, not from doubts within herself, but due to her
relationships with the other characters that surround her: Ismene, Haemon and Creon.
The first conflict occurs when Antigone asks Ismene to join her in burying their dead
brother and Ismene refuses because she does not want to give up her life. In rejecting
Ismene’s argument for life, Antigone resists the conventional temptation of the
pleasures of youth. She is also able to resist the call of love, for in choosing to die, she
eliminates her chance of marrying Haemon, to whom she is betrothed.
It is Antigone’s encounter with Creon that brings out her strengths. Creon’s world of
material and physical power cannot stand up to the idealistic strength of Antigone’s
greater world of spiritual power. In the climactic scene of the play between Creon and
Antigone, one witnesses how her towering will remains firm, calm and composed
while Creon is reduced to a quivering mass of rage and slighted vanity.
She is not the mere mad woman that Creon takes her to be. Her stubborn defiance of
his authority merely underscores the sacred tenet embodied in Antigone’s character:
individual conscience and morality stand far above any man-made law. Yet one must
not understand Antigone to be a perfect character. She is no saint: she is infuriatingly
stubborn and cannot be swayed from any decision she has set her mind to.
Some critics have accused Antigone of being a martyr. She combats Creon’s
interrogation with an almost unheard of insolence towards civil authority. She obeys
“the infallible, unwritten laws of heaven” although she knows that her determination
to do her duty towards her unburied brother will bring her an unjust death. But, as
Antigone herself says, death is no great pity: “Who does not gain by death/ That lives,
as I do, amid boundless woe?” And she strikes out effectively against Creon’s poor
judgment when she says: “I am foolish only in the judgment of a fool.”
In the final analysis, Sophocles humanizes Antigone. As she goes out to meet her
death, she appears almost like Christ, who, on the eve of his death, agonized over it in
the garden of Gethsemane. She speaks movingly of her impending death and of the
fact that she has lived an incomplete life, for she has:
“.......never known Or married joy or tender motherhood. But desolate and friendless I
go down Alive, O horror, to the vaults of the dead.”
Surely Antigone’s obstinacy and insolence for the right cause is far more admirable
than Creon’s opinionated defense of the wrong cause. Antigone does not choose to
stand idly by and watch an evil world roll on in its heartless, mindless grind. She
prefers to die a glorious and stoic death.
CHARACTER ANALYSIS
Creon
Creon, the brother of Jocasta, and Antigone’s uncle, was called upon to rule Thebes
on three occasions: after the death of Laius (father of Oedipus), following the
downfall of Oedipus, and again after the death of Oedipus’ two sons. At the start of
Sophocles’ Antigone, Creon has just assumed full powers as king in his own right.
(He was named regent during his previous terms as ruler of Thebes.)
Generally, Creon is viewed as the villain of this tragedy; the one who wields the
repressive power of a dictator. As soon as Creon assumes the reins of the government,
he is faced with a great political crisis: how to rescue the people of Thebes from the
civil war and anarchy into which the murderous hatred of Polynices and Eteocles has
plunged the state. He has the rather unenviable task of restoring the chaotic state of
Thebes to normalcy, peace and justice. These were ideals that all the Greeks valued
greatly in public life.
So, Creon is forced to formulate some rather unpleasant laws that are bound to come
into conflict with the high ideals of a sensitive and deeply moral person like Antigone.
Political necessity demands that Creon must adopt a firm stance on Polynices’
apparently treacherous action of attacking his home state. To an astute and pragmatic
politician like Creon, it is no more than a question of practicality that he must make
an example of Polynices’ rebellion and brand him a traitor. Creon is merely following
established Greek political precedents in denying the rights of burial to one who had
proved false to his homeland.
However, in doing so, Creon fails to understand that his brand of civil law
transgresses and even negates the demands of a higher spiritual law. Ironically, in
trying to prevent further chaos and anarchy from gripping the lives of the Theban
population, Creon merely succeeds in creating an explosive situation. Resistance to
his edict comes from the most unexpected quarter. He cannot comprehend what
motivates Antigone to oppose his law. Creon holds the rather narrow view that all
individuals living in a state must obey all its laws in order for human society to avoid
disintegration into total anarchy. He is not too deeply concerned with how far
morality and politics can work together for the good of the state. He is not averse to
the idea that morality may sometimes be sacrificed in the interest of practical politics.
To retract from his own law would mean to accept defeat in his very first political
maneuver. So Creon steers his steady course towards the catastrophic decision to have
Antigone buried alive in the cave. He makes this rash decision in a fit of rage and on
the spur of the moment. He refuses to heed the advice of his son, Haemon, and the
warnings of the seer, Tiresias. Creon fears that he would lose face if he retracts his
own (unjust) law.
Creon recognizes his error only after Tiresias’ fatal predictions and the Chorus’
subsequent admonishment. At last he yields to the voice of basic humanity and
decides to reverse his earlier rigid stance. (This is known as “peripeteia.”) He knows
he cannot “fight with destiny,” so he quickly buries Polynices and then hurries to
Antigone’s cave. But his decision comes too late.
Creon falls into a state of dire panic in his last moments on stage. His wife, Eurydice,
has taken her own life on hearing of Haemon’s death. Thus, Creon is left to brood
alone over the tragic consequences of his own fatal decisions. He lives on as an
infinitely sadder but wiser man (his “anagnorisis”).
CHARACTER ANALYSIS
THE USE OF THE CHORUS IN GREEK PLAYS
General Information
Greek tragedy contained two basic elements: the dramatic spoken exchanges between
two or three lead characters (usually in iambic trimeters) and the choral song in lyric
meters, sung to the accompaniment of music (mostly the flute or lyre). By the early
fifth century, Aeschylus and Phyrnichus invented many graceful and dignified steps
for the Chorus to perform, as they recited or chanted their lyrics.
The word Chorus comes from the Greek word “choros” which means “dance.” At
first, the Chorus was an important part of public religious rituals and was later
included in public performances of Choral lyric poetry. As early as the 7th and 6th
centuries B.C., the performances of tragedy in Attica (an area around Athens) were
part of religious festivals, like the Dionysia, and included the use of a Chorus. It was
later featured in comedy as well.
The original choral lyric was called the “dithyramb.” It was sung and danced in honor
of the god Dionysus during his festivals. In Antigone, the final Chorus before the
close of the play is an apostrophe (an address or speech) to Dionysus: “O God of
many a name!...” Sophocles follows the archaic Attican tradition in assigning a
dithyrambic Chorus to the singers in what is their final major utterance on stage. From
being a separate literary genre, the choral lyric thus came to be incorporated as part of
tragedy and comedy.
The Chorus sang or chanted the lyric passages of a drama to the tune of a flute with
stylized choreography. The grave and dignified dance of tragedy was distinct from the
more abandoned dances of comedy and was denoted by the term “Emmelia” which
means gracefulness.
Like the main actors in a play, the Chorus was masked, as the surrender of individual
identity was an intrinsic part of all Dionysian ritual. In tragedy, the Chorus always
performed in character as a group of people involved in and commenting on the main
action of the drama. Sophocles uses the Chorus in Antigone as a group representing
the ordinary people of Thebes. Through them he is able to show public reaction to the
crises of unfolding events, particularly, to the actions of the leaders and how these
affect people’s lives. All through the play, one observes how the Chorus is concerned
with public welfare, peace and the internal security of Thebes, which ensures their
own survival.
Occasionally, the leader of the Chorus, known as the “coryphaeus” or “hegemon,” got
singled out from the rest of the group. He was sometimes allowed to converse briefly
with the other characters on stage or to utter a solo speech addressed either to the rest
of the Chorus or directly to the audience. This gave him the
possibility of partaking in the main dramatic action. Although Sophocles permits the
Chorus-leader in Antigone to utter a few separate dialogues, they are not of major
significance. His only important utterance is the last one, in which he sums up the
moral of the tale at the close of the play:
“High boastings of the proud Bring sorrow to the height to punish pride: A lesson
men shall learn when they are old.”
The Chorus was often trained by the poet himself, who, in this capacity, was called
the “chorodidaskalos.” The members of the Chorus were selected and backed
financially by a prominent private citizen called the “choregus.” The Chorus
originally consisted of twelve members, and Sophocles is known to have increased
the number to fifteen.
CHARACTER ANALYSIS
THE CHORUS IN ANTIGONE
There is something of the effect of Grand Opera in Greek tragedy, chiefly due to the
rich musical experience that the proper use of the Chorus could create. Through the
intricate choreography employed, the Chorus also created spectacular effects in the
grand sweep and dignified pattern of its on-stage movements. In fact, much of the
dramatic force of a play like Antigone springs from the sharp contrasts provided by
the musical choral passages and the high rhetoric of the purely dramatic parts.
The Chorus in Antigone consists of a group of ordinary Theban citizens, people loyal
to their state and their gods, to the law and the common human values of family and
society. Through the Chorus, Sophocles is able to represent public reaction to the
crises of unfolding events in his play. He demonstrates the response of the common
people to the various actions of the high and mighty in their state and how it impinges
upon them.
The Chorus is chiefly concerned with public welfare and the security of Thebes. The
members of the Chorus serve as well- informed commentators on the events and
characters around them, and they often express their somewhat conventional views on
social, political, moral and religious issues that tend to affect their lives. They also lay
the foundations for the occurrence of the unfolding incidents of the play by outlining
the background to the present actions. Therefore, the Chorus’ initial role is to present
the exposition of the play.
In Antigone, Sophocles uses the Chorus mainly to examine in fuller detail, all the
ramifications of the central dramatic conflict. To a large extent, the tragedy is seen
and presented to the audience through the observant eyes of the Chorus. This entity
observes the turn of events from close quarters and hence has much authority to
review or comment on them. The Chorus provides a kind of emotional and mental foil
(contrast) to the central figures.
The Chorus assumes different roles at different times. This is necessary for the
progress of the tragic action of the play. It was considered undesirable in Greek
tragedy to present scenes of war and violence on stage. Hence, at first, the Chorus
gives one a graphic picture of the battle of the seven against Thebes, which
culminates in the dual deaths of Polynices and Eteocles. Here, their function is purely
narrative as they provide the expository details.
A skilled dramatist like Sophocles would try to involve his audience more fully in the
tragic events unfolding on the stage. This becomes possible if the audience can
identify closely with the Chorus. Sophocles gives the Chorus many traits common to
an audience: concern for public safety, fickle-mindedness, and conventional attitudes
to most public matters regarding family, society and the state. At times, the Chorus
empathizes with Antigone, but at others, it realizes that support for Antigone’s cause
could mean a continuity of the recent instability in Thebes.
The Chorus also assumes the role of courtiers in Creon’s court. The members of the
Chorus listen respectfully to Creon’s every word and pay heed to his commands.
Disobeying Creon’s edicts could spell disaster for them, as they well know.
Also, the Chorus sometimes takes on the role of elder citizens of the state, providing
Creon with some wise counsel. The elders try to influence his behavior by guiding
him on the basis of their wide experience of common life. They suspect something
untoward may happen after Haemon’s confrontation with Creon, saying: “How
angrily he went, my lord,/ The young, when they are hurt, grow desperate.”
As representatives of the people of Thebes, the Chorus is unable to make up its mind
as to who is right and who is wrong. The Chorus is sincerely concerned for Antigone
in her doom, but it is caught in the vice-like grip of fear that Creon spreads through
his powers as ruler. The members of the Chorus are truly shaken by the disturbing
events: first by the civil war and dual deaths of Polynices and Eteocles, then by the
discovery that Antigone has defied the edict preventing Polynices’ burial, and then by
the king’s cruel decision to kill her: “It is determined then that she must die.” They
strongly believe that fate has a hand in the ensuing tragedy. They believe Tiresias’
predictions and warn Creon not to go against the will of the gods.
As Antigone leaves for her execution, the Chorus comforts her and reassures her that
her act will bring her great honor. Yet it also reminds Antigone that “a self-willed
passion” was the reason for her “overthrow
PLOT STRUCTURE ANALYSIS
Aristotle in his Poetics praises Sophocles as an innovator in tragedy. The introduction
of a third actor (“tritagonist”) enabled Sophocles to make plot, dialogue and the
relationship between characters more complex. He abandoned the Aeschylean
practice of writing trilogies on related events; instead, he gave each of his plays a
self-contained plot. In Sophoclean plays, the unity of action is complete and the plot is
handled with amazing dexterity and at a rapid pace.
For Sophocles, it is the innate character of a heroine, like Antigone, that initiates the
central tragic action. Sometimes, the central Sophoclean character (as in Antigone)
dies well before the end of the play, resulting in a slight slackening of the tension in
the action. However, the concluding part still seems to follow necessarily from what
has preceded. For example, the deaths of Haemon and Eurydice are the result of
Antigone’s death and add to the final tragic effect. Sophocles rarely distracts attention
from the self- contained world of his play. The outlines of his story are drawn from a
well-known body of myth, already familiar to the audience.
For the plot of Antigone, Sophocles drew material from the familiar legends of
Oedipus, the King of Thebes, and also from an earlier play by Aeschylus called Seven
Against Thebes.
The plot of a Greek tragedy usually consisted of five parts: the prologue, the Parodos,
the five Epeisodia (episodes), the five stasima and the Exodus (or epilogue).
Sophocles follows the conventional pattern of plot constructions with very little
deviation from the norm.
The Prologos (literally ‘fore-word’) forms the prologue to the actual play. It is the part
preceding the first entrance of the Chorus and usually consists of a monologue (or
dialogue) setting forth the subject matter of the tragedy and the basic situation from
which it starts. In early Greek tragedies, the Chorus entered first and performed this
function of exposition. Sophocles prefers a later method in Antigone, by making
Antigone reveal her decision to bury Polynices to her sister, Ismene.
The Parodos is the second segment of the plot and refers to the song (and stylized
movements or dance) which accompanies the first entrance of the Chorus on stage.
The opening Chorus song serves a purely expository function in Antigone.
These two initial segments of the plot are followed by five major “Epeisodia” or
episodes. In these scenes, one or more of the three central actors took the major and
minor roles, along with the Chorus. The word “Epeisodian” meant, originally, the
entrance of an actor to announce something significant in the plot to the Chorus. The
episodes contained both typical passages and narrative or dramatic dialogues,
lamentations and incidental songs or utterances by the Chorus. Each of these episodes
is followed by a stasimon, a song sung by the Chorus.
In Antigone, the first episode concerns Creon’s announcement to the Chorus of
Theban elders that he has forbidden the burial of Polynices. It also includes the arrival
of the watchman who informs Creon of the perfunctory night burial of Polynices by
an unknown hand. Creon lashes out at him and accuses him of conspiring in this act.
The stasima (plural for “stasimon”) were expressions of emotion evoked by the
preceding episodes, given mainly by the Chorus and serving as interludes between
episodes. The first stasimon follows the first episode: the Chorus sings a song in
praise of the human race and of the state. The second episode follows, during which
one sees Antigone, captured by the watchman, being brought before Creon to face
trial and punishment. This episode constitutes the climax of the play and proves the
great strength of Antigone’s character.
This great scene of confrontation is followed by the second stasimon which begins:
“Blest is the life that never tasted woe.” It mentions the evil fate tormenting the house
of Cadmus. In the third episode, Creon is confronted by his son, Haemon, who is
betrothed to Antigone. The father-son conflict provides a secondary agon (debate) in
the play, following the primary agon between Antigone and Creon in the second
episode. Appropriately, the third episode is followed by the third stasimon, whose
theme is love: “Love unconquered in fight.”
In the penultimate episode of the play, Antigone is led to her tomb. This scene evokes
profound pity for her, as well as awe at her impending fate. Her exit is covered by the
fourth stasimon, which tells of the tragic fate suffered by mythical Greek figures
before Antigone: “Even Danaë’s beauty...”.
In the fifth and final episode, Tiresias, the prophet, warns Creon against displeasing
the gods. Here, the “peripeteia,” or turn in the nature of events, takes place when
Creon does a complete about- face and decides to spare Antigone’s life and to allow
for Polynices’ burial. There is also a moment of “anagnorisis” for Creon as he begins
to understand that he must bow to the power of fate: “Oh! it is hard. But I am forced
to this/ Against myself. I cannot fight with Destiny.”
The fifth stasimon is a dithyramb in honor of the god, Bacchus. The Chorus prays to
Bacchus, hoping that he will rescue Thebes from its present crisis.
The exodus or final scene follows the final (fifth) stasimon. In this scene, the
messengers bring news of Haemon’s and Antigone’s deaths. It presents the
denouement of the tragedy. Eurydice, Haemon’s mother, commits suicide and Creon
is left alone to mourn his fate. The leader of the Chorus recites the last lines of the
play as part of the Exodus and articulates the moral of the tale.
Thus, in Antigone, Sophocles remains strictly within the bounds of the norms of
classical Greek tragedy as far as plot construction is concerned.
THEMES ANALYSIS
The central concern of the play is Antigone’s fateful struggle against Creon’s cruel
edict. Sophocles in Antigone expresses his belief in the spiritual capacity of a human
being. Antigone is endowed with the finest qualities. She is noble, upright, and
possesses a strong sense of loyalty to family and devotion to the gods. She sticks to
her ideals, even in the face of a cruel death.
Creon represents the harshness of the world of physical and political power as
opposed to Antigone’s idealistic world. Creon must act to protect the interests of the
state and to protect his own interests as sovereign. He follows an ancient tradition of
battle in denying the enemy, Polynices, a proper burial. But in doing so, he not only
acts inhumanely, but as Sophocles reiterates throughout the play, displeases the gods.
The Greeks had a firm belief in the force of destiny, which is central to the play. The
Chorus in the second stasimon refers to the role that fate has played in causing the
woes of the House of Cadmus. After Tiresias’ warning, Creon finally admits that fate
is all-powerful, and he accepts the Chorus’ advice and sets out to save Antigone.
Thus, one could conclude that the characters in the play are not in control of their own
lives; fate ultimately controls their lives.
Yet, in the prologue, Antigone refers to the freedom of will (choice) available to a
human being. She asks Ismene to choose whether she will help her to bury their
brother. In the second episode, Antigone reminds Ismene: “Life was the choice you
made,/ Mine was to die.” The two sisters, Antigone and Ismene, are polar opposites.
While Antigone chooses to defy Creon and to die nobly, Ismene, desiring the security
of life, timidly accepts the dictates of the male- dominated society of which she is a
part.
Antigone’s confrontation with Creon is also the confrontation of the individual
against the state. Antigone is able to question Creon’s laws because of her
determination and courage. She is unrepentant, as she does not believe that she has
committed a crime. In the climax of the play, she chooses the divine laws of heaven
over the laws of the state (as laid down by Creon). She declares that the laws of the
state are not binding in her case because they have been laid down by a man, and men
are not infallible. Creon attempts to subdue Antigone’s “stubborn spirit” by
condemning her to death, but Antigone retains her composure. It is only in the scene
of her exit (the fourth episode) that Antigone breaks down, when she is led to her
death. Sophocles shows here that Antigone, despite her courage, suffers the anguish
of any normal human being.
While Antigone believes in the power that emanates from within the individual,
Creon professes faith in the power gained by holding office. “Power shows the man”
says Creon, in his opening speech to the Chorus of elders. A certain gender bias is
evident in lines such as the following: “Better, if it must happen, that a man/ should
overset me./ I won’t be called weaker than womankind.”
Creon plays the game of political expediency. He is trying to restore peace and
stability to Thebes and cannot allow a mere girl to defy him, as this will make him
appears spineless. He had favored Eteocles against Polynices in the battle between the
two brothers, as it was politically profitable for him to do so. Creon tries to justify his
actions in episode four (the scene with Haemon), by stating that he must protect the
interests of Thebes. Here, Sophocles deals with the relationship between father and
son, and between Haemon and Antigone. Creon tries to win Haemon over to his line
of thinking by introducing the idea of filial devotion. But Haemon does not fall into
the trap. His love for Antigone seems greater than his concern for the state and the
king. He accuses his father of acting like a dictator and succeeds in arousing Creon’s
wrath.
Each of the two major characters of the play, Antigone and Creon, have their own
faults. Antigone’s tragic flaw (or hamartia) is, according to the Chorus, “a self-willed
passion.” She yearns for a noble death and seizes the opportunity to gain it by defying
Creon. Until the scene of her exit, she shows no desire to live. She tells Creon:
“That death would come, I knew Without thine edict;--if before the time, I count it a
gain. Who does not gain by death, That lives, as I do, amid boundless woe?”
If her life appears tragic to her, death seems even more pitiable, and Antigone breaks
down in the scene of her exit. It is only at this late stage that she betrays any desire to
live. She mourns because she will never enjoy the fruits of marriage and thus will not
be fulfilled as a woman and a mother.
Creon, like Antigone, is obstinate and unyielding. Like Antigone, he too is a shattered
individual in the end. At different times in the play, different people warn Creon that
he is acting irrationally. The watchman, Haemon, Tiresias and the Chorus all advise
Creon against foolish and impetuous conduct. Creon’s decisions are quite rash. He
even insults Tiresias and angers him. Finally, fate catches up with Creon when he
goes to the cave where Antigone is immured. It seems as if Tiresias’ predictions have
sealed Creon’s fate.
In the end, Creon realizes that royal powers are of no use in a world determined by the
dictates of fate. It is Creon’s destiny that he must live on and suffer the pangs of guilt,
while the innocent people, Antigone, Eurydice and Haemon, have killed themselves.
The Exodus is, in a way, a statement of the major theme of the play. The leader of the
Chorus concludes that devotion to heaven and rational behavior are essential for man.
Creon’s pride has brought him disaster. Thus, there is a sense of “catharsis” at the end
of the play, as all the emotions of fear, pity and awe are exhausted.
IRONY
Sophocles makes use of dramatic irony in Antigone to heighten the tragic effect of the
play. Instances of irony can be observed throughout the play.
One major instance is Antigone’s own idea of a noble death. Before her final exit,
Antigone appears steadfast and courageous and ready to face death. But as she is led
to the tomb, she is unable to maintain her composure and reveals her human frailties.
The Parodos, too, holds an instance of irony. Here, the Chorus hopes and prays for
peace after the civil war in Thebes. Little do they know that Thebes is soon to face
problems again. Creon’s fall at the end is also ironic, for he believes from the
beginning of the play that his fortunes are on the rise after his enthronement.
However, he comes to the conclusion that even the mightiest king is powerless in the
face of destiny. This is an instance of the irony of situation. Creon’s opening speech,
in which he makes his proclamation concerning Polynices, is also fraught with ironic
possibilities. When he passes his law, Creon does not realize that he is about to bring
a fresh crisis to Thebes. He foolishly believes that he is restoring stability and peace to
his kingdom by establishing such an inhumane law.
EPIC SIMILE
The Greek epic poet, Homer, made excellent use of epic similes in his famous Iliad
and Odyssey. Sophocles, too, uses an epic simile in the opening Chorus (the Parodos)
when he describes how the man from Argos came to Thebes like an eagle descending
on its prey. The metaphor is extended as the eagle is described feeding with “hungry
jaws” on Theban flesh. The armor of the man from Argos is compared to the plumed
crest of the eagle.
In the second stasimon, “Blest is the life...,” the Chorus compares the troubles faced
by the House of Cadmus to a Thracian tempest. These similes lend a certain grandeur
to the choral songs. The comparisons are fitting and well executed, and through them
the choral songs become more poetic in nature.