Antigone Scene Breakdown With
Notes
The Prologos
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 realises 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.
The opening Choros (or Parodos)
Summary
After the initial debate between Ismene and Antigone,
the Choros 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 Choros, this is the “brightest” and
“fairest” day that Thebes has seen. The Choros 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 Choros 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 Choros 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 Choros believes that the king of the Greek gods,
Zeus, and his son, Ares, 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 Choros 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 Choros
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 Choros gives further
information about the background of the play. The
Choros 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 Choros exults in Thebes’ victory, and at
the same time, it prays for a lasting peace. Joy gives
way to ecstasy as the Choros pays tribute to Bacchus
with “dances of delight” lasting through the night.
Sophocles uses a wide array of imagery in this opening
Choros. 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 Choros
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 Choros claims that Pallas
Athena, the goddess of war (and victory), descended
upon Thebes as a heavenly omen of Thebes’ victory.
Hence, to give thanks to the gods, the Theban Choros
visits every shrine “in solemn round.” It concludes its
opening sequence by performing a ritual dance on stage.
The Choros pays homage not only to the gods of war and
victory, but also to Terpsichore, the Muse of dancing
and choral singing.
The Choros echoes the common citizen’s desire for peace
and stability, instead of war. Ironically, the peace
for which the Choros offers such gratitude will soon be
disturbed by Antigone’s revolt against Creon.
The First Episode or Creon’s Opening Speech
Summary
The leader of the Choros 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 accords 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 Choros accepts Creon’s laws as all-powerful. Creon
asks the Choros of elders to support and maintain his
law. When the Choros 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 Choros responds by
saying that it is not “in love with death.” Creon
believes that some man in the Choros, 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 Choros 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
Choros 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 Choros promises obedience to
Creon: “And sure, ’tis thine to enforce what law thou
wilt/ Both on the dead and all of us who live.”
The Sentry and Creon
Summary
A Sentry (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 sentry keeps
babbling until Creon demands that he express himself
clearly. The sentry 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 sentry 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 sentry now speaking is the unlucky one who
was chosen to bring the bad news.
The Choros 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 Choros 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
sentry 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 sentry with death, unless he (the sentry)
can manage to bring to the court the person who has
buried Polynices. The sentry vehemently denies having
anything to do with the burial and tells Creon that he
(Creon) has erred in his judgment. Creon orders the
sentry to leave. The sentry 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 sentry.
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
sentry 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 sentry’s
description of the night burial until he (the sentry)
has overcome his initial fears. Once again, the element
of fate or destiny appears to play a part here: the
sentry is selected by a draw of lots to convey the news
to Creon. The superstitious nature of the Choros 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 sentry. 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
Choros 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 sentry
with gold to bury the body. Creon seems to be well
aware of weakness in others but does not realise that
he, too, has his faults.
The First Stasimon
The Choros: “Many a wonder lives...”
Summary
The Choros 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
“high-swelling seas.” The Choros 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 Choros, is thus
“craftywise.”
Man, says the Choros, 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 of weather, against “biting frost” and “sharp,
roof- penetrating rain.” Man, continues the Choros, 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 Choros praises the fact that man has been able to
discover cures for the most baffling and dangerous
diseases.
Man, the Choros 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 Choros 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 Choros 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 Choros’ song in praise of man is highly musical and
rich with images from agriculture, sailing, fishing,
and hunting. Man is shown as noble and all-powerful. 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 Choros 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 Choros
accepts the good man as a respectable member of
society, but the bad man becomes a social outcast.
Thus, the Choros predicts the general reaction to
Antigone’s act of rebellion when it becomes public.
The Choros’ distinction between good and evil is too
simplistic in nature, and will soon be proved wrong.
The Choros 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 Choros tells of the arrest of
the “girl Antigone.” Now the play is on the threshold
of tragedy.
The Second Episode:
The Sentry, Antigone and Creon
Summary
The sentry 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 sentry
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
sentry came voluntarily to bring the news to Creon. He
asks Creon to examine and judge Antigone. The sentry
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 sentry’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 sentry. 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
deed or deny it. Antigone asserts that it is
has done this deed. Creon bids the sentry to
readily does so and seems quite disconcerted
role in the tragedy.
to the
she who
depart. He
about his
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 sentry
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 sentry 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 sentry’s
own words, “the God-sent evil.” After the dust had
settled, the sentry 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 wellprepared 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 sentry 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 sentry, 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.
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 Choros.
After Creon has sent away the sentry, 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 Choros 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 wilfully
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 Choros is the first to
observe this: “Fierce shows the maiden’s vein from her
fierce sire;/ Calamity doth not subdue her will.”
The Choros 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.
Creon, Ismene and Antigone
Summary
The Choros 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.
The Second Stasimon
The Choros: “Blest is the life that never tasted woe.”
Summary
The Choros 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 Choros 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 Choros,
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
Choros believes that the gods have been ruthless in
reducing the powerful Cadmus dynasty to ashes.
The Choros then prays to Zeus, the highest of all the
Greek gods. They realise that man is powerless in the
face of Zeus’ might. The Choros remarks that Zeus has
ruled forever.
The Choros 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 Choros
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 Choros considers few people
to be able to live a life free of troubles.
Notes
The subdued note that the Choros 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 great-grandson 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 Choros 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 Choros 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 Choros reiterates that she,
like her father before her, is destined to die a
wretched death.
For the Choros, 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 Choros 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.
The Third Episode:
Creon and Haemon
Summary
The leader of the Choros 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 Choros 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 Choros 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 Choros now begins to realise that Haemon’s
arguments are correct. The Choros 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 labelled 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 Choros 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 Choros
asks whether Creon intends to execute both the sisters,
Creon finally concedes that only Antigone, the one who
performed the deed, should die. The Choros 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 Choros
had earlier accepted Creon’s words as wise, but now
they acknowledge that Haemon, too, is correct. The
Choros, 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 Choros’
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.
The Third Stasimon:
The Choros: “Love unconquered in fight”
Summary
The Choros 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 Choros blames love
for causing the “unkindly quarrel” to erupt between
Creon and Haemon. The Choros asserts that even kings
and makers of mighty laws are subordinate to the
“heart-compelling eye of winsome bride.”
The Choros ends with the line, “Madly thou mockest men,
dread Aphrodite.” The leader of the Choros 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 Choros.
The Choros 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 had love affairs.
The Choros 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 Choros maintains that a beautiful
bride can possess more power than a mighty king.
Therefore, the Choros 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 Choros 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 Choros, the audience begins to pity Antigone. They
respect and admire her for her fascinating courage.
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 Choros assures Antigone that her death will not be
an inglorious one. She will die with great honor and
fame. The Choros 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 Choros.
Antigone reminds the Choros 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 Choros reminds Antigone that Niobe was born to a
goddess, while Antigone is merely human. Therefore, the
Choros 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 Choros 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 Choros praises Antigone for her courage and tells
her that she did not foresee the full force of Creon’s
“Justice.” The Choros 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 Choros admits that Antigone’s deed was “pious.”
However, they also realise that Creon, whose “power
would show,” must not allow anyone in Thebes to defy
the laws that he lays down. The Choros tells Antigone
that she is going to her death because of “a selfwilled 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 Choros 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 Choros 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 Choros 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 Choros 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 Choros’ 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 Choros 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 realises 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 Choros realises 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 Choros “Even Danaë’s beauty left the lightsome
day.”
Summary
The Choros 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
Choros 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 Choros 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 Choros 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 Choros 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 tool in weaving, Fate is a
weaver of destinies). The Choros ends by relating the
tale of Cleopatra, the mother of Phineus’ children, who
spent her days in isolation in remote caves.
The Fifth Episode:
Tiresias and Creon
Summary
Tiresias, the seer of Thebes, enters, led by a boy. He
addresses the “Lords of Thebes” (the Choros), 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.
Creon and the Choros
Summary
After Tiresias’ departure, the Choros warns Creon that
“there is terror” in Tiresias’ prophecy. The Choros
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 Choros of elders to advise him, and he
tells them that he will follow their advice. The Choros
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 Choros’ advice.
The Choros 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 Choros 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 Choros 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 realises that the citizens of Thebes, as
represented by the Choros, 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.
The Fifth Stasimon:
The Choros “O God of many a name”
Summary
The Choros now sings a dithyramb (a short poem),
praising the god, Dionysus (or Bacchus). As the Choros
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
Choros asserts that Dionysus/Bacchus protects the Greek
settlers staying in southern Italy. The Choros refers
to the legend of the women of Thebes, who refused to
worship Bacchus and were punished with madness.
The Choros 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 Choros describes Bacchus as he moves
beneath the mountain of Nysa where the nymphs sing his
praises.
The Choros 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 Choros requests him
to bring joy back to the city.
Notes
In this interlude, the Choros 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 Choros 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 Choros should pray to him for help and
ask him to heal their “violent woe.” Like the ordinary
citizens of Thebes, the Choros 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 Choros 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 Choros requests Dionysus to
bring back prosperity and security to Thebes. Thus the
Choros demonstrates the belief that the lives of men
are determined by the gods, or by Fate. The Choros
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.
Eurydice and the Messenger
Summary
A Messenger enters. He addresses the Choros, 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 Choros 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
Choros observes that Tiresias’ prophecy is beginning to
come true. It now announces the entrance of “Creon’s
unhappy wife, Eurydice.” The Choros is unsure of
whether Eurydice has heard the news of her son’s death.
Eurydice enters and addresses the Choros 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.
Creon: the Final scene/Exodus
Summary
The Choros wonders at Queen Eurydice’s silent
departure. The messenger is filled with hesitation. The
Choros 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 Choros now notes the return of Creon, who is
carrying the body of Haemon. The Choros 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 Choros 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 Choros
advises Creon that time will determine whether or not
he will survive this catastrophe. The Choros 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 Choros sings the Exodus, or final
song.
The Choros 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 Choros, 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 realises 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 Choros 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 Choros 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 Choros says: “High boastings of the
proud/ Bring sorrow to the height to punish pride.”