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, "ocasta, as well as the double fratricide of #teocles and $olynices. %urthermore, &ntigone dies after defying 'ing Creon. The play is set in Thebes, a powerful city!state north of &thens. &lthough the play itself was written in (() *.C., the legend goes back to the foundations of Hellenic culture, many centuries before +ophocles, time. &ll the scenes take place in front of the royal palace at Thebes. Thus +ophocles conforms to the principle of the unity of place. The e-ents unfold in little more than twenty four hours. The play begins on the night when &ntigone attempts to bury her brother for the first time. Her second attempt at burial occurs at noon the following day, when &ntigone is apprehended. +he is con-icted and kept o-ernight in a cell. The ne.t morning she is taken to a ca-e, her place of entombment. On Thebes/ Thebes was the most important city of *oeotia, on mainland 0reece. It was one of the chief city!states of ancient 0reece, after &thens and +parta. +ophocles described it as 1the only city where mortal women are the mothers of gods.2 &ccording to 0reek legends, the city was founded by Cadmus and was destroyed by the #pigonoi in the time before the Tro3an 4ar. In the si.th century *.C., Thebes reco-ered its glory to some e.tent, and in +ophocles, time it was still a powerful state. LIST OF CHARACTERS 5a3or Antigone The daughter of Oedipus, the former 'ing of Thebes. Her mother, "ocasta, was Creon,s sister. +he is willing to risk her life in order to bury $olynices, her dead brother, thereby defying 'ing Creon,s edict. +he is sentenced to death, but commits suicide by hanging herself. Creon The brother of "ocasta, who was the wife and mother of Oedipus. Creon becomes ruler of Thebes after the deaths of Oedipus, two sons in the recent ci-il war. He orders a state funeral for #teocles, but denies the rites of burial to $olynices. He is compelled to sentence &ntigone to death when she defies his law. In the end, he accepts that he has acted wrongly and repents. The Chorus The -oice of the elders of the city of Thebes. They are the main -ictims of the recently fought ci-il war and hence long for peace and stability. They comment on the ma3or e-ents that occur in the play and pro-ide the audience with the public reaction to the pri-ate struggles of the ruling family of Thebes. 5inor Haemon The only sur-i-ing son of Creon. He is in lo-e with &ntigone, to whom he is engaged. He pleads in -ain with his father for her life. He commits suicide in &ntigone,s tomb after he disco-ers that &ntigone has taken her own life. Ismene The elder sister of &ntigone, who initially has reser-ations about helping &ntigone to bury the body of their brother, $olynices. +he later claims a share in &ntigone,s guilt and punishment6 Creon refuses to punish her as he considers her temporarily insane.

Tiresias (or Teiresias) The blind prophet of Thebes, who also appears in +ophocles, Oedipus 7e.. He comes to warn Creon that dire conse8uences will follow if he stands by his decision to lea-e $olynices, body unburied. Eur !i"e The wife of Creon. +he appears only once in the play, when she hears the news of her son,s (Haemon,s The #at"hman Comes to inform death. +he commits suicide at the end of the play. Creon that someone has attempted to bury $olynices during the night. Threatened with se-ere punishment for what Creon feels is neglect of duty, the watchman returns to his watch and succeeds in arresting &ntigone. He hands her o-er to Creon for sentencing. The $irst Messenger Comes to inform #urydice about the death of Haemon. He accompanies Creon to the tomb and later gi-es a first! hand account of the deaths of &ntigone and Haemon. The Se"on! Messenger Comes to inform Creon about the death of #urydice. The %ea!er o$ the Chorus Occasionally speaks a few lines addressed mainly to the audience. He is gi-en the final lines of the play, in which he draws a moral from the se8uence of tragic e-ents the audience has 3ust witnessed. CONFLICT &rotagonist &ntigone is the resolute and strong!willed daughter of 'ing Oedipus. +he is determined to gi-e her brother, $olynices, a decent burial. +he consciously risks her life with this action, which -iolates both Creon,s un3ust decree, as well as the ancient custom of denying burial to enemies of the state. +he obeys only the laws of the gods and the dictates of familial loyalty and social decency. Antagonist 'ing Creon regards only the re8uirement of political e.pediency. +oon after the ci-il strife between #teocles and $olynices ends in their deaths, he announces a decree denying $olynices, 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, &ntigone, to death for defying his law. C%ima' The clima. of the play occurs during the encounter between Creon and &ntigone. 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 &ntigone represents. Creon,s -anity is hurt and his anger aroused by the stubborn disobedience of one whom he considers to be merely a mad woman. 4hen he reali9es he cannot break or bend her will, he resol-es to send her to her doom. Out"ome The resolution of the play begins when the Chorus succeeds in making Creon see the in3ustice of his recent decisions. He orders the burial of $olynices, body and rushes to &ntigone,s ca-e, only to find that she has hanged herself. The deaths of Haemon and #urydice soon ensue, and at end of the play, Creon is left alone in his wretchedness.

He has paid a hea-y price for his folly and rashness. The tragedy lies in the fact that reali9ation has come to late for Creon. SHORT &LOT S(MMARY (S no)sis) &ntigone,s brothers, $olynices and #teocles, had fought a battle for the throne of Thebes. &t the beginning of the play, they are both dead, ha-ing killed each other in combat. Creon, the new monarch, has decided to honor the memory of the younger brother, #teocles, by gi-ing him a state funeral. :uring his lifetime #teocles had broken his pact with $olynices, according to which the two brothers had agreed to take turns at ruling Thebes. This enraged $olynices, who brought an army of &rgi-es to fight against #teocles and the Thebans. Creon had supported #teocles in this dispute. &fter the ci-il war has ended, Creon brands $olynices a 1traitor2 and proclaims that anyone who attempts to bury $olynices, body will ha-e to face death. &ntigone resol-es to defy Creon,s edict, and in the opening scene (or $rologus she asks her sister, Ismene, to 3oin her in the act of burying $olynices. Ismene refuses to help &ntigone because she does not wish to -iolate Creon,s order. &ntigone,s strong respect for family bonds and di-ine laws prompt her to conduct funeral rites for her brother. +he is caught by Creon,s watchman and brought before the enraged king. &t her trial, &ntigone pleads that her defiant act is in accordance with the o-erriding laws of the gods. Creon is reluctant to accept this 3ustification and is unrelenting in his harsh stance as he condemns &ntigone to be immured (buried ali-e in a ca-e. Ismene comes forward to claim a share in &ntigone,s guilt and in the penalty that goes with the crime. Creon dismisses her pleas as he considers her present beha-ior to be a temporary mental abnormality, although he had earlier accused her of being &ntigone,s partner in crime. Then Creon,s son, Haemon, pleads -ainly with his father to forgi-e &ntigone. The blind prophet, Tiresias, also threatens Creon with the catastrophic conse8uences of defying all di-ine laws in refusing burial to $olynices. %inally, the Chorus begs Creon to relent and release &ntigone. &t last Creon is mo-ed, and he goes to the ca-e to find Haemon clasping the dead &ntigone, who has hanged herself. In blind fury, Haemon charges with his sword towards his father, but misses him and then kills himself. %illed with remorse, Creon returns to his palace to find that his wife, #urydice, has already recei-ed the tragic news of the two deaths from a messenger. In deep despair, #urydice takes her own life, lea-ing Creon to grie-e alone. THEMES Ma*or Themes +ophocles, plays often deal with the specific struggle of a strong! willed indi-idual against fate. In &ntigone he depicts a resolute and heroic female protagonist, who pits her indi-idual free will against the intractable forces of fate and against the irrational and un3ust laws of tyrannical men, like Creon. *asically, the play centers on the conflict between the steadfast protagonist and an e8ually resolute antagonist. +ophocles, two main characters are placed in peculiar circumstances that force them to act the way they do. There are fatal conse8uences for themsel-es and others. Their -ery personalities seem to initiate the play,s central action, and a conflict of interests soon erupts between these two people of almost e8ual heroic stature. One is committed to ser-ing the public, and the other is led by the demands of her conscience.

Minor Themes &s the central conflict unfolds, +ophocles makes it known that both Creon,s and &ntigone,s firm stances stem from the two great imperati-es that underlie all political action/ the needs of the indi-idual -ersus the rights of the state. Creon is constrained to act the way he does for reasons of political e.pediency. He is a newly appointed ruler who has to rescue his people from the chaotic state of ci-il war and anarchy brought on by the bitter ri-alry of $olynices and #teocles. Creon is forced to formulate unpleasant laws so that political trouble!makers will think twice before attempting to start another re-olt. ;et Creon,s noble intentions in trying to bring stability back to Thebes ironically backfires on him. &ntigone,s protest against Creon,s decree merely underscores the fundamental truth that conscience is -ery often abo-e the law. MOO+ The action takes place in the period of uneasy calm following the ci-il war in Thebes. In this time of tentati-e peace, Creon,s new edict introduces a note of harsh repression and puniti-e male-olence. & mood of uncertainty pre-ails in Thebes. The Chorus reacts typically to the flu. of public e-ents in these disturbed times. &t times, the singers of the Chorus e.press a kind of empathy for &ntigone,s unhappy situation6 there are other moments when they display silent sympathy for Creon. &s the great debate between the two central figures ad-ances, the elements of foreboding and impending doom predominate in the atmosphere. Creon,s mounting rage is matched by &ntigone,s willful obstinacy. %inally, as the catastrophe unfolds, a somber mood pre-ails as one tragic death follows another. %rom the pity and terror the audience feels at the deaths of &ntigone, Haemon and #urydice, it is mo-ed at the play,s end to sympathi9e with Creon in his silent, solitary grief. The pathos of human suffering against the tragic backdrop of death lea-es a final impression of catharsis, an emptying of all emotion after the catastrophic storm. &s "ohn 5ilton says at the close of his +amson &gonistes, the audience here e.periences the same 1calm of mind, all passions spent.2 Author In$ormation Li$e o$ So)ho"%es ("ir"a ,-./,0. 12C2) +ophocles was chronologically the second of the trinity of great 0reek tragedians, the other two being &eschylus and #uripides. He was born at Colonus, a pleasant rural suburb of &thens, (probably in (<= *.C. and died there, ninety years later. His father, +ophilius, manufactured armor for a li-ing. &s a boy, +ophocles won pri9es for both wrestling and music. In his teens, he is reputed to ha-e led the singing of a lyrical paean to celebrate the famous 0reek -ictory o-er the $ersians at +alamis ((>? *.C. . He produced his first set of plays in (=> *.C., and won the first pri9e although he was competing with his own mentor, &eschylus. He wrote more than )@? plays (the titles of o-er ))? of these are known . Howe-er, only se-en of his tragedies ha-e sur-i-ed. Their probable chronological order was/ &ntigone ((() *.C. , &3a., Oedipus 7e. (also called Oedipus Tyrannus , #lectra, Trachiniae, and $hiloctetes ((?< *.C. . He wrote his final work, Oedipus at Colonus, at the age of ninety. The play was first produced fi-e years after +ophocles, death by the younger +ophocles, the grandson of the great playwright.

&s a dramatist, +ophocles learned his art from &eschylus. He was instrumental in increasing the number of singers of the chorus from twel-e 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 ha-e had at least eighteen to twenty -ictories at drama festi-als (besides being ranked second on se-eral occasions . These festi-als were held at the theater of :ionysus in &thens. His greatest sur-i-ing play, Oedipus 7e. managed only second place. +ophocles also staged his plays at the 1Lenaea,2 or feast of the wine!-ats, held annually in "anuary after (A? *.C. at the theater of :ionysus in &thens. +ophocles married twice (first to Bicostrate, and then to Theoris of +ccyon and had two sons/ Iophon, the tragedian, and &gathon, father of the younger +ophocles, also a writer of tragedies. The 0reeks regarded +ophocles as a kind of tragic Homer, hailed him as the fa-orite 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 $ericles, the period of &thens, greatest prosperity. &lthough he showed little interest in politics and had no special military skills, he was elected as a 1strategos2 to ser-e as one of the ten generals who led the war of (()!(C> *.C. He was also chairman of the &thenian treasury from (()!()? *.C., ser-ing alongside the eminent statesman, $ericles. In ()C *.C., after the great &thenian disaster in +icily, he was made one of the 1$robouloi2 (special commissioners , mainly due to his widespread fame. %rom reliable contemporary accounts one learns that +ophocles was a handsome, wealthy man of great charm. He had friends like $ericles and Herodotus, the great 0reek historian. The Dictorian critic, 5atthew &rnold, praised +ophocles as a man 1who saw life steadily and saw it whole.2 The ancient biographer, $hyrnicus, says that +ophocles, life was happy and that he retained all his faculties to the -ery end. +ophocles is reported to ha-e died either by choking on raw grapes or by running out of breath while reciting lines from &ntigone, his fa-orite play. The 4orks of +ophocles +ophocles, plays were not like those of either &eschylus or #uripides. His tragedies did not deal with abstract problems of guilt and punishment stretching o-er generations, like those of &eschylus (namely his famous trilogy, Oresteia . +ophocles preferred to depict the specific struggles of resolute indi-iduals against the unyielding forces of fate. He did not fa-or the writing of a whole trilogy to co-er one sub3ect but wrote only single plays, such as &ntigone or &3a.. Howe-er, +ophocles did write three plays connected to the Oedipus legend from 0reek mythology. The first, called Oedipus 7e., deals with the ill!fated reign of Oedipus as 'ing of Thebes. It was written in the middle of his career, while the second, titled Oedipus at Colonus, was written in (?= *.C., when +ophocles was ninety years old. This play narrates the incidents following Oedipus, downfall as king and his life in e.ile in the forests of Colonus. Here he was looked after by his loyal daughters, &ntigone and Ismene, until his death. The third play in this series is &ntigone, which was actually written first in (() *.C. LITERARY 3 HISTORICAL INFORMATION To understand a classical play like &ntigone it is essential to ha-e a general idea of 0reek 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 &ntigone.

Gree4 Trage! 5 It was originally associated with religious festi-als like that of :ionysus, 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. +Ehe was confronted by hostile forces and often had to make difficult moral choices in trying to resol-e these conflicts. The protagonist,s struggle ended mostly in defeat or death. 5ost 0reek 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 analy9ed the pattern of e-ents 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. 5en played the women,s parts, and the same actor appeared in multiple roles. The performers in 0reek tragedy wore masks to depict the kind of characters they were enacting. In his critical work, The $oetics, &ristotle deals with the ma3or elements of 0reek tragedy. %or &ristotle, the most important part of tragedy was the plot (or action . He felt that any tragic action must be long enough to depict a dramatic change in fortune (from prosperity to misfortune of the protagonist. In &ntigone it is the antagonist, Creon, who at the start of the play has 3ust become king. *y the end of the play, Creon has lost both his wife and son and is left despondent. &ristotle holds that character is the second most significant feature which gi-es drama its moral dimensions. The central personage in 0reek tragedy must be morally good, of a heroic stature, true to life and consistent in hisEher actions. The change in fortune of the main personage is often the conse8uence of a fatal flaw in hisEher character, or an error of 3udgment called 1hamartia.2 The failure of the hero (or heroine is also due to hisEher 1hubris,2 a false sense of pride in hisEher own secure position. The tragic dramatist must choose suitably heroic characters and place them in a well constructed plot, which aims at representing actions that will in-oke 1pity and fear2 in the audience. Tragedy ideally e-okes these dual emotions. The downfall of a noble, well! known, prosperous and moral person naturally e-okes one,s pity (in reaction to the hero,s misfortune and one,s fear (that such misfortune can o-erwhelm human beings . This leads finally to an effect of catharsis, the purgation of these emotions of pity and fear. This gi-es tragedy a psychological dimension, as it pro-ides an outlet for undesirable emotions that humans ine-itably e.perience. &ristotle also pointed out two important de-ices of the plot/ 1peripeteia2 and 1anagnorisis.2 1$eripeteia2 is often wrongly translated as 1re-ersal of fortune,2 but more accurately, it refers to a re-ersal of the situation/ the action turns in a direction opposite from its original course. 1&nagnorisis2 refers to a person,s reali9ation of a situation. It is a change from the state of ignorance to that of enlightenment. +uch changes wrought through 1peripeteia2 or through 1anagnorisis2 must occur within the limits of probability and help to create the effect of dramatic irony. The I%%/Fate! House o$ Ca!mus/ &ntigone is -irtually the last in the line of Theban royalty belonging to this family of Cadmus, who was the founder of Thebes. The story of &ntigone can be read and understood entirely only when one takes into account all the tragic conse8uences that troubled the family of the founding father, Cadmus. Cadmus was the legendary founder of the 0reek city of Thebes and the son of &genor, 'ing of Tyre. Cadmus, sister, #uropa, was carried off by Feus in the disguise

of a bull. Cadmus, who went in search of #uropa, disco-ered instead the site of Thebes. Cadmus slew the dragon who was guarding Thebes and planted half the dragon,s teeth in the soil. %rom these teeth sprang a group of armed men who fought each other until only fi-e sur-i-ed. These fi-e, known as the 1spartoi,2 were belie-ed to be the ancestors of the Theban nobility. Thus the city of Thebes was born in a -iolent manner. Cadmus married Harmonia, the daughter of &res and &phrodite, and presented his bride with a necklace which was to pro-e fatal to the Theban dynasty. &t the end of their li-es, Cadmus and his wife were changed into serpents by the gods. Cadmus, daughter, +emele, was lo-ed by Feus and ga-e birth to the god :ionysus. +emele was killed when Feus appeared before her in all his godly glory. :ionysus himself punished the women of Thebes with madness for refusing to accept his di-inity. &ga-e, the sister of +emele, brought about the death of her own son, $entheus. This story is related in #uripides, tragedy, *acchae. 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 &pollo had warned Laius that his own son would kill him. Thus, when Oedipus was born to Laius and his wife, "ocasta, Laius took the boy and e.posed him to the elements on 5ount Cithaeron. *ut Oedipus sur-i-ed and was brought up by the 'ing of Corinth. #ager to disco-er his true identity, Oedipus set out in the direction of Thebes. In a chance encounter en route, Oedipus met, 8uarreled with and then killed his own father, Laius. He became the monarch of Thebes and unwittingly married his own mother, "ocasta. The couple had four children/ two sons, $olynices and #teocles, and two daughters, &ntigone and Ismene. Homer relates that when it was disco-ered that Oedipus had married his own mother, "ocasta hanged herself, but he continued to rule as king. Howe-er, in +ophocles, tragedy, Oedipus 7e., Oedipus willfully blinds himself and wanders off in self! imposed e.ile, accompanied by &ntigone. He later went to Colonus where he died. The present play, &ntigone, begins with a reference to the battle fought between Oedipus, two sons, $olynices and #teocles. They had 8uarreled o-er their father,s throne during Oedipus, lifetime. Oedipus had pronounced a curse on the two, predicting that they would kill each other. 4hen Oedipus died, his sons decided to share power. They agreed to allow each other to rule separately for alternate periods of the year. #teocles, the younger of the two, began to rule first, but when his reign was o-er, he refused to gi-e up the throne to his brother. $olynices, in the meanwhile, had married the $rincess of &rgos. &ngered at his brother,s betrayal of trust, $olynices set out with an army from &rgos towards Thebes. He placed se-en commanders at the se-en gates of Thebes. The &rgi-e army was hopelessly routed by the Theban army, led by #teocles, and the two brothers fought and killed each other in battle. This tale was dramati9ed by &eschylus in his +e-en &gainst Thebes. Creon, the brother of "ocasta and the senior most member of the royal family of Thebes, assumed power. He had fa-ored #teocles before the battle and now proclaims that #teocles is a hero who will be gi-en a state funeral. Howe-er, Creon ordered that the bodies of the enemies, including $olynices, body, should not be buried. There are many traditions and legends regarding what happened ne.t. +ophocles tells one of these in his play, &ntigone. Other stories tell how &ntigone was killed by Creon himself, or was sent into e.ile 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. &ntigone,s tragedy is a culmination of the earlier e-ents that look place in and around Thebes. SCENE S(MMARIES AN+ NOTES Bote/ +ince this particular play has no di-isions into acts and scenes, sections ha-e been created and are designated by line numbers. *reaks ha-e been inserted at the points when an important character enters or e.its. Lines )!<< The $rologos or #.pository +cene +ummary The play begins with &ntigone,s words addressed to her sister, Ismene. &ntigone tells Ismene that their uncle, 'ing Creon, has decreed that $olynices, their older brother, not be gi-en a proper burial. #teocles, their younger brother, has been buried with great honor as a hero, but $olynices, 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 $olynices, and anyone who tries to bury him will be stoned to death. &sserting that she will not betray the memory of her dead brother, &ntigone in-ites Ismene to 3oin her in the dangerous task of burying $olynices. Ismene ad-ises her against breaking Creon,s law. +he reminds &ntigone about the ruin that has fallen upon their family. Creon, Ismene belie-es, will order their deaths if they decide to bury $olynices. Ismene holds the con-entional belief that being a woman, she cannot challenge Creon,s decree. &ntigone does not force Ismene to help her. +he decides to perform this task alone, and she thinks that it is a great honor to do so. +he belie-es that she has a 1duty towards the dead,2 and she accuses Ismene of making weak e.cuses. +he tells Ismene not to fear for her (&ntigone,s life. 4hen Ismene promises to keep &ntigone,s plan a secret, &ntigone asks her not to do so. &ntigone would much rather ha-e her deed made known to the world. +he e.presses her wish to die a noble death. Ismene admits that &ntigone, though unwise, is unmatched in 1faithful lo-e.2 Botes In the opening scene of the tragedy, the audience is introduced to the protagonist, &ntigone. +he is busy planning a proper burial for her dead brother. +he appears strong!willed and is determined to break Creon,s law, e-en on penalty of death. In contrast, Ismene lacks the will to defy Creon. +he is concerned only about her own sur-i-al and &ntigone,s life. +he considers &ntigone,s plan to bury $olynices to be 1fool!hardy.2 4hile Ismene wants to li-e within the bounds of the laws of the state, &ntigone is willing to break them in order to do what she thinks is morally right. +he belie-es that she owes a duty to her brother. +he describes her action as a 1holy crime,2 emphasi9ing that the law of the gods must take precedence o-er the law of the king. &ntigone belie-es that she owes obedience to the di-ine law that demands a ritual burial for any human being. The reader (or audience is also gi-en information regarding Creon,s proclamation when &ntigone informs Ismene of the edict. +ophocles thus draws the audience (who, like Ismene, is ignorant of the situation immediately into the center of things. #-ents are re-ealed naturally and chronologically. &ntigone 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/ 14e need must bear in mind we are but women,E Be-er created to contend with men.2

%or Ismene, womanhood is weakness, and she submissi-ely subscribes to the con-entional -iew that women must obey men. &ntigone, on the other hand, does not wish to please any man, least of all Creon. +he is not the 1hapless maiden2 that Ismene describes her to be in this scene. Ismene reali9es that despite her sister,s apparent lack of wisdom, there is in her (&ntigone a de-otion to duty and a strong bond of familial lo-e that remains faithful to the -ery end. Towards the end of the scene, the sisters are still at odds with each other. &ntigone cannot force Ismene to 3oin her in breaking Creon,s law, nor can Ismene coerce &ntigone into altering her decision regarding the burial of $olynices. In a way, &ntigone,s desire to bury her dead brother is almost a death!wish. +o 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. 4hile &ntigone wishes to die heroically, Ismene chooses to li-e a meaningless and cowardly life, in conformity to Creon,s law. This fact is made more e-ident in a later scene when &ntigone tells Ismene that she (Ismene has, in fact, chosen life o-er death. Howe-er, &ntigone prefers to die nobly rather than li-e a life of timidity and sub3ugation to con-entional authority. Lines )??!)A( The opening Chorus (or $arodos +ummary &fter the initial debate between Ismene and &ntigone, the Chorus enters for the first time in the play. It describes the beginning of a new day which dawns o-er the se-en gates of Thebes and the fountain of :irce. &ccording to the Chorus, this is the 1brightest2 and 1fairest2 day that Thebes has seen. The Chorus then gi-es an account of the battle recently fought at the gates of Thebes between the two brothers, $olynices and #teocles. The soldiers from &rgos, who had supported $olynices, hurried away from the battle because they were losing to the Thebans, led by #teocles and Creon. The Chorus ne.t relates how the warriors of &rgos came to wreak destruction on Thebes/ the man of &rgos bears 1sharp menace2 within his breast and is co-ered in armor. The Chorus describes the sights and sounds of the furious battle, as the spears fired by the enemy, 1(y awned wide around the gates that guard (their homes.2 The Chorus belie-es that the king of the 0reek gods, Feus, and his son, &tres, the god of war, were both on the side of Thebes. Feus hurled down fire on the enemy, and &res fought in open battle against the foe. :uring the battle the se-en champions of the &rgi-e army were matched against se-en champions of the Theban forces. The two brothers, $olynices and #teocles, were paired against each other and were killed when they met in combat. &fterwards the Chorus sings a song about -ictory 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 o-er Thebes. The Chorus plans to indulge in 1holy dances of delight2 and -isit e-ery shrine to gi-e thanks to the gods for this newly found peace. Botes In its first appearance the Chorus gi-es further information about the background of the play. The Chorus represents the people of the city celebrating the -ictory of Thebes o-er the &rgi-es. It -i-idly describes the battle between the two brothers and is con-entional in outlook, displaying a strong faith in the gods. Feus and &res are said to ha-e fought for Thebes. The Chorus e.ults in Thebes, -ictory, and at the same time, it prays for a lasting peace. "oy gi-es way to ecstasy as the Chorus pays tribute to *acchus with 1dances of delight2 lasting through the night.

+ophocles 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 dri-e away the &rgi-es. In an e.tended metaphor, the man of &rgos rises 1on eagle wing,2 hoping to bring ruin to Thebes. Like an eagle, the enemy screeches 1sharp menace from his breast2 and has a 1plumed crest2 crowning his helmet. His body is described as wrapped in armor of steel. Thebes, on the other hand, is the 1serpent struggling to be free2 of the predator. Therefore, the Chorus pro-ides a graphic account of the recent battle. The gods are seen to be taking sides, and they support Thebes. It is $olynices who comes 1breathing madness at the gate.2 The battle hangs in the balance until &res, the god of war, hurls himself among the &rgi-es and fights for Thebes. &t the end of the battle, the Chorus claims that $allas &thena, the godess of war (and -ictory , descended upon Thebes as a hea-enly omen of Thebes, -ictory. Hence, to gi-e thanks to the gods, the Theban chorus -isits e-ery shrine 1in solemn round.2 It concludes its opening se8uence by performing a ritual dance on stage. The Chorus pays homage not only to the gods of war and -ictory, but also to Terpsichore, the 5use of dancing and choral singing. The Chorus echoes the common citi9en,s desire for peace and stability, instead of war. Ironically, the peace for which the Chorus offers such gratitude will soon be disturbed by &ntigone,s re-olt against Creon. Lines )AA!@@A The %irst #pisode or Creon,s Opening +peech +ummary The leader of the Chorus announces Creon,s arri-al and informs the audience of Creon,s newly ac8uired 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, 1on a smooth course2 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 ne.t of kin of the slain ruler, #teocles. He belie-es that a good leader should use his power to maintain order. Creon promises that he will not 1keep silence2 if any danger threatens his citi9ens. He will not befriend anyone who does not lo-e 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/ #teocles, who had fought on the Theban side. *y contrast, he considers $olynices to be a traitor who wanted to destroy Thebes. &ccordingly, he orders that there will be no burial for $olynices, corpse6 the body shall lie in the open for dogs and carrion to feed on. Creon swears that he will ne-er let a crime against the state go unpunished. &t the same time, he promises to honor all those who lo-e the state. The Chorus accepts Creon,s laws as all!powerful. Creon asks the Chorus of elders to support and maintain his law. 4hen the Chorus asks Creon if he wants them to watch o-er the corpse, he replies in the negati-e. He wishes only that they do not show fa-or to anyone who breaks the law of the state. The Chorus responds by saying that it is not 1in lo-e with death.2 Creon belie-es that some man in the Chorus, hoping for financial retribution, may betray him by breaking his law. Botes In this scene Creon, the antagonist of the play, is introduced. He is &ntigone,s uncle and has now become 'ing of Thebes following #teocles, death. Creon is an e.pert at

political maneu-ering. Comparing the state of Thebes to 1a noble -essel2 (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 fa-ors #teocles. He tells the Chorus of elders that he is not unwilling to use force to curb any threat to the state. He brands $olynices a traitor to the state and refuses to gi-e him a decent burial. In this scene Creon portrays himself as a 3ust and noble ruler, who is willing to go to any e.tent to protect the state. In acceptance of Creon,s edict, the Chorus asks, 14ho is so fond as to be in lo-e with deathG2 This rhetorical 8uestion underscores the absolute authority of the king. Creon,s speech appears to be a -eiled threat to the elders. He does not want any of them to aid potential sub-erters of his law. The Chorus promises obedience to Creon/ 1&nd sure, ,tis thine to enforce what law thou wiltE *oth on the dead and all of us who li-e.2 Lines @@=!CC) The 4atchmen and Creon +ummary & 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 e.press himself clearly. The watchman tells Creon that the corpse of $olynices has been gi-en a burial by some unknown person, who had crept up to it, e-en though it was guarded by soldiers, during the night. The ne.t morning, the watchman and his companions disco-ered that the body had been co-ered with a fine layer of dust, and that certain religious rites had been performed o-er it. The sentinels then fought amongst themsel-es 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 'ing 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 di-ine power may be at work6 it has caused $olynices to be buried without lea-ing a trace of human in-ol-ement. Creon admonishes the Chorus of elders, describing them as foolish old men. Once again, Creon asserts that $olynices was a destroyer and traitor who came to lay waste to the land of Thebes and its temples. Creon belie-es that the gods cannot honor such -illainy. Creon angrily accuses the watchman of accepting a bribe from some 1malcontents of Thebes2 to bury $olynices, body. He rants against the e-il influence of money. 5oney, according to Creon, brings cities to their doom and turns honest men into thie-es and -illains. It has taught mankind to be wicked. Creon asserts that whoe-er has buried $olynices, 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 $olynices. The watchman -ehemently denies ha-ing anything to do with the burial and tells Creon that he (Creon has erred in his 3udgment. Creon orders the watchman to lea-e. The watchman predicts that he will ne-er again be seen in Creon,s presence. He thanks hea-en for his escape this time and e.its. Botes In this scene, the plot of the tragedy truly begins to unfold. & ma3or e-ent has occurred which will affect all further action in the play. True to the principles of 0reek tragedy, the ma3or e-ent (the burial of $olynices, body by &ntigone 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 8uite reasonable. He knows that being the bearer of 1unwelcome news,2 he is likely to face Creon,s wrath, as indeed he does. The watchman gi-es the audience (or reader a detailed, first!hand account of how he and his fellow sentinels had disco-ered that the body of $olynices was gi-en a swift and incomplete burial. The person who committed this deed was ob-iously in a great hurry, as the corpse was only partly co-ered by dust. +ophocles creates suspense by delaying the watchman,s description of the night burial until he (the watchman has o-ercome 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 con-ey the news to Creon. The superstitious nature of the Chorus is re-ealed when it states that the burial must be the work of a di-ine being, as there is no trace of the guilty person. Creon, ha-ing 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 belie-e that the gods support his (Creon,s law. The Chorus has already suggested that the gods may be against Creon by stating that some di-ine power has been the cause of the burial. Creon puts on a false show of being 3ust 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 belie-es 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 reali9e that he, too, has his faults. Lines CC@!C>? The %irst +tasimon The Chorus/ 15any a wonder li-es...2 +ummary The Chorus sings an ode to man, praising him as the wonder of all things that li-e and mo-e. 5en ha-e built -essels in which they tra-el 1the gray ocean2 and 1high! swelling seas.2 The Chorus asserts that man has e-en 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 1wo-en coils of nets.2 5an, according to the Chorus, is thus 1craftywise.2 5an, says the Chorus, has been able to tame the wild horse and the tireless mountain bull by means of his e.treme intelligence. He uses these beasts to farm the land. 5an has learned to create shelters against all kinds ofweather, against 1biting frost2 and 1sharp, roof! penetrating rain.2 5an, continues the Chorus, is in-enti-e and imaginati-e, endowed with many skills. He meets each new challenge with a new de-ice. The only thing that mankind cannot -an8uish is :eath. Howe-er, the Chorus praises the fact that man has been able to disco-er cures for the most baffling and dangerous diseases. 5an, the Chorus belie-es, mo-es toward either e-il or good, depending on whether he lo-es his land and fears the gods abo-e. If he follows the laws of the land and remains true to hea-en, the Chorus maintains, then man will keep his high position in the state. *ut if he acts dishonorably by committing crimes against the state as well as against the gods, he will become an outcast, shunned by all. Bow the leader of the Chorus speaks. He notices a sign of e-il, an ill!omen from the gods. He sees that &ntigone, the 1hapless child of hapless sire2 has been arrested. He

assumes that she has recklessly broken Creon,s law and has now been caught in the act. Botes This choral interlude ser-es to reduce the tension created in the pre-ious scene. It is the only respite that the audience (or reader will ha-e for a long time. &fter this point, the drama mo-es headlong into tragedy. The Chorus, song in praise of man is highly musical and rich with images fromagriculture, sailing, fishing, and hunting. 5an is shown as noble and all! powerful. He triumphs o-er both earth and sea, o-er birds, animals and fish. He is resourceful and is able to find solutions to almost e-ery problem he faces. Only :eath stands in his way. ;et the Chorus does not praise man blindly. Towards the end of the song, man is shown to ha-e a capacity for good as well as e-il. The good man is one who follows the laws of the state and of hea-en, 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 &ntigone,s act of rebellion when it becomes public. The Chorus, distinction between good and e-il is too simplistic in nature, and will soon be pro-ed wrong. The Chorus indulges in moralistic preaching and displays certain pre3udices. &ntigone may ha-e broken the law of the state, but she is still in the right. :espite the buoyant mood of the choral song in praise of man, the mention of :eath,s presence changes the tone. It is a harbinger of things to come. &nd soon enough, the leader of the Chorus tells of the arrest of the 1girl &ntigone.2 Bow the play is on the threshold of tragedy. Lines C>)! ((( The +econd #pisode/ The 4atchman, &ntigone and Creon +ummary The watchman enters, bringing along with him &ntigone, his prisoner. He announces that it is &ntigone who has committed the crime by burying her dead brother and now demands to meet the king. Creon enters and in8uires into the matter. The watchman tells him that the first 3udgment is often pro-ed wrong by subse8uent reflection. He had thought that after the threats he recei-ed from Creon the first time, he would ne-er again wish to come to the palace. *ut now he has come willingly, bearing &ntigone as his prisoner. +he has been/ 1Caught in the act of caring for the dead.2 This time there was no need to cast lots, and the watchman came -oluntarily to bring the news to Creon. He asks Creon to e.amine and 3udge &ntigone. The watchman wishes to be free and to get away from 1 the bad business2 that he has become a part of because of his duty as a guard. &t first Creon cannot belie-e that &ntigone is responsible for the deed, but he is soon persuaded by the watchman,s detailed e.planation as to how &ntigone was apprehended. &fter the burial that took place on the pre-ious night, the guards had once again laid bare $olynices, body, according to Creon,s orders. 4hile they were keeping watch o-er the corpse in the heat of the noon, there suddenly arose 1a whirlwind from the ground.2 & dust!storm ensued and the sentinels were forced to shut their eyes to keep out the dust. 4hen the storm had ceased and the sentries had opened their eyes, they saw the girl, &ntigone, who cried aloud 1in high and bitter key2 when she saw that her brother,s body was, once more, laid bare. &ntigone cursed the guards for undoing her deed of the pre-ious night. Then she took a 3ar of

brass and from it poured three libations (offerings of li8uid to the gods , in honor of her dead brother. 4hen they saw this, the guards rushed towards &ntigone and sei9ed her. They charged her with the 1crime2 of attempting to bury her brother,s body. &ntigone 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 1a friend2 (&ntigone into distress. Howe-er, he concludes that his own well!being is more important to him than that of anyone else. Creon asks &ntigone whether she will confess to the deed or deny it. &ntigone asserts that it is she who has done this deed. Creon bids the watchman to depart. He readily does so and seems 8uite disconcerted about his role in the tragedy. Botes The plot mo-es with renewed -igor in this scene. &ntigone has been arrested while trying to gi-e her brother a decent burial for the second time. The watchman at first claims to be delighted to ha-e disco-ered the real culprit, for he is now absol-ed of the charge of breaking Creon,s law. The real 1culprit2 is &ntigone. #-en Creon appears to be ama9ed to find that it is &ntigone who has broken his law. He ob-iously did not e.pect 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 &ntigone 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, 1the 0od!sent e-il.2 &fter the dust had settled, the watchman recalls how &ntigone made a dramatic appearance near the corpse and attempted to bury it in accordance with the religious rites of ancient 0reece. &ntigone had ob-iously come well!prepared for the rites of burial, for she carried with her a brass 3ar containing holy water. +he submits meekly to the guards once they disco-er her. Towards the end of his speech, the watchman admits that he is sorry to ha-e brought in &ntigone as a prisoner, for she is 1a friend in distress.2 &ntigone is ob-iously 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, &ntigone. Lines ((A!A@C The H&gon, O7 :ebate between &ntigone and Creon +ummary This scene continues the action of the pre-ious scene without a break. Creon and &ntigone are the two main characters left on the stage along with the Chorus. &fter Creon has sent away the watchman, he turns to &ntigone and asks her if she was aware of his decree concerning $olynices, body. &ntigone curtly responds in the affirmati-e. Creon then demands to know why she dares to disobey the edict he had laid down. &ntigone replies that the law Creon has made is not the law of hea-en, nor is it a law that is in any way 3ust. +he asserts that the gods ha-e laid down laws for human beings to follow. &ntigone does not belie-e that Creon, a mere mortal, can issue edicts that defy the 1infallible, unwritten laws of Hea-en.2 &ntigone reminds him that the laws of hea-en ha-e been in e.istence from time immemorial. Bobody can claim to know when they were first framed and set down.

&ntigone does not want to incur the wrath of the gods by breaking their di-ine laws only because they clash with the man!made laws of the state. +he 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 li-ed a life of 1boundless woe.2 &ntigone is not afraid or saddened by the prospect of her own death. Howe-er, she declares that she could not allow her 1own mother,s child2 (her brother, $olynices to lie in the open without a proper burial. +he taunts Creon by telling him that if he calls her a fool for committing the deed, then she is foolish only 1in the 3udgment of a fool,2 the 1fool2 being Creon. The Chorus admires &ntigone,s fierce resol-e and courage in the face of calamity. *ut Creon is confident that &ntigone,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 &ntigone a criminal and remarks that she has added insolence to her crime by laughing off her offense and appearing to 1glory in it.2 Creon declares that he cannot let &ntigone go free on the prete.t that she is a woman. He must pro-e his manliness and new!found powers by punishing her for the 1crime2 she has willfully committed. Bor will he spare her because she is his sister,s daughter. Creon now states that Ismene, &ntigone,s younger sister, is a 1co! partner in this plotted funeral.2 He considers her e8ually guilty of the 1crime,2 and he summons Ismene to appear before him. He claims to ha-e seen her recently, walking around the palace in a frantic manner, like a person who is scheming to undertake some de-ilish plot. He belie-es 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 gi-en the 1worst of deaths2 by the state. &ntigone asks Creon whether he wants more from her than her life. 4hen Creon replies that he claims only her life, &ntigone re8uests that she be gi-en death immediately. Bothing Creon says can change her mind now. +he belie-es that she could find no greater honor than in burying her own brother. +he tells Creon that the men of Thebes appro-e of her deed but are unable to speak out openly because they fear Creon,s power. &ntigone sarcastically remarks that being a king has its benefits, the chief of these being the ability to do as one wishes. Creon tells &ntigone that no Theban supports her, but &ntigone rebukes him by asserting that they do support her, but 1curb their -oices2 due to Creon,s absolute power. Creon asks &ntigone whether she is not ashamed to be the only one to break the law. &ntigone responds by saying that her sisterly piety bears no trace of shame. Creon asks &ntigone if her actions ha-e been harmful to the memory of her other brother, #teocles. He tells &ntigone that $olynices was a -ile traitor who had come to destroy Thebes. &ntigone respects her brothers e8ually. 1:eath knows no difference,2 she says. Creon maintains that enemies must be hated e-en if they are dead. &ntigone, for her part, has faith in the power of lo-e and not hatred. Creon then sentences her to death and asserts that he will not be ruled by a woman. Botes This is the first ma3or agon (debate, or dramatic conflict in the play between the two main characters, &ntigone and Creon. Creon tries to subdue &ntigone by proclaiming that she has broken 1the published law.2 *ut &ntigone is not to be defeated. +he is morally correct and she uses this fact to her ad-antage. &ntigone 8uite sensibly

belie-es in following Hea-en,s laws and not those laid down by mortals like Creon. The laws of Hea-en are 1infallible2 for her, as they ha-e e.isted from the beginning of time. Creon,s law, on the other hand, is but 1newly!born,2 as &ntigone points out. %or &ntigone, the established laws of Hea-en ha-e been tried and pro-en to be correct. &ntigone 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 e-ident in this scene. The Chorus is the first to obser-e this/ 1%ierce shows the maiden,s -ein from her fierce sire6E Calamity doth not subdue her will.2 The Chorus notes that &ntigone,s traits ha-e come down to her from her father, 'ing Oedipus. :espite &ntigone,s fierce resol-e 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 e-ident/ her defiance is a threat to his status as a king, and so he must destroy her, e-en though she is his sister,s child. Creon tries to detract from the fact that &ntigone,s action is an honorable one by claiming that &ntigone and Ismene had entered into a conspiracy against the state. &ntigone, on the other hand, maintains that she has performed a glorious deed. The entire debate is an attempt by Creon to demorali9e &ntigone. He tries to pro-e that she is wrong so that he can gain the upper hand in his attempt to win o-er the people of Thebes. He asks &ntigone whether she has not betrayed the memory of #teocles (the brother who had refused to gi-e up the throne of Thebes . Inlike Creon, who supported #teocles because it was politically e.pedient for him to do so, &ntigone treats both her brothers as e8uals. +he does not accept Creon,s argument that $olynices was a traitor who came to destroy Thebes. %or Creon, $olynices is the wicked brother, hated e-en in death6 but &ntigone adheres to the law of lo-e and is not consumed by hatred for anyone. +he makes a powerful and telling statement/ 1:eath knows no difference, but demands his due.2 &t the end of the scene Creon has lost his composure and states that he will ne-er 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 &ntigone,s world of ideals. &ntigone is resolute to the end and thoroughly enrages 'ing Creon. Lines A@(!A>@ Creon, Ismene and &ntigone +ummary The Chorus announces the arri-al of Ismene, in tears and full of an.iety. Creon describes Ismene as 1a serpent coiled in the house2 and a sub-erter of his throne. He asks her whether she will acknowledge her role in the burial of $olynices, body. Ismene falsely admits to being a partner in crime with &ntigone. Ismene wishes to bear her part of the blame. &ntigone, howe-er, denies that Ismene played any part in the burial. Ismene wishes to go with her sister to her death, but &ntigone forbids her to do so. &ntigone asserts that she has done the deed alone and that she does not need this -erbal support from her sister. Ismene is hurt as she feels that &ntigone is now scorning her. Ismene laments that she has no 3oy left in life, but &ntigone tells her to sa-e herself. Ismene had earlier chosen life o-er death when &ntigone first re-ealed to her the secret burial plan. &ntigone obser-es that her life, too, has long been spent in the ser-ice of the dead. Creon upbraids Ismene for taking lea-e of her senses. He forbids her from addressing &ntigone as her sister, for &ntigone is 1nothing now.2 Ismene asks Creon whether he

intends to kill his son,s (Haemon,s betrothed. Creon replies by saying that Haemon 1may find other fields to plough upon.2 He remarks that &ntigone would make a 1wicked consort,2 not worthy of Haemon. He resol-es that 1death must come2 between Haemon and 1his 3oy.2 He orders that &ntigone and Ismene be taken away and locked up. It is now settled that &ntigone must die. Botes This scene includes a debate between &ntigone 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. *ut &ntigone is unwilling to share with her sister the honor she will recei-e for burying her brother in defiance of Creon,s law. *esides, &ntigone reminds Ismene that she (Ismene has already chosen life o-er death. One may recall that in the opening scene of the play, &ntigone had re8uested Ismene to 3oin her in burying their brother, but Ismene had refused to do so. &t that time, Ismene was afraid that Creon would punish them with death if they were caught. In the present scene, howe-er, Ismene shows some dignity and nobility. &lthough 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 &ntigone re3ects it. Ismene belie-es that &ntigone is now scorning her because she (Ismene had earlier refused to help &ntigone with the burial plan. It is true that &ntigone does not want Ismene to share her glory in dying for her brother6 howe-er, &ntigone also wants Ismene to li-e. +he tells Ismene/ 1Life was the choice you made. 5ine was to die.2 &gain, as in the first scene, the 8uestion of choice or free will arises. &ntigone chose freely to break the law, for which she knew she would be punished, whereas Ismene chose to li-e by the laws of the land. Therefore, Ismene has not ac8uired the right to die at this point. %or &ntigone, facing death (e-en as a 1criminal2 is a gift from the gods, a release from earthly sorrows. Ismene displays the e.tent of her sisterly affection in this scene. 4hen Creon obser-es the two sisters 8uarreling o-er whether Ismene should die with &ntigone or not, he naturally concludes that these two ha-e lost their minds. In any case it is not up to the sisters to decide whether Ismene should be accused or not6 that is Creon,s prerogati-e. Creon has already decided that &ntigone must die, e-en 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 &ntigone,s cause. Lines A>C!=@C The +econd +tasimon The Chorus/ 1*lest is the life that ne-er tasted woe.2 +ummary 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 ne-er suffered pain and anguish in hisEher life is indeed blessed. The Chorus remarks that when a house (here meaning 1family2 has undergone its first tragedy, then troubles come upon it in e-er!increasing numbers. :eeper 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, ha-e suffered terrible calamities in 8uick succession. %resh sorrows ha-e distressed each new ruler of

Thebes upon ascending the throne. #-en the most recent 1smiling light2 of Thebes has been e.tinguished. The Chorus belie-es that the gods ha-e been ruthless in reducing the powerful Cadmus dynasty to ashes. The Chorus then prays to Feus, the highest of all the 0reek gods. They reali9e that man is powerless in the face of Feus, might. The Chorus remarks that Feus has ruled fore-er. The Chorus belie-es that there e.ists 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 8uotes one of the wise men of ancient 0reece as saying that the mind often mistakes e-il for good. In this present time and age, the Chorus considers few people to be able to li-e a life free of troubles. Botes The subdued note that the Chorus strikes in this +tasimon is in sharp contrast to the note of celebration e-ident in the pre-ious choral song, 15any a wonder li-es.2 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 'ing of Tyre. He was turned into a serpent and taken to #lysium, and all of his daughters met with disastrous ends. Thus, for a long time, 1the stock of Cadmus2 has suffered tragedies. Laius, Oedipus, father, was the great! grandson of Cadmus. 4hen he was the 'ing 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, "ocasta, and ended his life in tragedy. Bow it is the turn of Oedipus, daughter, &ntigone, to face death. &lready her two brothers ha-e fought against and killed each other. Therefore, as the Chorus rightly puts it, this is a family destined for disaster. The gods do not e-er seem to smile kindly on them. 1The new smiling light2 that the Chorus admires is &ntigone, who will soon be lost 1in dark Bonentity.2 +he 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. %or the Chorus, it is the gods who control the li-es of men. Feus, the king of the 0reek gods, rules men,s li-es from the lofty 5ount Olympus. Olympus is the highest mountain in 0reece. &ccording to 0reek mythology, twel-e Olympian gods li-ed on the summit of the mountain. The Chorus now sounds pessimistic. They belie-e that misery is endemic to the world in general, and e-en if hope e.ists, it soon results in destruction because it gi-es rise to fatal desires. The days seem full of despair, and one cannot tell the difference between e-il and good, for the 1angry 0od2 of desire that rules man,s mind also makes him blind to the truth. Thrace was a region in the northeast of the *alkan $eninsula. Historians belie-e that 0reece owes the beginnings of its music, mythology and philosophy to the early inhabitants of Thrace. Lines =@(!J>( The Third #pisode/

Creon and Haemon +ummary The leader of the Chorus announces the arri-al of Haemon, Creon,s youngest child. Haemon appears to be mourning since he has heard of &ntigone,s misfortune. The leader of the Chorus wonders whether Haemon is mourning because &ntigone will be lost in the prime of her youth or because he is to lose a bride. 4hen Haemon enters, Creon asks him whether he is angry with his father for ha-ing sentenced &ntigone, Haemon,s 1promised bride,2 to death, or whether he will un8uestioningly accept his father,s will. Haemon mildly responds that he will follow Creon,s orders and that he prefers his father,s 1wise go-ernment2 to the fairest bride. Creon is pleased with his son,s response and enters into a lengthy monologue on the -irtue of ha-ing obedient children. He is happy that Haemon has bowed his 1constant mind2 to his father,s will. & child,s loyalty to his father, remarks Creon, is important because the child can support the father in moments of danger. *ut a child who is disloyal brings, according to Creon, only sorrow to his unfortunate father. Creon ad-ises Haemon against gi-ing up his own worth for the sake of a woman. He e.plains that a 1wicked wife,2 such as &ntigone, brings no comfort. He asks Haemon to re3ect such a woman and to lea-e her to her wretched fate. &ntigone 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 1word before the state.2 Creon cannot tolerate rebels within his own state. He belie-es 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 &ntigone, who destroy law and order, thereby bringing about the downfall of cities. +uch 1traitors2 cause wars which conse8uently bring death and destruction. Creon asserts that he must 1defend the law2 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. *ut Haemon warns Creon that the citi9ens of Thebes are unhappy that their monarch has condemned &ntigone to death. Haemon obser-es that the citi9ens are unable to speak out against Creon,s decision for fear of punishment. The Thebans in the street, re-eals Haemon, mourn for &ntigone and hold her in high esteem for her glorious deed. They feel that &ntigone,s deed merits the highest praise. Haemon labels this unrest among the people as 1the dark rumor spreading silently.2 Haemon declares that his father, a king of high renown, is precious to him. Children glory in their parent,s fame, notes Haemon. ;et he ad-ises Creon against neglecting to take into consideration others, points of -iew. 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 -oice of reason. Haemon cites the e.ample of the tiny plant which yields to the flow of torrential waters in order to sa-e its twigs, while the huge tree, which stubbornly resists the torrent, is swept away. +imilarly, Haemon speaks of the mariner who does not loosen the sail when caught in a storm, and conse8uently causes his -essel to capsi9e because his sail is too tightly set. Haemon pleads with Creon to relent and accept change, as it is ine-itable. Haemon understands that it is good to possess wisdom, but he also recogni9es that man is not infallible, as far as his 3udgment is concerned, and so he must learn to accept criticism. The Chorus now begins to reali9e that Haemon,s arguments are correct. The Chorus asks Creon to learn from his son, but it also ad-ises Haemon to be guided by his

father. The truth lies somewhere between the two e.treme stances adopted by father and son. 'ing Creon will not tolerate being lectured to by his young son. Haemon responds to this by saying that when it comes to the 8uestion of what is right and what is wrong, age makes no difference. Creon asks Haemon whether he (Haemon considers &ntigone 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, 1&m I ruled by ThebesG2 Haemon candidly remarks that a single person does not make up a city. Creon now accuses Haemon of defending &ntigone, to which Haemon replies that he cares about Creon, his father. Creon had already labeled Haemon 1the woman,s champion26 now Haemon asserts that Creon is 1the woman2 for whom he is trying to rescue the situation. Creon is angry with Haemon for showing such impudence. Haemon obser-es that he (Creon has spurned the gods. Creon describes his son as an 1(a bominable spirit, woman!ledK2 He proclaims that &ntigone will not li-e to be his wife. Haemon warns Creon that &ntigone,s death will ruin him (Creon . Creon takes this to be a threat and promises that Haemon shall pay for his insolence. He orders &ntigone to be brought and put to death immediately in the presence of her lo-er, Haemon. *ut Haemon refuses to stay and watch her suffer. He swears that he will ne-er again see his father and walks out. The Chorus obser-es 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 &ntigone. 4hen the Chorus asks whether Creon intends to e.ecute both the sisters, Creon finally concedes that only &ntigone, the one who performed the deed, should die. The Chorus asks to be made aware of the means of e.ecution that Creon proposes to use. Creon replies that &ntigone will be buried ali-e in a 1ca-e!like -ault2 in the desert. Botes &nother important player is introduced in the scene/ Haemon, the youngest son of Creon. Haemon has been betrothed to &ntigone, his cousin, and now comes before his father to challenge his (Creon,s decision that &ntigone must die. This leads to the third ma3or agon (debate of the play. &t 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 &ntigone a 1wicked consort2 who is not fit for Haemon. *esides, &ntigone 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 &ntigone is in the wrong. In a way, Creon now e8uates &ntigone with her brother, $olynices, whom he had also branded a traitor. +uch 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 gi-e 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 3ustifying &ntigone,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 &ntigone is being treated un3ustly. 4hile 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 ad-isor, gi-ing Creon fair warning about the situation. #-en as he praises his father for carrying out the responsibility of a king, Haemon admonishes Creon for not lending1an ear to reason.2 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. Howe-er, he is morally wrong because his law contradicts that of the gods. Creon,s insensiti-ity is e-ident in this scene, as he discredits &ntigone,s name while speaking to Haemon, her lo-er. He does not try to soothe Haemon or calm him down, but instead pro-okes 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 &ntigone could ha-e been man and wife. His ob-ious insensiti-ity stands in sharp contrast to Haemon,s deep concern, both for &ntigone and his father. Creon sees Haemon,s concern as insolence and swears that he will ha-e &ntigone killed in front of Haemon. Creon,s ruthlessness is the last straw for Haemon, who e.its in anger, but not before warning his father against acting like a cold!blooded dictator/ 1Bo city is property of a single man.2 &fter Haemon,s e.it, Creon states that he wishes to put to death both &ntigone and Ismene. Howe-er, the Chorus, 8uestion causes him to change his mind, and he decides that only &ntigone will die. The painful nature of her death (by li-e burial makes the situation appear more tragic and shows Creon in a ruthless light. Lines J>A!>?C The Third +tasimon/ The Chorus/ 1Lo-e uncon8uered in fight2 +ummary The Chorus sings an ode in praise of lo-e. Lo-e is described as a warrior, who is 1ne-er con8uered in fight.2 Lo-e wreaks ha-oc on the wealthy and the famous. Lo-e is personified as a human being, or a lo-er, who keeps watch the whole night long in order to make ad-ances towards a young maiden. Lo-e roams o-er seas and resides in lonely dwellings in the forest. Bobody can a-oid the thrills and pains of lo-e. Humans, as well as the gods, are o-ercome by lo-e and e.perience its fren9y. Lo-e, in a light and fri-olous manner, leads 1righteous minds2 into wrong. Thus lo-e brings about the ruin of those who were once good people. The Chorus blames lo-e for causing the 1unkindly 8uarrel2 to erupt between Creon and Haemon. The Chorus asserts that e-en kings and makers of mighty laws are subordinate to the 1heart! compelling eye of winsome bride.2 The Chorus ends with the line, 15adly thou mockest men, dread &phrodite.2 The leader of the Chorus now speaks. He is unable to restrain his tears, for he sees &ntigone making her way to her final resting place. Botes Haemon,s appearance in the pre-ious scene and his 8uarrel with Creon has had its effect on the Chorus. The Chorus now sings about lo-e and its ability to rule o-er all. Lo-e is compared to a soldier who destroys rich, established people. Lo-e keeps watch all night in order to seduce a young maiden. Lo-e e.ists in e-ery corner of the world and rules o-er e-eryone, both mortal and immortal. &ccording to 0reek mythology, e-en the gods hadlo-e affairs.

The Chorus sees lo-e as a distraction which draws righteous men to their doom. It con-eys the belief that Haemon,s lo-e for &ntigone 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 lo-e. &phrodite, the goddess of lo-e, rules o-er men,s hearts and sways men so that they are led towards disaster. +he is aptly described as 1dread &phrodite.2 The leader of the Chorus is deeply mo-ed when he sees &ntigone walking to her place of e.ecution. &s a citi9en of Thebes, he sympathi9es with &ntigone and is unable to distance himself from what is happening. Like the Chorus, the audience begins to pity &ntigone. They respect and admire her for her fascinating courage Lines >?(!<(( The %ourth #pisode/ &ntigone,s Lament +ummary &ntigone is led in by the guards. +he addresses the citi9ens of Thebes, telling them that she goes to her final resting place. +he will take her last look at the sunlight. Be-er more will &ntigone see the dawn. &ntigone laments that she will ne-er be married and no wedding songs will be sung for her6 only an untimely death awaits her. The Chorus assures &ntigone that her death will not be an inglorious one. +he will die with great honor and fame. The Chorus obser-es that she is not to die in battle or due to a terrible disease. &ntigone, by contrast, has chosen her own death. &mong all mortals, she alone goes ali-e to the world of the dead, remarks the Chorus. &ntigone reminds the Chorus of the death of Tantalus, child, Biobe, who was turned into a column of stone after the deaths of her children. Biobe met her end on the heights of 5ount +ipylus, and o-er her 1stone!cold breast2 the i-y clings and grows, says &ntigone. The dew runs down Biobe,s cheek, and the 1eternal snows2 co-er her and cause a 1tearful stream2 to pour down from the mountain. &ntigone remarks that, like Biobe, she also will suffer death because it is her destiny. Like Biobe, she will be trapped in the earth. The Chorus reminds &ntigone that Biobe was born to a goddess, while &ntigone is merely human. Therefore, the Chorus belie-es that &ntigone has achie-ed greater glory in death, e-en ri-aling the fate of Biobe, 1a daughter of sire :i-ine.2 &ntigone is distraught and feels that the Chorus mocks her by telling her that her death is uni8ue. &ntigone asks the citi9ens of Thebes and the landmarks of Thebes, such as the fount of :irce and the spacious gro-e where Theban chariots run, to stand as witnesses to her lonely and unlawful e.ecution. &s she goes towards her doom, &ntigone re-eals that she feels completely helpless because she belongs neither to the land of the li-ing nor that of the dead, but stands somewhere in between. The Chorus praises &ntigone for her courage and tells her that she did not foresee the full force of Creon,s 1"ustice.2 The Chorus belie-es that her father,s misfortune now causes &ntigone to be sent to her doom. On being reminded of her father,s tragedy, &ntigone is e-en more saddened. +he recalls that all the sorrows of the world ha-e been e.perienced by the family of Cadmus. +he speaks of the 1cursed marriage2 between her parents, Oedipus and "ocasta, who unwittingly committed incest. &ntigone, who was the fruit of this unhappy marriage, is now destined to die, young and unmarried. +he addresses her dead brother, $olynices, telling him that in his death, he has also destroyed her.

The Chorus admits that &ntigone,s deed was 1pious.2 Howe-er, they also reali9e that Creon, whose 1power would show,2 must not allow anyone in Thebes to defy the laws that he lays down. The Chorus tells &ntigone that she is going to her death because of 1a self!willed passion.2 &ntigone once again mourns that she goes 1friendless, uncomforted2 and 1unmourned2 to her death. &s dawn breaks, &ntigone is led towards her doom. Creon now enters and mocks &ntigone by remarking that if criminals were gi-en time to make final speeches before their e.ecution, such speeches would ne-er come to an end. He orders that &ntigone be taken away to her 1-aulty tomb.2 He does not care whether she li-es on or dies in the walled!up cell. He claims that he is not guilty of causing &ntigone,s death. &ntigone begins once again to grie-e for herself. &lthough she is sad that she has to die young, she is happy at the prospect that she will soon 3oin her father, Oedipus, and her mother, "ocasta, as well as her brother, $olynices, for whom she has gi-en up her life. +he 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. &ntigone,s parents are both dead, and she therefore understands what it means to lose a family member. &ntigone breaks down and cries to Hea-en. +he is miserable o-er ha-ing been robbed of the right to be a mother or a wife. :espite her piety, she is being punished as a criminal. +he swears that if Creon,s law is to the liking of the gods, she will repent and ask forgi-eness for her deed, but if Creon,s law is ultimately un3ust, then &ntigone demands that Creon, too, should suffer the pain that she is suffering. The Chorus obser-es that &ntigone,s soul is still passionate, e-en as she faces death. &s &ntigone is led out by the guards, she tells the people of Thebes to obser-e that she goes 1oppressed2 and 1unworthily2 to her death. Botes Ip to this point in the play, &ntigone has been e.tremely stoic, not re-ealing much emotion. In an earlier scene soon after her arrest, &ntigone stated that life to her meant nothing (lines (=C!(=( , as she has li-ed a life of sorrow. *ut 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 li-e life to its fullest6 she will not fulfill her womanly needs. +he will not be able to en3oy 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 ali-e to the land of the dead. &ntigone recalls that Biobe, the daughter of Tantalus, had met with a fate similar to her own, when she was turned to stone on the heights of 5ount +ipylus. The use of images from nature, the 1tearful stream2 and eternal snows,2 adds to the pathos of the description. The Chorus remarks that since Biobe was born of a goddess, and since &ntigone will suffer a similar fate to Biobe,s, &ntigone,s death is indeed a glorious one. &ntigone belie-es that the Chorus is making fun of her in her moment of despair. +he asks all those present, as well as the natural landmarks of Thebes (the fountain and gro-e , to bear witness to her unwarranted death. &ntigone is e-en more despondent because she goes ali-e and friendless to her tomb. &t this moment she belongs to neither the land of the li-ing nor that of the dead. The Chorus, attempts to soothe her, howe-er, ha-e the re-erse effect, when they remind her of her father, Oedipus, and his fall. +he addresses her dead brother, $olynices, saying that his 1princely marriage2 to

the daughter of the 'ing of &rgos ultimately brought his downfall, as well as &ntigone,s (since $olynices led an army from &rgos 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 sympathi9ing with &ntigone, at others asserting that Creon must enforce the law of the state in order for Thebes to ha-e a stable e.istence. They point out that it is her 1self willed passion2 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 1guiltless in the matter of this maid.2 He asserts that he is not taking &ntigone,s life, but only ordering that she be walled up in a tomb, with pro-isions. 4hether she li-es or dies is none of his business. This is Creon at his hypocritical best. He knows -ery well that &ntigone is bound to die in the walled!up ca-e, yet he pretends that the sentence he has passed on her is not so serious. &ntigone, who reali9es the horror of her impending entombment, now bursts into a heart!rending lament for herself. +he finds comfort in the belief that after death, she will meet her belo-ed parents and brothers. +he has lost all her composure now and wonders why she, who has acted honorably, should die the death of a criminal. +he lea-es it in the hands of the gods to decide whether she was right or wrong in burying her brother. If she was right, &ntigone asks that the people who pass 3udgment 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 reali9es that &ntigone,s spirited nature is still ali-e, e-en in her last moments. %inally, &ntigone is taken away. This is the last the audience shall see of her. The %ourth +tasimon/ The Chorus 1#-en :anaL,s beauty left the lightsome day.2 +ummary The Chorus sings of :anaL, the daughter of &crisius, 'ing of &rgos, who was confined in a tower of brass by her father. ;et Feus lo-ed :anaL and came to meet her as a shower of gold(1the golden rain2 . 5isfortune, which is destined to occur, will come no matter how great or powerful the sufferers may be. The Chorus recalls how the son of :ryas was trapped in an 1eyeless -ault of stone2 by the 0reek god, :ionysus, as a punishment for ha-ing played a prank on the god and his followers. The Chorus then sings about the legend of $hineus, two sons, who were blinded by their father at the behest of their stepmother. The sons cried out to Hea-en for re-enge until Feus responded by blinding their father, $hineus. Howe-er, the sons of $hineus cried chiefly for their mother, Cleopatra, who was 1the source of their re3ected birth.2 Cleopatra came from the family of #rechtheus and li-ed out her life in far off ca-es, where she endured terrible storms. &lthough she was born of di-inity, she too suffered a terrible fate. Botes In this choral piece, the audience is told about the ine-itability of doom. The Chorus has 3ust seen &ntigone being led to her death and asserts the belief that destiny rules the li-es of e-eryone, both mortal and immortal. It cites the e.ample of &crisius, the 'ing of &rgos, who imprisoned his daughter, :anaL, because an oracle had predicted that her son would kill him. *ut &crisius could not escape the hand of %ate and was killed by his daughter,s son.

The Chorus goes on to tell of the imprisonment of the son of :ryas by :ionysus, and of the blinding of the sons of $hineus. %ate is seen as striking a blow at $hineus with her shuttle (a kind of weapon . The Chorus ends by relating the tale of Cleopatra, the mother of $hineus, children, who spent her days in isolation in remote ca-es. Lines <>>!)?<? The %ifth #pisode/ Tiresias and Creon +ummary Tiresias, the seer of Thebes, enters, led by a boy. He addresses the 1Lords of Thebes2 (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 ad-ice to Creon on pre-ious occasions has been sound and useful, and has sa-ed Thebes from destruction. Creon agrees. Tiresias now warns Creon that Thebes is once again on the 1edge of peril.2 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 8uestion. He relates that once, while he sat on his ancient seat of di-ination, he heard birds of prey screeching and fighting among themsel-es. He could hear the talons of two birds tearing each other apart. %rightened by these strange noises, Tiresias offered a sacrifice to the fire!god at the high alter of Thebes. *ut the fire did not burn brightly because a li8uid had dripped onto the fire from the bones of the animal which Tiresias had offered as a sacrifice. Thus the fire was turned into 1a sputtering fume.2 The animal,s bile was thrown up high into the air. Tiresias took this as an bad omen. &lthough 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 ha-e been infected because of the dogs and -ultures who ha-e fed on the decaying body of $olynices, which lies out in the open due to Creon,s decree. Tiresias complains that the gods refuse to accept sacrifices from infected altars. He ad-ises Creon to relent and to listen to reason. He asks Creon not to be infle.ible, but to make amends for his unnatural beha-ior. He tells Creon that there is no honor in demeaning the man who is already dead. Tiresias belie-es that careful counsel 1is precious to the understanding soul.2 Creon describes himself as the target of e-eryone,s anger. He accuses Tiresias of ha-ing taken a bribe to speak out against Creon. He promises ne-er to allow $olynices, 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 1dishonest.2 &t 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 &ntigone and the cruel manner in which Creon has refused a burial for $olynices, body. The 1powers beneath2 (the gods of the Inderworld, Hades and $ersephone demand that $olynices, corpse be buried. Tiresias tells Creon that the a-enging gods and the 1furies of the gra-e2 are waiting to bring 1ruinous harm2 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 lea-es in a hurry, warning Creon not to act unwisely. Botes Tiresias, the blind prophet of Thebes, appears as a character in +ophocles, Oedipus 7e. and #uripides, *acchae and $hoenissae. Tiresias was granted the gift of prophecy by Feus. &s in Oedipus 7e., Tiresias comes to warn the 'ing 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 1see2 more clearly than most men. He has heard the 8uarreling among the birds who were fighting for their share of $olynices, body. %or Tiresias, such an e-ent is a bad omen. %urthermore, his sacrifice to the gods at the altar of Thebes was re3ected. Tiresias concludes that something is wrong within Thebes, and it is none other than Creon,s edict concerning the burial of $olynices. 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 $olynices, body to be buried, so that the gods may be satisfied. Then, the people of Thebes can once again li-e 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 $olynices buried. Creon has at this point pro-oked Tiresias, wrath. Tiresias re-eals to Creon all that he sees as a prophet. He foretells the deaths of two members of Creon,s family in e.change for the cruel treatment that Creon has meted out to &ntigone and for his refusal to allow $olynices, burial. Tiresias obser-es that the gods of the Inderworld are unhappy because $olynices, body needs to be buried so that his spirit can reach Hades. Tiresias warns Creon that unless he retracts his proclamation and forgi-es &ntigone, 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 )?<)!)))( Creon and the Chorus +ummary &fter Tiresias, departure, the Chorus warns Creon that 1there is terror2 in Tiresias, prophecy. The Chorus knows that Tiresias, in the many years that he has ad-ised kings, has 1ne-er spoken falsely to the state.2 Creon is well aware of this. 4hile 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 ad-ise him, and he tells them that he will follow their ad-ice. The Chorus ad-ises him to release &ntigone from the -ault and to allow $olynices, body to be buried. Creon finds this counsel hard to follow, but finally accepts it as %ate. In spite of his own misgi-ings as a politician, Creon says that he is forced to accept the Chorus, ad-ice. The Chorus tells him to go personally to rescue the situation, and Creon hurries out with his entourage for the hill where &ntigone is to be entombed. Creon now feels that it is better to conform to tradition. Botes In this scene, Creon makes a complete about!face. 7ight up to this point, Creon has been resolute, con-inced that &ntigone should die. Bow suddenly he accepts what

Tiresias and the Chorus tell him to do. He has ob-iously been shaken by Tiresias, prophecy. Howe-er, his repentance comes only after Tiresias, e.it. &s a king, Creon cannot bear to be seen losing face before his sub3ects. 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 reali9es that the citi9ens of Thebes, as represented by the Chorus, do not appro-e of his proclamation. He rushes out to rectify the wrongs he has committed, but it turns out that he is too late. Lines )))A!))A( The %ifth +tasimon/ The Chorus 1O 0od of many a name2 +ummary The Chorus now sings a dithyramb (a short poem , praising the god, :ionysus (or *acchus . &s the Chorus informs the spectators, :ionysus was born of the union of Feus, the king of the gods, and +emele, the daughter of Cadmus, the founder of Thebes. :ionysus is thus the son of Feus, who 1wields the withering flame.2 The Chorus asserts that :ionysusE*acchus protects the 0reek settlers staying in southernItaly. The Chorus refers to the legend of the women of Thebes, who refused to worship *acchus and were punished with madness. The Chorus now describes the haunts of *acchus (the places he fre8uents . The worshippers of *acchus include the nymphs of the Corycian gro-e, close to :elphi. The Chorus describes *acchus as he mo-es beneath the mountain of Bysa where the nymphs sing his praises. The Chorus thanks *acchus for maintaining Thebes, prosperity among cities. They ask *acchus to bring 1healing2 to Thebes once again. *acchus is described as the leader of a hea-enly choir, and the child of him 1who dwells in light2 (Feus . The Chorus re8uests him to bring 3oy back to the city. Botes In this interlude, the Chorus sings a dithyramb in praise of the god :ionysus. The dithyramb was de-eloped into a literary genre by the poet, &rion. The dithyramb became popular among the 0reek playwrights in A?< *.C. The dithyrambic Chorus did not wear masks. +ophocles introduces the dithyramb not merely as a matter of literary tradition, but because :ionysus was the son of +emele, a princess of Thebes. Therefore, :ionysus 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 1-iolent woe.2 Like the ordinary citi9ens of Thebes, the Chorus hopes for peace and security. :ionysus is described as a god who brings 3oy and soothes cares. His followers, the nymphs, were female personifications of natural ob3ects, such as trees, ri-ers and mountains. The nymphs of the Corycian gro-e looked after :ionysus when he was young. Thus, :ionysus li-ed amidst nature,s beauties. The Chorus describes how on the heights of 5ount Bysa, praises are sung to :ionysus by his followers, who include +atyr, +ileni 5aenads and *assarids, all of whom were collecti-ely known as the 1*acchi.2 In the last stan9a the Chorus re8uests :ionysus to bring back prosperity and security to Thebes. Thus the Chorus demonstrates the belief that the li-es of men are determined by the gods, or by %ate. The Chorus laments that Thebes is full of 1-iolent

woe.2 It paints a *acchic (or :ionysian scene which re-eals :ionysus surrounded by a choir comprising his followers, who sing and dance in ecstasy. The #.odus/ Lines ))AA!)@(@ #urydice and the 5essenger +ummary & 5essenger enters. He addresses the Chorus, telling them he would neither praise nor critici9e any person, since the fortunes of each human being change swiftly. He remarks that nobody can come to any conclusion from mere obser-ation. The messenger di-ulges that at one time he had en-ied Creon as a king and a powerful man, the ruler of Thebes. *ut now, the messenger asserts that Creon has 1nothing.2 He describes Creon as 1a li-ing corpse.2 He asserts that although Creon is still materially rich, he (Creon has no happiness left in life. The Chorus wishes to know what 1new affliction2 has struck 'ing 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 &ntigone. The Chorus obser-es that Tiresias, prophecy is beginning to come true. It now announces the entrance of 1Creon,s unhappy wife, #urydice.2 The Chorus is unsure of whether #urydice has heard the news of her son,s death. #urydice enters and addresses the Chorus of Thebes, telling them that she had 3ust come to the gates of the temple of $allas when she heard news of Haemon,s suicide. +he still cannot belie-e it to be true and asks the messenger to relate the incident once more to her. +he maintains that she is 1no no-ice in ad-ersity.2 The messenger swears to tell #urydice all that he has seen. He does not intend to tell lies that would soften the impact that the tale will ha-e on #urydice. 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 $olynices lay open. There, Creon and his men sought forgi-eness from the gods of the Inderworld, $ersephone and $luto. The body of $olynices was washed clean and then cremated. %ollowing this, Creon and his followers went to the -ault where &ntigone was to be buried ali-e. 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 -ault and found &ntigone hanging in a noose of her own making. Haemon was disco-ered on his knees clinging to &ntigone. The messenger reports that Creon had entered the tomb and had begged his son to lea-e &ntigone,s body and to step away. *ut Haemon only scowled at his father and made an attempt to pierce Creon with his sword. 4hen Creon fled from the tomb, Haemon killed himself with his sword, and in a dying embrace, he held onto &ntigone,s body. &fter hearing all this, #urydice 8uietly walks off. Botes The action has now mo-ed to catastrophe. One learns about &ntigone,s and Haemon,s deaths only by means of reportage, as the 0reek playwrights of +ophocles, time did not belie-e in depicting scenes of -iolence on the stage. Once again, +ophocles attempts to create suspense by making the messenger ramble on for some time before he comes to the cru. of the matter. %rom &ntigone,s tragedy, the play now begins to become the tragedy of Creon,s family. Of course, Creon is no hero or man of nobility. Howe-er, his suffering is great enough in the end to make him appear as a tragic personage. The messenger himself is o-ercome with grief as he reports the scene to #urydice.

In a single sentence, the messenger damns Creon, laying the entire blame for the deaths on him/ 1They are dead, and they that li-eE &re guilty of the death.2 #urydice appears to ha-e taken the messenger,s tale in stride, for she does not weep openly. *ut appearance is not reality, and she is to take her own life soon, due to her despair o-er Haemon,s death. The scene of &ntigone,s death, although not performed for the audience, is highly dramatic in description, and yet not une.pected. In an earlier scene, Haemon had already 8uarreled with his father regarding &ntigone,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. &ntigone decides to take her own life. +he preferred death by suicide to being walled up in a ca-e. Hers is a bra-e and noble death, and no cowardly suicide. Lines )@(C ! )CAC Creon/ the %inal sceneE#.odus +ummary The Chorus wonders at Mueen #urydice,s silent departure. The messenger is filled with hesitation. The Chorus belie-es that #urydice,s inability to grie-e openly at Haemon,s death is a sign that she is actually deeply distressed. It is preferred that she grie-e openly, for suppression of the emotions is bad for the mourner/ 1There is a danger, e-en in too much silence.2 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 hea-y burden. He blames himself for being too stubborn and repents ha-ing passed the decree regarding $olynices, 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 belie-es that some god has set him on the road to despair. He cries out as if he has been mortally wounded. & second messenger enters and tells Creon that he (Creon is master of sorrows. He re-eals to Creon that #urydice has stabbed herself. Creon is inconsolable. The messenger draws open a curtain, behind which lies the body of #urydice. He recounts how #urydice had 3ust mourned at the bed of her dead son, 5egareus (who died defending Thebes , and then at Haemon,s bed, before killing herself with a 1keen knife.2 *efore 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 gi-ing him a mortal blow. He falls into deep distress and begs his followers to take him away. He sees himself as responsible for #urydice,s death and claims that he has nothing left in the world. He laments that he does not wish to li-e another day. The Chorus ad-ises Creon that time will determine whether or not he will sur-i-e this catastrophe. The Chorus tells Creon that prayer is useless, as e-erything is predestined. Creon cannot bear to remain with the bodies of his wife and child. He feels that the hand of %ate has fallen hea-ily upon him. He is taken away by his followers as the Chorus sings the #.odus, or final song. The Chorus asserts that those who act wisely will li-e happily, as long as they also follow Hea-en,s laws. $roud men who boast about themsel-es will soon be punished for their pride. They will be forced to suffer immense sorrows. 5en will learn to act wisely, e.plains the Chorus, only when they are old and e.perienced. Botes The conclusion of the play re-eals a sobered Creon. He has lost his will to li-e, due to the deaths of his wife and son. He claims to ha-e learned his lesson although it is too

late to remedy the present tragedy. Tiresias, prophecy has come true. Creon comes to a reali9ation (what &ristotle would define as 1&nagnorisis2 at the play,s end. He reali9es his mistake in passing an un3ust 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 $olynices recei-ed a funeral (and burial . Howe-er, he was too late to rescue &ntigone. Once again, fate has played its part. &ntigone seems destined to die. +he herself shows an awareness of her destiny throughout the play. :ue to chance or misfortune, Creon arri-es too late to sa-e her. Had he come to the -ault before burying $olynices, body, &ntigone and Haemon might ha-e been sa-ed. *ut the wheels of fate, once set into motion, cannot be stopped. &ntigone must die, and Creon must suffer6 only then can there be tragedy. #urydice mourns not only for Haemon,s death, but also for the death of her elder son, 5egareus, who was killed in the battle against the &rgi-e army. The Chorus plays a significant part at the play,s end. 4hen Creon is miserable and does not wish to li-e, they remind him that his duty as a king re8uires that he should li-e/ 14e must attend to present needs.2 The Chorus also reiterates the theme of destiny as an all!powerful force. Their #.odus is moral in tone and assesses Creon,s beha-ior throughout the play. Creon began by acting foolishly and boasting arrogantly. He refused to pay heed to the warnings of Tiresias and did not belie-e that the gods were angry with him. Bow, through a painful e.perience, Creon has learned his lesson. &s the Chorus says/ 1High boastings of the proudE *ring sorrow to the height to punish pride.2 O6ERALL ANALYSES CHARACTER ANALYSIS Antigone The character of &ntigone is one of the most e.traordinary portraits in classical 0reek drama. It occupies a uni8ue place in the consciousness of western ci-ili9ation, from the ancient 0reeks to the present. +ophocles, &ntigone (like his later play, #lectra focuses on a strong!willed woman who wins the respect of the audience by her unyielding adherence to an ideal, regardless of the conse8uences. The obstinacy of both &ntigone and #lectra and their unwa-ering commitment to a sacred purpose continue to capti-ate modern audiences. 4hile #lectra,s purpose is to a-enge her father,s murder, &ntigone insists on burying her dead brother, $olynices. &ntigone 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. %or most of the play, &ntigone contemplates death stoically and remains morally undefeated. +ophocles portrays in &ntigone a figure through whom he can e.press his faith in the tremendous spiritual potential of humankind. He endows his heroine with the noblest 8ualities of mind, heart and soul, setting her up as the highest ideal for all humanity. Her highly de-eloped consciousness stands abo-e and outside all of human law. +he makes the supreme sacrifice of gi-ing up her life to uphold what she belie-es is right. &ntigone possesses a well!de-eloped sense of duty based on family ties. It is this which prompts her to decide that she must bury $olynices, body. +he is keenly aware of the fact that di-ine law ordains that a corpse must be buried with the appropriate religious rites. (The 0reeks firmly belie-ed that a soul could not enter the Inderworld after death unless the burial ceremonies were properly conducted. %urthermore,

&ntigone insists on gi-ing her brother a decent burial because it is the last right that e-ery human being is entitled to. It is a social obligation owed to the dead by the li-ing. %rom the opening scene onwards, the audience sympathi9es with &ntigone completely. +he permits no doubts to undermine her decision and allows no hesitation to deter her from her course of action. Howe-er, 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 &ntigone asks Ismene to 3oin her in burying their dead brother and Ismene refuses because she does not want to gi-e up her life. In re3ecting Ismene,s argument for life, &ntigone resists the con-entional temptation of the pleasures of youth. +he is also able to resist the call of lo-e, for in choosing to die, she eliminates her chance of marrying Haemon, to whom she is betrothed. It is &ntigone,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 &ntigone,s greater world of spiritual power. In the climactic scene of the play between Creon and &ntigone, one witnesses how her towering will remains firm, calm and composed while Creon is reduced to a 8ui-ering mass of rage and slighted -anity. +he 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 &ntigone,s character/ indi-idual conscience and morality stand far abo-e any man!made law. ;et one must not understand &ntigone to be a perfect character. +he is no saint/ she is infuriatingly stubborn and cannot be swayed from any decision she has set her mind to. +ome critics ha-e accused &ntigone of being a martyr. +he combats Creon,s interrogation with an almost unheard of insolence towards ci-il authority. +he obeys 1the infallible, unwritten laws of hea-en2 although she knows that her determination to do her duty towards her unburied brother will bring her an un3ust death. *ut, as &ntigone herself says, death is no great pity/ 14ho does not gain by deathE That li-es, as I do, amid boundless woeG2 &nd she strikes out effecti-ely against Creon,s poor 3udgment when she says/ 1I am foolish only in the 3udgment of a fool.2 In the final analysis, +ophocles humani9es &ntigone. &s she goes out to meet her death, she appears almost like Christ, who, on the e-e of his death, agoni9ed o-er it in the garden of 0ethsemane. +he speaks mo-ingly of her impending death and of the fact that she has li-ed an incomplete life, for she has/ 1.......ne-er known Or married 3oy or tender motherhood. *ut desolate and friendless I go down &li-e, O horror, to the -aults of the dead.2 +urely &ntigone,s obstinacy and insolence for the right cause is far more admirable than Creon,s opinionated defense of the wrong cause. &ntigone does not choose to stand idly by and watch an e-il world roll on in its heartless, mindless grind. +he prefers to die a glorious and stoic death. CHARACTER ANALYSIS Creon Creon, the brother of "ocasta, and &ntigone,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. &t the start of +ophocles, &ntigone, Creon has 3ust assumed full powers as king in his own right. (He was named regent during his pre-ious terms as ruler of Thebes. 0enerally, Creon is -iewed as the -illain of this tragedy6 the one who wields the repressi-e power of a dictator. &s soon as Creon assumes the reins of the go-ernment, he is faced with a great political crisis/ how to rescue the people of Thebes from the

ci-il war and anarchy into which the murderous hatred of $olynices and #teocles has plunged the state. He has the rather unen-iable task of restoring the chaotic state of Thebes to normalcy, peace and 3ustice. These were ideals that all the 0reeks -alued greatly in public life. +o, Creon is forced to formulate some rather unpleasant laws that are bound to come into conflict with the high ideals of a sensiti-e and deeply moral person like &ntigone. $olitical necessity demands that Creon must adopt a firm stance on $olynices, apparently treacherous action of attacking his home state. To an astute and pragmatic politician like Creon, it is no more than a 8uestion of practicality that he must make an e.ample of $olynices, rebellion and brand him a traitor. Creon is merely following established 0reek political precedents in denying the rights of burial to one who had pro-ed false to his homeland. Howe-er, in doing so, Creon fails to understand that his brand of ci-il law transgresses and e-en negates the demands of a higher spiritual law. Ironically, in trying to pre-ent further chaos and anarchy from gripping the li-es of the Theban population, Creon merely succeeds in creating an e.plosi-e situation. 7esistance to his edict comes from the most une.pected 8uarter. He cannot comprehend what moti-ates &ntigone to oppose his law. Creon holds the rather narrow -iew that all indi-iduals li-ing in a state must obey all its laws in order for human society to a-oid 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 a-erse 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 -ery first political maneu-er. +o Creon steers his steady course towards the catastrophic decision to ha-e &ntigone buried ali-e in the ca-e. He makes this rash decision in a fit of rage and on the spur of the moment. He refuses to heed the ad-ice of his son, Haemon, and the warnings of the seer, Tiresias. Creon fears that he would lose face if he retracts his own (un3ust law. Creon recogni9es his error only after Tiresias, fatal predictions and the Chorus, subse8uent admonishment. &t last he yields to the -oice of basic humanity and decides to re-erse his earlier rigid stance. (This is known as 1peripeteia.2 He knows he cannot 1fight with destiny,2 so he 8uickly buries $olynices and then hurries to &ntigone,s ca-e. *ut his decision comes too late. Creon falls into a state of dire panic in his last moments on stage. His wife, #urydice, has taken her own life on hearing of Haemon,s death. Thus, Creon is left to brood alone o-er the tragic conse8uences of his own fatal decisions. He li-es on as an infinitely sadder but wiser man (his 1anagnorisis2 . CHARACTER ANALYSIS THE (SE OF THE CHOR(S IN GREEK &LAYS 0eneral Information 0reek tragedy contained two basic elements/ the dramatic spoken e.changes 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 . *y the early fifth century, &eschylus and $hyrnichus in-ented many graceful and dignified steps for the Chorus to perform, as they recited or chanted their lyrics. The word Chorus comes from the 0reek word 1choros2 which means 1dance.2 &t first, the Chorus was an important part of public religious rituals and was later included in public performances of Choral lyric poetry. &s early as the Jth and =th centuries *.C., the performances of tragedy in &ttica (an area around &thens were

part of religious festi-als, like the :ionysia, and included the use of a Chorus. It was later featured in comedy as well. The original choral lyric was called the 1dithyramb.2 It was sung and danced in honor of the god :ionysus during his festi-als. In &ntigone, the final Chorus before the close of the play is an apostrophe (an address or speech to :ionysus/ 1O 0od of many a nameK...2 +ophocles follows the archaic &ttican tradition in assigning a dithyrambic Chorus to the singers in what is their final ma3or utterance on stage. %rom 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 styli9ed choreography. The gra-e and dignified dance of tragedy was distinct from the more abandoned dances of comedy and was denoted by the term 1#mmelia2 which means gracefulness. Like the main actors in a play, the Chorus was masked, as the surrender of indi-idual identity was an intrinsic part of all :ionysian ritual. In tragedy, the Chorus always performed in character as a group of people in-ol-ed in and commenting on the main action of the drama. +ophocles uses the Chorus in &ntigone as a group representing the ordinary people of Thebes. Through them he is able to show public reaction to the crises of unfolding e-ents, particularly, to the actions of the leaders and how these affect people,s li-es. &ll through the play, one obser-es how the Chorus is concerned with public welfare, peace and the internal security of Thebes, which ensures their own sur-i-al. Occasionally, the leader of the Chorus, known as the 1coryphaeus2 or 1hegemon,2 got singled out from the rest of the group. He was sometimes allowed to con-erse 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 ga-e him the possibility of partaking in the main dramatic action. &lthough +ophocles permits the Chorus!leader in &ntigone to utter a few separate dialogues, they are not of ma3or 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/ 1High boastings of the proud *ring sorrow to the height to punish pride/ & lesson men shall learn when they are old.2 The Chorus was often trained by the poet himself, who, in this capacity, was called the 1chorodidaskalos.2 The members of the Chorus were selected and backed financially by a prominent pri-ate citi9en called the 1choregus.2 The Chorus originally consisted of twel-e members, and +ophocles is known to ha-e increased the number to fifteen. CHARACTER ANALYSIS THE CHOR(S IN ANTIGONE There is something of the effect of 0rand Opera in 0reek tragedy, chiefly due to the rich musical e.perience 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 mo-ements. In fact, much of the dramatic force of a play like &ntigone springs from the sharp contrasts pro-ided by the musical choral passages and the high rhetoric of the purely dramatic parts. The Chorus in &ntigone consists of a group of ordinary Theban citi9ens, people loyal to their state and their gods, to the law and the common human -alues of family and society. Through the Chorus, +ophocles is able to represent public reaction to the crises of unfolding e-ents in his play. He demonstrates the response of the common

people to the -arious 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 ser-e as well! informed commentators on the e-ents and characters around them, and they often e.press their somewhat con-entional -iews on social, political, moral and religious issues that tend to affect their li-es. 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 e.position of the play. In &ntigone, +ophocles uses the Chorus mainly to e.amine in fuller detail, all the ramifications of the central dramatic conflict. To a large e.tent, the tragedy is seen and presented to the audience through the obser-ant eyes of the Chorus. This entity obser-es the turn of e-ents from close 8uarters and hence has much authority to re-iew or comment on them. The Chorus pro-ides 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 0reek tragedy to present scenes of war and -iolence on stage. Hence, at first, the Chorus gi-es one a graphic picture of the battle of the se-en against Thebes, which culminates in the dual deaths of $olynices and #teocles. Here, their function is purely narrati-e as they pro-ide the e.pository details. & skilled dramatist like +ophocles would try to in-ol-e his audience more fully in the tragic e-ents unfolding on the stage. This becomes possible if the audience can identify closely with the Chorus. +ophocles gi-es the Chorus many traits common to an audience/ concern for public safety, fickle!mindedness, and con-entional attitudes to most public matters regarding family, society and the state. &t times, the Chorus empathi9es with &ntigone, but at others, it reali9es that support for &ntigone,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 e-ery word and pay heed to his commands. :isobeying Creon,s edicts could spell disaster for them, as they well know. &lso, the Chorus sometimes takes on the role of elder citi9ens of the state, pro-iding Creon with some wise counsel. The elders try to influence his beha-ior by guiding him on the basis of their wide e.perience of common life. They suspect something untoward may happen after Haemon,s confrontation with Creon, saying/ 1How angrily he went, my lord,E The young, when they are hurt, grow desperate.2 &s representati-es 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 &ntigone in her doom, but it is caught in the -ice!like grip of fear that Creon spreads through his powers as ruler. The members of the Chorus are truly shaken by the disturbing e-ents/ first by the ci-il war and dual deaths of $olynices and #teocles, then by the disco-ery that &ntigone has defied the edict pre-enting $olynices, burial, and then by the king,s cruel decision to kill her/ 1It is determined then that she must die.2 They strongly belie-e that fate has a hand in the ensuing tragedy. They belie-e Tiresias, predictions and warn Creon not to go against the will of the gods. &s &ntigone lea-es for her e.ecution, the Chorus comforts her and reassures her that her act will bring her great honor. ;et it also reminds &ntigone that 1a self!willed passion2 was the reason for her 1o-erthrow &LOT STR(CT(RE ANALYSIS

&ristotle in his $oetics praises +ophocles as an inno-ator in tragedy. The introduction of a third actor (1tritagonist2 enabled +ophocles to make plot, dialogue and the relationship between characters more comple.. He abandoned the &eschylean practice of writing trilogies on related e-ents6 instead, he ga-e each of his plays a self!contained plot. In +ophoclean plays, the unity of action is complete and the plot is handled with ama9ing de.terity and at a rapid pace. %or +ophocles, it is the innate character of a heroine, like &ntigone, that initiates the central tragic action. +ometimes, the central +ophoclean character (as in &ntigone dies well before the end of the play, resulting in a slight slackening of the tension in the action. Howe-er, the concluding part still seems to follow necessarily from what has preceded. %or e.ample, the deaths of Haemon and #urydice are the result of &ntigone,s death and add to the final tragic effect. +ophocles 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. %or the plot of &ntigone, +ophocles drew material from the familiar legends of Oedipus, the 'ing of Thebes, and also from an earlier play by &eschylus called +e-en &gainst Thebes. The plot of a 0reek tragedy usually consisted of fi-e parts/ the prologue, the $arodos, the fi-e #peisodia (episodes , the fi-e stasima and the #.odus (or epilogue . +ophocles follows the con-entional pattern of plot constructions with -ery little de-iation from the norm. The $rologos (literally Hfore!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 sub3ect matter of the tragedy and the basic situation from which it starts. In early 0reek tragedies, the Chorus entered first and performed this function of e.position. +ophocles prefers a later method in &ntigone, by making &ntigone re-eal her decision to bury $olynices to her sister, Ismene. The $arodos is the second segment of the plot and refers to the song (and styli9ed mo-ements or dance which accompanies the first entrance of the Chorus on stage. The opening Chorus song ser-es a purely e.pository function in &ntigone. These two initial segments of the plot are followed by fi-e ma3or 1#peisodia2 or episodes. In these scenes, one or more of the three central actors took the ma3or and minor roles, along with the Chorus. The word 1#peisodian2 meant, originally, the entrance of an actor to announce something significant in the plot to the Chorus. The episodes contained both typical passages and narrati-e or dramatic dialogues, lamentations and incidental songs or utterances by the Chorus. #ach of these episodes is followed by a stasimon, a song sung by the Chorus. In &ntigone, the first episode concerns Creon,s announcement to the Chorus of Theban elders that he has forbidden the burial of $olynices. It also includes the arri-al of the watchman who informs Creon of the perfunctory night burial of $olynices by an unknown hand. Creon lashes out at him and accuses him of conspiring in this act. The stasima (plural for 1stasimon2 were e.pressions of emotion e-oked by the preceding episodes, gi-en mainly by the Chorus and ser-ing 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 &ntigone, captured by the watchman, being brought before Creon to face trial and punishment. This episode constitutes the clima. of the play and pro-es the great strength of &ntigone,s character. This great scene of confrontation is followed by the second stasimon which begins/ 1*lest is the life that ne-er tasted woe.2 It mentions the e-il fate tormenting the house

of Cadmus. In the third episode, Creon is confronted by his son, Haemon, who is betrothed to &ntigone. The father!son conflict pro-ides a secondary agon (debate in the play, following the primary agon between &ntigone and Creon in the second episode. &ppropriately, the third episode is followed by the third stasimon, whose theme is lo-e/ 1Lo-e uncon8uered in fight.2 In the penultimate episode of the play, &ntigone is led to her tomb. This scene e-okes profound pity for her, as well as awe at her impending fate. Her e.it is co-ered by the fourth stasimon, which tells of the tragic fate suffered by mythical 0reek figures before &ntigone/ 1#-en :anaL,s beauty...2. In the fifth and final episode, Tiresias, the prophet, warns Creon against displeasing the gods. Here, the 1peripeteia,2 or turn in the nature of e-ents, takes place when Creon does a complete about! face and decides to spare &ntigone,s life and to allow for $olynices, burial. There is also a moment of 1anagnorisis2 for Creon as he begins to understand that he must bow to the power of fate/ 1OhK it is hard. *ut I am forced to thisE &gainst myself. I cannot fight with :estiny.2 The fifth stasimon is a dithyramb in honor of the god, *acchus. The Chorus prays to *acchus, hoping that he will rescue Thebes from its present crisis. The e.odus or final scene follows the final (fifth stasimon. In this scene, the messengers bring news of Haemon,s and &ntigone,s deaths. It presents the denouement of the tragedy. #urydice, 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 #.odus and articulates the moral of the tale. Thus, in &ntigone, +ophocles remains strictly within the bounds of the norms of classical 0reek tragedy as far as plot construction is concerned. THEMES ANALYSIS The central concern of the play is &ntigone,s fateful struggle against Creon,s cruel edict. +ophocles in &ntigone e.presses his belief in the spiritual capacity of a human being. &ntigone is endowed with the finest 8ualities. +he is noble, upright, and possesses a strong sense of loyalty to family and de-otion to the gods. +he sticks to her ideals, e-en in the face of a cruel death. Creon represents the harshness of the world of physical and political power as opposed to &ntigone,s idealistic world. Creon must act to protect the interests of the state and to protect his own interests as so-ereign. He follows an ancient tradition of battle in denying the enemy, $olynices, a proper burial. *ut in doing so, he not only acts inhumanely, but as +ophocles reiterates throughout the play, displeases the gods. The 0reeks 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. &fter Tiresias, warning, Creon finally admits that fate is all!powerful, and he accepts the Chorus, ad-ice and sets out to sa-e &ntigone. Thus, one could conclude that the characters in the play are not in control of their own li-es6 fate ultimately controls their li-es. ;et, in the prologue, &ntigone refers to the freedom of will (choice a-ailable to a human being. +he asks Ismene to choose whether she will help her to bury their brother. In the second episode, &ntigone reminds Ismene/ 1Life was the choice you made,E 5ine was to die.2 The two sisters, &ntigone and Ismene, are polar opposites. 4hile &ntigone 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. &ntigone,s confrontation with Creon is also the confrontation of the indi-idual against the state. &ntigone is able to 8uestion Creon,s laws because of her

determination and courage. +he is unrepentant, as she does not belie-e that she has committed a crime. In the clima. of the play, she chooses the di-ine laws of hea-en o-er the laws of the state (as laid down by Creon . +he declares that the laws of the state are not binding in her case because they ha-e been laid down by a man, and men are not infallible. Creon attempts to subdue &ntigone,s 1stubborn spirit2 by condemning her to death, but &ntigone retains her composure. It is only in the scene of her e.it (the fourth episode that &ntigone breaks down, when she is led to her death. +ophocles shows here that &ntigone, despite her courage, suffers the anguish of any normal human being. 4hile &ntigone belie-es in the power that emanates from within the indi-idual, Creon professes faith in the power gained by holding office. 1$ower shows the man2 says Creon, in his opening speech to the Chorus of elders. & certain gender bias is e-ident in lines such as the following/ 1*etter, if it must happen, that a manE should o-erset me.E I won,t be called weaker than womankind.2 Creon plays the game of political e.pediency. 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 fa-ored #teocles against $olynices in the battle between the two brothers, as it was politically profitable for him to do so. Creon tries to 3ustify his actions in episode four (the scene with Haemon , by stating that he must protect the interests of Thebes. Here, +ophocles deals with the relationship between father and son, and between Haemon and &ntigone. Creon tries to win Haemon o-er to his line of thinking by introducing the idea of filial de-otion. *ut Haemon does not fall into the trap. His lo-e for &ntigone 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. #ach of the two ma3or characters of the play, &ntigone and Creon, ha-e their own faults. &ntigone,s tragic flaw (or hamartia is, according to the Chorus, 1a self!willed passion.2 +he yearns for a noble death and sei9es the opportunity to gain it by defying Creon. Intil the scene of her e.it, she shows no desire to li-e. +he tells Creon/ 1That death would come, I knew 4ithout thine edict6!!if before the time, I count it a gain. 4ho does not gain by death, That li-es, as I do, amid boundless woeG2 If her life appears tragic to her, death seems e-en more pitiable, and &ntigone breaks down in the scene of her e.it. It is only at this late stage that she betrays any desire to li-e. +he mourns because she will ne-er en3oy the fruits of marriage and thus will not be fulfilled as a woman and a mother. Creon, like &ntigone, is obstinate and unyielding. Like &ntigone, he too is a shattered indi-idual in the end. &t different times in the play, different people warn Creon that he is acting irrationally. The watchman, Haemon, Tiresias and the Chorus all ad-ise Creon against foolish and impetuous conduct. Creon,s decisions are 8uite rash. He e-en insults Tiresias and angers him. %inally, fate catches up with Creon when he goes to the ca-e where &ntigone is immured. It seems as if Tiresias, predictions ha-e sealed Creon,s fate. In the end, Creon reali9es that royal powers are of no use in a world determined by the dictates of fate. It is Creon,s destiny that he must li-e on and suffer the pangs of guilt, while the innocent people, &ntigone, #urydice and Haemon, ha-e killed themsel-es. The #.odus is, in a way, a statement of the ma3or theme of the play. The leader of the Chorus concludes that de-otion to hea-en and rational beha-ior are essential for man. Creon,s pride has brought him disaster. Thus, there is a sense of 1catharsis2 at the end of the play, as all the emotions of fear, pity and awe are e.hausted. IRONY

+ophocles makes use of dramatic irony in &ntigone to heighten the tragic effect of the play. Instances of irony can be obser-ed throughout the play. One ma3or instance is &ntigone,s own idea of a noble death. *efore her final e.it, &ntigone appears steadfast and courageous and ready to face death. *ut as she is led to the tomb, she is unable to maintain her composure and re-eals her human frailties. The $arodos, too, holds an instance of irony. Here, the Chorus hopes and prays for peace after the ci-il 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 belie-es from the beginning of the play that his fortunes are on the rise after his enthronement. Howe-er, he comes to the conclusion that e-en 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 $olynices, is also fraught with ironic possibilities. 4hen he passes his law, Creon does not reali9e that he is about to bring a fresh crisis to Thebes. He foolishly belie-es that he is restoring stability and peace to his kingdom by establishing such an inhumane law. E&IC SIMILE The 0reek epic poet, Homer, made e.cellent use of epic similes in his famous Iliad and Odyssey. +ophocles, too, uses an epic simile in the opening Chorus (the $arodos when he describes how the man from &rgos came to Thebes like an eagle descending on its prey. The metaphor is e.tended as the eagle is described feeding with 1hungry 3aws2 on Theban flesh. The armor of the man from &rgos is compared to the plumed crest of the eagle. In the second stasimon, 1*lest is the life...,2 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 e.ecuted, and through them the choral songs become more poetic in nature.