 Introduction – Who wrote Antigone

“Antigone” is a tragedy by the ancient Greek playwright Sophocles, written

around 442 BCE. Although it was written before Sophocles’ other two Theban
plays, chronologically it comes after the stories in “Oedipus the
King” and “Oedipus at Colonus”, and it picks up
where Aeschylus‘play “Seven Against Thebes” ends. It deals with Antigone’s
burial of her brother Polynices (Polyneices), in defiance of the laws
of Creon and the state, and the tragic repercussions of her act of civil
disobedience.

1. Discuss the role of the Chorus in Sophocles’ play ‘Antigone’.

In Ancient Greek drama, the chorus was a group of performers who offered their ideas and
knowledge to help the protagonists on stage and the audience. The chorus has been known to
dance, sing, and express their opinions in order to direct the audience's emotional responses to
the happenings on stage. The chorus in Greek plays portrayed the common man's concerns,
hopes, and judgments.

In the play Antigone by Sophocles, the chorus and chorus leader represent the people of Thebes
who attempt to talk rationality into the main character, Antigone, and the king, Creon.
Unfortunately, wisdom is found too late, and the 'I told you so' comes from this group at the end
of the performance.

From the beginning of Antigone, it is obvious that the chorus is primarily made up of male
"elders [who] embody the point of view of an average portion of society," symbolizing the
patriarchal society in which the play is situated and in which Antigone detested. It did, however,
automatically credit the chorus for the information and words of wisdom passed on because the
elders were once warriors who fought in wars, but they are now confined to exhibiting their
talents in words due to their age. As a result, they may be seen acting as counselors to King
Creon from the beginning of the play. The chorus can be seen responding to Creon's actions
throughout the play, as in line 204, when the Chorus says to the King, "No one is such a fool as
he is in love with death," explaining to the King that no human would be foolish enough to defy
Creon's words, and thus the act of burying must have been God's will.

The Chorus is the first to suggest to Creon the religious implications of the Polyneices dispute
and to attempt to mediate between Haemon and Creon, but they are simply ignored and turned
away from Creon; it is not until Creon is confused and distressed that the Chorus is able to
uphold and be taken seriously. As a result, in contrast to Antigone's individualist, tragic heroism,
the Chorus appears to prefer a cautious, discreet approach to matter – in other words, the chorus
"has its continuous share in the drama, and has, in one way or another, its contribution to make,
due regard being paid to its somewhat indefinite power." Indeed, the Chorus' attitude is crucial in
propelling the play's storyline along.

Furthermore, the chorus in Antigone may appear fragile and feeble at first look; certainly, it
simply seems to echo King Creon's demands and wants, rather than standing up for themselves
and taking sides with the 'rebellious' Antigone. This isn't an oversight on Sophocles' part. The
chorus's willful surrendering, as seen throughout the play, adds to the image of Creon's
imperious character against Antigone and the rest of the Greek community.

The Chorus clearly plays a significant part in Antigone's entire growth, as seen by the preceding.
Indeed, Creon would never have changed his personality without the presence of the Chorus,
which would have resulted in Antigone's eventual conviction and death — the tragic heroine's
fate.

Finally, it is clear that the chorus in Antigone serves an important function in providing the
audience with critical background information, thereby creating the scene, as well as advancing
the storyline of the text. In addition, the language of the Chorus reflects on many essential parts
of Greek life, including Gods, omens, prophesies sacrifices, and justice; this legal imagery is
significant in the play since it pertains to Greek culture. Thereby, in Antigone, the chorus cowers
before the King, amplifying Creon's dictatorial image and thus stirring up the audience's
sympathy for Antigone.
2. Underlying motivation of Creon’s rigid attitude in punishing
Antigone.

Creon is a powerfully built king, who is described as a man with a firm belief in the rule of law,
who is not willing to compromise with the law, at any given situation, even if it means
sacrificing his own family. Throughout Oedipus’s plays, Creon is shown to be a man whose
rationale is separate from that of the citizens of Thebes. He has extreme reverence for the law,
where his subordination to the rule of law, is often at the expense of logical reason and familial
loyalty.

“These are my principles. Never at my hands will the traitor be honored above the patriot”-
Creon speaks these lines towards the beginning of Antigone to the leader of the Chorus. These
lines show the firmness in which Creon submits to the law, where he is willing to dignify the
death of Eteocles, while allowing the body of Polyneices to rot.

While both of them were his nephews, Creon refuses to reason out his actions based on familial
relationships, or with rationality for that matter. It is well-known that the cause of the battle
between the brothers is because of the fact that Eteocles decided to keep the Crown to himself
for a time period much longer than was sanctioned and also sent his brother Polyneices.
Polyneices thus launched an attack on Thebes to overtake the throne, which resulted in the
brothers ultimately killing each other.

What is ironic here, is the fact the Eteocles, by not seceding the throne at the appropriate time,
was the primary cause of the battle and was the person who initially broke the rules. However,
owing to the subsequent events, and according to Creon, it was Polyneices who launched an
attack on Thebes and thus committed an act of treachery and treason. He thus orders for the
dignified cremation of Eteocles and allows for Polyneices to be humiliated by refusing burying
him.

The primary motive Creon had, in punishing Antigone, was her defilement of the rule of law and
his order, where she buried her brother, Polyneices, despite being barred from doing so. He
attempts to avoid punishing her with death, by making her not admit to burying her brother, for
the reason that her being alive and the mother of the heir of Thebes would be much more
beneficial than her being a martyr. This goes to show, that even in a situation like this, his
primary reasoning is based on politics and law, rather than familial bonding or loyalty.

A lot of the conflicts arising between Antigone and Creon are partly due to their similar
personality traits, and partly due to their largely different perspectives.

Both Creon and Antigone seem to be highly resilient and stubborn characters, firm in their
beliefs. “Like father, like daughter, passionate, wild, she hasn’t learned before adversity”-
Antigone considers her act of defiance, of burying her brother to be one of immense courage and
it is an act which portrays her strength of character and determination.

Creon’s determination in punishing Antigone for the act is also representative of his motivations,
where he not only wanted to maintain the dignity of law, but also sought to maintain his own
authority, by refusing to compromise on his orders, even if it resulted in his nieces and future
daughter-in-law’s death.

“Go down below and love…..While I’m alive, no woman is going to lord it over me”. These
lines point at a sexist construct in Creon’s mind which also points towards his ulterior motive of
considering that to be defeated by the likes of a woman is a matter of utter shame. Part of his
reasons for punishing Antigone lies in the shame he associated with being defied by a woman,
where in ancient society, the role of a woman was to mostly remain subordinated and accept the
rules and orders meted out by men. On having Antigone openly defy his orders, Creon feels
degraded and thus wants to set a precedent for others, regarding the consequences of disobeying
him.

“Whoever thinks that he alone possesses intelligence …such men….you will find them empty”.
Here, Haemon speaks these lines, attempting to change his father’s mind about punishing
Antigone. These lines offer an analysis into Creon’s attitudes and motivations, where his sense of
arrogance often precedes rationality. Haemon initially tried to explain to his father, the absurdity
of his orders by offering compliments rather than accusing him, however, on Creon’s absolute
refusal to incorporate login into his reasoning, this soon turns out into Haemon accusing his
father of his narcissistic and arrogant tendencies. These characteristics of Creon ultimately lead
him to losing his entire family, and a major part of his motivations to punish Antigone, despite
no real fault of her’s, originated from these character traits.
Another key aspect highlighted in the play, is the concept of family loyalty, which forms a major
part of Greek tragedies. Creon quite clearly emphasized more on the rule of law, that loyalty to
one’s family whereas Antigone did the opposite. Creon is also critical of his brother, Oedipus’s
questionable choices and looks down upon him, due to his actions being contrary to the norms.
Meanwhile, Antigone prioritizes divine law and familial loyalty over man-made law. Creon,
having utmost reverence for the written law, equated man-made law to divine law, with reference
to his orders, and refuses to accept Antigone’s reasoning.

He is also reluctant to release her when the prophet prophesizes against his decisions, and only
changes his mind after mush agitation from the chorus.

This further indicates that Creon was extremely firm in his beliefs where he was willing to
compromise reason, for the rule of law. Moreover, while his primary motivation behind
punishing Antigone was to preserve the law, his underlying motivation also lay in his inherent
sexism in not accepting the authority of a woman, and also in his underlying pride and
narcissism which prevented him from accepting a differing logical opinion.

3. How does the play ‘Antigone’ resolve the conflict between man-
made and divine law?

Antigone, a tragedy written by Sophocles is the first part of the three Theban Plays. It starts with
the tragedy between Jocasta and Oedipus where Jocasta marries her own son Oedipus and gives
birth to four children. After the death of Oedipus, it was decided that each brother will take the
throne alternately for one year. After a year Polyneices refuses to step down which results into a
battle between the two brothers. However, the main battle in the play is the battle of ideas, the
idea of practicing the divine law or the man-made law.

“He shall be left unburied for all to watch the corpse mutilated and eaten by carrion- birds and by
dogs”

The battle of the throne between the brothers ends with both of their losing their lives. This gives
way to Creon for becoming the king. Creon on being declared as the king orders that the burial
of the body of Eteocles should be done with all rights, while the body of Polyneices should be
left on the ground open for the animals to eat. Such a decision was made to punish Polyneices
who was declared as a traitor by Creon.

Antigone and Ismene were the sisters of Polyneices and they felt distressed with the decision of
Creon because it was none other than their brother who was left in such a state. Antigone, the
eldest daughter of king Oedipus due to her love and affection for her brother decides to go
against Creon’ decision by burying Polyneices’ body. Ismene, her sister tries to stop her by
saying that it is the law of the state and going against it can have serious repercussions, but
Antigone refuses to listen. Antigone alone decides to bury her brother that too in broad sunlight.
One of the guards catches her and reports it to Creon. Creon asks Antigone if or whether she is of
an opinion that she is above law because she is Oedipus’ daughter. This marks the beginning of
the battle between the divine law and the law made by the man.

Creon considers the kingdom as his private property where he is free to do anything and free to
make his own laws. He is of an opinion that no one in the kingdom can question his decisions as
he is the king. His decision regarding Polyneices was taken because Polyneices betrayed the
kingdom and according to Creon no traitor should be treated with respect.

Antigone argues to the reasoning given by Creon and says that it is the divine law that makes the
human existence possible and no man-made law can supersede it.

"Isn't a man's right to burial decreed by divine justice? I don't consider your pronouncements so
important that they can just...overrule the unwritten laws of heaven"

Antigone questions the decision of Creon and says that the burial of an individual is accorded by
the law of the heaven and no decree can deny that right. She is of an opinion that human beings
are imperfect thus the laws made by humans can never be perfect, she further adds up to say that
only the laws of the god can be called perfect. Antigone says that her motivation to give a proper
burial to his brother is the principles of the divine law and she would try to bury Polyneices even
at the cost of her death.

Creon at the political level can be said to be correct because the human law says that the traitor
should be denied a proper burial, but ethically and morally Antigone is also correct in what she is
doing. Both Creon and Antigone show adamancy in understanding each other. Haemon, Creon’s
son and Antigone’s lover when gets to know about the laws of the nature, decides to support
Antigone. The courage that Antigone shows while challenging Creon and the belief she has in
her ideals makes the audience feels sympathetic towards her. Antigone till the end remains firm
even after constant persuasion by Ismene.

She kills herself in the prison, thus defeating Creon morally and ethically. The death of Antigone
results in Haemon killing himself, consequently resulting in the death of the queen. Creon doubts
his decisions which show that Antigone was faithful while Creon was skeptic about his
decisions.

“There is no happiness where there is no wisdom;

No wisdom but in submission to the gods.

Big words are always punished,

And proud men in old age learn to be wise”.

In the end the battle of laws is won by none because Antigone loses her life while fighting for the
divine law and Creon loses everything and is left alone in the fight of proving the superiority of
the man-made law. Creon is punished for overruling the divine law in the form of the death of
his son and his wife while Antigone is punished for the violative of the human law. This shows
the need for human and the divine laws to coexist because the society needs the both of them.

4. Analyze the character of Antigone as a tragic heroine.

A woman is not frequently depicted as a tragic hero in Greek myth or play. Sophocles, on the
other hand, makes the hero of Antigone, the third and last play in the Oedipus cycle, a woman.
Despite the fact that this is out of context for a Greek play, it is nonetheless regarded as one of
the best Greek tragedies ever written. Antigone, the tragic hero of the play, is the figure from
whom the play gets its name. This is demonstrated by the fact that she is not only the play's
protagonist, but she also possesses tragic hero traits. What appears to be the least relevant factor
in deciding the tragic hero of this play is whether the hero is male or female, which is surprising
considering most Greek myths' misogynistic tendencies. What matters most are the three key
traits of a tragic hero's personality. First, the hero must be of noble ancestry. Second, the hero
must be regarded to be a nice and just person by the audience (whose judgement is usually based
on the Chorus' opinion). Finally, the hero must have a fatal fault; otherwise, there would be no
dramatic difficulties or tragic outcomes. Antigone possesses all three of these characteristics,
making her one of the rare tragic heroines.

Antigone makes several critical and positive judgments via her courageous and unselfish efforts.
Polyneices is buried because she wants her brother to have a happy afterlife and for the gods not
to be angry with him. "I will bury the brother I love," she declares with her strong will and bold
decision-making. She is a devout traditionalist who does not want to offend the gods or the dead.
This means she will go to any length to help her brother, even if it means inadvertently harming
herself in the process. When Antigone is apprehended by Creon for burying her brother, she is
sentenced to death and is unable to be spared by anyone. “Save yourself, I shall not envy you,
there are those who will praise you, I shall have honor too,” Antigone says before being taken to
be executed by her sister. Antigone is attempting to prevent her sister, Ismene, from being
implicated in her being imprisoned and facing execution in this remark. She doesn't want Ismene
to suffer because of something she didn't do. Antigone is flawlessly slain for no cause as a result
of her innocent, dangerous, and unselfish act.

Antigone's capacity to follow her ideas, on the other hand, leads to her terrible death. She is from
a royal dynasty and wields the ability and authority to act on her convictions. When Antigone
says, "I will bury him, and if I must die, I say that the crime is holy: I shall lie down with him in
death, and I shall be as close to him as he is to me," she is referring to the following traditions
and exercises. She acts in accordance with her convictions while adhering to tradition and doing
what she believes is best. She does this because she believes she is doing the right thing and that
she will be rewarded in some manner. As a result, Antigone justifies her actions by explaining to
Creon why she ended up choosing to bury her brother. She refuses to be swayed by the views
and continues to think for herself. She takes a stand against the king when she says, “Think death
less than a friend? This death of mine is of no importance, but if I had left my brother lying in
death unburied, I should have suffered. Now I do not. You smile at me. Ah Creon, think me a
fool, if you like, but it may well be that a fool convicts me of folly” . She is confident that what
she is doing is the right thing to do, and she demonstrates it to Creon, but he remains sceptical.
It's critical for Antigone to do what she believes in and to act on it because she wants to be happy
with the results of her activities. She is the tragic hero of this drama because of her capacity to
follow her own ambitions and do what she wants.

Antigone's tenacity and bravery enable her to stand up for her ideals. Even if everyone she
knows is against her, she has the fortitude to keep going and to follow through with her plans.
Antigone is aware that she will die as a result of her acts, but she continues to live due of her
fortitude. She was planning to marry Haimon, but she decides to forego a happy life when she
tells her sister, "You are living, but I belong to death." When she says this, she expresses grief,
but she has no regrets about what she has done. Antigone is pleased of her accomplishments,
which came about as a result of her tenacity and bravery. Antigone demonstrates her bravery in a
variety of ways. Her fortitude and determination in facing death are admirable. Antigone
understands exactly what she has to do and accomplishes it. "There is no guilt in reverence for
the dead," Antigone says. She is fearless and courageous enough to face her consequences, even
if it means death. Antigone is unafraid of suffering the repercussions of her actions since she
knows she did the right thing. Through her perseverance and courage, she fits the role of the
tragic hero perfectly.

Antigone is the ideal tragic hero because of her capacity to follow her own views, take right
decisions, and follow through with courage. Following one's own convictions and pursuing the
correct things in life is critical for a positive outcome. It is very simple to be challenged and
deterred from pursuing your objectives if you lack bravery and tenacity. Any tragic hero in a
novel possesses all of these characteristics, as well as the capacity to do anything they want,
whenever they want. A tragic hero must be someone who stands by their convictions regardless
of the consequences. A tragic hero may be anybody who aspires to follow their own ideals, has
the capacity to learn to conserve, and can do the right thing in any event, no matter what it is,
even if the conclusion is death.
5. Is the character of Antigone ahead of her times? Discuss with
reference to the play ‘Antigone’.

Antigone's protagonist is a progressive woman who chooses to forego her supposed duties of
wife and mother in order to focus on her wants as a human being; nonetheless, she does not
reject a man as a friend and lover, nor does she eschew parenthood. Antigone wishes to start a
family. She also has a man in her life. Antigone's protagonist dies of her own free choosing. This
lady stands out above many others because she understands that the secret to her happiness lies
inside herself, and she takes the steps necessary to achieve what she believes is best for her.

The time periods filled by the settings of each work must be examined whether this character is
regarded to be "ahead of her time." Antigone, by Sophocles, is set in the fifth century B.C.
Women were supposed to be humble and obedient during this period. If a woman was married
and had a family, she was expected to priorities her family before herself. Antigone, on the other
hand, is dissatisfied with her restricted duties, as seen by her thoughts and actions.

Antigone repeatedly oversteps her bounds as a woman. One of the most important choices she
makes is to openly reject King Creon's command. She "seeks the help of her sister in defying the
edict". Again, she is disobedient when the guards "saw Antigone lamenting, scattering dust, and
pouring libations. Antigone, questioned, is defiant". Antigone is unafraid to own her wrongdoing.
Antigone's will and opinion strength, as well as her lack of fear, are communicated on these two
instances. She empathizes that she "deliberately contravened Creon's decree" because "the
unwritten laws that govern her actions are to be valued more highly than any king's decrees,"
demonstrating her strong will and clear views. Furthermore, Antigone's preference for "unwritten
rules" above man-made laws demonstrates that she does not see the monarch as superior.

Antigone, unlike other women of her day, does not have a close relationship with her sister.
Ismene changes her mind after originally declining to assist Antigone in burying their brother,
but Antigone "now rejects Ismene's help, who incriminates herself out of love for her sister" . 
Later, Antigone commits "her act [suicide] alone, and refuses to allow Ismene any share in it".
Despite the fact that Ismene finally offers her help and expresses her own sisterly affection,
Antigone rejects her sister.
Antigone's nemesis is Ismene. She is both a weak and submissive lady, "whose timidity defines
Antigone's courage." Unlike Antigone, Ismene "is a woman, not fit to fight with men, and she
will not oppose the city". That Ismene is "a woman, not fit to fight with men" emphasizes her
weak role while her refusal to oppose the city demonstrates her obedience. Ismene "believes that
Antigone is right to insist that burial is just, but considers Antigone foolish in attempting the
impossible and exceeding a woman's position". Unlike Antigone, Ismene is too afraid to act on
her own ideals and convictions, as seen by her belief.

Although Antigone doesn't quite conform to "the role of the woman," she does wish to be a wife
and mother: "...her laments reveal her regret for life, for marriage and children" . Antigone
wishes to die at first, but when death comes, she desires the gift of life and everything that comes
with it. She isn't terrified of death per such, but rather of how she will die. She kills herself in
order to avoid a starvation sentence.

Antigone, rather of becoming a passive copy of all women, chose to live and die for herself. She
lives according to her own will, makes her own decisions, and goes where few women dare to
go. Because she wants to be regarded as a human, not as a stereotyped woman who is weak and
thoughtless. She is more concerned with herself than with her responsibilities as a family
member.

6. What importance does Antigone’s gender hold in the play

‘Antigone’? How does it shape the way other characters view
her?

Antigone is a fearless and outspoken woman who threatens to upend gender patterns in her
community by disobeying King Creon, Thebes' most powerful entity. She is a lady who stands
up for her principles and risks her life to do so. The initial audience's notion of women's role was
at conflict with such a portrayal. This will be demonstrated through an examination of the other
characters in the play as well as ancient Greek ideals.

Women's roles in ancient Greece were modest (at best), yet Antigone represented competing
views. Indeed, the major character seems to be at conflict with the other female characters in the
drama. Ismene, Antigone's sister, is weak and obedient, for example. She recognises that the
King's order is wrong, but she is afraid to stand up for her brother's honour. She even attempts to
persuade her sister not to disobey the King's command. This is what she says in the play in an
attempt to persuade her sister: “Think how much more terrible than these our own death would
be if we should go against Creon. We are only women, we cannot fight with men Antigone! The
law is strong, we must give in to the law… I beg the dead to forgive me, but I am helpless, l must
yield to those in authority. And I think it is dangerous business to be always meddling”. These
were emblematic of the society's dominant attitudes about female roles. Women considered
themselves to be weak and insignificant.

Eurydice, King Creon's wife, is another character in the play who exemplifies these principles.
She didn't dare to confront her husband about the moral wrongs he'd done because she was afraid
it would lead to disobedience similar to Antigone's. She took the easy way out by simply killing
herself. Sophocles employs the other women in the play as tools to expose prevailing gender
stereotypes.

Women in ancient Greece were a scary lot, according to books and scholarly analysis. Because
they would be met with violence if they spoke out against their male counterparts, the majority
of them were afraid to do so. Furthermore, because that civilization was based on mythology,
most women believed that if they stood out, they would offend the gods, resulting in curses. All
of these anxieties kept them cooped up in their houses.

They left all of life's serious matters to their brothers, husbands, and fathers while they stayed at
home and cared for their children. Males controlled all political roles, including kings, members
of the council, warriors, and other positions of power. This group decided all of Greece's
important choices, and women blindly followed and admired those judgments.

Based on ancient Grecian norms, the play's main character is unquestionably advanced. Her
gender had a significant impact on her activities since it threw society systems into disarray.
Because she was a woman, King Creon was adamant that he needed to vanquish her even more
urgently.
Because she refused to operate in a servile manner, her disobedience posed a challenge to
hierarchical organisations. When the King realized he had made a mistake, this viewpoint was
reaffirmed. Rather of rectifying his errors, the King changed his argument. He maintained that
conceding defeat to a woman would violate heavenly rules, which he was unwilling to do.

In the play, Creon's flawed reasoning is punished by the deaths of his most significant family
members, including his wife and son. Because it concentrates on an ideal female figure, this is a
progressive portrayal. Regardless of her sister's backing, she took the decision to bury her
brother's body.

When Antigone's sister wants to follow her to her death, she attempts to protect her. When Creon
criticizes her decision to bury her brother, she delivers a powerful and bold speech. Because she
is assured of her principles, Antigone does not abstain from prodding the King to carry out his
harsh resolution. Her determination is unwavering, and she is prepared to die for it.

She begins weeping about her impending demise as the guards bring her away to her doom.
Antigone is still heroic at this point since she refuses to speak about Haemon or other lusty times
that she would miss when she dies. Even the nature of her allegation elevates her to the level of a
hero. She's accused of committing a religious offence. This sister wanted to bury her brother
properly, but she was charged with a crime.

Four distinct incidents in the play illustrate the main character's heroic (and hence progressive)
nature. First and foremost, she freely admits to committing the alleged 'crime.' She might have
avoided prosecution by taking the easy way out. Second, she refuses to allow Ismene bear the
brunt of the guilt, demonstrating her selflessness.

Following that, Antigone approaches death head on, without flinching or regret. Finally, this
woman is a genuine icon since she chose suicide than wasting away in a cave. Rather of waiting
for the King to alter his mind, she opted to end it on a high note.

Antigone, interestingly enough, is not unlike to other contemporary imaginary characters in

Greek plays. Playwrights in ancient Greece had a penchant for creating unorthodox and nuanced
female characters.
Antigone, like most feminists, symbolizes a sort of rebellion to authority compelled by seeming
injustices, and the play is still relevant today. Individuals like this may now be seen in the
mainstream media.

Civil freedoms are continually being jeopardized. In today's world, racial inequalities and
oppression still exist. Some countries are afflicted by long-running wars, religious and cultural
conflicts, and economic tyranny. Individuals must rise up in instances like this, just as Antigone
did, to right the wrongs.

Those concerns, however, should not be made in a cruel or violent manner; instead, they should
be raised using powerful feminine ways, such as those shown in the play. Intelligence,
determination, and self-sacrifice are just a few of the characteristics that today's change agents
might employ to transform their environments.

Antigone is a remarkable woman who, on her own, confronts powerful persons in order to
correct an injustice. Her demeanor toward the King, her sister, and her death endears her to the
audience. These characteristics distinguish her as a progressive and unusual lady in her culture.

7. How does Sophocles’ play ‘Antigone’ depict the conflict between

one’s conscience and the law of state?

Antigone by Sophocles is about the clash between one’s conscience and the law of the state, and
how it is impossible to follow both sets of laws at the same time. Antigone seeks to honour the
gods by burying her brother, but the law of Creon states that he will not be buried since he is a
state traitor.

Throughout the play, Antigone, the eldest daughter of King Oedipus, and Creon, now the king of
Thebes, both proud and headstrong individuals, are constantly at odds. In other words, there is a
contradiction between Antigone, who is religious, and Creon, who is a tyrant. As a monarch,
Creon regards the kingdom as his personal property, yet Antigone's extraordinary courage in
defying the authority causes the audience to feel immense pity and affection for her. She is a
martyr for her convictions.
Antigone's major conflict revolves around the gap between law and justice. Creon, Antigone and
Ismene's maternal uncle, has issued a decree: Polynices, Antigone and Ismene's brother, was not
only guilty of killing his brother, Eteocles, but also of fighting the state, and, like other traitors,
will be denied a decent burial. When the play opens, Antigone has made it her obligation as his
sister to provide her brother, Polynices, the funeral that old tradition and her religious beliefs
demand. Antigone claims that she is obligated to behave in accordance with religious law, the
law of a higher God. Ismene simply states that she cannot go against the citizens' legislation
(human law). Antigone, well aware of the dangers of opposing Creon, acts on her convictions
when she recognizes that the law of God requires the burial of a dead corpse. According to her,
because humans are flawed, the rules enacted by the monarch are equally flawed; only the laws
enacted by God are flawless. As a result, she is motivated by the knowledge that she must bury
her brother's body at any costs, even if it means her death.

Politically, Creon may be correct since it is human law's plan to prevent the traitor from being
buried, but Antigone is also correct because it is her religious obligation to bury her deceased
brother. As a person, Antigone possesses moral and ethical authority, but Creon wields political
power as king. Antigone's obstinacy grows in tandem with Creon's Tyranny (dictatorship). When
Antigone's lover and Creon's son, Haeman, discovers that religious rules are for humans, he joins
Antigone's cause. Ismene, on the other hand, is on the side of political power, and she tries to
persuade Antigone to hand over the throne. Despite the efforts of others to persuade her,
Antigone stands firm.

Despite the fact that Antigone was imprisoned and murdered herself, Creon does not appear to
have triumphed. Antigone has vanquished him morally and ethically, albeit she has been
defeated politically by Creon. He has irreparably damaged himself by going against God's will.
Religion cannot be dismissed because it brings stability in human existence. Creon's arrogance is
that he has a single-minded resolve; he dismisses others' counsel, even if it is beneficial to him.

The balance between faith (Antigone) and scepticism (Creon's blasphemy) may thus be seen. On
a political and personal level, the fight between Antigone and Creon takes place between citizens
and rulers, as well as between Haemon, Creon's son, and Antigone, his planned wife. Creon and
Haemon's feud begins slowly, with Haemon appearing to submit to his father's desires, but
eventually culminates in Haemon's final rejection of his father by choosing to die with Antigone.
Furthermore, the queen commits suicide after learning of her son's death.

When Teiresias, a blind seer, gives a prophesy of death and retribution and urges Creon to
reverse his order and grant Polynices a befitting burial for the sake of the suffering Thebes,
Creon refuses. It is too late by the time Creon accepts Teriesias' prophecy. His son died, and his
wife committed suicide. Creon has been corrupted by power, and his loved ones have been
snatched from him.

He emerges as a stern despot, having made the same error that plagued Oedipus. Antigone, on
the other hand, emerges as a heroine who persists in her belief that she is correct. She must pay
tribute to her deceased sibling at any costs. Even if she violates state law, she must answer for
what she considers to be a greater law. The law of God, Antigone contends, is greater than the
law of the state. When we disobey God's commandments, like Creon does, we suffer. He defies
heavenly law for the sake of state or human law before being recognized. Antigone's obstinacy
and insolence rudeness for the right cause is far more admirable than Creon’s opinionated
defense of the wrong cause. She prefers to die a glorious and stoic death. Finally Creon is left to
face the tragic consequences of his own fatal decisions.

Thus, in Antigone, Sophocles highlights the connection between the will of the gods and the will
of human people, frequently pitting men's and women's truths against the truth of the gods. In
Greek plays, it symbolizes a high level of seriousness and sacred mission, as well as individual
free will in the face of despotic king's harsh rules.

8. What terrible consequences did King Creon have to face for

defying the divine law in the play?

The strongly built King Creon, Antigone's uncle, is a weary, wrinkled man suffering from the
weight of authority. He devoted himself to art patronage before Oedipus and his sons died,
but he has now completely bowed to the crown. Antigone, Ismene, and Polyneices have a
brother named Eteocles. After King Oedipus died, he took control of Thebes, but refused to
share the crown with his brother Polyneices. The true problem began when the two brothers
battled and killed each other outside one of the city's seven gates. Polyneices was known as
'the wicked brother' since he attacked Thebes with a foreign army. His name means 'many
difficulties.' In punishment for the heinous act of assaulting his own city, Polyneices was left
as carrion for the crows, while Eteocles was buried with full ritual honors.
Creon is a sensible man who distances himself from Oedipus and his line's tragic goals. His
entire interest, he says Antigone, is in political and social order. Creon is a firm believer in
common sense, simplicity, and the mundane joys of everyday living. Creon believes that life
is nothing more than the happiness one creates, happiness that can be found in a grabbed tool,
a garden bench, or a child playing at one's feet.
Creon has no wish to play the role of the villain in his niece's tragedy. Antigone is
considerably more essential to Thebes as the mother of the city's heir than as a martyr,
therefore he has her crime covered up. Creon will have no choice but to put Antigone to
death, despite his affection for her. By saying "yes" to state power, Creon has committed
himself to acts he despises if the state's order requires it, as the obstinate Antigone makes
apparent. In the face of state authority, Antigone's insistence on her desire leads to Thebes'
and Creon's destruction.
When Creon defies the divine law which was conveyed to him by Teiresias, an elderly blind
prophet from Thebes who could foretell the future by watching birds and other animals,
Creon suffers the harsh consequences. Towards the end, when the throng heard Haemon's
moan from within, Antigone had just been immured. Creon screamed for the slaves to take
the stones away, tearing them apart with his bloodied hands. They discovered Haemon
cradling Antigone's body, who had hung herself with her robe's scarlet and gold cord. Creon
approached his child, but he was deaf to the sound of his father's voice. He suddenly rose
abruptly, struck Creon, and drew his sword. Staring at him with contempt. Haemon stabbed
himself and lay alongside Antigone in a pool of blood. When Creon’s wife Eurydice got to
know about Haemon’s death, she finished her row, climbed to her lavender-scented room,
and slit her neck.

At the end, Creon is left all alone in the palace following the loss of his family. His kingship
has even taken away his ability to mourn. He has no one to support him emotionally and this
is the price that he had to pay for not obeying the divine law.