After the death Œdipus, Antigone and Ismene returned to Thebes, and lived in the king's house with Eteocles, their brother. But the seven great captains from Argos, whom Polyneikes had called to help him, came against Thebes to destroy it, and were hardly driven back. And the two brothers having died by each others hands, the people of the city made Creon their king, as being wise and prudent, and next of kin to the dead: and he issued his decree that Eteocles should be buried with due honour, but that no man should dare to bury Polyneikes, who had come purposing to lay waste the city and all the temples of the Gods.
Alternative Argument [R.C. Jebb]
Polyneices, supported by an Argive army had marched against Thebes in order to wrest the sovereignty from his brother Eteocles. The day before that on which the drama opens had been disastrous for the invaders. At six of the city's seven gates, a Theban champion slew his Argive opponent : at the seventh, Eteocles met Polyneices, and each fell by the other's hand. The Argive army fled in the night. Creon, now King of Thebes, has just issued an edict, proclaiming that Eteocles shall be interred with public honours but that the corpse of Polyneices shall be left unburied.
Alternative Argument
Antigone, daughter of Oedipus, the late king of Thebes, in defiance of Creon who rules in his stead, resolves to bury her brother Polyneices, slain in his attack on Thebes. She is caught in the act by Creon's watchmen and brought before the king. She justifies her action, asserting that she was bound to obey the etemal laws of right and wrong in spite of any human ordinance. Creon, unrelenting, condemns her to be immured in a rock-hewn chamber. His son Haemon, to whom Antigone is betrothed, pleads in vain for her life and threatens to die with her. Warned by the seer Teiresias Creon repents him and hurries to release Antigone from her rocky prison. But he is too late : he finds lying side by side Antigone who has hanged herself and Haemon who also has perished by his own hand. Returning to the palace he sees within the dead body of his queen who on leaming of her sons death has stabbed herself to the heart.
Some hypotheses
How old is Ismene? Is she older than Antigone or younger? Or a twin (like Eteocles and Polyneices)? Sophocles does not care about any of this.
Ismene is Antigone's younger sister.
Can one ask if Antgone is older than Ismene? In normal Greek terms, from the fact that Antigone in the play is certainly and emphatically on the point of of marriage to Haimon ..., and from the fact that there is no mention of any such prospects for Ismene, one could assume that Antigone is the older sister. [Simon Goldhill].
Antigone - She is the oldest daughter of Oedipus and Jocasta. Her name in Greek means ‘one who is of the opposite opinion’ (anti = opposite, gnomi = opinion).
Ismene - She is the youngest daughter of Oedipus and Jocasta. Her name in Greek means ‘to linger towards’ (eis = towards, mene = linger).
Dramatis Personae
Antigone Younger Daughter of Oedipus, niece of Creon.
Ismene Elder Daughter of Oedipus, niece of Creon.
Chorus of Theban Elders.
Creon, King Of Thebes.
A Watchman/Guard set by Creon to keep watch over the corpse of Polyneices.
Haemon, Creon's son, betrothed to Antigone.
Teresias, the seer. [Apollo's prophet in Thebes]
A Messenger.
Eurydice, Creon's Wife.
An Attendant.
Silent parts:
Guards and Slaves of Creon; Attendants of Eurydice. Boy guide to Teiresias.
Setting. Before the King's Palace at Thebes.
Analysis of the play.
I. Prologue: [Lines 1-99]:
Antigone has led Ismene, her sister, out of the palace gates to tell her to tell of the latest calamity to befall the family, that their uncle, king Creon, has, following the siege of Thebes and the battles at each of its seven gates known as the "Seven Against Thebes" war, issued orders concerning their two brothers, both of whom have been killed during the final battle [they had killed each other]: he has ordered that one of their brothers, Eteocles, hero, who commanded the defence of Thebes, is to be buried with all due honours, but that their other brother, Polyneices, traitor, who fought alongside and with the Argives, who had attacked the city, is to lie unburied and unmourned on the open ground outside the city walls. Creon has also issued an edict that anyone who attempts to mourn or bury Polyneices will be stoned to death.
Ismene: What is it? Clearly some news has clouded you.
Antigone: Indeed it has. Creon will give the one of our two brothers honour in the tomb; the other none. ... Creon is coming to proclaim it to those who know it not. Further, he has the matter so at heart that anyone who dares attempt the act [of burial] will die by public stoning in the town.
Ismene: ... What can I do? ...
Antigone pleads with Ismene to help her bury Polyneices in accordance with the sacred laws.
Antigone: Will you help take up that corpse with me?
Ismene: To bury him, you mean, when it's forbidden? Think of our father, dear Antigone how we saw him die hated and scorned, how he blinded himself because of his sins; and how his mother-wife hung herself, and how our brothers fought each other to the death. Only we two are left. Think how much worse it will be if we two defy the king's prerogative. Our death will be more shameful than theirs. We must remember we are only women, and are not made to fight with men. Unfortunately might is right and we have to bow to this. And that since we are subject to strong power we must listen to these orders, or any that may be worse.
Antigone: I will not try to persuade you anymore. You have made your choice and I mine. I shall bury him. And If I have to die for it so be it. How beautiful it will be to die. I am content, for I will lie beside him to rest loved by him whom I have loved. You may choose to dishonour the sacred laws. I will not.
Ismene: I do them no dishonour; but to defy the State [the Polis], — I have no strength for that.
Antigone: That's your protection. Now I go, to pile the burial mound for him, my dearest brother.
Ismene goes back into the palace. Antigone leaves by one of the side entrances to bury her brother.
Parodos: [Lines 100-161] The triumph of Thebes:
The sun has just risen. The Chorus of Theban Elders now march dancing into the orchestra via the other side entrance. They are of noble birth and form king Creon's council. They have been summoned to hear Creon's proclamation. In epic manner they greet the glorious dawn "the eye of the golden day", and praise the victory of Thebes against the Argive invading force: Zeus has punished the latter's hubris. Thebes' victory is total except for the death of the two brothers.
Chorus: Let us forget the wars just done and visit the shrines of the gods. All, with night long dance which Bacchus will lead, shouting and shaking all Thebes with his revels.
II. First episode: [Lines 162-331:
Creon enters from the palace.
He addresses the Chorus as his friends. Thebes has won a great victory. He thanks them for their loyalty to the House of Laius and the descendants of Oedipus. Now that the two brothers have gone (mutual murder, mutual recompense), the throne has become his by right of kinship.
Creon: When the two perished I was next in line: I hold all the power and the throne through close connection with the perished men. Naturally you cannot learn of the character or the mettle of a man or his intent until you have seen how he practices government and the law.
Creon: You have heard my proclamation: Eteocles who died in arms for Thebes shall have a glorious funeral as befits a hero joining the noble dead; however, his brother, Polyneices who came back from exile and sought to burn the city of his fathers and its shrines, and lead us off into slavery, it is announced that no one from this city may give him burial, nor mourn for him. He is to be left where he lies unburied, his corpse disgraced, as dinner for the carrion birds and dogs. Such is my will. Never shall I allow a traitor to gain more honour than a loyal man. He who shows by word and deed he is on the side of Thebes shall have my respect and my reverence when he dies.
Chorus: You, as sovereign, have the right to make such laws as you will for both the dead and the living.
Creon: Sentries have been posted to watch over Polyneices' corpse. Death is the prize for those who disobey.
A Guard enters running stage left. He is out of breath. He tells Creon that someone has just buried Polyneices, and performed the full rites on his grave, as the soil piled upon his corpse and the ground was still wet from the libations that had been poured on it..
Creon is furious, but the Guard does not know who has done it.
The Chorus suggest that the gods have had a hand in this. Creon orders them to be silent. How could the gods have done that having no kindly thoughts towards Polyneices and what he did.
Creon accuses the Guard of accepting a bribe from whosoever had defied his order.
Creon [to the Guard]: I tell you plainly, and confirm it with my oath, that unless you find and bring before me, the very author of this burial-rite mere death shall not suffice. You shall be hanged alive until you disclose the crime, that for the future you may ply your trade more cleverly, and learn not every pocket is safely to be picked. Ill-gotten gain more often lead to ruin than safety.
Guard: I cannot be the one who did it.
Creon: Yes, but you did! You sold your life for money!
Exit Guard stage left and Creon into the palace.
First stasimon: [Lines 332-375]: The Might of Man
This is the Ode to Mankind sung by the Chorus of Theban Elders. It is incited by the discovery by the Guard of the mysterious almost supernatural burial rite that has been performed over the corpse of Polyneices. The Guard has announced this to the Theban elders. The Elders in turn celebrate Mankind's inventiveness and achievements, claiming that: "Much is there marvellous, but naught more marvellous than Man" and the progress and rise of civilization. Man has learned to use the sea and the earth. Birds and beasts and fishes he has made his prey, and other beasts he has tamed to his service. He has achieved civilization, both intellectual and social. They sing the praises of the conquests of man, but qualify this with a warning against the violating human and divine laws: the ode contains the reminder of the respect due to them. The Elders argue that Creon cannot be blamed for this, because as far the Chorus are concerned, being elders at the court of Creon and his councillors, Justice and the Laws are one and the same. Mankind's crowning achievement is the polis, and the polis depends for its continued existence on obedience to its laws.
The glory of Man, the tragic essential in Mankind, is that he is one who dares all and conquers all and follows through to wherever his genius leads. Men now have power over almost everything but death.
Man's genius:
"Over the foaming sea in winter’s wind he goes, moving among the waves that roar around. The flocks of nimble birds he snares and makes his prey, the herds of savage beasts, and ocean’s watery spawn, with netted coils — this ever crafty man. He masters by his arts the creatures of the fields and of the hills. He brings the stiff-maned horse under his binding yoke, and stubborn mountain bull."
"Speech, too, and wind-swift thought, and social dispositions, these he learned; how to avoid uncomfortable frosts when skies are clear, and storms when skies are foul — resourceful ever. Without resource he meets no dawning day. From death alone he shall not win release, although for fell disease he has discovered cures."
But contained in his genius Man can invent and dream, but this practice can lead him down the path to either good or evil. By honouring his country’s laws and the gods’ justice, high in the esteem of the City-State or Polis he will stand. Law is civilization, the bedrock of the Polis.
The Ode ends with the Chorus announcing their hostility towards anyone who violates the Law.Chorus: May he not share my hearth or think my thoughts who does such deeds of sin.
III. Second episode: [Lines 384-581]:
The Guard marches Antigone in. She is under arrest.
The Chorus announce that she is is the one who has broken Creon's royal law.
The Guard says he has caught her burying Polyneices and wants to tell the king.
Enter Creon with his attendants.
Creon asks the Guard why he has arrested Antigone. The Guard tells him that he had detected her honouring the grave of Polyneices. He asks Creon to question her, and to let him now go free.
Second stasimon: 582-625. The Persistence of Evil
The Chorus chant an ode about divine curses (até) and fate (moros). They warn that when the gods intervene in the affairs of Mankind, disasters can happen to families, ones which can last from generation after generation.
Chorus: Once a House has been shaken by heavenly intervention, disaster strikes never leaving it. This is like when the swelling sea driven by a roaring wind turns it black, bearing up from the deep a thick and dark cloud of mud.
And this is exactly what has happened to the royal family of Oedipus, upon which tragedy after tragedy have occurred, and all the sorrows that have befallen it have been brought about by the unceasing punishment visited upon it by the gods, upon members of the family generation after generation. They warn that even though Mankind may try to appease the gods, in the end they are ultimately at their mercy. No generation can free the next from punishment. Such is the nature of the Curse.
The two sisters, Antigone and Ismene, are the last surviving members of the line of Labdacus. Their foolish ideas will destroy them. Zeus cannot be stopped: no one can escape punishment by the gods. The gods control men's minds and lead them to destruction. Any greatness in human life brings doom: for this is the law: in the life of Man every success brings with it some disaster.IV. Third episode: [Lines 631-780].
Enter Haemon.
Creon: You haven't come to rage against your father because your bride-to-be must die? Or are you still my loyal son?
Haemon: Father, I am your son. May your wisdom rule me, and may I always follow it. No marriage I could make can ever match your good government.
Creon: Just as a right-minded son should be, always deferring to his father's will. Men dream that their children are obedient, always ready to fight his enemies and honour his friends. But a man who produce worthless sons has hatched for himself nothing but trouble. Haemon, do not lose your head over an evil woman. Such a woman who shares your bed will turn cold in your arms. Spit her out. Let a woman like this marry someone in Hades. I have just caught her committing treason, she alone in all of Thebes. I will not break the promise I have made to Thebes: she must die. Let her sing her prayers to Zeus, the god who protects families, for if I nurture sedition in my own home, this will foster it outside. I will never allow anyone to break the law and flout authority. All are equal before the law. When the city-state appoints a leader he must be listened to, both in small and great matters, whether they be right or wrong. Those who obey make perfect subjects of a perfect king. There is no greater curse than anarchy and disobedience. It topples cities and crumbles homes. For men to live decently it necessary for them to have discipline. So it is my duty to guard those men who submit to order. I must defend authority and uphold the law, and never allow myself to be worsted by a woman.
Chorus: Unless our age has made us witless there is much wisdom in what you say.
Haemon: Wisdom is the greatest gift of the gods to Mankind. I am not able to find fault with what you have said, but others can reason rightly too. As your son I must pay attention to what others in the crowd say and think, especially in matters which touch you. I must listen to their speech and above all their discontents. You frighten, your very presence frightens the common people from saying what needs to be said, especially on matters which you would rather not hear. I [unlike you] standing in the hidden corners of this city am able to overhear their mutterings and complaints. Secretly they justify Antigone. Know how the people mourn for this maiden doomed to die for the noblest of deeds the worst of deaths: when her own brother who was slain in battle, his corpse has been forced to lie unburied as carrion for the birds and the dogs which scavenge. They cried "Should not her name be writ in gold?" Such are the murmurings which have reached my ear. Father, cling not to the notion that you are always right and all others wrong. The wisest of men will allow themselves to be swayed by teh wisdom of others. See how the trees which grow by a stream in flood bend to the forces of the winter's gales and save themselves, even their twigs, whereas those which resist are torn up by their roots. And the mariner who pulls too tightly on the mainsheet of his sail too tightly during a storm finds his ship being flipped over, finishing his voyage upside down in the water with its keel uppermost. Let your anger go and relent.
Chorus: My lord, listen to your son: young as he is, learn from him. And you too, Haemon, listen to your father and learn from him, for you have both spoken well.
[Creon and Haemon begin a stichomythia]
Creon: Are men of my age to be taught sense by a man of his age?
Haemon: Judge me not by my age, but by what is right!
Creon: Honour those who disobey and break the law?
Haemon: I would not have you honouring criminals.
Creon: You don't think she is sick with that disease?
Haemon: Your fellow citizens do not think so.
Creon: Is the town telling me how to rule?
Haemon: Now you're speaking just like a boy.
Creon: Am I to rule for them and not myself?
Haemon: No city [polis] is the property of one man.
Creon: But custom gives possession to the ruler.
Haemon: That is not government, but tyranny.
Creon: But the king is lord and master of his city. [L'État c'est à moi!]
Haemon: Yes, if the state was a desert! You'd rule it beautifully alone.
Creon [to the Chorus]: The boy is hopelessly on the side of the woman.
Haemon: I am on your side. Are you a woman?
Creon: Do you brawl against your father's will?
Haemon: You are are brawling with justice!
Creon: When I regard these as my own prerogative?
Haemon: What rule, when you trample on the rule of heaven?
Creon: Your mind has been poisoned! Taken in by a woman!
Haemon: You'll never see me taken in by anything that brings me shame!
Creon: You defend her with your every word.
Haemon: And you! And me! And all the gods below the earth!
Creon: You shall not marry her this side of the grave.
Haemon: So she must die! She will not die alone!
Creon: Are you threatening me?
Haemon: One cannot threaten empty air!
Creon: You are the one who's empty-headed!
Haemon: If you weren't my father I would say your mind has gone.
Creon: I'll listen to no chatter from a woman's plaything!
Haemon: You talk the talk but don't listen!
Creon: Is that so? [to his guards] Bring her out that loathsome creature. I will have her killed now before her bridegroom's very eyes.
Haemon: She will not die here. Nor will you ever see my face again. Rave on, as long as you have any friends. I can no longer endure you.
Haemon rushes out by one of the side entrances.
Chorus: How angrily he left. The young, when they are grieved, are dangerous.
Creon: Let his pride and folly do their worst: these girls will not escape their doom.
The Chorus express their misgivings.
Chorus: Do you intend to kill both the sisters?
Creon: Not her who didn't touch the body.
Chorus: And the other?
Creon: I will conduct her along the way that is untrodden by mortals. I will bury her alive [wall her up] in a cavern in the rock, only leaving as much food as will suffice for her to making amends for her guilt so that those in the city might avoid pollution. There she may implore Hades, whom alone amongst the gods she reveres. By this she will obtain a respite from death, or will know and learn at least then that it is hopelessly lost trouble to pay reverence to those who dwell in the shades.
Third stasimon: [Lines 781-800].
All-conquering Love [Eros]
The source of Haemon's quarrel with his father, Creon is sexual desire. Eros, its god, represents a powerful fundamental force, "thesmoi, θεσμοί", which nothing can resist. [Draco's laws were called "thesmoi"].
Love, a force beyond our control, a destructive force which governs our life. Love even holds the gods captive. All mortals yield to it.
Chorus: Mad are your subjects all, and even the wisest heart, straight to folly will fall, at a touch of your poisoned dart.
Love leads to strife amongst kinsmen.
Chorus: But now we are also carried beyond the bounds of loyalty, and can no more keep back our streaming tears, when we see Antigone thus passing to the bridal chamber where all are laid to rest.
Anapaests 801-805.
Enter Antigone marched out of the palace by two Creon's guards They have been charged with the task of conducting leading her to her execution, immuring her inside a living tomb.. She stands before the Chorus.
V. Fourth episode [Lines 806-943].
Kommos [806-882]
Antigone's makes a lyric exchange and lament with the Chorus. She bids her last farewell to them. She laments her forthcoming death. She implores her fellow citizens to look at her before she leaves to die. The Chorus plainly state that the blame for her fate rests solely with her, what is happening to her is her responsibility. It was not possible for Creon to grant a reprieve for a breach of his edict. Antigone compares her fate to Niobe, Queen of Thebes. She hopes that she will be remembered for what she has done just like Niobe. It's pity which she is seeking from the Chorus.
The Chorus comment that Niobe was a goddess and that they and Antigone are but mere mortals. The Chorus chant that in some ways she is still paying for the curse on her family; perhaps her death is some kind of compensation for this. This suggestion upsets Antigone, as she thinks about the tragedies of her family constantly. The Chorus, however, remind her that she is dying as a result of her own "selfish will,"
Chorus: Religion has her chains, 'tis true, Let rite be paid when rites are due. Yet is it ill to disobey The powers who hold by might the sway. Thou hast withstood authority: as a self-willed rebel, thou must die.
Antigone ripostes their criticism of her.
Antigone: Unwept, unwed, unfriended, hence I go: no longer may I see the day's bright eye; not one friend left to share my bitter woe, and over my ashes heave one passing sigh. I go to espouse the bridegroom, Death.
Chorus: Yet a glorious death is yours. You go to the silent tomb not smitten with a wasting sickness, not repaying a debt to a sharp-edged sword, but alone amongst the mortals you go to the home of the dead whilst you yet live.
Creon: Enough of this lamentation. Take her away at once to the cave!
Creon absolves himself that he has committed any crime.
Antigone calls it both her tomb and her bridal chamber. She is sad but is happy to be reunited in death with her parents and her brothers. She justifies her burial of Polyneices saying that she wouldn't have done it for her own children or husband because she knows she could always replace them. But her brothers she only had two of them who are now both dead: What "holy justice" has she violated by doing what was both right and just? She is content to know that if she is truly in the wrong, the gods will let her know.
Antigone expresses her belief that much love awaits her beyond the grave, on the other side.
Antigone is led off by Creon's guards to her tomb to be seen no more.
Fourth stasimon: [Lines 944-987].
The Chorus chant an ode comprising the stories of three myths. Each in its way is related to power and the fate of Antigone, namely cruel punishment.
Myth 1: The Story of Danae - her father, the king of Argos, was told by the Delphi oracle that his daughter's son would one day, kill him. To prevent this he had Danae locked up in a bronze chamber in a tall tower. But Zeus came to her and impregnated her. The son born of this union, Perseus, grew up accidentally to kill his grandfather. The moral of this myth: no one can escape his fate.
Myth 2: The Story of Lycurgus - son of the king of the Edonians. He had banned the cult of Dionysos in his kingdom. But Dionysos had him driven insane, and entombed in Mount Pengeus.
Myth 3: The Story of Cleopatra - daughter of Boreas, the North Wind. She became the wife of Phineus, king of Thrace, but was imprisoned and her two sons blinded.
VI. Fifth episode: 988-1114.
Teiresias, the blind prophet, enters. He is led in by a boy.
Lines 988-1032: Creon asks him for news, and Teiresias demands that before he reveals it Creon must commit to obeying him by doing whatever he tells him to do. Creon reminds him that he has always followed his counsel. The prophet answer Creon's questions with words of solemn warning: danger threatens the city; the gods are not revealing for their seer any answer to his auguries or burnt-sacrifices. Creon is to blame for this: the gods are angry at the pollution of their sacred altars caused by the birds and dogs, which have torn the corpse of Polyneices to pieces and brought the flesh from it onto hallowed ground. Let Creon relent in time; pride goes before a fall; The prophet is speaking for the good of his king.
Lines 1033-1047: Teiresias has angered Creon. The tyrant breaks out into a rage. Is he to become as merchandise in the hands of a pack of prophets? He accuses Teiresias of having been bribed by the malcontents in Thebes, and sent to frighten his master into compliance with their wishes; but they shall never succeed.
Creon: No! not though the eagles carry their carrion meal even before the throne of Zeus. Let Teiresias beware how he prostitutes his art for lucre's sake.
Lines 1048-1090: Teiresias, in turn, warns the king to beware of evil counsel ; and at last, stung to retaliate by the unworthy accusations brought against him, he pronounces on the blinded monarch the doom which is overhanging him. Teiresias predicts: "Yet a little while, and Creon shall hear the voice of lamentation in his own house for one of his own flesh and blood, because he has deprived the dead of the rites due to them, and has set himself on high above earthly justice."
Exit Teiresias
After the old seer has quit the stage in anger, the Chorus, realizing the full the gravity of the situation, remind the king that the prophet has never proved false, and urge immediate compliance. The gods act swiftly when they are upset.
Chorus [to Creon]: Set Antigone free at once, and let burial be given to the dead.
Lines 1091-1114: Creon, too, has been startled, and reluctantly consenting to yield to the will of his Elders. He himself will go and undo the evil he has begun; his heart misgives him; he may, after all, have been in the wrong.
Hyporcheme (taking the place of the Fifth stasimon): Lines 1115-1154.
The Chorus are overjoyed at the prospect of a happy ending to these sad family troubles. They break out in a hymn of gladness but also of desperation to Dionysos. The Hyporcheme commemorates the worship of the god in the city which he loves the most, namely Thebes. In this choral ode they invoke and beg Dionysos [the god of many names and son of Zeus] and his Maenads [Thyads] to appear and come to Thebes [where the dragon seeds were sown, to come back to his home city] to cleanse it of its plague and pollution, and to release it from the curse on the House of Oedipus.
Chorus: O Dionysos, Giver of all blessings, come! We crave your ready help!
VII. Exodos: 1155-1352.
Lines 1155 -1179:
Enter a Messenger, but the Chorus' joy is only brief.
Messenger: Fortune sets straight, and Fortune overturns the happy or unhappy, day by day.
The Messenger tells the Chorus that Creon was once a man he admired, but now he's just a "breathing corpse". He's lost all will to be a ruler.
Messenger: When a man has lost all happiness, he’s not alive. Call him a breathing corpse.
The Messenger then tells the Chorus that Haemon and Antigone are both dead.
This news gives rise to deep feelings of sorrow in the Chorus. The Messenger tells a tale of death and remarks that the living are to blame for it. Haemon is dead, slain by his own hand. Teiresias' words have come true.
Lines 1180-1243:
Enter Eurydice
Whilst the Messenger is still answering the Chorus' questions, Eurydice, wife of Creon, and mother of Haemon has entered. She has overheard what the Messenger has said. She demands to know more fully what has happened.
Eurydice asks the Messenger what other news he brings. He tells her that he accompanied her husband, Creon, to bury Polyneices's corpse and when they found it they saw that its flesh had been torn up by dogs. They collected the remains of the body, washing and purifying them as much as they could, and then they built a make-shift pyre upon which they cremated the remains.
The Messenger describes how he had gone with Creon to bury Polyneices; and this being done, how they then went to try to find the cave in which Antigone had been immured, only to find that they were too late. Antigone had hung herself upon a noose made from her own veiling, and they found Haemon hugging her corpse in despair . When Creon saw this, he called to his son to leave the cave; but the boy was mad with rage and sorrow. He sprang at his father with a drawn sword. Missing him, he committed suicide by plunging the steel blade into his own heart, falling in a death-agony by the side of his betrothed.
After she has heard all, Eurydice went back into the palace without saying a word. All who saw her say she re-entered the palace like a sleepwalker.
Exit Eurydice.
Lines 1244-1256: Following Eurydice's exit. The Messenger and Chorus see that no good will come from Eurydice's unnatural silence.
Chorus: What do you make of this? The queen has gone in silence, with no word of evil or of good.
Messenger: I wonder at her, too. But we can hope that she has gone to mourn her son within with her own women, not before the town. She knows discretion. She will do no wrong. But I will go inside and see if some deep plan hides in her heart’s wild pain.
Exit Messenger
Lines 1257-1276: The Messenger is still absent, when Creon in mourning is seen by the Chorus in the distance coming towards the palace. His attendants are carrying the corpse of Haemon.
The Chorus begin to sing a lament.
Enter Creon with attendants carrying [an effigy of] the body of Haemon on a bier.
He echoes the lament.
Re-enter Messenger.
Lines 1277-1293: In the midst of the father's cries of agony for his son, the Messenger announces Eurydice's suicide. He tells all present that she has stabbed herself in the palace.
As the Messenger announces this the doors of the palace are flung open, and the corpse of Eurydice is revealed for all to see.
The Messenger points at her corpse
Messenger: There, by the altar, dying on the sword before her eyes fell shut she wept for her older son, Megareus, who had died before this one. Finally she cursed you as the killer of her children.
This is the final straw for Creon. He begs for some friendly hand to end his miserable life. The guilt is all his and he knows it now, but this realisation has come too late to him. From now on life will be but as death to him. Would that his last day had come!
Lines 1294-1353: The Chorus counsel resignation. They announce there is no escape for mortal man from the woe appointed for him.
And, with this chill comfort, the servants support king Creon from the stage,
Creon: Lead me away
Exit Creon with his attendants.
As they leave the orchestra the Chorus chant the final ode, the solemn moral of the play, namely about Creon's hubris. They sing about the need to respect the gods and resisting hubris, only then can mortals become wise.
"Pride goeth before destruction, and an haughty spirit before a fall." [Proverbs 16:18].
Chorus: Of happiness, by far the greatest part is wisdom, and reverence towards the gods. The proud words of the arrogant man, in the end, meet punishment, as great as his pride was great, till at last through age he is schooled in wisdom.
Exeunt
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ANTIGONE - SOPHOCLES PLAY - ANALYSIS & SUMMARY - GREEK MYTHOLOGY
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Audio/Visual
Discussion of Sophocles Antigone in 2019 - University of Texas
https://www.podbean.com/pa/dir-b9qi6-aac74
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Decree of Kannonos
Xenophon Hellenica Book 1 Chapter 7 Verse 20
20. You know, men of Athens, the exceeding stringency of the decree of Cannonus, which orders that man, whosoever he be, who is guilty of treason against the people of Athens, to be put in irons, and so to meet the charge against him before the people. If he be convicted, he is to be thrown into the Barathron and perish, and the property of such an one is to be confiscated, with the exception of the tithe which falls to the goddess.
Barathron (βάραθρον) was a deep pit at Athens into which criminals, and the dead bodies of executed criminals, were cast. (Plat. Rep. iv. p. 439 E)
Plot Analysis of Antigone by Franco Moretti
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