Creon's Intimidation of Antigone

In Sophocles’ Antigone, Creon’s intimidation of Antigone provokes a series of chain reactions as a result of his choice to prioritise societal law over familial. This prioritisation is first seen in Creon’s opposition to Antigone illustrating his despotic nature by demanding Antigone’s death; and consequently, Creon’s relationship to his son Haemon (engaged to Antigone) is fractured. This fracturing is delineated by Eugene Falk and Norman DeWitt who state, “Creon’s tragic flaw is his rashness and stubbornness” (25) and this is manifested in Creon’s intimidation of Antigone and the events that follow. Furthermore, Creon’s behaviour causes the suicides of Antigone, Haemon and Eurydice leaving him isolated from society.

Creon symbolises societal law which opposes Antigone’s representation of familial law, resulting in tension that permeates the play. This tension is first manifested in Creon’s declaration to honour Eteocles with funeral rites, while dishonouring Polyneices by refusing to give funeral rites. Both Eteocles and Polyneices are Antigone and Ismene’s brothers, and therefore Creon’s decision to honour one and not the other violates familial law. Falk and Dewitt’s view exemplifies Creon’s erratic and tyrannical behaviour by belittling familial law (25).

Creon’s societal law is made obvious by his first entrance on stage with repeated references to “the state, the gods” (8) and “our city” (9), highlighting his pious attitude towards Thebes. In contrast, Antigone’s first presentation is filled with discontent and unhappiness at the city and its tyrannical ruler Creon, with words such as “miseries” and “calamity, disgrace, dishonour” (3). H.D. F. Kitto notes in his translation that “Brave Creon” (3) is “not named in the Greek” but instead is called “stratēgos, ‘general’” (155). As a result, this term evokes Creon as an authoritarian, controlling figure who is threatened by changes in society, in the form of Antigone’s decision to prioritise and honour familial law.

Creon’s intimidation first begins when he discovers Antigone’s actions of giving funeral rites to Polyneices. This intimidation delineates Creon’s hostility and separation from his polluted family. This hostility is epitomized by the stichomythia with Antigone, and the impersonal tone created. Creon attempts to assert authority over Antigone by stating “tell me briefly – I want no long speech” (16). Antigone proceeds to give a “long speech” (17) detailing Creon’s perverse, abhorrent nature of disregarding “the laws of Heaven” (17). Antigone evokes the tension between societal and familial law by invoking Zeus and the threat of “disobeying” (17) his law is exemplified. Antigone fully accepts the penalty of dying, commenting “death is welcome” (17), and as a result, death is more appealing as opposed to living in a society where familial law is violated. In every aspect, Antigone defies Creon, even in speech and commands, thereby showing how violated she feels as a result of Creon’s utter disregard for familial law.

Creon’s relationship to his son Haemon is affected by his intimidation of Antigone and this is highlighted by his erratic behaviour. The chorus announce Haemon’s entrance with “last-born of your children” (23) which creates foreshadowing, as Haemon commits suicide due to his inability to help his “bride” (23). Initially Haemon states his allegiance to Creon that “No marriage shall be thought a greater prize” (23), however, Haemon retracts this statement which exemplifies Creon’s leadership as an example of tyranny by choosing to oppose and transgress the people of Thebes.

This exchange between Haemon and Creon creates a tense tone by the repetition of stichomythia used throughout, as Creon’s anger flares when even his own son opposes him. Creon’s anger is epitomized by the insults he expresses towards Haemon such as “Villain”, “Scoundrel” and “woman’s plaything” (27). Creon’s choice of “woman’s plaything” (27) as an insult illustrates his sexist and misogynistic character. This aspect of Creon’s character is further reinforced by his rejection and ignorance of Antigone’s decision to not neglect familial law, as a woman she is lower in society than Creon and therefore in his eyes, does not have a voice. In contrast, Haemon expresses a calm tone in attempting to make Creon understand his violation and tyrannical behaviour. However, Haemon’s calm tone is ultimately futile as Creon is intimidated by Antigone for two reasons: firstly, Antigone being a woman and secondly her ‘inferior’ as such position and opposition to a leader’s choice

Additionally, Haemon associates Creon’s despotic character with “raging madness”, refusing to see Creon again (27). Haemon’s repetition of “mad” and “madness” (27) evokes his tone of desperation, in regards to Creon. This desperation connotes Joseph Plescia’s view that “Haemon, like Antigone, therefore holds that the internal dictates of his conscience are stronger than those of an external authority, even of blood relation, of his father-king” (134). Throughout the play, Haemon does not express a desire to correct the balance for Creon’s mistake of prioritising societal law over familial. Therefore, I do not think Plescia’s view of Haemon is correct; instead, I believe that Haemon is more concerned of what the people of Thebes think of Creon. Despite Haemon’s future legal ties with Antigone and his obligation to familial law, being caught between two binaries, Haemon is ultimately a passive character in this play; Haemon’s presence in the play symbolises the loss of life as a result of tyrannical actions.

Creon’s intimidation of Antigone extends to his attempt at controlling Antigone’s death, and this is delineated by the repetitive marriage ritual imagery that structures the epode. This marriage ritual imagery is significant, as initially Antigone and Haemon were engaged to be marry, but instead this would-be marriage ritual is subverted for death rituals. Consequently, the repetition of death rituals symbolises the despotism that permeates Thebes and the perversion that is caused as a result. For example, during the epode Antigone laments “O grave, my bridal-chamber, everlasting prison…” (31). This lament creates a tone expressing juxtaposition between “grave and “bridal-chamber” (31). As a result, this juxtaposition symbolises the polar opposite binaries present in Creon’s tyrannical society, the juxtaposition between societal and familial law. Consequently, dissension penetrates Creon’s society in the form of repetitive death rituals replacing a marriage ritual, juxtaposition in Antigone’s lamentation, and the tension between societal and familial law.

Furthermore, Creon’s intimidation of Antigone is additionally symbolized by his repetitive command for Antigone’s death. Creon’s decision in the epode to isolate Antigone and leave her in a cave to die, represents his isolation in society. Creon is isolated in every way, exhibiting repetitive antisocial behaviour, as a result of his reaction to Antigone’s action: intimidating and threatened. For example, Creon is the only character in the play who advocates societal law above familial. Even his own son, Haemon, voices the citizens of Thebes’ view that Creon is wrong. However, Creon’s intimidation of Antigone is epitomized by his decision to leave her in a cave so that “she may live or die, as she may choose: my hands are clean” (31). If Creon was adamant about his decision to ignore and therefore violate familial law, then his concern should not have been whether Antigone’s death was on his consciousness.

Additionally, it is important to note that even in death Antigone defies Creon’s tyrannical behaviour. This discovery is delivered by the messenger and this is traditional of Ancient Greek tragedies by delivering character’s deaths on stage in order to display the playwright’s skill. Antigone flouts Creon’s death sentence by hanging herself. The significance of Antigone’s hanging is that it mirrors her mother’s, Jocasta, suicide in Sophocles’ Oedipus the King. Just as Jocasta’s husband/son Oedipus was described as clinging to her body, so does Haemon cling to Antigone’s body, according to the messenger’s description. Evidently, Sophocles attempts to draw similar imagery in order to symbolise death by hanging as a violation and inversion of societal and familial laws that permeates these plays.

Moreover, Antigone’s defiance of Creon by committing suicide, illustrates her belief in Creon’s tyranny, which interestingly Creon doubts, before the epode, stating “Even the bold, you know, will seek escape when they see death at last standing beside them” (21). Consequently, Creon’s doubt of Antigone’s character demonstrates his unawareness and complete disbelief in Antigone’s faith. Creon’s doubt and disbelief could be as a result of his intimidation of Antigone and the effect it has had on him.

The suicides of Haemon and Eurydice signifies Creon’s despotism as a result of his intimidation of prioritising familial law, represented by his ignorance towards Antigone. Haemon’s suicide, as reported by the messenger, is characterised by his emotional guilt and self-condemnation for Antigone’s suicide. Haemon’s instinctive behaviour to murder his father evokes his earlier sentiment of “No marriage shall be thought a greater prize” (23). Haemon’s earlier emotional sentiment now creates an ironic tone as his suicide evidently proves his marriage and therefore the equality of familial law and societal was worth more than his relationship with his father, symbolising societal law over familial. Joseph Margon notes “The suicide of Haemon and Eurydice constitute Creon’s punishment” (180), however, I think Margon’s view is extreme in declaring that Haemon and Eurydice had to die as Creon’s punishment. Instead, Creon caused the imbalance and therefore his punishment should be death, it seems fate is remorseless to the Oedipus-related family.

Furthermore, Eurydice’s suicide follows Haemon’s and is significant as it is the second suicide in the play that is reported as “a blade into her heart” (43). Consequently, the imagery of a blade into a heart characterises Creon’s actions of prioritising societal law over familial, which therefore causes an imbalance in society. This imbalance is effectively ‘balanced’ as such by the deaths of Haemon and Eurydice in order to demonstrate to Creon the danger of prioritising one value over.

Additionally, Eurydice’s suicide is unusual in her method of killing herself. H.D.F Kitto notes “it is comparatively rare for women in tragedy to stab themselves” (164) and therefore Sophocles’ choice to have Eurydice die this way is so that it mirrors Haemon’s death. Both mother and son die by a sword to the heart which therefore personifies Creon’s action of prioritising familial law over societal, by having his two closest family members die. Eurydice’s suicide is executed in isolation, contrasting with Haemon who dies with Antigone and his father watching. As a result, Eurydice’s isolation foreshadows the isolation that Creon will experience.

In conclusion, Creon’s intimidation of Antigone exposes his despotism and tyrannical nature in attempting to prioritise societal law over familial. As a result, Creon experiences the reality of belittling familial law by the suicides of his family: Antigone, Haemon and Eurydice. Consequently, isolation structures the play in two ways. Firstly, Creon is isolated at the beginning due to his action of ignoring his duty to familial law and secondly, Creon is alone at the end due to the suicides of his family. This isolation, particularly at the end, creates irony as Creon is left with Thebes, which is fitting considering he prioritised societal law.

Works Cited

“Antigone.” Renunciation as a Tragic Focus: A Study of Five Plays, by Eugene H. Falk and Norman J. DeWitt, NED - New edition ed., University of Minnesota Press, 1954, pp. 25–33. JSTOR, www.jstor.org/stable/10.5749/j.cttts824.7. Accessed 25 July 2020.

Margon, Joseph S. “The Death of Antigone.” California Studies in Clas

sical Antiquity, vol. 3, 1970, pp. 177–183. JSTOR, www.jstor.org/stable/25010605. Accessed 25 July 2020.

Plescia, Joseph. “SOPHOCLES' ‘ANTIGONE:" CREON OR TYRANNY ON TRIAL.” Aevum, vol. 50, no. 1/2, 1976, pp. 129–136. JSTOR, www.jstor.org/stable/25821516. Accessed 21 July 2020.

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ophocles, Antigone. Translated by H.D.F. Kitto. Oxford World’s Classics, 2008.