ANTIGONE

Sophocles, Antigone, 442 BC.

Cole Webb

Antigone is a Greek mythological character who is a member of the royal family of Thebes, she is the daughter of Oedipus, the king of Thebes (Morford, 381). The most popular representation of Antigone is the tragedy written by Greek playwright Sophocles in the year 442 BC. The story is somewhat of a sequel to Sophocles most famous play, Oedipus Rex, which ends with Oedipus’s exile, leaving the throne empty. Antigone starts with the description of a war that has just occurred; a struggle for the throne between two of Antigone’s brothers: Eteocles, and Polynices. Both brothers have died in the war. Creon, brother of Oedipus, and newly crowned king, has decided that Eteocles will receive a proper burial, while Polynices, purportedly an enemy of the state, is forbidden from receiving this honor. The central conflict of this story is that Antigone, in accordance with religious customs, insists upon giving her brother a proper burial. For this transgression, she is sentenced to death by Creon. However, upon hearing a prophecy that the gods are angry with him for disrupting the burial of the dead, Creon decides to free Antigone before her execution, only to find that she has already committed suicide in her cell. Creon’s son, who is also Antigone’s fiancé, commits suicide in solidarity, and is soon followed by Creon’s wife in his act, leaving Creon tragically alone.

Antigone is often seen as the heroine of the story. For example, Morford writes that “Antigone is a heroine who is willing to incur a lonely death rather than dishonor the gods by obeying the king's command” (Morford, 399). However, many believe it is Creon who is the “tragic hero” in this story, and it is he who will be the focus of the remainder of this remark.

Aristotle claims that the goal of a tragedy is to “excite pity” by way of its hero suffering an unfortunate fate (Aristotle, XIII). He stipulates that for a tragedy to properly incite pity towards its hero, that the character must be someone who “is not eminently good and just, -yet whose misfortune is brought about not by vice or depravity, but by some error or frailty” (Aristotle, XIII). This description matches Creon well, as he makes the error of prioritizing his political convictions over obedience to the gods. Aristotle also claims that “the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity: for this moves neither pity nor fear; it merely shocks us” (Aristotle, XIII). This description seems to align better with Antigone, the god-fearing and noble woman that she is, further supporting the idea that Creon, rather than her, is the tragic hero.

Another common characteristic of tragic heroes, and the one the especially inspires pity in the case of Creon, is that they often do realize the error of their ways, yet they do so too late to forestall their fate. This is exemplified when Creon decides to remit Antigone’s death sentence, but word cannot reach her before she commits suicide.

Greek tragedies are often heavy handed with their messaging, Sophocles essentially tells his readers that they should pity Creon through his final words, a final recognition that the death of his son and wife were indeed his fault, and a final resignation, “I know not which way I should bend my gaze, or where I should seek support; for all is amiss with that which is in my hands,-and yonder, again, a crushing fate hath leapt upon my head” (Sophocles). However, Sophocles does not leave his audience without a message, the play closes with the leader of the chorus saying, “wisdom is the supreme part of happiness; and reverence towards the gods must be inviolate. Great words of prideful men are ever punished with great blows, and, in old age, teach the chastened to be wise” (Sophocles). The message being that the gods are not willing to call off one's punishment only because they have realized the error of their ways, that the lesson can only be taught with suffering; hence, the pitiful fate of Creon.

Sébastien Norblin, Antigone donnant la sépulture à Polynice (Antigone Giving Burial to Polynices), 1825, École nationale supérieure des Beaux-Arts, Paris, Oil Painting.

Joseph Loi

“Antigone donnant la sépulture à polynice” (Antigone giving burial to Polynices) was painted by Sebstien Norblin in 1825. The painting depicts Antigone in the most conflicting moment of the story, choosing between following the law of the state or the law of the gods. Norblin’s painting uses composition and color to explore Antigone’s central conflict: loyalty to the state or to her family and the gods.

Before looking at the painting, it is important to understand the culture behind burials in ancient Greece to understand Antigone’s dilemma. For the Greeks, having a proper burial was more than just a sign of respect; it was something that was decreed by the gods. Leaving Polynices unburied was “an offense against the gods, for it was the religious duty of the relatives of the dead to give them a pious burial (Mortford, 423). This meant that failure to bury Polynices would result in divine punishment as it was Antigone’s duty as kin. Additionally, the ancient Greek believed that unburied people would suffer in the afterlife. According to Vergil’s Aeneid, “This one group here consists of those who are poor and unburied. The ferryman is Charon… Charon is not allowed to transport them over the hoarse-sounding waters to the frayed shore if their bones have not found rest in proper burial" (Mortford, 372). Missing a proper burial meant that one’s soul would be forced to wander the underworld for some time before being allowed to move on.

The painting depicts Antigone in the most life-changing decision of her life, burying her brother Polynices. On the right, Polynices’ body lays upon a dark blue garment. A shield and helmet sit next to him, possibly representing how Polynices lost his life in war. On the left, we see the Theban guards trying to stop Antigone from completing the burial. They are dressed in red uniforms with their weapons ready. One guard is pointing to the left, signaling away from Polynices. In the middle, we have Antigone stuck between the guards and her brother. The light shines upon her, creating a spotlight effect. She wears a white toga and a white veil. One of her arms is being grabbed by the guards, and the other holding a small bowl extends towards Polynices. This is a libation bowl, a bowl containing a liquid that would be poured out as an offering (Gaifman).

By looking at the composition of the painting, we see a common theme of contrast and conflict. Polynices is positioned as if he is falling down on top of a dark blue garment. The guards, standing up, are covered in a bright red opposite Polynices on the painting. Polynice's dark blue feels lifeless since he is deceased. The guards' red uniforms feel violent representing Creon’s law. Polynices’ discarded war equipment contrasts the carried weapons of the guards. In the middle, Antigone is dressed in a white color, representing neutrality. Antigone is caught between the divine law to bury her brother and the common law of the king. She is unsure of which to follow and her arms are being pulled to both. In the background, we see two structures: the silhouette of a building and mountains. The locations further the contrast. The building could represent civilization and the law of Creon, while the mountains represent the nature and the divine law of the gods. Another interpretation could be that one side is a temple on the side of Polynices representing the gods, and the mountains on the other side represent King Creon. This contrast signifies the major split in Antigone’s story, the decision to follow the law of Creon or the gods.

Through Norblin’s interpretation we can get a better understanding of major themes present in Antigone’s story. Antigone explores themes of divine law vs state law and  personal responsibility vs state duty. Norblin’s painting uses composition and color to highlight the conflict that Antigone must consider.

Works Cited

Aristotle. Poetics. 330 BC.

Gaifman, Milette. “The Art of Libation in Classical Athens.” Yale News, 6 Oct. 2024, news.yale.edu/2018/02/28/art-libation-classical-athens. Accessed 04 Aug. 2025.

Morford, Mark, et al. Classical Mythology. Oxford University Press.

Sophocles. Antigone. 442 BC.