In the Greek tragedy “Antigone,” Sophocles tells the tale of a good woman whose loyalty to divine law unfortunately equates in disloyalty to civil law, resulting in her untimely death. Initially, the people of Thebes and the King of Thebes insisted Antigone should die for her sins, and remained in total awe and bewilderment at her actions. However, it was not until Antigone passed that her fellow condemners began to realize her motives of righteousness. The chorus plays an interesting role in this tragedy as the people of Thebes, by reflecting the essential elements and tendencies of human beings as spectators, listeners and speakers.
The play opens up with direct opposition between Antigone and her sister Ismene, concerning Antigone’s idea of burying her brother against King Creon’s rules. “…See how miserable our end shall be if in the teeth of law we shall transgress against the sovereign’s decree and power. You ought to realize we are only women…,” says Ismene. These words straightforwardly express not only the emotions of Ismene, but the thoughts of the entire chorus of Thebes. Ismene is quick to agree or support Antigone but automatically focuses on what bad will become of her sister from disobeying civil law. Antigone is not only a woman, inferior to all men, but she is also a mere citizen, inferior to King Creon and any laws established under his rule. Essentially, Ismene tries to convince Antigone that she is only stirring up trouble and bringing unwanted chaos to the land.
In the next section of the play, Creon is addressing the people of Thebes in his thoughts about his established plan for justice and peace. The chorus at this time seems to agree with the King’s ideas, but moreover they seem to try and appease him. Throughout the play there is a hint that the people do not entirely agree with the King, but are simply too afraid to speak against him. When Creon says that anyone who goes against his rulings will be punished with death, the people reply, ” there is none so foolish as to love his own death,” suggesting that even if someone disagreed with Creon, they would not sacrifice their own life to do so, ultimately because it was believed that human life is valued above freedom of speech and righteousness of behavior.
The chorus in the beginning of the play tends to listen and watch more than speak and take action. For example, Creon and Antigone are the two characters who tend to do the most of the talking at this point, and the chorus only listens to Creon’s ridiculous motives of justice and only judges Antigone’s words of wisdom. The chorus also stands and watches when Creon decides to punish Antigone and lets her perish in the tomb. However, throughout the play, again, there is a sense that the chorus does not completely agree with Creon, but only chooses to accept his decisions out of fear. When it is revealed to the King and Thebes’ people that someone had buried Polyneices, the chorus ironically replies, “My lord: I wonder, could this be God’s doing?” This line reflects a hint of transition in the chorus, as they point out the well-known fact that the Gods insist on giving mortals a proper burial. Moreover, it reveals that the chorus is still aware of the importance of divine law, and makes them question again what is more important: divine or civil law. Furthermore, this suggests that the chorus recognizes what is morally right, but simply refuses to oppose the high and mighty King.
The first sign of true opposition is found in Creon’s son, Haemon, who states, “there is no reverence in trampling on God’s honor,” after discovering that his father intended to execute Antigone for her actions. This represents the first signs that eventually Antigone could be saved. However, although Haemon is not afraid to stand up to his father in speech, he does not do anything in action to save Antigone until it is too late. Haemon, Antigone, and the people of Thebes all seem to represent the idea that a whole crowd of individual minds is agreeing consciously with the wrongful theories of one man, similar to a dictatorship. In burying her brother, Antigone stood alone against civil law and suffered the consequences. The chorus, however, does not want the attention of their ruler; they rather agree with him and “lock up their tongues” in appeasement.
When the chorus finally sees the truth and vindicate in Antigone’s actions, just as quick as they were to agree with Creon, they were even quicker in supporting his condemnation, suggesting that the chorus was never brainwashed, but were simply afraid to speak out against their leader, as mentioned previously. In many tragedies, it is not uncommon for people, citizens, bystanders, and in this case, the chorus, to be afraid to stand up for what they believe in in fear that they will be the only one standing. However, it is clear that if Antigone did not commit the civil crime of burying her brother, Creon’s laws would not have changed and the land and the people of Thebes would continue to perish without honor or grace.
“Wisdom is the chief element in happiness, and secondly, no irreverence towards the Gods. But Great words of haughty men exact in retribution blows as great and in old age teach wisdom.” In this way, by the conclusion of the play, the chorus finally realizes the importance of following divine law, and for the first time in the tragedy, true justice is served. Antigone is a perfect play to portray the concept of danger in silence and wisdom in tragedy. Even if conforming and agreeing to a larger body of power will give you initial freedom from harm, eventually the ignorance of humans towards what is truly right and moral will come back to haunt them.
