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Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

The Sisters Rivalry

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As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

-

In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

-

As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

-

A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

The Sisters Rivalry

-

As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

-

In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

-

As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

-

A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

Halfway through the play, the Chorus appears on the scene to announce that the tragedy is on. His speech offers a meta-theatrical commentary on the nature of tragedy. Here, in apparently a reference to Jean Cocteau, tragedy appears as a machine in perfect order, a machine that proceeds automatically and has been ready since the beginning of time. Tension of the tragic plot is the tension of a spring the most haphazard event sets it on its inexorable march in some sense, it has been lying in wait for its catalyst. Tragedy belongs to an order outside human time and action. It will realize itself in spite of its players and all their attempts at intervention. Anouilh himself commented on the paradoxical nature of this suspense What was beautiful and is still beautiful about the time of the Greeks is knowing the end in advance. That is real suspense… As the Chorus notes, in tragedy everything has already happened. Anouilhs spectator has surrendered, masochistically, to a succession of events it can hardly bear to watch. Suspense here is the time before those events realization.

having compared tragedy to other media, the Chorus then sets it off generically, specifically from the genre of melodrama. Tragedy is restful and flawless, free of melodramatic stock characters, dialogues, and plot complications. All is inevitable. This inevitability lends, in spite of tragedys tension, the genre tranquility. Moreover, it gives its players innocence as they are only there to play their parts. Though Creon will later accuse Antigone of casting him as the villain in her little melodrama, the players are embroiled in a far more inexorable mechanism. Again, note the incommensurabilities between Anouilhs theory of the tragic and political allegory. The latter is necessarily engaged in the generally pedagogical passing of ethico-politico judgment, the arbitration of innocence, guilt, and complicity. Though tragic players face judgment, they do so on rather different terms.

The Sisters Rivalry

-

As with Sophocles sistes, Ismene and Antigone appear as foils and rivals. Ismene is reasonable, timid, and obedient, full-figured and beautiful in being a good girl. In contrast, Antigone is recalcitrant, impulsive, and moody, sallow, thin, and decidedly resistant to being a girl like the rest. Though the Chorus emphasizes the plays distance from conventional melodrama, it is interesting to note how, in revision the opposition in Sophocles version, it perhaps imports the good girl/bad girl structure typical of this genre, not to mention a number of rather sentimental scenes. Ismene advises moderation, understanding, and capitulation. They must take Creons obligations into

account.

Anouilh develops another form of rivalry between the sisters with regards to femininity. Whereas Ismene is the appropriate, beautiful girl, Antigone curses her girlhood. Antigone in particular manifests her hatred for the ideal of femininity Ismene incarnates in their childhood, brutally binding her sister to a tree to stage her mutilation. Anouilh attributes Antigones hate and envy in Ismenes capacity to figure as an object of desire, as the woman men want. Thus, in attempting to seduce Haemon and become his woman, Antigone steals Ismenes goods�lipstick, rouge, perfume, powder, and frock�in another act of sisterly dismemberment. Through Ismene, Antigone would be a woman; as we will see, however, such human pleasures are not meant for her.

E. Motifs

The Chorus

-

In Greek tragedy, the Chorus consisted of a group of approximately ten people, playing the role of death messenger, dancing, singing, and commenting throughout from the margins of the action. Anouilh reduces the Chorus to a single figure who retains his collective function nevertheless. The Chorus represents an indeterminate group, be it the inhabitants of Thebes or the moved spectators. It also appears as narrator, framing frames the tragedy with a prologue and epilogue. In the prologue, it directly addresses the audience and is self- conscious with regards to the spectacle we are here tonight to take part in the story of Antigone. Like its ancient predecessor, Anouilhs Chorus prepares a ritual, instructing the audience on proper spectatorship. The Chorus then reappears throughout the play, marking its another turning points and futilely interceding into the action on our�that is, the spectators and Theban peoples�behalfs.

Click here for In-Depth Analysis.

Tragic Beauty

-

As noted above, Antigones insistence on her desire makes her monstrous, abject. At the same time, her abjection is her tragic beauty. Antigone announces this beauty throughout her encounter with Creon. Specifically Oedipus emerges as its model. Oedipus moment of beauty comes at his moment of total abjection, the moment when he knew all and had lost all servile hope and passed beyond the human community in his transgression of its founding taboo. Like Oedipus, Antigone will become beautiful at the moment of his total ruin. As Ismene notes, Antigones beauty is somehow not of this world, the kind of beauty that turns the heads of small children�be it in fear, awe, and otherwise.

The Tomb/Bridal Bed

-

A number of commentators have cast Antigone as a figure between two deaths, what we will refer to here as her death as a social or even human being and her death as her demise. The space between two deaths is most certainly materialized her tomb, the cave in which she, as a tabooed and abject body, is to be immured to keep her from polluting the polis. Her death sentence makes her more wretched than animals; such is her Oedipal beauty, a beauty in her inhuman abjection. As she appears to sense, however, she will not die alone. Her tomb will also serve as her bridal bed, Antigone ultimately bringing Haemon with her to the grave. Strangely, another of the tragedys victim�Queen Eurydice�meets her demise in another tomb that doubles as bridal chamber. Eurydice dies in her bedroom�bedecked by familiar, comforting feminine accoutrements, appearing as a maiden queen of sorts, having scarcely changed since her first night with Creon. The wound in her neck appears all the more horrible in marring her virgin neck. Her death would appear all the more tragic because she dies in all her feminine purity.

E. Symbols

Creons attack

-

Anouilh symbolizes Antigones transcendence of state power with Creons assault on her person during their confrontation. Enraged by her proud defiance and his inability to sway her, Creon seizes Antigone and twists her to his side. The immediate pain passes, however Creon squeezes to tightly, and Antigone feels nothing. Thus Antigone passes beyond the reach of state power and the realm of men.

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