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Updated: June 6, 2025
Does not Antigone rest on a similar conflict between Antigone's simple human way of showing her sisterly affection and the rigid formalism of the orthodoxy of her day? Or, look next at The Saint as a campaign document, the aspect under which it has been most hotly discussed in Italy. It has been accepted as the platform, or even the gospel of the Christian Democrats. Who are they?
At the worst, it drives man into a mechanicalized universe, with a resulting materialism of thought and life; at the best, it makes him a pragmatist with amiable but immediate objectives, just practical "results" as his guide and goal. Morality as, in Antigone's noble phrase, "the unwritten law of heaven" sinks down and disappears.
But instil into Antigone's soul something of the weakness that paralysed Ophelia and Margaret, would destiny then have thought it of service to beckon to death as the daughter of Oedipus issued from the doorway of Creon's palace? It was, therefore, solely because of the strength of her soul that destiny was able to triumph.
And others who in their wine had made redactions upon him, being afterward questioned for it, and asked by him whether they had said such words, on one of the young fellows answering, "Yes, all that, king; and should have said more if we had had more wine;" he laughed and discharged them. After Antigone's death, he married several wives to enlarge his interest and power.
The Margaret of Goethe and Ophelia of Shakespeare had perforce to yield meekly to fate, for they were so feeble that each gesture they witnessed seemed fate's own gesture to them. But yet, had they only possessed some fragment of Antigone's strength the Antigone of Sophocles would they not then have transformed the destinies of Hamlet and Faust as well as their own?
Antigone's work was not likely to be improved by the hasty huddled-up style in which it was folded, while Sarah and Emma shook theirs straight and carefully avoided creases. They had then to give it in to the mistress, who stood at one end of the room, putting all away in a large coffer. When the last girl had given in her work, Mrs De la Laund called for silence.
Jesus who died for us, Curtius who leaped into the gulf, Socrates who refused to desist from his teaching, the sister of charity who yields up her life to tending the sick, the humble wayfarer who perishes seeking to rescue his fellows from death all these have been forced to choose, all these bear the mark of Antigone's glorious wound on their breast.
It is worthy of remark that Antigone's determination to inter her brother, notwithstanding the prohibition with which Sophocles opens his own piece, which he names after her, is interwoven with the conclusion of this play, a circumstance which, as in the case of the Choephorae, immediately connects it with a new and further development of the tragic story.
From over the highest ridge of this green amphitheatre San Pietro looked down with the air of one who had nothing more to learn of woe. Apollo stood in the centre of the stage, taking one voice, then another: now the angry tone of the tyrant, Creon, now the wail of the chorus, hurt but undecided, then breaking into the unspeakable sweetness and firmness of Antigone's tones.
Creon's determination to maintain his kingly authority, by punishing the burial of Polynices with death, is equally fixed with Antigone's determination, equally important, and, as we see at the end, not less dangerous, as it draws after it the ruin of his whole house. It may be perhaps urged that the merely negative determination is to be considered simply as the complement of the affirmative.
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