The Chorus sees the sentry who had resolved never to return approaching, now escorting Antigone. The sentry tells the Chorus that Antigone is the culprit in the illegal burial of Polynices and calls for Creon. When Creon enters, the sentry tells him that after he and the other sentries dug up the rotting body, a sudden dust storm blinded them. When the storm passed, they saw Antigone, who cursed them and began to bury the body again. The sentries seized her and interrogated her, and she denied nothing. When Creon asks her himself, Antigone again freely admits her culpability. Creon dismisses the sentry and asks Antigone if she knew of his edict forbidding her brother’s burial. Antigone declares that she knew the edict but argues that in breaking it she defied neither the gods nor justice, only the decree of an unjust man.
The Leader of the Chorus likens Antigone’s passionate wildness to her father’s. Creon, calling for the guards to bring Ismene, condemns both sisters to death. Antigone tells Creon that his moralizing speeches repel her, and that to die for having buried her brother honorably will bring her great glory. She tells him that all of Thebes supports her but fears to speak out against the king. Creon asks Antigone if she didn’t consider Polynices’ burial an insult to her other brother, Eteocles, for the two fought as enemies. Antigone insists that both deserved proper burials, regardless of their political affiliations. She says that her nature compels her to act according to love and not to bear grudges. Creon rebuffs her, saying he will never allow a woman to tell him what to do.
Ismene emerges from the palace, weeping, and says that she will share the guilt with her sister. Antigone refuses to let her do this, arguing that she acted alone and insulting Ismene for her cowardice. Creon declares both sisters mad, and again condemns them to death. Ismene attempts to save Antigone by appealing to Creon’s love for his son, Haemon, who is betrothed to Antigone. But Creon stands firm, as the idea of seeing his son married to a traitor repulses him. Creon orders his guards to bind the sisters and take them away.
The Chorus sings an ode lamenting the fortunes of the house of Oedipus, which once again stands mired in death and sorrow. The Chorus prays to Zeus, guardian of kinship ties, whose law prevails above all others.
Antigone and Creon’s direct confrontation further clarifies the nature of their disagreement. Antigone attacks Creon’s edicts on the grounds that his interpretation of justice and the will of Zeus is invalid. She may be correct in her assessment, but in saying so she assumes the power to independently interpret justice and the will of the gods, just as Creon did. Her accusations are wild and reckless, and she seems to be trying to seize glory like the bravados the chorus condemned in their first ode.
Nevertheless, our sympathies are most likely tipping toward Antigone in this encounter. Just before the argument between Antigone and Creon, the sentry gives a vivid and disgusting description of the disinterment of Polynices’ corpse. Polynices’ rotting body is the physical evidence, or perhaps a symbol, of the injustice of Creon’s decree and of the ruin it will bring about in Thebes. The description of the degradation of the corpse prepares the audience to be sympathetic to Antigone’s arguments, even as she flies in the face of law with a pride that easily matches Creon’s. Antigone draws a distinction between divine law and human law, between the “great unwritten, unshakable traditions” and the edicts of individual rulers such as Creon (502–503).
Creon is not the one who comes to Oedipus first, it is actually the blind seer, Tiresias, who can "see" future, past, and present.
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Creon only exiles Oedipus because he wanted to be banished.
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It is not wise to try and compare Oedipus the King and Oedipus at colonus. Traditionally these works were written separately and should be viewed as such. While it is difficult to ignore prior knowledge, unless you are writing specifically comparing the two characterizations (while considering the fact they were written years apart and Greek dramatists are known to change characteristics of characters), an analysis of Oedipus at Colonus must be considered within itself and not as part of a trilogy.
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