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For a while, it seems like Creon has won and succeeded in quieting Antigone and her radical ideas about life and happiness. Antigone finally agrees to go to her room, compliant to Creon, a major
contrast compared to the argument that had just taken place. It is clear that her spirit and will to fight has been beaten; from the stage directions where Antigone is True Religion Outlet “getting up, like a sleepwalker” the fact
that she has given up is apparent. This is however only the calm before the storm as this quiet gives Creon the chance to commit a fatal mistake, the most outstanding part of this scene. In this
dialogue Creon is content with finally seeming to make Antigone see his point of view but carries on with a lengthy speech comparing her to a ‘young Creon’. He speaks of life and happiness, and
how it is ‘some sort of consolation for growing old’.
You’ll despise me more for saying this, but finding it out, as you’ll see, is some sort of consolation for growing old: life is probably nothing other than happiness.” This quote from the passage
shows Creon as a man of compromise and complacence with whatever life gives, in contrast to Antigone who despises this. Indeed, it is Creon’s complacent idea of happiness which ultimately causes
Antigone to decide again to die. On the other hand, it can also be said that Antigone was bent on suicide from her insistence and her questionable motives. In another attempt to
quiet buy True Religion Antigone Creon asks
her if she loves Haemon to which she replies “I love a Haemon who’s tough and young… A Haemon who’s demanding and loyal like me.” Here Antigone demonstrates the qualities of her demanding
character; she despises those who “learn to say yes like the rest” and comply simply to make everyone happy. In Antigone’s mind it is youth which separates her from Creon, the ‘country that he
can’t enter anymore’ with his ‘wrinkles’, ‘wisdom’ and ‘belly’. She continues with her attack on Creon, denouncing his idea of happiness. In this is the unambiguous idea she constantly expresses:
if she can’t have everything, then she would rather have nothing. This reflects somewhat of a spoiled attitude, of a naïve young girl and this is exactly what Cheap True Religion Jeans is seen in Antigone’s reciprocations.
Oedipus, Antigone’s father is also explicitly mentioned in this argument, when Creon compares her again to her father in how she stubbornly and proudly chooses death over humble content. We can
observe later from her defense of Oedipus: “Father was only beautiful afterwards – when he knew for certain that he’d killed his father and slept with his mother, and that nothing, now, could
save him.” She again condemns Creon and refers to his handling of the political scandal “…when you talked about cooking up plots. You all look like cooks, with your fat faces!” Antigone’s use of
a menial occupation such as a cook reflects her slightly arrogance which could be attributed to her royal upbringing. Antigone yells for the guards and tells Creon to call them but instead Ismene
enters. Ismene’s entrance serves to bear some resemblance to Sophocles’ Ismene; she changes her mind and begs Creon to kill her if he kills her sister. Antigone, however, does not view this with
sympathy or compassion, rather, she thinks that it would True Religion
sale be too easy for her to ‘muscle in and die’ with her now as she did not bury their brother like she did. Ismene finally tells her that she will go tomorrow and
Antigone uses this to her advantage, telling Creon that he has no choice but to put her to death now. In the end, Creon gives up, tired of arguing and resisting Antigone and finally calls the
guards to take her to her death. Antigone cries out “At last, Creon, at last!” and it is clearly observed that all along she had chosen death as her destiny.
In conclusion, this passage represents a scene in which many extreme changes are observed, from the momentary defeat of Antigone to the surrender of Creon to Antigone’s stubborn resilience. This
excerpt is pragmatically the most important of Antigone as it contains all the ideas of happiness and life Jean Anouilh includes in the play. More importantly, it is also the heart and climax of
the tragedy as it is where Antigone has the chance to choose life over True
Religion sale death but still condemns herself to die. Furthermore, in this passage we see clearly two opposed sides and views. Creon’s character, old and committed
to realism and doing anything to attain simple happiness, is cast in radical contrast to that of young Antigone, idealistic and demanding. Ultimately, however, Jean Anouilh highlights in this
passage the fact that in fact despite the arguments given by both sides, neither of them, Creon or Antigone, is neither truly wrong nor right.
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