What Role Does Creon Play In Antigone

Firstly, it is clear that to some degree, Antigone does indeed care about her deceased brother and truly does believe she is doing what is right, regardless of whether she thinks the religious traditions to be true or not. “One must do what one can,” she says, and she believes in upholding this moral principle regardless of how little impact it will have. Creon however, describes this as a “senseless gesture”, not only due to its futility but also because he refutes the idea that Polynices may only rest in the afterlife once buried. He describes it as “mass-produced mumbo-jumbo”, to which she agrees, saying “Yes. Ridiculous”. This is significant as it confirms that Antigone’s motivations are more complicated than they first appear, but this
At first, Antigone reacts in denial: “It isn’t true!” she pleads, but eventually she appears to be defeated, answering his questions with a short, dejected, “Yes”. At this moment in the play, it would seem that Creon has triumphed, proving to Antigone that she has no reason to die for such a pointless, unfounded cause. However, he makes the mistake of saying “life is probably nothing other than happiness”. This reignites Antigone’s determination, which is a crucial element as it cements the idea that she is not dying for religious reasons, or even to uphold a moral principle, but because of her hatred for Creon’s vision of happiness. It is now clear, as Creon eventually realises, that “Polynices was only an excuse”, and that, as a result of her stubbornness, her death may be unavoidable. Antigone views this quest for happiness as pathetic and worthless; she despises this idea of spending every day of her life trying to “snatch her own little scrap of happiness”, transforming her argument and presenting a new side of her
Patronising comments such as “only a girl”, “you little fool”, and, “yes, child” emphasise her characterisation of a recalcitrant adolescent and how she is adamant not to want to understand or listen. “I’m not here to understand. I’m here to say no to you, and to die” she says defiantly. Nevertheless, by the end of the play, we see both Antigone and Creon begin to doubt the validity of their decisions, and question their aims. After continuously changing her excuses, she is left confused and unsure, saying, “I don't know anymore what I’m dying for”. This could indicate that Antigone is not consciously aware of her true motivation, but is simply creating excuses to argue for her underlying emotions. Similarly, following the death of his son Creon remarks to the page, “It’d be best never to grow up” suggesting that he too has eventually acknowledged Antigone’s fear. He had been trying to tell Haemon that this was what it was like to grow up, that he had to say yes, show courage and become a man, but just like his fianceé, he chose to say no. He too denied the idea that he had no choice, and couldn't face no longer looking up to his father, another childlike image. In the end, it becomes clear that neither of them can face their futures, settled too much in the present, and so she is driven, in the words of the chorus,