Creon By Anouilh Analysis

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When one examines the general structure of Anouilh's drama, one is surprised to see how closely he has followed the original. The only scene of Sophocles drama, which Anouilh has dropped completely, is the Tiresias scene. Perhaps it was difficult to introduce the theme of divination in a modern drama, but there is also another reason. In Sophocles Creon finally repents after the departure of Tiresias but Anouilh's Creon does not - indeed, cannot - repent; thus a Tiresias scene would have served no purpose.

Another interesting structural difference is in the Chorus, an element of ancient drama which a modern dramatist finds very difficult to use. Anouilh has not made this attempt, and has kept only one actor whom he still calls the Chorus. This actor in a kind of prologue introduces the characters to us and gives a few facts necessary for the understanding of the plot; at one stage he explains the author's views on the nature of tragedy. He also speaks a few times to Creon in the course of the drama. Thus, in Anouilh's play the chorus serves as more of a narrator, rather than a character.

But naturally the great difference between the two dramas does not lie in the general structure but in the contents of each
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Anouilh begins his drama quite differently: Antigone is caught by the Nurse while stealing back into the house after having buried the body. The Nurse accuses her of having gone out to meet a lover, hue she manages to soothe her without telling her the truth. Then Ismene enters and the two sisters discuss the advisability of burying the body. After another conversation between Antigone and the Nurse Haemon appears. In a passionate scene Antigone first reassures herself that he really loves her, and then she tells him that she can never marry
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