How Does Anouilh’s Version of Antigone Differ from Sophocles’s Version?

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How does Anouilh’s version of Antigone differ from Sophocles’s version? Although Anouilh adheres basically to the same plot and characters, he retells the story for the twentieth century with a different emphasis. Antigone still wrestles with fate, but fate for Anouilh does not have the same meaning as for Sophocles. Antigone and Creon now live in a world without religion and meaning. The fate they face is not a personal fate, but the human condition. Creon is one of the ordinary people who does what is expected of him. He feels righteous because he believes he does a duty to the state. He upholds the status quo without thinking about the consequences. He has agreed to be a bureaucratic tool and crushes anyone who won’t conform. Antigone is equally “fated” by her choice. She cannot conform; she is aware of her own ability to judge things for herself. She will not give up her sovereignty to the state, so she must die. In Sophocles, the house of Oedipus was fated or marked by the gods. The family members all died violent deaths and could not escape their special destiny. It was a house also fated by character, including people like Oedipus and Antigone, noble in their ideals but extreme in their willful behavior. For the Greeks, moderation was an important virtue that allowed humans to live harmoniously with the gods and other people. The tragic hero/heroine was a person who went beyond ordinary behavior or thinking and was punished for it. They defied the decrees of the gods and fate. Sophocles’s Antigone, however rebellious, is admired for sacrificing herself to perform the burial rites for her brother, claiming that the state cannot override the religious law. In Anouilh’s version, religion is thrown out as a concern when Creon gets Antigone to admit that ritual is meaningless. The tragic conflict instead boils down to the individual (Antigone) standing up for her

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