Although the last play in the Oedipus trilogy, Antigone was written first. The play won for Sophocles first prize at the Dionysia festival. It is still a popular play, with many stage and screen adaptations, including Jean Anouilh’s famous stage production Antigone (pr. 1944, pb. 1946; English translation, 1946), placing the story in a World War II setting, and Amy Greenfield’s 1990 stark, interpretive dance-film version (Antigone—Rites of Passion).
The conflicts within the play, represented by the conflicts between Antigone and Creon, are powerful human struggles that are still relevant today: the state versus the individual, the state versus family, the state versus the church, the old versus the young, and man versus woman. Although the Chorus delivers the moral of obedience to the laws of the gods before all else, the moral is not a tidy conclusion. Many questions remain unanswered, many conflicts unresolved. For example, when is family more important than the state? In ancient Greece, it was the duty of women to bury family members. Leaving Polynices unburied was a violation of not only the laws of the gods but also the laws of the family. In addition, Creon was willing to put his own niece, and his son’s fiancé, to death. After a brutal civil war, however, restoring order is the responsibility of the king. When, and to what extent, do the laws of the gods and of the state override the laws of the family?
Connected to the above themes is the theme of choices and consequences. The characters in the play have free will to choose, but the consequences of their