Creon in Sophocles and Anouilh's Antigone In both works, Creon sees himself as a passive agent rather than a villain, acting only with a predetermined set of instructions based on certain laws and edicts. Creon tries to give the impression that he is not really in control; if it were up to him, as an individual, things would be different. Sophocles' Creon tries to wash his hands of Antigone's death by leaving her in a sealed cave. The gods will determine his fate, so he thinks. Anouilh's Creon goes so far as to admit the "childish stupidity" of his own decree. He even confides in Antigone that he isn't sure which brother was buried. He insists, however, that once knowledge of his act becomes public, the matter is completely out of his control. There is a point of no return beyond which he is unable to act. By becoming king, an instrument of the state, Creon can no longer assert his will as an individual, morally or otherwise. Where the original Creon sought to leave matters to the gods, Anouilh's Creon points to the State and its will independent of his. Antigone's fate unfolds in both plays and Creon does not intervene. Although they ironically share a sense of helplessness, an important distinction can be made at this point. Sophocles' Creon learns from Antigone's death. His sacrifice takes on meaning. Anouilh's Creon is too busy with matters of state to evaluate Antigone's death on a personal level. His sacrifice is irrelevant, another shot fired into the crowd. Each king's reaction to Antigone's death and the ensuing carnage shapes the conclusion of each play literally and thematically. Creon in the original work belatedly repents after learning... halfway through the paper... seems to suggest that morality must or will be compromised. For Sophocles, morality helps to enforce order, but on a cosmic and in many ways absurd level. Creon is forced to submit to the laws of jealous, fickle and inconstant gods. Antigone is the sole supporter of God's role in judging humanity, and her reward is an early death. This "order" is beyond human understanding. Both works leave the reader or audience morally troubled. We find Creon morally guilty but are left uneasy by the order established at the conclusion. Perhaps this unsettling effect was at least part of the playwrights' ultimate goal. Works Cited Anouilh, Jean. Antigone. Rpt. in The Masters of Modern Drama. Ed. Haskell M. Block and Robert G. Shedd, New York: Random House, 1962. Sophocles. Antigone. Rpt. in Ten Greek Dramas. Ed. LR Lind, Boston: Houghton Mifflin, 1957.