s simply a catalyst for the larger issues in the play.The Parodos is also concerned with action that has occurred prior to the play, and informs the audience about how the Gods and the native citizens of Thebes feel about the state of their city. Both the Gods and the citizens play major, although subtle roles regarding the direction of the plot and the fate of the cast.Scene one offers little action, despite formally announcing Creon's views regarding Polyneices burial, and thus perpetuating the conflict between Creon and Antigone.This conflict continues into scene two, and begins the opposition of Creon versus the Gods. Antigone tells Creon that she knows she has done the right thing, and that the Gods are in her favor. Creon sentences Antigone to death, putting his laws ahead of the laws of God, and this begins the internal struggle within Creon, centered on his ego, and the external struggle between Creon and the Gods that rule Thebes.The majority of scene three deals with the internal struggle within Creon. Haimon pledges his allegiance to his father, but asks him to reconsider the fate of Antigone. Creon argues that he makes the rules in the state and all must respect these laws, regardless of situation or personal consequence. Creon must deal with his ego, and Haimon warns him that no man alone can be right. This also perpetuates Creons conflict with the Gods, making himself out to be the highest power in Thebes.Scenes four and five really illustrate Creons opposition to the Gods, and also sort of seals the fate of Antigone in death, and Creon in his own self-demise. Tiersias informs Creon that the Gods are angry with him and with all of Thebes. In spite of this, Creon announces that he will not yield his verdict, and Antigone will remain entombed. It is not until the Choragos, representing the people of Thebes, begs Creon to set Antigone free that Creon actually admits he has wronged.The Paen and Exodus deal mainly with the dem...
