In examining the first aspect of judicial hierarchy, we can begin to understand Antigone’s violation of law, and the consequences that she faced in the eyes of her ruler. In reading this tragedy, one feels pity for Antigone and her desire to give her brother his proper burial rights. Antigone deserves no such pity. In the eyes of justice, she violated that which was right. Creon bluntly asks her, “did you dare to disobey that law?” (449), to which Antigone replies, “Yes, it was not Zeus that made the proclamation; nor did Justice… enact such laws as that, for mankind” (450-452). By simply answering “yes” to Creon, she acted against justice because the judicial hierarchy requires that all subjects follow the laws of their rulers. The hierarchy of justice as explained by the chorus quite precisely states that it is the duty of the subjects to follow the laws of their rulers. The chorus elaborates on this later with Antigone, cautioning her for going “against the high throne of Justice” (854). The “high throne” is no reference to Zeus, but rather, a reference to Creon. Without direct contact between the gods and the subjects of a polis, it is imperative that those subjects follow the decrees of the leaders. It then becomes the duty of the rulers to create laws compatible with the divine system of justice.
Although Creon upholds the concept of law regarding his subjects, he fails to recognize the divine law that supersedes his own in the hierarchical judicial system. As Antigone says of god’s ordinances, “They are not of today and yesterday; they live forever…” (456-57). The laws of the gods are inherently superior to those of men because they live forever, supported by the all-knowing divinities. Creon recognizes the hierarchical system that the chorus articulates in the play, he simply doesn’t understand the details of divine law in the blindness of his obsessive pursuit of good for the state. The difference between Creon and Antigone is that Creon doesn’t recognize his own injustices until much later, whereas Antigone fully comprehends the severity of her actions by blatantly defying the laws of the polis. After the news has reached Creon that someone has violated his decree, the chorus asks, “I wonder, could this be God’s doing?” (278), a statement Creon quickly refutes in anger. He honestly believes that his laws are legitimate in the eyes of god, and therefore ought to receive a great deal more pity than Antigone. Creon seeks the interests of justice and the benefit of the state, while Antigone pursues her own, more selfish ends. After the consequences of Creon’s decisions have come full circle, he understands the truth, “Oh, the awful blindness of those plans of mine” (1268-1269). Creon’s ultimate downfall isn’t the direct result of explicit defiance of the decrees higher in the judicial hierarchy than his own, as is Antigone’s, it is simply the failure to comprehend the specifics of divine law as such. For as the chorus says, “I think you have learned justice—but too late” (1270).
In examining the hierarchical system of justice put forth by the chorus, one can’t help but notice that the concepts of justice held by Creon and Antigone are correct, but simply out of place given their roles in society. Creon cleverly argues that Antigone’s brother “died destroying the country the other [brother] defended,” (518) to which Antigone replies, “The god of death demands these rites for both” (519). These lines demonstrate a thoughtful difference in ideas. Antigone seeks to live under divine law, but her role in society requires that she follow the laws of the country. Creon, on the other hand, is required by the hierarchical system to follow the justice of divine law, but above all swears to uphold the power of the country and its laws. Perhaps, the greatest tragedy of all is that the roles were not switched, for if they were, they would each have most justice.
Again, it is the chorus who play the role of the absolute justice. Throughout the play, they follow the rigid structure of the judicial hierarchy, while simultaneously attempting to help Creon realize divine law without active interference by disobeying his laws. When Creon first addresses the chorus, he acknowledges their “loyalty to the throne” (164). This doesn’t necessarily demonstrate the chorus’s agreement with Creon’s policies; it simply shows that they are strict followers of the hierarchical system. When the chorus is considering the fate of Antigone, they feel pity; however, they are able to understand that justice can not be taken away by sympathy. The ability of the chorus to distinguish between pity and justice allows them to adhere to the laws more easily, and therefore they are good citizens, enacting justice.
Sophocles’ chorus in Antigone constructs the controversial idea of judicial hierarchy, which places accountability for the actions of a country’s subjects in the hands of the ruler and the accountability of that ruler in the hands of the gods. According to this system, both Antigone and Creon are guilty of injustices, and both received the just punishment for their actions. Antigone rightly suffered at the hands of her ruler for the violation of his decrees. For what is a constitution in which the word of the sovereign is inefficacious? Creon suffered at the hands of the gods, to whom he alone was accountable. The pain that he feels as a result of the death of his son and wife is swift retribution from the gods, ending his path towards injustice.
Works Cited
Sophocles, Antigone. Trans. Grene. Chicago: The University of Chicago Press,
1991.
