“All of this might occur in any country where a dictator sets himself above both religion and the people.”

In this passage, Galantière sets up the historical context of the play in his Introduction by explaining the significance of performing it in Nazi-occupied France. However, this quote also speaks to the play’s relevance to dictatorial situations more generally, reinforcing the play’s key thematic preoccupation with disobeying unjust civil authorities.

“When you are on the side of the gods against the tyrant, of Man against the State, of purity against corruption—when, in short, your name is Antigone, there is only one part you can play; […] and she will have to play hers through to the end.”

From the very beginning, Jean Anouilh frames the characters as having parts to play in the story. This device is two-fold. On one hand, it aligns with other Greek tragedies because it assumes that each character has a “fate” that will unfold regardless of what the characters do to stop their fate—something that is one of the main themes of Sophocles’ Oedipus Rex. On the other hand, the Chorus introduces the people on stage as actors who are playing the parts of this ancient tale.

“This leader of men, this brilliant debater and logician, likes to believe that if it were not for his sense of responsibility, he would step right down from the throne and go back to collecting manuscripts. But the fact is, he loves being king. He’s an artist who has always believed that he could govern just as well as any man of action could; and he’s quite sure that no god nor any man can tell him anything about what is best for the common people.”

The Chorus gives the readers insight into Creon’s true character. The Chorus admits that Creon is an excellent debater (which is proven to be true later in the play), but urges the audience not to be fooled by his self-presentation as an unwilling king who is merely following orders.