ABSTRACT
But, although a production should know from the outset what view of this contest it will elicit, it need not affirm one side or the other at every point; rather the reverse, as the worldviews in contest, although finally irreconcilable, are both profound. Shakespeare probes the virtues and the limitations of both. The play corresponds in part to Hegel’s idea of tragedy as the clash of irreconcilable opposites: Creon and Antigone-both forms of the good in their different spheres, although incompatible, bound one to destroy another, when brought into opposition.
