ABSTRACT
Despite the prospect of death, and driven on by a stubborn, if arguably rightful, desire to uphold a divine, rather than a secular, law, Antigone buried her brother. The series of events that this set in motion finally resulted not only in Antigone’s death, but also that of her husband Haemon, son of Creon, and Creon’s wife, Eurydice. Creon is thus condemned by the folly of his proclamation to suffer the deaths of those he loves and to irrevocably taint the law he represented. Within this story, the points of central importance for a feminist analysis of law is the way that, contrary to the play’s depiction of normative notions of feminine behaviour, Antigone is characterised as pursuing her goal with a single-mindedness that permeates and sets in motion the play’s tragedy.
