The Chorus speaks directly to the audience again. Just after Creon exits the stage, the Chorus claims that things are about to start moving quickly. He compares tragedy and melodrama. He says that tragedy only needs a small push for the action to begin: “The machine is in perfect order: it has been oiled ever since time began, and it runs without friction” (37, italics mine), with the phrasing “ever since time began” once more alluding to the idea of fate and inevitability. On the other hand, he says, melodrama is not so predictable: It is not ruled by fate, nor is it free of hope, like tragedy is. The sounds of the guards interrupt the Chorus’ speech, and he exits, letting the play resume.

The guards enter with Antigone, who demands that they release her, for she is King Oedipus’ daughter. The guards laugh, because they caught the daughter of a King on her knees and clawing at the dirt with her fingernails, like an animal. They discuss the parties they will throw when they get a bonus for capturing the criminal who tried to bury Polynices.