This paper is dedicated to the analysis of the intertextual relationship between Sophocles’ Antigone and the plays of Aeschylus, especially the Theban trilogy. It is shown that Sophocles in this play creates the situation that is radically different from that of Aeschylus’ tragedies. The main differences are the attitude towards “peace in death” and towards the ancestral curse. In Sophoclean play, by contrast with Aeschylus, death is not the end of the strife — at least not until those in power acknowledge that it is; blood ties are not enough for belonging to the cursed family, and this belonging is not necessarily envisaged in negative terms. To illustrate the utter inadequacy of the Aeschylean approach to the world and the events of his tragedy, Sophocles embodies such approach in his Chorus and provokes, during the course of the play, the growing disappointment of the spectator by it. The Chorus is irresponsive when directly addressed, annoyingly counterproductive during the commos with Antigone and prone to change their opinion and perspective too quickly and radically. At the fifth stasimon Sophocles, by the reference to another Aeschylus’ tragedy, this time the Eleusinians, gives the spectator the short-living hope for the rescue of Antigone. This trap is also intended to disappoint the spectators and show them the inadequacy of the Chorus’ Aeschylean perspective