To deny the origin, it is possible to affirm that the existence of past facts cannot be proven, or better that it is an accident, an accident amplified by gossip. It is here that the attenuation often proves to be an effective subterfuge, because it does not oblige to deny and is based on a part of honesty, but if the escobarderie makes it possible to extract oneself in appearance from a lineage , makes it possible to hide from the world the ghosts of its origin under the veil of ignorance, it only feigns the outside, the surrounding people, it does not offer any escapes during an encounter with oneself. It often represents the cornerstone of a fear of intimacy. Because intimacy reveals. Because unassumed fear partitions a fear of oneself into itself while denying it. How many of our contemporaries live thus harnessed to their fear of disclosure? This way of feint declines a rainbow of cowardice; a cowardice which beats the measure of silence, which creates balance and bases it on a forgetfulness of self, therefore on a loss of self, then a negation of self. The fear that does not die and does not rise again in bravery announces the death of freedom. The reign of robots. Ismene hides the outrage of Creon. Ismene has already lost her freedom. She lost it on purpose. She traded it for a little comfort. She is afraid to see herself. Ismene leads her little way as the popular adage says, which means that she merges with her destiny, even more she wraps herself in her destiny, she is one with it, she can almost to distinguish one's destiny from one's life, but destiny is an unassumed fear, destiny invites us to live a life parallel to the life we ​​could have lived, the life for which we were made, destiny inexorably takes us away from our vocation, at the beginning we still see this vocation, but little by little it dissipates and becomes confused with a dream. Sometimes, however, an event can revive this awareness of what we are deep inside us, it is when the event becomes history.