Antigone

These are, having a high social position, not being overly good or bad, being persistent in their actions, arousing pity in the audience, a revelatory manifestation, and having a single flaw that brings about their own demise and the demise of others around them. The true tragic hero would stick to their fatal flaw, like Antigone did, until their complete demise. As far as the issue of arising pity in the audience and in other characters, it is clear that Antigone clearly wins over Creon in the arena of intensity of emotion. Antigone's ungodly side is shown by her incestuous behavior with her brother Polyneices. Her impetuous personality and incestuous love drives her to disregard the will of the struggling King Creon and bury her brother. Creon, however, is not sympathized with at all except for the chorus, which always agrees with the last point of view presented. This aspect also emerges later in the play, when Antigone decides to kill herself in the tomb rather than give Creon the satisfaction of the deed. It is obvious that she had the pity of the entire city except for Creon. They say no woman has ever, so unreasonably, died so shameful a death for a generous act(Scene 3. Another issue that has been brought up in the debate is the necessary presence of an epiphany, or revelatory manifestation of to the tragic hero. The true tragic hero would stick to their fatal flaw, like Antigone did, until their complete demise. Antigone and Creon would qualify as the tragic hero if the only requirement was not being overly good or bad. Creon shows his negative side when he refuses to bury Polyneices and when he speaks to the sentry.