Aristotle defines the ideal tragic hero as “a man who is not eminently good and just yet whose misfortune is not brought by vice or depravity, but by some error or frailty.” The tragic hero must create pity in readers, and “his misfortune should excite pity because it is out of all proportion to his error of judgement, and his overall goodness excites fear for his doom.” In Antigone, by Sophocles, Antigone, the protagonist, is forced to place divine law over the law of man in order to properly lay her brother, Polyneices, to rest. Whilst Antigone does not possess anagnorisis, the realization of a fatal flaw, nor peripeteia, a reversal of fate, she fits Aristotle’s definition of a tragic hero due to her fatal flaw that leads to her downfall, and Sophocles’ creation of catharsis through her character.
Although Antigone fits Aristotle’s definition of an ideal tragic hero with a moral flaw and a fate far worse than it, and is used by Sophocles’ to create catharsis, she does not fit all six characteristics of a tragic hero. Antigone does not face anagnorisis, the acknowledgement of the cause of her downfall, nor does she face peripeteia, a reversal of fate due to an error in judgement. As she comes to terms with her death towards the end of the play, she cries, “A threefold tale—my father’s piteous doom, doom of us all, scions of Labdacus-  Didst by death bring death upon thy sister’s life” (148)! She believes her death is a part of her fate as a result of her father’s pitiful doom, rather than her own actions. Antigone at no time acknowledges the cause of her punishment or her fatal flaw, she instead mourns what she will miss out on, in consequence of her early death.
            Antigone does not face peripetia, which is the reversal of fate. At no time is there a turning point or reversal of circumstances, as readers are able to register that Antigone’s fate will not be positive from the first few lines of the text. While Antigone is burying Polyneices, she is warned by Ismene to “think of how our father perished,”[JJ1]  as well as to remember that they are women, and will be sentenced harshly for breaking the law.[JJ2]  Antigone ignores these concerns and is dead by the end of the play. Whilst Antigone does not face anagnorisis nor peripetia, she can be considered an ideal tragic hero as she faces hamartia, a moral flaw that is the root of her doom, and catharsis, in which Sophocles’ uses her character to elicit sympathy in readers.
            Sophocles creates Aristotle’s definition of catharsis through Antigone by establishing her as an ideal tragic hero, and evoking pity in readers by having her suffer a fate far worse than her fatal flaw. Antigone fits Aristotle’s requirements of an ideal tragic hero, “a rather good man, though not absolutely virtuous,” through her recognition of the importance of family and devotion to divine law, as well as her moral flaw that causes her not to be “absolutely virtuous,” her stubbornness and arrogance. This is evidenced throughout the play, one instance in which Antigone states that, “It is no shame to pay respect to our own flesh and blood,” (136) when confronted by Creon about her unlawful actions. She makes it clear that her intentions were not sinister, and that she had only wanted for her brother to receive a respectful burial in order to honor the gods and follow “the unchangeable written code of heaven” (133). In another case, when Ismene attempts to take the blame for Antigone’s unlawfulness, she refuses and tells her, “Mix not your death with mine. Do not claim work you did not touch. I shall suffice to die.” (137) She protects and risks her life for her sister, ensuring that she does not take the fall for her wrongdoings, once again displaying her recognition of the importance of family. Antigone’s actions, although wrong by law, were also carried out as a result of her following of heaven’s code and what she believed the gods would feel is right. For instance, when she is confronted about the prohibited burial of Polyneices and asked why she willingly broke Creon’s rule, she explains, “because it was not Zeus who ordered it, nor justice, dweller with the Nether Gods, gave such a law to men; nor did I deem your ordinance of so much binding force, as that a mortal man could overbear the unchangeable written code of heaven…” (133). Antigone puts divine law over human law, and does not believe Creon has the right to overbear the gods’ laws and customs, which she refers to as the “unchangeable written code of Heaven.” Although her intentions were pure and done out of her respect for her religion, family and divine law, her stubbornness and refusal to simply obey Creon’s law proves that she is “of mixed character, neither blameless nor absolutely depraved,” and “not absolutely virtuous,” or “eminently good,” as stated by Aristotle.
            Antigone suffers a fate far worse than her fatal flaw, arrogance, generating feelings of pity and fear in readers. Towards the end of the play as Antigone comes to terms with her death, she mourns and is full of sorrow, lamenting the fact that she will die “friendless, unwept, unwed,” and “sick at heart.” (149) Her woeful crying causes readers to sympathize with her, as her punishment is far harsher than her crime. In addition to this, she realizes she will never be able to marry Haemon, stating “…to me no bridal hymns belong, for me no marriage song has yet been sung; but Acheron instead is it, whom I must wed” (146). Even Antigone realizes that her punishment is far more drastic than her actions, when she announces, “If this is approved in Heaven, why let me suffer, and own that I have sinned; but if the sin belongs to these- O may their punishment be measured by the wrongfulness of mine!” (150), hoping that whoever is responsible for her death should face a punishment measured by the wrongfulness of hers. She suggests that if her minor crime of burying Polyneices resulted in her being sentenced to death, then their consequence for killing her should be even worse. Unfortunately, when Creon realizes he is in error after Tiresias encourages him to “set the maiden from the vault and build a tomb for that dead outcast,” (157) Antigone had already been found dead “hanged by the neck,” (162) by Haemon. Aristotle states in his defining characteristics of a tragic hero that “his misfortune excites pity because it is out of all proportion to his error of judgement, and his overall goodness excites fear for his doom.” Antigone dies in vain, friendless, sad, and unmarried, as a result of wanting her brother to receive a proper burial and her following of “the unchangeable written code of Heaven” (133). Her undeserved fall as a result of a minor crime allows readers to feel pity for her, as things could have gone differently as a result of Creon’s change of heart.[JJ3]   Antigone is an example of a rather good-hearted character coming to a terrible, undeserved end, which generates feelings of pity and fear in readers, in turn creating Aristotle’s definition of catharsis.
            Antigone’s stubbornness and arrogance exhibited throughout the play demonstrate how she fits the archetype of a tragic hero. As Aristotle states, “hamartia (‘fatal flaw’ or ‘tragic flaw’) may consist of a moral flaw… or ignorance, or even at times, an arrogance (called hubris in Greek.)” Her eagerness to bury her brother and dismissal of her sister’s concerns reveal her stubborn and arrogant ways. Ismene attempts to get Antigone to rethink her actions, reminding her of the shameful way their father died, and reminds her that she as a woman will not be extended any grace for her crime, warning her to “…think of how our father perished! …Do but consider how most miserably we too shall perish, if despite of law, we traverse the behest or power of kings. We must remember we are women born, unapt to cope with men; and, being ruled by mightier than ourselves, we have to hear these things- and worse” (119). But[JJ4]  Antigone disregards her sister’s valid concerns and insists on continuing with the burial, responding, “Then in future I will not bid you help me; nor henceforth. Though you desire, shall you, with my good will, share what I do: Be what seems right to you; him I will bury” (119). In another instance, when Ismene says, “My poor sister, how beyond measure do I fear for you!” her concerns and pleas are ignored once again, and Antigone replies “Do not spend fear on me. Shape your own course.”[JJ5] (120) Furthermore, when Antigone is reminded by Ismene that her punishment will be severe, she replies, “…I shall meet with nothing more grievous, at the worst, than death, with honour,” which she later regrets when she realizes she will die “friendless, unwept, and unwed,” (149) even though she had earlier been made completely aware of the grave consequences she would face, especially as a woman. Antigone’s dismissal of her sister’s warnings and concerns, as well as her persistence on burying Polyneices, reveal her arrogance (hubris) and stubborn ways, which eventually cause her to meet her doom.
            Antigone’s challenging of Creon’s authority and refusal to obey the law exhibits her arrogance. When questioned by Creon and asked if she knew of the law prohibiting Polyneices burial, she replies “Yes, I knew it; what should hinder? It was plain,” (133) admitting that she deliberately broke Creon’s decree. When asked why, she states “Because it was not Zeus who ordered it… Foolish- ‘tis like I am found guilty of folly at a fool’s mouth!” (144). Antigone disrespects Creon, calling him a fool and challenging his authority, even after Ismene warned her earlier that she would not be extended any grace as a woman. She continues to go on, telling Creon that “I was made for fellowship in love, not fellow ship in hate,” to which he replies, “Then get you down Thitler, and love if you must love, the dead! No woman, while I live, shall order me.” Antigone does not realize that she is digging herself into a deeper hole and continues to anger Creon with her careless behavior and taunting, even after Ismene’s warnings that a strong-willed woman would not be taken to lightly. Antigone’s mockery of and disrespect towards authority and human law ultimately leads to her demise.
            Whilst Antigone does not experience anagnorisis, the realization of a fatal flaw, nor peripeteia, a reversal of fate, she fits Aristotle’s definition of a tragic hero due to her moral flaw, arrogance, that leads to her downfall, and Sophocles’ creation of catharsis through her character with a severe, undeserved fate, over a minor crime, creating sympathy within readers.