Given the very restricted role of women in
the culture of fifth-century Athens, it is remarkable that so many Greek tragedies feature women
in a central role: Medea, Andromache, , Hecuba, Helen and, of course,
. This does not mean, however, that these women necessarily fit the strict
Aristotelian definition of a tragic hero. There has been much dispute over whether Creon or
Antigone is the hero of Antigone. Hegel famously described the play as a
conflict between right and right, suggesting that they might both be heroic.
In fact, Antigone and Creon do have very similar characters and, arguably, the same
tragic flaw: stubbornness. They are both willing to go to insane lengths for the sake of a
principle. Ismene, who is the voice of reason, complains that Antigone cares more for the dead
than the living. One might, therefore, say that her fault is family loyalty or a sense of duty.
This is what she would say herself. These, however, are virtues, not flaws. Antigone's tragic
flaw is that she carries these principles beyond all reason and clings to them stubbornly when
any sensible person would yield. Precisely the same is true of Creon in his loyalty to the
state.
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