It is also significant to note Aristotle's delineation of the tragic hero's character. The tragic hero is not an eminently 'good' man, or model of virtue swiftly brought down by adversity. In that, says Aristotle, there is only shock - since we can see none of ourselves in a perfectly virtuous man, and find it arbitrary that he would be selected for cosmic punishment. What is far more effective is if the hero possesses some 'frailty', or flaw (like Achilles' heel), which he compensates for, hides, runs away from - but eventually catches up with him. An 'error' of character should not be confused with an error in a character's 'action' - a tragedy must spin on a fundamental flaw in the hero's behavior and one that the audience can identify with or substitute in themselves. Only through the tragic climax can he - and the audience - find redemption.
Creon condemns Antigone to a horrifying fate: being walled alive inside a tomb. He intends to leave her with just enough food so that neither he nor the citizens of Thebes will have her blood on their hands when she finally dies. Her imprisonment in a tomb symbolizes the fact that her loyalties and feelings lie with the dead—her brothers and her father—rather than with the living, such as Haemon or Ismene. But her imprisonment is also a symbol of Creon’s lack of judgment and his affronts to the gods. Tiresias points out that Creon commits a horrible sin by lodging a living human being inside a grave, as he keeps a rotting body in daylight. Creon’s actions against Antigone and against Polynices’ body show him attempting to invert the order of nature, defying the gods by asserting his own control over their territories.