Macbeth Tragedy (1878 words)

Macbeth TragedyWilliam Shakespeare wrote four great tragedies, the last of which was written in
1606 and titled Macbeth. This “tragedy”, as societal critics of
yesterday’s literary world consider, scrutinizes the evil dimension of
conflict, offering a dark and gloomy atmosphere of a world dominated by the
powers of darkness. Macbeth, more so than any of Shakespeare’s other tragic
protagonists, has to face the powers and decide: should he succumb or should he
resist? Macbeth understands the reasons for resisting evil and yet he proceeds
with a disastrous plan instigated by the prophecies of the three Weird Sisters.

Thus one must ask the question: If Macbeth is acting on the impulses stimulated
by the prophecies of his fate, is this Shakespearean work of art really a
Tragedy? Aristotle, one of the greatest men in the history of human thought,
interpreted Tragedy as a genre aimed to present a heightened and harmonious
imitation of nature, and, in particular, those aspects of nature that touch most
closely upon human life. This I think Macbeth attains. However, Aristotle adds a
few conditions. According to Aristotle, a tragedy must have six parts: plot,
character, diction, thought, spectacle, and song. Most important is the plot,
the structure of the incidents. Tragedy is not an imitation of men, but of
action and life. It is by men’s actions that they acquire happiness or sadness.

Aristotle stated, in response to Plato, that tragedy produces a healthful effect
on the human character through a catharsis, a “proper purgation” of
“pity and terror.” A successful tragedy, then, exploits and appeals at
the start to two basic emotions: fear and pity. Tragedy deals with the element
of evil, with what one least wants and most fears to face, and with what is
destructive to human life and values. It also draws out one’s ability to
sympathize with the tragic character, feeling some of the impact of the evil
ourselves. Does Macbeth succeed at this level? Can one feel pity and terror for
Macbeth? Or does one feel that Macbeth himself is merely a branch from the root
of all evil and not the poor, forsaken, fate-sunken man, according to
Aristotle’s idea of tragedy, he is supposed to portray? Can one
“purge” his emotions of pity and fear by placing himself in the chains
of fate Macbeth has been imprisoned in? Or does he feel the power and greed upon
which Macbeth thrives, prospers, and finally falls? I believe the latter is the
more likely reaction, and that one sees Macbeth as a bad guy, feeling little or
no pity for him. Aristotle also insists that the main character of a tragedy
must have a “tragic flaw.” Most tragedies fail, according to
Aristotle, due to the rendering of character. To allow the character to simply
be a victim of unpredictable and undeserved calamities would violate the
complete, self-contained unity of action in the tragedy. If that is so, and if
one assumes that the group of three witches is a realistic possibility, then is
not Macbeth such a victim? Does he really deserve the misfortune that is brought
him by his fortune? After all, Macbeth is introduced to the reader as an honest
and humble leader. His fate, once having been revealed to him, drives him to
greed, elevates his lust for power, and coins a conceited and misguided trust in
his seemingly eternal mortality. Diction, the expression of the meaning in
words, is near perfect in Macbeth, simply because it is written by William
Shakespeare, the inventor of perfect diction, thought the task of saying what is
possible and pertinent in the circumstances of the play can not be disputed.

Spectacle and Song are the effects that highlight the play, and are pertinent in
providing an emotional attraction. Such elements are easily found in
Shakespeare. Macbeth is written with the style and grace that only Shakespeare
could provide. Thus, these elements of tragic drama can not be challenged in
this argument. While one needs to consider that Macbeth strives on power, and in
doing so loses his values of humility and humanity, it should not be forgotten
that Macbeth does, at certain times, feel remorse for things he has done.

Macbeth confides in Lady Macbeth after the murder of Duncan: “But wherefore
could not I pronounce “Amen”? I had most need of blessing, and
“Amen” Stuck in my throat and/ Methought I heard a voice cry
“Sleep no more! Macbeth does murder sleep,” the innocent sleep, Sleep
that knits up the raveled sleave of care, The death of each day’s