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Macbeth: a Tragic Hero Analysis

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Published: Mar 16, 2024

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The definition of a tragic hero, macbeth’s tragic flaw: ambition, the influence of the supernatural, moral decline and guilt, the tragic end.

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Macbeth Tragic Hero Essay | Essay on Macbeth Tragic Hero for Students and Children in English

February 12, 2024 by Prasanna

Macbeth Tragic Hero Essay: Macbeth is considered one of Shakespeare’s classic tragic heroes. Usually, the tragic hero is a figure of high stature.

The person is most righteous but suffers a self-inflicted downfall due to flaws in their personality. Macbeth, the play’s protagonist, was a good character, but he faces his decline due to his wrong decisions.

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Long and Short Essays on Macbeth Tragic Hero for Students and Kids in English

We provide students with essay samples on an extended essay of 500 words and a short essay of 150 words on Macbeth Tragic Hero for reference.

Long Essay on Macbeth Tragic Hero 500 Words in English

Long Essay on Macbeth Tragic Hero is usually given to classes 7, 8, 9, and 10.

The Shakespearean play Macbeth focuses on a war hero whose desire for power, leading to his ultimate coronation as King and downfall. At the start of the drama, Macbeth was shown as a war hero who came back from his latest campaign and was given a new title.

Macbeth’s one mistake fills his life with regret and fear at every step. Macbeth was a good soldier who was loyal to his King, and his bravery and performance in Scotland’s battle were celebrated. His courage and greatness in the battle for his country ultimately lead him to be a great knight, and finally, an influential king, making his actions have a substantial impression on his land. His guilt and unwillingness in assassinating King Duncan also reveal his heroic nature. His potential in being a hero and positive attributes was displayed to justify his guilt. Macbeth’s conscience does not agree to kill Duncan because he was a loyal subject of King Duncan, and his obedience towards his King was also shown in the play.

Macbeth highly respected King Duncan and knew that everyone would mourn his death. He may not have committed assassination without the presence of Lady Macbeth, which shows that he is a tragic hero because he knew that he was making a wrong decision under the temptation of Lady Macbeth. His ambition to be a king and gain power, which turns into an obsession, is the only flaw in his character, and this flaw is responsible for the tragic events that occur in the whole play. He recognizes from the beginning of the tragedy that his ambition could be his demise, which shows that he is a tragic hero.

In the beginning, Macbeth used to be a good character, but he became corrupted and was shown as a tragic hero at the essential point at which all is lost. Although he was a man with good morals, at every step, his morals were taken over by his temptations and ambitions. Despite being a hero at heart, which readers and audience have seen from the start, his mistakes create an insight into evil.

With the manipulation and influence of Lady Macbeth, the hidden ambitions in Macbeth are strengthened, and her evil arrangement gradually tempts Macbeth. So although ambition and fate are the primary factors in Macbeth’s downfall, Lady Macbeth is also at fault. Macbeth’s weakness overturns his whole life and changes his honorable and respectable character into an evil and violent one hated by everyone.

The outcome of Macbeth’s decisions did not just affect him, but the whole of Scotland was also shaken. His character changed from a courageous and loyal man to an evil being despised by most Scotland due to his ill-fated decision, the witches’ prophecies, the influence of fate, and Lady Macbeth’s temptations. Due to his ambitions to reach his goals from the very beginning and maintaining this desire, Macbeth is seen as a tragic hero.

Short Essay on Macbeth Tragic Hero 150 Words in English

Short Essay on Macbeth Tragic Hero is usually given to classes 1, 2, 3, 4, 5, and 6.

One of the classic examples of a Shakespearean tragic hero is shown in the play Macbeth, where the protagonist Macbeth can be seen as a tragic hero. Macbeth was established as a hero with great stature. He earned the King’s trust with his loyalty and his extraordinary abilities on the battlefield. He was someone with noble and respectable nature, and king Duncan spoke of him with great fondness, but he was unaware of the destiny Macbeth imposed on him later on.

Macbeth’s blind ambition and provocation from his wife lead him to take a bloody and violent path where he murdered his own King and ultimately lead to his demise. Macbeth was a righteous and noble person who could have achieved much more and would have been adored by all. If he did not commit Duncan’s assassination, Macbeth was consumed by a sinful life after Duncan’s murder, making him a tragic hero.

10 Lines on Macbeth Tragic Hero in English

Macbeth is a tragic Shakespearean hero who made a judgment error that inevitably leads to his downfall.
Macbeth gains insight into his tragic, fatal flaw, although it was too late.
Macbeth was unable to admit his grievous fault, which made him fall from grace and lead to tragedy.
Macbeth was guided by his unrestrained ambition, due to which he refused to accept things as they are.
Macbeth was forced to face the pushing fate and the supernatural’s consequences, supporting his acceptance of life.
Macbeth was terrified by his desires, and his ambitions were too powerful, but his wife fuelled it.
Macbeth was trusted by Duncan, who referred to him as a worthy gentleman but, he betrayed his King’s trust by assassinating him.
Although Macbeth regretted his decision to assassinate Duncan, he still murdered Duncan to retain his throne.
In the end, Macbeth saw that the crown, which he thought would bring him prosperity, brought him destruction instead.
During the whole play, Macbeth was seen as a tragic hero caused by his ambitions.

FAQ’s on Macbeth Tragic Hero Essay

Question 1. Can Macbeth be considered a fatal hero or villain?

Answer: Many scholars see Macbeth as a villain instead of a hero due to his vile actions. But a tragic hero can be either an antagonist or a protagonist. The point is that the audience can empathize with the character.

Question 2. Was Macbeth aware of his tragic flaw?

Answer: Macbeth was aware of his tragic flaw, but he kept going for what he wanted, no matter even if people have to die because of it.

Question 3. Who was the main antagonist in the play?

Answer: Lady Macbeth was the real antagonist of the play because she was evil, ambitious, and eventually insane. Due to her, Macbeth’s unrestricted ambition was fuelled and ultimately led to his downfall.

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Shakespearean Macbeth as a Tragic Hero Essay

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Greek mythology gave birth to the idea of the tragic hero, in which the concepts of the hero play a tremendous role. Aristotelian thought indicates “the tragic effect will be stronger if the hero is ‘better than we are’, in that he is of higher than ordinary moral worth. Such a man is shown as suffering a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia (his ‘effort of judgment’) or, as it is often literally translated, his tragic flaw” (Zarro, 2001).

There are two types of tragic heroes, those that are born into nobility with a tragic flaw inherent in their character who are therefore responsible for their own fate and doomed to make a serious error in judgment and those who have achieved great heights or esteem through hard work who eventually realize they have made a huge mistake causing them to face and accept their tragic death with honor (Zarro, 2001).

Greek tragedy abounds with examples of tragic heroes, as does much of Shakespearean tragedy. “Shakespeare wished to exhibit a more sublime picture – an ambitious but noble hero, yielding to a deep-laid hellish temptation, and in whom all the crimes to which, in order to secure the fruits of his first crime, he is impelled by necessity, cannot altogether eradicate the stamp of native heroism” (Bates, 1906: 36). In many ways, it can be argued that Macbeth of Shakespeare’s play Macbeth, was a tragic hero.

As the play opens, Macbeth’s nobility of spirit is revealed as reports come in to King Duncan regarding his exploits on the battlefield. The first two acts don’t even see Macbeth as he is busy on the battlefield, attempting to defend Duncan’s kingdom from the forces of Macdonwald, a man from the ‘Western Isles.’ Macbeth’s loyalty is shown in the fierceness of the battle being fought as it is reported by the wounded captain in Act I, Scene ii. He tells the king the battle was “As two spent swimmers that do cling together / And choke their art” (I, ii, 8-9), indicating that the two sides were equally matched and Fortune was favoring Macdonwald. “But all’s too weak / For brave Macbeth (well he deserves that name) / Disdaining Fortune, with his brandished steel … unseamed him from the nave to th’ chops” (I, ii, 15-17, 22).

In addition to fighting for his king, Macbeth is quickly and well rewarded for his efforts as King Duncan makes him the new Thane of Cawdor in addition to his already holding the title of Thane of Glamis. “According to Holinshed, Macbeth’s parents were Sinel, Thane of Glamis (whose existence is otherwise unattested) and a daughter of Malcolm II named Doada (again, modern genealogies mention no such person)” (Friedlander, 2005).

In addition to his supposed genealogy and position of rank, Macbeth himself demonstrates nobility of spirit as he considers the idea of assassinating King Duncan in his own home: “He’s here in double trust: / First, as I am his kinsman and his subject, / Strong both against the deed; then, as his hose, / Who should against his murderer shut the door” (I, vii, 12-15). Beyond this, he also knows that Duncan has been a good and fair king and killing him is unjustified.

However, once the idea that he might be king has entered his brain, thanks to the three witches, Macbeth can’t seem to shake it, particularly as his wife continues to press the issue. “One common form of hamartia in Greek tragedies was hubris, that ‘pride’ or overweening self-confidence which leads a protagonist to disregard a divine warning or to violate an important law” (Zarro, 2001).

Although he knows he has no reason to move against his king other than “vaunting ambition, which o’erleaps itself” (I, vii, 25-27), his commitment to his wife and his greed proves overpowering, forcing him to the act. “Lady Macbeth bitches at her husband and ridicules his masculinity in order to make him commit murder. She talks about a smiling baby she once nursed and what it would have been like to smash its brains out – she would prefer this to having a husband who is unwilling to kill in cold blood” (Friedlander, 2005).

Macbeth’s single evil action of killing his king thus commits him to further evil acts. “That same Macbeth, who once as a warrior could spurn at death, now that he dreads the prospect of the life to come, clings with growing anxiety to his earthly existence the more miserable it becomes, and pitilessly removes out of the way whatever to his dark and suspicious mind seems to threaten danger” (Bates, 1906: 37).

When Macbeth willingly participates in murder, this quickly escalates to massacres of perceived enemies and the propagation of lies and deceits as a means of maintaining the perception others have of him. His own deceit of Duncan forces him to consider the possible schemes of Banquo, thus leading him to order murder once again. In avenge himself on Macduff, he orders the massacre of Macduff’s family, and the evil flows on. In this process, he loses his heath and sanity.

Finally, after having made a mistake in judgment causing a fall from his nobility and high moral station, Macbeth is forced to participate in numerous other actions that continually wear away at his nobility and sanity until he is finally, mercifully, killed by a man who was not born of woman. “Macbeth is still found worthy to die the death of a hero on the field of battle. The noble Macduff is allowed the satisfaction of saving his country by punishing with his own hand the tyrant who had murdered his wife and children” (Bates, 1906: 38).

This, again, is something he has brought on himself as it was Macbeth who ordered the murder of Macduff’s entire household once he learned that Macduff had fled the country in search of justice for Duncan’s murder. “Holinshed spends a lot of time on the incident in which Malcolm (who became a popular king) tests Macduff by pretending to be mean when he is really nice” (Friedlander, 2005), thus establishing the difference between a noble man who would lie and cheat his way to the throne and a noble man who would lie and cheat to determine another’s honesty. In the end, though, Macbeth can be seen to be a tragic hero because he started noble, made a terrible decision based upon his own foolish pride egged on by his ambitious wife and finally died a disgraceful death as the result of his actions.

Works Cited

Bates, Alfred (Ed.). “Macbeth: An Analysis of the Play by Shakespeare.” The Drama: Its History, Literature and Influence on Civilization. London: Historical Publishing Company, 1906, Vol. 14: 34-39.

Friedlander, Ed. “Enjoying Macbeth, by William Shakespeare.” Pathguy. (2005). Web.

Shakespeare. “Macbeth.” William Shakespeare: The Complete Works. Alfred Harbage (Ed.). New York: Viking Books, 1969, pp. 1107-1135.

Zarro, Josephine. “More Terms Defined: Aristotelian Definition of Tragedy.” eGallery of Tragic Heroes in Literature and Life. (2001). Teach the Teachers. Web.

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IvyPanda. (2021, August 28). Shakespearean Macbeth as a Tragic Hero. https://ivypanda.com/essays/shakespearean-macbeth-as-a-tragic-hero/

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Bibliography

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An Examination of Macbeth’s Characterization as the Archetypal Tragic Hero in Shakespearean Drama

Shakespearean drama, transcending the confines of time and culture, has firmly entrenched itself as an essential cornerstone of world literature. William Shakespeare’s plays, written between the late 16th and early 17th centuries, portray an intricate tapestry of human emotions, political intrigues, moral dilemmas, and philosophical debates. These dramatic works, ranging from the light-hearted comedies like “A Midsummer Night’s Dream” to the somber tragedies like “Hamlet,” illuminate the universalities of the human experience. Shakespeare’s acute observation of life and unmatched linguistic prowess made his dramas not just plays to be performed, but profound literary texts to be studied, analyzed, and revered.

Central to many of Shakespeare’s tragedies is the figure of the ‘tragic hero.’ The concept of the tragic hero is not exclusive to Shakespeare—it has ancient roots, tracing back to the plays of Sophocles, Aeschylus, and Euripides in classical Greek literature. A tragic hero is typically a character of noble birth or high societal standing who possesses an intrinsic flaw, or ‘hamartia.’ This flaw, be it hubris, unchecked ambition, or an overwhelming passion, becomes the catalyst for their downfall. As the tragic narrative unfolds, the hero, despite their initial virtues and merits, succumbs to their flaws, often leading to catastrophic consequences and ultimately, their demise. Yet, the real tragedy is often accentuated by the hero’s moment of ‘anagnorisis’ or realization of their misdeeds and the irreversible nature of their actions. This poignant moment, a blend of regret, recognition, and often despair, evokes a cathartic response from the audience, a purging of emotions that Aristotle famously termed as ‘catharsis.’

In essence, Shakespearean drama, with its rich characterizations and intricate plots, offers a window into the myriad facets of human nature. And it is through figures like the tragic hero that we are invited to reflect, empathize, and even learn from the timeless tales penned by the Bard of Avon.

Historical Context

In the Elizabethan and Jacobean eras, the societal and political climate was marked by profound transformation and tension. England, under the rule of monarchs like Elizabeth I and James I, witnessed a confluence of Renaissance ideals, religious upheavals, and political intrigues. This backdrop was instrumental in shaping the drama of the period, particularly the works of William Shakespeare.

The late 16th and early 17th centuries were marked by the English Renaissance, a cultural and artistic movement which saw a renewed interest in the classical arts, humanism, and scientific inquiry. At its heart was an emphasis on human potential, individualism, and the quest for knowledge. This spirit of the age was reflected in the arts, with literature, especially drama, thriving. Playhouses like the Globe Theatre were established, drawing audiences from varied social strata. The societal fabric, however, was complex. While the Renaissance ideals were blossoming, there were stark contrasts in society. The hierarchical structure remained rigid with clear distinctions between the nobility, the burgeoning middle class, and the lower classes.

Religiously, England was in turmoil. The Protestant Reformation, initiated by Henry VIII’s break from the Roman Catholic Church, led to the establishment of the Church of England. This shift was not merely religious but deeply political. The monarchs oscillated between Protestantism and Catholicism, each shift accompanied by persecution of the opposing faction. Elizabeth I tried to maintain a relative religious peace with the Elizabethan Settlement, but tensions simmered beneath. Under James I, the rise of the Puritans and their dissatisfaction with the Anglican Church’s practices further complicated the scenario.

Politically, the monarchy was asserting its dominance, and the concept of the “Divine Right of Kings” was gaining traction, especially under James I. This doctrine posited that the monarch was God’s representative on Earth, answerable only to the divine. Such assertions often led to clashes with Parliament, setting the stage for the eventual civil wars of the mid-17th century. Moreover, England’s imperial ambitions were beginning to take shape, with explorations and the early seeds of colonization.

Within this sociopolitical milieu, the concept of the tragic hero saw its evolution. Long before Shakespeare penned his tragedies, the Greeks had laid the groundwork for the archetype of the tragic hero. In ancient Greek tragedies, playwrights like Sophocles, Aeschylus, and Euripides introduced characters that, despite their nobility and greatness, were flawed. Oedipus, for instance, in Sophocles’ “Oedipus Rex,” is a classic tragic hero. His quest for knowledge and truth, ironically, becomes the very source of his downfall. His tragic flaw, or ‘hamartia’, is his hubris – an excessive pride that blinds him to the truth of his actions.

The Romans, too, had their share in shaping the tragic hero’s concept. Seneca, a Roman playwright, wrote tragedies that were marked by their emphasis on supernatural elements, moral lessons, and heightened emotions. These plays, though not as popular in their time, would profoundly influence the Renaissance tragedians, including Shakespeare.

During the Medieval period, the concept of tragedy took a backseat, with religious morality plays dominating the stage. But with the advent of the Renaissance, there was a revival. Drawing inspiration from classical sources, playwrights of the Renaissance period began to infuse new life into the tragic hero archetype. Christopher Marlowe’s “Doctor Faustus” is a prime example. Faustus, with his boundless ambition, makes a pact with the devil, leading to his eventual damnation – a clear precursor to Shakespearean tragic figures.

Shakespeare, standing on the shoulders of these giants, redefined and elevated the tragic hero’s concept. Within the intricate web of the societal and political climate of his era, he crafted characters that were products of their environment, yet universal in their appeal. His tragic heroes, while rooted in their Elizabethan and Jacobean contexts, spoke to the timeless and universal themes of ambition, jealousy, love, and betrayal.

In understanding Shakespeare’s tragic heroes, the historical backdrop is indispensable. The societal shifts, the political power plays, and the rich tapestry of literary history all converged to shape the tragedies of the Bard of Avon, making them resonate deeply with audiences then and now.

Defining the Tragic Hero

Emerging from the rich tapestry of literary history and the sociopolitical intricacies of the Elizabethan and Jacobean periods, the tragic hero, as portrayed by Shakespeare, is an embodiment of the very complexities and dualities inherent in human nature. This archetype’s profound resonance with audiences, both past and present, can be attributed to specific defining characteristics that make these figures both grand and fatally flawed.

The first, and perhaps most obvious characteristic, is the tragic hero’s noble stature or high societal standing . This position allows their eventual downfall to be all the more profound, emphasizing the tragedy’s depth. For example, King Lear, as the ruler of Britain, begins his journey from a place of immense power, which makes his descent into madness and eventual destitution a poignant commentary on the frailties of human nature and the impermanence of power.

Another essential trait of the tragic hero is the presence of a tragic flaw, or ‘hamartia’ . This intrinsic flaw is neither an external force nor a villain’s influence but stems from the hero’s own personality or choices. Macbeth’s unchecked ambition, driven to its extreme by the witches’ prophecies and Lady Macbeth’s persuasions, leads him down a path of regicide, guilt, and eventual doom. Similarly, Othello’s intense jealousy, spurred by Iago’s manipulations, results in the tragic deaths of Desdemona and himself.

The journey of a tragic hero also involves a moment of ‘anagnorisis’ or realization . It’s a moment of clarity where they recognize their flaws and the ramifications of their actions. In “Hamlet,” the Prince of Denmark’s realization occurs when he remarks, “O, from this time forth, my thoughts be bloody or be nothing worth!” This self-awareness is a testament to the tragic hero’s inherent nobility, as they recognize their misdeeds, even if it’s too late to reverse their fate.

Furthermore, the tragic hero’s downfall is, more often than not, a result of their own choices rather than mere fate. While external factors might play a role, it is the hero’s decisions that steer the narrative towards tragedy. For instance, despite the prophecies, Macbeth chooses to murder Duncan, setting in motion a series of events that lead to his tragic end.

Moving on to a comparative analysis, Shakespeare’s tragic heroes, though sharing the aforementioned characteristics, vary widely in their motivations, actions, and outcomes.

Take, for example, Hamlet . He is paralyzed by indecision and introspection. His tragic flaw is not ambition or jealousy but procrastination and overthinking. While Macbeth acts swiftly upon hearing the witches’ prophecies, Hamlet grapples with the ghost’s revelation, musing on life, death, and the nature of existence. His tragedy lies in his inability to act until it’s too late.

In contrast, Othello is a man of action, a seasoned general who has faced numerous battles. However, his downfall is not on the battlefield but in his personal life. Unlike Hamlet, who hesitates, Othello, spurred by Iago’s manipulations, acts impulsively, leading to catastrophic consequences. His tragic flaw is not inaction but misplaced trust and overwhelming jealousy.

King Lear , on the other hand, embodies the tragedy of arrogance and misplaced trust in appearances. His decision to divide his kingdom based on his daughters’ flattery leads to a sequence of events marked by betrayal, madness, and profound loss. His journey from a powerful monarch to a frail, mad old man is a stark commentary on the ephemeral nature of power and the human condition’s vulnerabilities.

In juxtaposition, these figures highlight Shakespeare’s unparalleled genius in portraying diverse facets of the tragic hero. While they share common characteristics, each tragic hero, set against the backdrop of their unique circumstances and personal flaws, offers a distinct exploration of tragedy. This diversity, rooted in the societal and political milieu of Shakespeare’s time and influenced by the evolution of the tragic hero archetype, ensures that these characters remain eternally relevant, prompting audiences to reflect on their own flaws, decisions, and human frailties.

Macbeth’s Ascension and Fall

Macbeth’s narrative arc, one of the most compelling in Shakespeare’s oeuvre, exemplifies the trajectory of the tragic hero. Stemming from the discussions of the defining traits of such heroes, as previously articulated, Macbeth’s journey from a valiant warrior to a tyrannical ruler encapsulates the dangers of unchecked ambition and the profound influence of external provocations.

When we first encounter Macbeth in Shakespeare’s eponymous tragedy, he is presented as the epitome of virtue and valor. Before he even graces the stage, we hear of his prowess on the battlefield. A sergeant, reporting to King Duncan, paints a vivid picture of Macbeth as a brave soldier, likening him to “Bellona’s bridegroom,” the consort of the Roman goddess of war. This commendation is no light praise, as it sets Macbeth apart as a figure of exceptional martial skill. Furthermore, his victory over the traitorous Macdonwald showcases his loyalty to the Scottish crown and his commitment to duty. His initial stature is undeniably noble, deserving of the accolades and titles he subsequently receives.

However, this heroic image begins its descent into darkness with the introduction of the three witches and their cryptic prophecies. Upon meeting them on the desolate heath, Macbeth is greeted with the salutations: “Thane of Glamis,” which he already is; “Thane of Cawdor,” a title he is yet unaware has been bestowed upon him; and the most bewildering of all, “that shalt be king hereafter!” These prophecies, particularly the third, light the spark of ambition within Macbeth, making him contemplate the possibility of ascending to the throne. When the second prophecy swiftly materializes, with Ross informing Macbeth of his new title as Thane of Cawdor, the allure of the final prophecy becomes nearly irresistible.

The prophecies, while undeniably a crucial component in Macbeth’s downward spiral, are but catalysts that awaken latent desires. It is essential to discern that the witches, in all their mystical ambiguity, do not directly command actions. Their utterances are mere projections, and it is Macbeth, with Lady Macbeth as a driving force, who chooses the path of regicide to actualize the prophesied kingship. As he grapples with the moral implications of such a heinous act, it’s evident that the prophecies have deeply unsettled his previously firm moral compass.

His inner turmoil, poignantly expressed in soliloquies, reveals a man wrestling with ambition and morality. The metaphorical “vaulting ambition, which o’erleaps itself,” captures the dangerous allure of unchecked desires that could lead to one’s downfall. And while he initially hesitates, reasoning that “If chance will have me king, why, chance may crown me, without my stir,” Lady Macbeth’s persuasive tactics and his own burgeoning ambition converge to seal King Duncan’s fate.

Following the regicide, Macbeth’s decline is swift and profound. Paranoia, guilt, and an insatiable hunger for power consume him. The once-valiant hero, now ensnared by the prophecies, seeks the witches once more, further sealing his tragic trajectory with new predictions. His actions post these prophecies, including the merciless killing of Banquo and the massacre of Macduff’s family, solidify his transformation from a revered warrior to a despotic ruler.

In analyzing Macbeth’s ascension and fall, it becomes evident that while external forces, like the prophecies, play a role, it’s the internal moral conflict and unchecked ambition that govern his tragic path. His journey, emblematic of the broader spectrum of Shakespearean tragic figures discussed earlier, serves as a cautionary tale about the perils of ambition untethered from morality and the consequences of letting external influences dictate one’s choices. As with many tragedies, the audience, referencing their own ‘textbook’ of life experiences, finds in Macbeth’s tale a mirror reflecting the fragility of human virtue when confronted with temptation and aspiration.

The Role of Ambition

In the vast landscape of Shakespearean drama, ambition emerges as one of the most potent and recurrent motifs, acting as the Achilles’ heel for several iconic characters, most notably Macbeth. As dissected in our prior discourse on Macbeth’s descent, this insatiable hunger for power and status serves as both a driving force and a destructive flame, illuminating the intricacies of human nature and the potential pitfalls of unchecked desires.

Macbeth’s trajectory is, in many ways, the embodiment of ambition’s dual nature. Initially, his ambition aligns with his duties and societal expectations. As a warrior, his aspirations are to serve his king and protect his land, earning him accolades and reverence. However, with the witches’ prophecies, his ambition starts to mutate, shifting from service to self-aggrandizement. The throne’s tantalizing prospect, coupled with Lady Macbeth’s goading, intensifies his thirst for power. His soliloquy in Act 1, Scene 7, lays bare this conflict as he acknowledges the only compelling reason to commit regicide: “I have no spur to prick the sides of my intent, but only vaulting ambition.” This “vaulting ambition” propels him into a spiral of paranoia, treachery, and eventual doom. The repercussions of his unchecked ambition manifest not just in his downfall but also in the ensuing chaos in Scotland’s socio-political fabric.

Drawing parallels from the ‘textbook’ of Shakespeare’s plays, Macbeth is not alone in his tragic entanglement with ambition. Let’s consider the Roman general Julius Caesar. Caesar’s increasing ambition and aspirations for absolute power sow distrust among certain senators, leading to his assassination. The conspirators, especially Brutus, fear that Caesar’s ambition will lead to tyranny, suppressing the Roman Republic’s freedoms. Ironically, Brutus, driven by his ambition to preserve the republic and his honor, becomes an instrument in its very destruction. Here, ambition, though stemming from seemingly noble intent, culminates in tragedy for both Caesar and Brutus.

Another poignant example is Rodrigo Borgia, more infamously known as Pope Alexander VI, from historical references rather than directly from Shakespeare’s canon. While not a traditional tragic hero, his insatiable ambition for power, wealth, and influence, both for himself and his family, led to widespread corruption within the Church, creating ripples of distrust and upheaval in the religious and political spheres.

Turning our gaze towards Richard III, we find a protagonist whose ambition is matched only by his ruthlessness. Richard’s desire for the English crown is clear from the very outset, as he plots, manipulates, and murders his way to the throne. His ambition, unlike Macbeth’s, is unambiguous and unapologetic. The consequent tyranny and the civil unrest underline the perils of unchecked ambition, as both Richard and the realm suffer.

Drawing from these varied narratives, it becomes evident that while ambition, in itself, is a neutral force, its manifestation can lead to both triumph and tragedy. Its inherent duality lies in its alignment (or misalignment) with moral and societal boundaries. Macbeth’s initial ambition, rooted in service and duty, is laudable, but when redirected by the prophecies and his inner desires, it becomes his very undoing. Similarly, Caesar’s aspirations to elevate Rome clash with Brutus’s ambition to safeguard the republic, leading to tragic consequences for both.

Ambition’s role, therefore, in shaping the narrative arc of a tragic hero is multifaceted. It can be a source of motivation, resilience, and greatness. Yet, when untethered from ethical considerations, it can precipitate a hero’s fall, echoing the sentiment from our previous exploration of Macbeth’s journey. This exploration underscores the timeless relevance of Shakespeare’s works , offering a mirror to reflect upon our aspirations and the lengths we might go to achieve them.

Macbeth’s Fatal Flaw: Hubris

The annals of literature, especially in Shakespeare’s oeuvre, abound with characters who manifest tragic flaws – innate characteristics that precipitate their downfall. In Macbeth’s tapestry, woven intricately with threads of ambition, destiny, and morality, one of the most defining threads is that of hubris, or excessive pride. As we traverse the path of ambition’s role, it’s crucial to delve deeper into this particular flaw, distinguishing it from mere ambition and understanding its grave implications in Macbeth’s narrative.

Macbeth’s hubris doesn’t manifest immediately. Initially, his humility is evident when he grapples with the idea of the throne, hesitant to act on mere prophecies. However, as these prophecies begin to materialize, his sense of invincibility burgeons. With each prophecy’s fulfillment, Macbeth’s confidence in his ordained greatness swells, blurring the lines between ambition and hubris. By the time he becomes king, he believes not only in his right to the throne but also in his invulnerability. This conviction is further fortified when the witches provide him with another set of prophecies: that he cannot be harmed by any man born of a woman and will remain unvanquished until Birnam Wood comes to Dunsinane Hill.

This newfound sense of invincibility feeds Macbeth’s hubris. He misinterprets these prophecies, believing himself to be invulnerable. This overconfidence becomes his undoing. Rather than proceeding with caution, he becomes reckless, believing himself to be beyond the reach of fate or consequence. As a result, he further isolates himself, spiraling deeper into a vortex of paranoia and tyranny. This is evident in his decision to have Banquo murdered, driven by the prophecy of Banquo’s descendants being kings. His excessive pride prevents him from acknowledging potential threats, leading him to underestimate his adversaries and overestimate his own prowess.

The external entities – Lady Macbeth and the witches – play instrumental roles in nurturing Macbeth’s hubris. Lady Macbeth’s initial influence cannot be understated. Her derision of his masculinity and her assertion that they are destined for greatness stoke the flames of his burgeoning pride. She acts as a catalyst, converting his hesitant ambition into assertive action. However, as Macbeth’s hubris grows, her influence wanes, underscoring the self-consuming nature of unchecked pride. Their relationship, initially one of shared aspirations, mutates, reflecting the dissonance between hubris and reality.

The witches, with their enigmatic prophecies, are more insidious agents of Macbeth’s inflated pride. Their predictions are not false, but their ambiguity allows for interpretation, and Macbeth, in his hubris, chooses interpretations that feed his sense of invulnerability. For instance, the prophecy about Birnam Wood is taken literally by Macbeth, making him dismissive of any real threat. However, when the opposing army uses branches from Birnam Wood as camouflage, the prophecy’s true meaning dawns on him, shattering his overconfidence. Similarly, the proclamation that no man born of a woman shall harm him gives him a false sense of security. This is undone when he faces Macduff, who reveals he was born of a Caesarean section. In essence, the witches’ prophecies serve as a double-edged sword: they empower him, but his misinterpretations, stemming from hubris, set the stage for his downfall.

Drawing connections to our prior exploration of ambition, it becomes evident that while ambition might have been the seed of Macbeth’s tragic journey, hubris was the soil that nurtured it. The unchecked growth of this excessive pride, exacerbated by external influences, culminated in Macbeth’s tragic end. Shakespeare masterfully demonstrates the dangers of interpreting destiny through the lens of hubris. Macbeth, in his overconfidence, fails to discern the nuances of the prophecies, illustrating the perils of pride clouding judgment. This theme, resonating beyond the confines of the play, serves as a timeless cautionary tale about the inherent dangers of overestimating one’s invulnerability in the face of destiny and external influences.

The Tragic Cycle: Realization and Catharsis

One of the most profound aspects of a tragic narrative lies in the inevitable arc of realization that befalls its protagonist, followed by the cathartic experience it offers to its audience. In the intricate tapestry of “Macbeth,” this arc is manifested through Macbeth’s moments of self-awareness and introspection. The realization of his flaws, when juxtaposed against his earlier hubris, adds depth to his character, making him more than a mere tyrant but a flawed human, susceptible to grand delusions and grim realities alike.

Throughout the play, Macbeth experiences moments of acute self-awareness that provide a window into his tormented psyche. These moments, often couched in soliloquies, afford the audience a glimpse into his innermost thoughts and conflicts. Consider his reflection in Act 3, Scene 1, where he acknowledges that for Banquo, “To be thus is nothing, but to be safely thus.” Here, Macbeth is acutely aware of the precariousness of his position, realizing that mere possession of the crown does not guarantee security or peace. This sentiment is further echoed in his famous soliloquy in Act 5, Scene 5, where he reflects on the ephemeral nature of life: “Life’s but a walking shadow… a tale told by an idiot, full of sound and fury, signifying nothing.” Such moments of profound introspection paint Macbeth not as an irredeemable villain but as a man caught in the throes of his own ambitions and fears.

These reflections, interspersed throughout his descent into tyranny, make his character more relatable. Every instance where he grapples with his actions, doubts his choices, or fears his future humanizes him. His journey becomes not just one of a man succumbing to his baser instincts but also of a soul striving for meaning in a world that seems increasingly chaotic and hostile. Such a portrayal encourages the audience to empathize with Macbeth, even if they do not condone his actions.

This brings us to the second pivotal aspect of the tragic cycle: the cathartic response. Aristotle, in his seminal work “Poetics,” elucidates the concept of catharsis as the purification and purgation of emotions, especially pity and fear. “Macbeth,” with its poignant portrayal of its titular character, elicits these very emotions. The audience, witnessing Macbeth’s internal and external struggles, feels a mix of pity for his doomed fate and fear of the extent of human fallibility.

While the audience might shudder at Macbeth’s deeds, they also recognize the universality of his struggles. Who hasn’t grappled with ambition, fear, or the need for validation? Who hasn’t, at some point, felt the weight of their choices bearing down on them? By holding a mirror to these all-too-human experiences, “Macbeth” enables the audience to confront and process their own fears and insecurities. This is where the cathartic experience is rooted.

Drawing parallels with our previous discourse on Macbeth’s hubris, the tragic cycle underscores the dichotomy of his character. His excessive pride and ambition lead to his fall, but his moments of reflection humanize him, completing the tragic cycle. As the audience navigates this journey with Macbeth, they undergo a cathartic release, purging their emotions and leaving the theater with a heightened sense of self-awareness and introspection.

In essence, the tragic cycle in “Macbeth” serves a dual purpose. On one hand, it deepens the characterization of Macbeth, allowing for a more nuanced understanding of his psyche. On the other, it facilitates an emotional release for the audience, making the play not just a tale of a fallen hero but a therapeutic exploration of the human condition. This duality, a hallmark of Shakespeare’s genius, ensures that “Macbeth” remains not just a play but an experience, resonating with audiences across ages and cultures.

Comparisons with Other Shakespearean Tragic Heroes

The Shakespearean pantheon of tragic heroes, replete with complex personalities and intricate moral dilemmas, provides a rich tapestry against which we can juxtapose Macbeth. While each tragic figure is a unique embodiment of particular human flaws and circumstances, there exist overlapping threads of ambition, hubris, love, and betrayal that weave their narratives together. Here, let’s explore how Macbeth stands distinct when set against the illustrious likes of Hamlet, Othello, and King Lear.

First, consider Hamlet, the introspective Prince of Denmark. At the core of Hamlet’s tragedy is his deep-seated indecision and proclivity for philosophical introspection. While Macbeth’s downfall is catalyzed by his ambition and subsequent actions based on the witches’ prophecies, Hamlet is paralyzed by his incessant overthinking, culminating in the iconic soliloquy, “To be or not to be.” Both characters experience a kind of paralysis: Hamlet’s is born of doubt and introspection, while Macbeth’s emerges from overconfidence in prophecies and his misinterpretation of them. Macbeth’s quickness to action contrasts starkly with Hamlet’s hesitancy, emphasizing their divergent tragic paths.

Othello, the Moorish general of Venice, presents another illuminating contrast. While both he and Macbeth are esteemed warriors, their tragic flaws differ. Othello’s downfall is rooted in jealousy, meticulously stoked by Iago. This jealousy, unlike Macbeth’s ambition, is intensely personal, stemming from doubts about his wife Desdemona’s fidelity. Macbeth’s ambitions are grander, tied to power and kingship. Additionally, while external influences shape both their fates (the witches for Macbeth and Iago for Othello), Othello’s tragedy feels more intimate, a result of personal relationships gone awry, whereas Macbeth’s has broader, kingdom-wide ramifications.

King Lear, the aged monarch, offers yet another dimension of tragedy. His narrative revolves around the themes of aging, family, and the quest for genuine love and loyalty. At the outset, Lear’s hubris leads him to misjudge his daughters’ affections, setting into motion a series of events that strip him of his power and sanity. While both Macbeth and Lear are kings who face tragic downfalls, their trajectories are distinct. Lear’s tragedy is born from a familial context, whereas Macbeth’s arises from political ambition. Furthermore, Lear begins his play in a position of established power and witnesses its gradual erosion, while Macbeth’s narrative charts his ascent to power and the subsequent descent into tyranny.

Drawing connections to our prior discussion on the tragic cycle and catharsis, each of these characters, including Macbeth, facilitates a cathartic experience for the audience, albeit through different emotional avenues. With Hamlet, we grapple with existential dilemmas; with Othello, we navigate the tumultuous waters of jealousy and trust; with Lear, we confront the harsh realities of aging, familial discord, and betrayal; and with Macbeth, we journey through the treacherous terrains of unchecked ambition and the consequences of hubris.

Yet, what truly distinguishes Macbeth is the speed and intensity of his transformation. While the other tragic heroes undergo gradual declines or experience pivotal moments that trigger their downfalls, Macbeth’s transformation from a valiant general to a tyrannical ruler is swift and propelled by a combination of internal and external forces. This rapid metamorphosis, coupled with the supernatural elements unique to his narrative, sets Macbeth apart.

In conclusion, while each of Shakespeare’s tragic heroes embodies specific flaws leading to their eventual downfalls, Macbeth stands distinct in his rapid descent into tyranny, spurred by ambition and manipulated prophecies. His narrative, though sharing thematic parallels with the likes of Hamlet, Othello, and Lear, retains its unique flavor, cementing its place as one of the most compelling tragedies in Shakespeare’s oeuvre.

The figure of Macbeth, with its intricate layers and psychological depth, remains an indelible creation in the annals of literature. His characterization, a masterful blend of ambition, hubris, and introspection, resonates deeply, transcending the boundaries of time and culture. As underscored by our examination alongside fellow Shakespearean luminaries like Hamlet, Othello, and Lear, Macbeth’s unique narrative trajectory and the intensity of his transformation underscore his enduring impact and relevance.

Furthermore, the archetype of the tragic hero, epitomized by Macbeth, continues to influence contemporary adaptations and interpretations. Whether in film, theatre, or literature, the allure of a character propelled by profound internal and external conflicts, culminating in inevitable downfall, remains potent. These modern retellings, while bearing the distinct imprints of their creators, invariably hark back to the essence of Shakespeare’s original vision. They stand testament to the timeless nature of Macbeth’s tale and the universal appeal of the tragic hero, reminding us of the inexhaustible depths of human nature and the boundless potential for storytelling that delves into its core.

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Macbeth

Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the consequences of regicide, but from the perspective of the usurpers, not the dispossessed. Like Othello, Macbeth centers its intrigue on the intimate relations of husband and wife. Like Lear, Macbeth explores female villainy, creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders, if Othello is “more sinned against than sinning,” and if Lear is “a very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses evil and becomes the bloodiest and most dehumanized of Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure in the sequence of what might be called Shakespeare’s Grand Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging our sympathy and identification with a murderer. “The problem Shakespeare gave himself in Macbeth was a tremendous one,” Critic Wayne C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and destroy him, not only physically and emotionally, as the Greeks destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s greatest psychological portrait of self-destruction and the human capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although there is no certainty in dating the composition or the first performance of Macbeth, allusions in the play to contemporary events fix the likely date of both as 1606, shortly after the completion and debut of King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton Court on August 7, 1606, during the royal visit of King Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael Holinshed’s Chronicles of England, Scotland and Ireland (1587), but with significant modifications. The usurping Macbeth’s decade-long (and largely successful) reign is abbreviated with an emphasis on the internal and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s account of the murder of an earlier king Duff by Donwald, who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and the occult in Macbeth must have been meant to appeal to a king who produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and conflict between the fair—honor, nobility, duty—and the foul—rank ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the Weird Sisters are left purposefully ambiguous and problematic. Are they agents of fate that determine Macbeth’s doom, predicting and even dictating the inevitable, or do they merely signal a latency in Macbeth’s ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth will be defined by his “horrible imaginings,” by his considerable intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as Macbeth in Shakespeare’s plays. Macbeth’s ambition is initially checked by his conscience and by his fear of the unforeseen consequence of violating moral laws. Shakespeare brilliantly dramatizes Macbeth’s mental conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified at his wife’s resolve and cold-blooded calculation in devising the plot, Macbeth urges his wife to “Bring forth menchildren only, / For thy undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder contrasts Macbeth’s “horrible imaginings” concerning the implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to the edge of mental collapse, Macbeth steels himself to meet the witches again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth responds to the rebellion mounted by Duncan’s son Malcolm and Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared was “too full o’ the milk of human kindness / To catch the nearest way” to serve his ambition, displays the same cold calculation that frightened him about his wife, while Lady Macbeth succumbs psychically to her own “horrible imaginings.” Lady Macbeth relives the murder as she sleepwalks, Shakespeare’s version of the workings of the unconscious. The blood in her tormented conscience that formerly could be removed with a little water is now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl age their movement by carrying boughs from Birnam Woods in their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted by Macduff’s taunt of cowardice and order to surrender to meet Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth returns to the world of combat where his initial distinctions were honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what Malcolm does not, that it will not be his royal line but Banquo’s that will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

Macbeth Ebook pdf (8MB)

An analysis of Macbeth as a tragic hero

I can write an extended, evaluative response about ‘Macbeth’.

Lesson details

Key learning points.

An introduction could move from the general to the specific
A conclusion will move from the specific to the general
Topic sentences and discourse markers are useful for organising your ideas clearly
Paragraph outlines can be a useful tool for planning essays

Common misconception

A thesis statement is just a rewording of the essay question.

The essay question is useful in formulating a thesis, however try using key question vocabulary and using it to form your own argument.

Timeless - A timeless piece of literature remains eternally relevant, unaffected by the passage of time.

Despot - A ruthless despot is a ruler with absolute power who exercises tyranny over others.

Transformative - A transformative experience is capable of bringing about significant and profound change or improvement.

Culmination - The highest or climactic point, marking the end of a process or event, is the culmination.

Archetype - In storytelling, an archetype is a universally recognised and typical example.

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Starter quiz

6 questions.

Macbeth -

dies in battle with Macduff

Lady Macbeth -

dies by implied suicide due to guilt

is killed by murderers employed by Macbeth

Macduff -

survives Macbeth's reign, killing him in the process

King Duncan -

is murdered in his sleep by Macbeth

Fleance -

escapes the murderers sent to kill him

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Essay Topics About Macbeth: Is Macbeth a Tragic Hero?

Is Macbeth a tragic hero ? Explore the factors that say “yes” to this common literary question.

Macbeth fits the role of a tragic hero because he is born to nobility, and he has good character . But his fatal flaw, his ambition, leads to his death at the end of the play. It also pushes him to commit many atrocities, including murder, as he falls deeper and deeper into darkness. Some characteristics of the character are not perfect examples of tragic heroes, but overall, he fits this archetype.

William Shakespeare’s tragedies have several examples of tragic heroes, but many literary analysts are divided about whether or not Macbeth , the Thane of Cawdor, is one of them. Does the character and his tragic flaw fit the definition of the tragic hero , or is Shakespeare’s Macbeth a different type of character ?

Here we will take a closer look at the answer to this question, for you to use in your next argumentative essay .

For help with your essays, check out our round-up of the best essay checkers




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Definition of a Tragic Hero

1. macbeth’s background, 2. the audience’s view of macbeth, 3. macbeth’s tragic flaw, 4. the wicked actions of the character of macbeth, 5. macbeth’s tragic ending, 1. he is not born with his tragic flaw, 2. his heroic nature is suspect, 3. little pity from the audience, macbeth as a villain instead of a tragic hero, macbeth as a victim instead of a tragic hero, though not perfect, macbeth shows many characteristics of a tragic hero.

Before looking more closely at whether or not Macbeth is a tragic hero , first, you must understand what a tragic hero is.

According to the dictionary , a tragic hero is a character in a drama who is “destined for downfall, suffering, or defeat.” However, in literature, the definition is slightly more in-depth.

In Greek literature, Aristotle defined the tragic hero as someone whose mistakes or errors in judgment were the ultimate cause of their downfall. Other components of the tragic hero literary archetype are:

Creates fear or pity in the audience’s mind, which creates a sense of catharsis at the end of the work.
Have a tragic or fatal flaw, which is a character trait that causes the character’s downfall
Be nobility, monarchy, or in leadership in some other way.
Has heroic or potentially heroic tendencies.
They endure great suffering and have a tragic ending

Based on these character traits, you can decide if Macbeth is, in fact, a tragic hero .

Ways Macbeth Fits the Idea of a Tragic Hero

In the play Macbeth , the main character fulfills some of the characteristics of the tragic hero . Looking more closely at these will help you decide whether or not you believe that Macbeth is a tragic hero .

One of the characteristics of the tragic hero is being of noble background, and Macbeth fits this profile well. He starts the play as the Thane of Glamis and quickly becomes the Thane of Cawdor. From the very beginning of the play, he is in a leadership role.

Early in the play, Macbeth has the king’s trust. The king has this to say about him:

“What bloody man is that? He can report, As seemeth by his plight, of the revolt. . . O valiant cousin! Worthy gentleman! Dismay’d not this Our captains, Macbeth and Banquo?” Macbeth

This quote shows a high level of trust between the king and captain.

Macbeth is also a member of the military. Early in the play, the three witches prophesy that he will become king of Scotland. Through their prophecy and the urging of his wife, Lady Macbeth , he pursues the throne very violently.

With all three of these roles and his leadership in the military, Macbeth fulfills the requirement of noble birth or being a member of the monarchy.

Similarly, at the start of the play, he seems to be a nice man and a military hero. Until he meets the three witches, he also appears to be loyal to his king. The classic tragic hero will start as a pleasant character until the tragic flaw takes over. in this way, Macbeth fits the archetype.

To be a tragic hero , the audience must develop feelings of fear or pity for the character , which often occurs in Macbeth . At the start of the play, he seems to be an honest man of noble character . The play describes how he killed McDonald, a traitor, which could cause the audience to view him as a hero.

However, as the play unfolds and the external forces, like the three witches, impact the Thane, his moral character and mental health decline. He changes into a completely different type of person, eliciting the audience’s sympathy.

As the play continues, Macbeth’s outside influences grow stronger, as does his desire for power. Eventually, this causes him to become insane, and the audience feels fear and pity for the man and where his choices may take him.

Again, because the audience starts to feel this sense of pity for the once brave Macbeth , he fits the definition of a tragic hero .

That said, this is one area where Macbeth is not quite as clear a fit for the definition of a tragic hero . While some audience members may feel pity and fear, others will detest his fall from power and his poor character throughout the play.

“My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smother’d in surmise, and nothing is but what is not.” Macbeth

Macbeth’s tragic flaw is the subject of much debate in the literature. Many will state that Macbeth’s ambition leads him down such a dangerous path. He wants to become king so badly that he is willing to murder.

Yet Macbeth also has a bit of hubris. He believes he can achieve everything in the witches’ prophecies without help, and he takes matters into his own hands to do so.

Finally, as the play progresses, he seems to develop some insanity. Though the vaulting ambition is likely the cause of some of his insanity, the insanity and mental health issues could be the fatal flaw that ultimately contributes to Macbeth’s downfall.

“For mine own good All causes shall give way. I am in blood Stepped in so far that, should I wade no more, Returning were as tedious as go o’er.” Macbeth

Another component of a tragic hero is the errors in judgment that cause evil actions. As Macbeth pursues his desire for the throne, pushed toward that desire by the prophecy of the three witches and various other apparitions that encourage him, he commits many crimes.

His criminal behavior starts with the murder of the Scottish King Duncan, a necessary move for him to take the throne. However, as he ascends to rule Scotland, he becomes paranoid about keeping his power, especially since Duncan’s sons, Malcolm and Donalbain, got away and remained a threat to his power.

Yet Macbeth’s murderous path is not over after the murder of Duncan. His friend Banquo, who spoke against his murderous intentions, is the next to fall.

Macbeth then sights Macduff, a loyal thane who believes Macbeth is King Duncan’s assassin. Macduff flees to England to escape the treachery, yet he leaves his family behind. Macbeth kills Macduff’s family. Eventually, this action leads to Macbeth’s death at the hands of the grieving husband and father.

These actions further solidify that Macbeth is a tragic hero . He makes errors in judgment that lead him to murder to retain his power.

“It will have blood, they say. Blood will have blood.” Macbeth

The final characteristic of a tragic hero is a tragic downfall. In a Shakespearean tragedy, this typically includes the main character’s death.

At the end of the play, Macbeth’s tragedy begins when his wife starts to show signs of mental decline and ends up taking her own life. This causes him to sink into despair, withdrawing to Dunsinane to try to protect his throne and defend himself. The English army, with Macduff, comes to the castle in search of him.

As the battle unfolds, Macbeth fights hard, but his castle is no match for Macduff’s forces. Macduff confronts Macbeth and cuts off his head, allowing Malcolm to become the King of Scotland. Peace comes back to the land, but only because the traitor Macbeth died.

“Despair they charm And let the angel whom thou still hast served Tell thee. Macduff was from his mother’s womb Untimely ripp’d” Macbeth

Arguments Against Macbeth as a Tragic Hero

Though many literary analysts believe Macbeth to be a tragic hero , some will argue that he is not. Macbeth is not the perfect example of a tragic hero . Here are some of them.

Many tragic heroes have a tragic flaw that is part of their inborn character , but this is not the case with Macbeth . His ambition is not entirely present at the start of the play. It is the prophecies of the witches and the urging of Lady Macbeth that fuels the flame of Macbeth’s ambition. When he starts to believe that he is destined to be king, and Lady Macbeth perpetuates that belief, he starts down his dangerous path.

In addition, his tragic flaw of ambition and desire to keep his power dos not become evident until the play is well underway. Their tragic characteristic is present in most tragic heroes from the very beginning.

Another reason some claim Macbeth is not a tragic hero is that the play shows little to indicate he has heroic tendencies. While it shows he is a good soldier, his descent into madness starts fairly early in the play, and thus he does not have much time to show his good character .

For someone to be a tragic hero , they must have good character qualities that take a wrong turn. Macbeth may not fulfill this role well, depending on how the audience views his character .

Some literary analysts state that the character of Macbeth does not evoke much pity. When he dies at the end, you do not experience catharsis but rather a sense of justice. His ruthlessness makes it hard to pity the character , which is an essential part of the idea of a tragic hero .

That said, the feelings of an audience are not always the same from one reader to the next. Some may feel pity for Macbeth , thus allowing him to fulfill this role, while others may not.

Some literary scholars view Macbeth as the play’s villain, not a hero. The antagonist can still be a tragic hero if the audience has empathy for them, but if not, then he is just a villain.

To state that Macbeth is a villain, you must prove that he would have done the actions in the play regardless of the other events of the play. His character flaws would have pushed him to murder the king, even without the prophecy and his wife’s influence.

Shakespeare does not give enough detail in the play to draw this conclusion. However, Macbeth feels fear and defiance, not guilt, when he sees Banquo’s ghost, which may show that he is more villainous than heroic.

Another potential view is that Macbeth is the story’s victim . To prove this view, you must prove that the outside influences, including the witches and his wife, push him toward his murderous actions rather than his character .

The key question here is whether or not these influences force Macbeth’s hand or if they encourage him along a path that he would have followed on his own.

One argument toward Macbeth being a victim is the intense guilt he feels after killing Duncan. The guilt is almost enough to drive him mad, and it is the start of his loss of peace through the end of the play.

You could also argue that Macbeth is a victim of himself. At the end of the play, when Macduff strikes the fatal blow, it is the witches Macbeth curses. This points toward him viewing himself as a victim.

This question is probably one that literary analysts will continue to debate. However, one thing is clear: Macbeth is not a perfect example of a tragic hero , but he does display many of the characteristics.

In literature, characters are not always perfectly representative of the archetypes they portray. Writers can give their characters different traits that pull them away from a particular path. Yet more of Macbeth’s characteristics align with that of a tragic hero than do not, and thus the conclusion that he is one is valid.

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The Tragic Hero in Shakespeare's Macbeth

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Introduction

The three catalysts of macbeth's decline.

Lady Macbeth's Influence and Ambition

The downfall and tragic resolution, conclusion: macbeth's tragic legacy.

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The Tragic Hero in Shakespeare's Macbeth essay

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Macbeth: a Tragic Hero

How it works

According to Aristotle, a tragic hero is a person with a high social status, somebody who has a secret weakness that could eventually lead to a downfall, and when the characters life faces a downfall with courage and dignity. Generally, a tragic hero is a grievous legend that is seen as a respectable character. To go moreover, the character Macbeth happens to consist of these traits. With this in mind, I assert that Macbeth is, in fact, a tragic hero.

To begin with, Macbeth was born into a noble family.

After all, he was King Duncan’s cousin. But, more importantly he was a Scottish general that served under the king. In Act 1, scene 2, Macbeth led King Duncan’s forces in to battle. Macbeth had killed Macdonwald which led their troop into victory (Shakespeare). More into scene 2, his defeat stood out to King Duncan and he granted Macbeth nobility (Shakespeare). For Macbeths loyalty to King Duncan, he was awarded to be Thane of Cawdor (Shakespeare). He was previously the Thane of Glamis; but, was practically promoted, causing his status to increase. To put into other words, Macbeth was already considered a valiant and worthy general and Duncan was astonished by his bravery, leadership, and successfulness in battle. So, King Duncan decided to ascent him into Thane of Cawdor; which, was a big deal since that position held a great amount of power.

Subsequently, Macbeth had his flaws. His biggest weakness that stood out was his strong ambition. Although, it may not seem like a weakness; but it unravels a dark side to Macbeth. In scene 3, one of the witches told Macbeth that he will soon become king (Shakespeare). Macbeth believed it since the witches had predicted that he would become a thane earlier on in the play. Anyways, Macbeths aspiration and wanting to be top dog, is more essential to him than everything else is throughout his everyday life. He will surrender everything that he has throughout to have the opportunity to sit on the position of authority. For example, in Act 1, scene 7, Lady Macbeth is trying to convince Macbeth to kill Duncan, but he is very hesitant about it because he has no reason to do so (Shakespeare). Yet, this was the start to his strong desire of power. After he went through the murder of Duncan and was awarded King of Scotland (Shakespeare), he slowly regained his conscience after a rough patch and acknowledged his strength and power. Macbeth then became fearful of his position and would do anything to stay as king, so he started to kill any potential candidates that could take that power from him. Another example would be in Act 3, scene 3, Macbeth became worried that Banquo was a threat to the throne so, he ordered three people to murder Banquo to be safe (Shakespeare). Overall, Macbeth’s heavy ambition caused him to kill for power and to soon feed off of fear in order to become more indomitable.

As a final point, Macbeth faced a large downfall with courage and dignity. Towards the end in Act 5, Malcolm starts a battle against Macbeth in Dunsinane (Shakespeare). This battle was the main decline of Macbeths power. Although, Macbeth understands that he will die but he refuses to commit suicide (Shakespeare). He claims he would rather fight until the end. On the battlefield, he encounters Young Siward and faces off with him, eventually Macbeth kills Young Siward (Shakespeare), leading him to regain courage. Later on, Malcolm came across Macbeth determined to kill him. So, Malcolm and Macbeth commence to a match. Malcolm brutally kills Macbeth, ending the battle and Malcom gaining the title of king. This is to say, he fought with dignity until his faith came to an end.

However, Macbeth does not draw any sympathy from the audience by claiming he doesn’t have time to mourn over his wife, Lady Macbeth’s death in Act 5, scene 5 (Shakespeare). Also, all the deaths like the servants he killed for his cover up, for the murder of Duncan. He insisted they were all just a part of his life. Yet, that sympathy within Macbeth varies from time. For example, when Macbeth hesitated on killing Duncan because Duncan has done nothing wrong to him and that was his cousin. He felt as if it was wrong and he wouldn’t deserve to be king after committing that crime.

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Macbeth: Essay Plan Examples

A* and Level 9 essays are always properly planned before they are written. But how should you plan a Macbeth Essay?

Here is a list of practise plans and notes that students have completed for a range of essays on Macbeth. Some are focused on ideas, and others on structuring. To get the best out of your plans, you should try to keep a balance between both of these.

Always plan a thesis before writing — this is your main argument, the main answer to the question that comes in the intro of your essay. The rest of the essay should then explore and argue on this thesis.

This page is suitable for students aged 14–18 (GCSE — A-Level), particularly those studying the following exam boards: CIE / Cambridge, AQA, OCR, WJEC / Eduqas, CCEA, Edexcel.

Thanks for reading! If you find this resource useful, you can take a look at our full online Macbeth course here . Use the code “SHAKESPEARE” to receive a 50% discount!

This course includes:

A full set of video lessons on each key element of the text: summary, themes, setting, characters, context, attitudes, analysis of key quotes, essay questions, essay examples
Downloadable documents for each video lesson
A range of example B-A* / L7-L9 grade essays, both at GCSE (ages 14-16) and A-Level (age 16+) with teacher comments and mark scheme feedback
A bonus Macbeth workbook designed to guide you through each scene of the play!

For more help with Macbeth and Tragedy, read our article here .

PRACTICE ESSAY 1:

Explore how Shakespeare discusses the theme of deception in Macbeth.

Trickery begets trickery — Macbeth deceives Duncan at the start, Banquo shortly after, he himself is deceived by the Witches > negative comment on deception.

Feudal system / divine right of kings vs New Politics / Machiavelli.

Deception creates temporary power, but the order of the world will be restored.

God ignores the castle — sinful behavior causes God to turn away.

Thesis: deception is evil and creates more evil and chaos, both for the individuals who deceive and the kingdom as a whole. For the human characters, it leads down a path to insanity, Shakespeare is drawing a parallel between deception and evil to show that it is ungodly and sinful.

P1 — Intro — Shakespeare discusses the theme of deception in Macbeth by exploring Macbeth’s insanity, showing the Macbeths covering their tracks and the temporary success with long term failure that deception brings.

P2 — Macbeth’s insanity — “oh full of scorpions is my mind”, “could not I pronounce Amen” “Is this a dagger I see before me”.

P3 — Showing the Macbeths covering their tracks — creates a climate of panic and paranoia — “I’ll gild the faces of the grooms withal”.

P4 — demonstrates the religious messages of Macbeth — don’t commit sinful behavior.

P5 — demonstrates Shakespeare’s political beliefs — his faith in the Feudal system / his mistrust of New Politics.

PRACTISE ESSAY 2:

How does Shakespeare make this scene particularly terrifying?

500–600 Words essay.

5 Paragraphs:

Intro — 50 words — Go over points quickly > thesis at the end
Paragraph 1 (PEAL) — 165 words
Paragraph 2 (PEAL) — 165 words
Paragraph 3 (PEAL) — 165 words
Conclusion — Recap strongest points quickly > Link back to the thesis

Paragraph plans

Shakespeare makes this scene particularly terrifying by… (religion)
Furthermore, the scene is particularly terrifying due to … (fear)
Another way that Shakespeare has made this scene particularly terrifying is… (supernatural)

PARAGRAPH STRUCTURE:

Point — 1 Sentence

Evidence — Quotation (no longer than 7 words).

Analysis — Identify techniques, language features, vocabulary, and dramatic devices ‘how / why’ something works in a certain way.

Evaluation — assessing the importance/significance of something.

Link — Link back to text and thesis.

Thesis: The significant turning point for Macbeth in the play as he realizes that he is unable to say amen and might be haunted due to his deed. Macbeth is a dynamic character, a tragic hero who undergoes a tragic fall, and this moment demonstrates the point at which his mind begins to disintegrate and he is abandoned by God, which would be very terrifying for a Shakespearean audience.

Top Level Mark Scheme:

Answers in this band have all the qualities of Band 2 work, with further insight, sensitivity, individuality, and flair. They maintain a sustained engagement with both text and task.
Sustains a perceptive, convincing and relevant personal response
Shows a clear critical understanding of the text.
Responds sensitively and in detail to the way the writer achieves her/his effects (sustaining a convincing voice in an empathic task).
Integrates much well-selected reference to the text

‘Make’ > understand and discuss dramatic devices

‘Particularly’ > evaluation word

Thesis: ‘what we think/feel/realize’

Shakespeare makes this scene particularly terrifying through the implicit meanings in the text. He uses varying vocabulary and language features such as allegory and allusion, which are seen throughout the text, to create a frightening atmosphere. This mainly revolves around Macbeth, a dynamic character, whose insight to murder has changed. We realize that Macbeth is unable to cope with his past actions due to his current actions.

QUOTES/IDEAS:

“ Didst thou not hear a noise ?” — Macbeth builds tension/suspense, a small amount of fear, later layers up into terror.

“ The owl scream ” — Lady Macbeth, possible link to Duncan’s death, possible horror sound, ‘scream’ > personification.

“ As I descended ?” — Macbeth, descent downstairs, but also perhaps signifies hell/degeneration into evil + madness.

Disjoined / lack of connection between characters — Macbeth is jumpy. They disagree. Macbeth is empathetic towards Donalbain > ‘ sorry sight’, Lady Macbeth is cold and says he is ‘foolish’.

“ There’s one did laugh in’s sleep, and one cried ‘Murder !’,” > terrifying, because two random people woke up during Macbeth murdering Duncan, they have a premonition or some sort of awareness.

“ I had most need of blessing, and ‘Amen’/ Stuck in my throat. ” > he’s under the influence of evil, so God has abandoned him, he’s past the point of redemption, perhaps the turning point where he realizes he can’t go back, psychological?

“ It will make us mad ” > Lady Macbeth feels that the two of them will be mad if they dwell on their deeds in a negative way.

“ Macbeth does murder sleep ” > this is particularly terrifying as sleep also means rest and peace. Not only is Macbeth murdering sleep, but he is murdering rest and peace which he will not get as he will be haunted by the murder. ( personification )

“ Smear / The sleepy grooms with blood ” > the fact that they can pass the blame so easily and effectively is terrifying, what else can they pass the blame for if they can pass the blame for the murder.

“ Painted devil ” > the image of a dead body is likened to a painted devil seen by a child. They are just images that are feared.

“ Clean from my hand? No ” > No amount of water will be able to wash the blood off of Macbeth’s hands. He will never be able to forget about the blood on his hands, in a metaphorical sense.

“ Making the green one red ” > His hands will turn the sea red. That is the amount of blood which he bears.

Foreshadowing Lady Macbeth’s ‘out damned spot’:

“Out, damned spot! Out, I say! — One, two. Why, then, ’tis time to do ’t. Hell is murky! — Fie, my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account? — Yet who would have thought the old man to have had so much blood in him?” > 5.1, just before she commits suicide, a descent into madness — she sees spots of blood on her hands, paralleling Macebeth’s visions of blood.

Motif – recurring element of a story (lack of sleep/blood on hands).

ESSAY PLAN 3:

In what ways does Shakespeare make the relationship between Macbeth and Banquo so compelling?

P1 — Intro — Shakespeare makes the relationship between Macbeth and Banquo so compelling through the exploration of the themes of deception, death, and good versus evil. The discussion of such themes leads us, as the reader, to come to the conclusion that Macbeth is a sinister character who has somehow managed to befriend an honest, decent man, Banquo which leads to a relationship filled with tension.

P2- Deception- “I fear thou have played most foully for it” “fruitless crown” “I wish your horses swift and sure of foot”

P3 — death- “Banquo, thy soul’s flight…find heaven” Enter the Ghost of Banquo and sits in Macbeth’s place (stage directions)

P4 — good versus evil- juxtaposing of characters

Conclusion — strongest points again

ESSAY PLAN 4:

‘Macbeth is not an evil man, but one led astray by those around him’.

To what extent do you agree with this view?

You should write 500–600 words.

Thesis — I believe that Macbeth is an evil man and is responsible for his own actions. His sheer greed for power is what has led him astray and it was his choice to kill Duncan and have Banquo and Fleance as well as Macduff’s family killed. He has shown throughout the play that his greed, not those around him, has led him astray.

Paragraph 1: — Intro- include thesis and quick overview Paragraph 2: — Disagree paragraph Paragraph 3: — Disagree paragraph Paragraph 4: — Agree paragraph (counter) Paragraph 5: — Conclusion (quick overview of strongest points, thesis)

Point -main point

Evidence -quotation

Analysis -why/how does it relate to argument

Context -context to shakespearean times

Alternative interpretation -alternative view

Link -back to thesis

Told by the witches that he will be king.
Pressured by Lady Macbeth to kill Duncan.
Witches tell him that Banquo’s descendants shall be king, incites Macbeth. Witches may have known that this would have riled Macbeth up.
Witches told Macbeth he will be king so he could have waited until he became King the right way.
Macbeth could have stood up to Lady Macbeth and told her no.
Macbeth felt the need to have Banquo and Fleance killed, nobody pressured him to do so.
Macbeth had Macduff’s family killed for no good reason.
Macbeth acted on his own accord.

If you’re studying Macbeth, you can click here to buy our full online course. Use the code “SHAKESPEARE” to receive a 50% discount!

You will gain access to over 8 hours of engaging video content , plus downloadable PDF guides for Macbeth that cover the following topics:

Character analysis
Plot summaries
Deeper themes

There are also tiered levels of analysis that allow you to study up to GCSE , A Level and University level .

You’ll find plenty of top level example essays that will help you to write your own perfect ones!

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COMMENTS

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The tragic hero recognizes his or her flaw, however there is nothing that can be done to avert tragedy. Macbeth is seen as a tragic hero. Write a paper tracing the sequence of events that ...
Lesson: An analysis of Macbeth as a tragic hero
is murdered in his sleep by Macbeth. Fleance -. escapes the murderers sent to kill him. Q3. Starting from the beginning of 'Macbeth', sort the events into the order they happen in the play. 1. - Macbeth is intrigued by the witches' prophecies. 2. - Encouraged by his wife, Macbeth kills the king.
Macbeth As Tragic Hero
MACBETH AS TRAGIC HERO Wayne C. Booth. JL ut even in its simplest terms, the prob. lem Shakespeare gave himself in Mac beth was a tremendous one. Take a good. man, a noble man, a man admired by all. who know him?and destroy him, not only physically and emotionally, as the Greeks destroyed their heroes, but also.
Macbeth as a Tragic Hero in Macbeth
Learn about Macbeth as a tragic hero in ''Macbeth'' by William Shakespeare, with an analysis of the character. Review Macbeth and his tragic flaw of ambition. Updated: 11/21/2023
How does Aristotle's theory of tragedy apply to Shakespeare's Macbeth
Aristotle defines the tragic hero as a "great" (important) man; he dies due to his tragic flaw; and, his death is his own fault. Macbeth is a great man: he is a decorated and honored soldier of ...
Essay Topics About Macbeth: Is Macbeth A Tragic Hero?
One of the characteristics of the tragic hero is being of noble background, and Macbeth fits this profile well. He starts the play as the Thane of Glamis and quickly becomes the Thane of Cawdor. From the very beginning of the play, he is in a leadership role. Early in the play, Macbeth has the king's trust.
A Look At Macbeth Tragic Hero English Literature Essay
In the play "Macbeth", the plot focuses around a war hero who becomes greedy for power, which leads to his ultimate coronation as King, and demise. At the beginning of the play, Shakespeare displays Macbeth as a war hero, back from his latest campaign, and given a new title. At first, he is shown as a good person, however, after the ...
How is Macbeth a Tragic Hero?
As proved above, Macbeth is a tragic hero because of the prophecy from the three witches, Lady Macbeth's influence and Macbeth's ambition. The three witches kindled Macbeth's dreadful ambition, convincing him to take more than he already has. Macbeth's ambition makes him chase his desires, leading him to destroy himself.
The Tragic Hero in Shakespeare's Macbeth Free Essay Example
A Tragic Hero, often of noble stature, faces a downfall due to inherent flaws. Macbeth can be considered a tragic hero as his journey from a respected figure to a self-destructive force reveals the profound impact of ambition and impressionability on human nature. This essay delves into the factors contributing to Macbeth's tragic decline ...
Macbeth: A Tragic Hero Analysis And Argumentative Essay
Essay on Macbeth: A Tragic Hero There is much debate to whether Macbeth is a villain or hero, but it truly is clear that Macbeth is a tragic hero based on that he has the fatal flaw of. Essay Examples; Services. Buy College Essays; Law Essay Writing Service;
Macbeth: A Tragic Hero
Macbeth: a Tragic Hero. According to Aristotle, a tragic hero is a person with a high social status, somebody who has a secret weakness that could eventually lead to a downfall, and when the characters life faces a downfall with courage and dignity. Generally, a tragic hero is a grievous legend that is seen as a respectable character.
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But how should you plan a Macbeth Essay? Here is a list of practise plans and notes that students have completed for a range of essays on Macbeth. Some are focused on ideas, and others on structuring. ... Macbeth is a dynamic character, a tragic hero who undergoes a tragic fall, and this moment demonstrates the point at which his mind begins to ...
Exploring Foreshadowing in Shakespeare's Macbeth: Tragic
One of the key literary devices Shakespeare uses to build this atmosphere is foreshadowing. Through prophetic statements, supernatural elements, and symbolic events, Shakespeare hints at the tragic fate of Macbeth and other characters long before the play reaches its climax. This essay explores how foreshadowing operates in "Macbeth," enhancing ...