William Shakespeare wrote four great tragedies, the last of which was written in
1606 and titled Macbeth. This "tragedy", as societal critics of
yesterday’s literary world consider, scrutinizes the evil dimension of
conflict, offering a dark and gloomy atmosphere of a world dominated by the
powers of darkness. Macbeth, more so than any of Shakespeare's other tragic
protagonists, has to face the powers and decide: should he succumb or should he
resist? Macbeth understands the reasons for resisting evil and yet he proceeds
with a disastrous plan instigated by the prophecies of the three Weird Sisters.
Thus one must ask the question: If Macbeth is acting on the impulses stimulated
by the prophecies of his fate, is this Shakespearean work of art really a
Tragedy? Aristotle, one of the greatest men in the history of human thought,
interpreted Tragedy as a genre aimed to present a heightened and harmonious
imitation of nature, and, in particular, those aspects of nature that touch most
closely upon human life. This I think Macbeth attains. However, Aristotle adds a
few conditions. According to Aristotle, a tragedy must have six parts: plot,
character, diction, thought, spectacle, and song. Most important is the plot,
the structure of the incidents. Tragedy is not an imitation of men, but of
action and life. It is by men's actions that they acquire happiness or sadness.
Aristotle stated, in response to Plato, that tragedy produces a healthful effect
on the human character through a catharsis, a "proper purgation" of
"pity and terror." A successful tragedy, then, exploits and appeals at
the start to two basic emotions: fear and pity. Tragedy deals with the element
of evil, with what one least wants and most fears to face, and with what is
destructive to human life and values. It also draws out one’s ability to
sympathize with the tragic character, feeling some of the impact of the evil
ourselves. Does Macbeth succeed at this level? Can one feel pity and terror for
Macbeth? Or does one feel that Macbeth himself is merely a branch from the root
of all evil and not the poor, forsaken, fate-sunken man, according to
Aristotle's idea of tragedy, he is supposed to portray? Can one
"purge" his emotions of pity and fear by placing himself in the chains
of fate Macbeth has been imprisoned in? Or does he feel the power and greed upon
which Macbeth thrives, prospers, and finally falls? I believe the latter is the
more likely reaction, and that one sees Macbeth as a bad guy, feeling little or
no pity for him. Aristotle also insists that the main character of a tragedy
must have a "tragic flaw." Most tragedies fail, according to
Aristotle, due to the rendering of character. To allow the character to simply
be a victim of unpredictable and undeserved calamities would violate the
complete, self-contained unity of action in the tragedy. If that is so, and if
one assumes that the group of three witches is a realistic possibility, then is
not Macbeth such a victim? Does he really deserve the misfortune that is brought
him by his fortune? After all, Macbeth is introduced to the reader as an honest
and humble leader. His fate, once having been revealed to him, drives him to
greed, elevates his lust for power, and coins a conceited and misguided trust in
his seemingly eternal mortality. Diction, the expression of the meaning in
words, is near perfect in Macbeth, simply because it is written by William
Shakespeare, the inventor of perfect diction, thought the task of saying what is
possible and pertinent in the circumstances of the play can not be disputed.
Spectacle and Song are the effects that highlight the play, and are pertinent in
providing an emotional attraction. Such elements are easily found in
Shakespeare. Macbeth is written with the style and grace that only Shakespeare
could provide. Thus, these elements of tragic drama can not be challenged in
this argument. While one needs to consider that Macbeth strives on power, and in
doing so loses his values of humility and humanity, it should not be forgotten
that Macbeth does, at certain times, feel remorse for things he has done.
Macbeth confides in Lady Macbeth after the murder of Duncan: “But wherefore
could not I pronounce "Amen"? I had most need of blessing, and
"Amen" Stuck in my throat and/ Methought I heard a voice cry
"Sleep no more! Macbeth does murder sleep," the innocent sleep, Sleep
that knits up the raveled sleave of care, The death of each day's life, sore
labor's bath, Balm of hurt minds, great nature's second course, Chief nourisher
in life's feast/Macbeth shall sleep no more”2.2.44-56. In this scene, he shows
great turmoil over the deed he has done. Thus one is shown that Macbeth is
acting out deeds that go against his conscience, that he regrets his actions,
and that the prophecies are unfolding. But is this excuse enough to stimulate
pity within one? After all, the man just committed his first of many murders!
His grief seems to fade as his want of power flourishes. So Macbeth continues,
the powers of evil feeding on every move he makes, to make way for his
advancement as prophesied by the witches. He hires his men to eliminate Banquo,
a threat to his cumulative reign. Having Banquo out of the way, Macbeth surges
with the sense of power. There is no doubt that he is acting on the impulses
that were stimulated by the first prophecies of his fate. Macbeth returns to the
three witches, desiring more information regarding his fortune. They in turn
assure him that: "none of woman born shall harm Macbeth." Invincible
power! Macbeth forgets the other two prophecies: Macbeth! Macbeth! Macbeth!
Beware Macduff, Beware the Thane of Fife... and/ Be lion-mettled, proud, and
take no care Who chafes, who frets, or where conspirers are. Macbeth shall never
vanquished be until Great Birnam Wood to high Dunsinane Hill Shall come against
him”4.1.80-106. The witches have spoken again, with unforeseeable truth.
Macbeth leaves the dreaded sisters, blinded by his own ambition. Let the players
play! He is assured that he is indestructible, for how could Macduff, a man of
woman born, hurt him? How could the Birnam Wood come to Dunsinane Hill?
Preposterous! Macbeth leads on, confident, bold, and unvictimized. He flashes
his power, exalts himself, and fears no one, not even himself. He no longer
cares that he does not sleep. “Bring me no more reports. Let them fly all!
Till Birnam Wood remove to Dunsinane, I cannot taint with fear. What's the boy
Malcolm? Was he not born of woman? The spirits that know All mortal consequences
have pronounced me thus: "Fear not, Macbeth. No man that's born of woman
Shall e'er have power upon thee." Then fly, false thanes, And mingle with
the English epicures! The mind I sway by and the heart I bear Shall never sag
with doubt nor shake with fear”5.3.1-10. Having possession of all the
confidence in the world, or at least thinking he does, Macbeth proceeds in a
boisterous manner. His fate, once prophesied to him, has now acquired complete
control. He has the titles promised him. He has found protection in the strength
of witch's words. How can one pity such a fool? The only thing to do is laugh at
him, for it can be sure that these prophecies, which Macbeth has ignored, will
come to pass; Macbeth will no doubt fall. And he does. Macduff, figuratively but
not literally of woman born, holds the rest of the confidence in the world.
Macduff, the Arnold Schwarzenegger of Shakespearean lords, does the impossible
and brings the woods to the hill, and brings the fall of the great and powerful
Macbeth. A tragic ending? One would say not. A tragic ending would have been for
Macduff to fall under Macbeth. A tragic ending would have seen Lady Macbeth take
Macbeth's life. But for Macduff to do what he had to do, the prophecy was
fulfilled, and the only winner is Fate. This does not make a Tragedy. Who does
one feel sorry for? Maybe only Macduff, who was untimely ripped from his
mother's womb. We praise Macduff for conquering Macbeth. Maybe one feels some
pity for Lady Macbeth. But one certainly doesn’t feel pity for Macbeth. Yet
Macbeth could have been a victim. He lost control of himself, and allowed
himself to be led by Fate. Perhaps Shakespeare fails to supply a "tragic
flaw" as insisted on by Aristotle. Macbeth does not try to resist Fate, he
runs with it. He does not heed warnings of potential hazards. The Macbeth we
were introduced to certainly could not have predicted his fortune. Being a man
of honesty and humility, he couldn't have deserved his dilemma. But he succumbed
to his fate, and was no longer an honest and humble Macbeth. Even the most
humble and honest person in the world, except Jesus himself, could be swayed to
corruption. The Macbeth Empire could be compared to Mark Twain's Hadleyburg. In
comparing Macbeth to The Man that Corrupted Hadleyburg, one might be able to see
Macbeth as a satirical comedy. Macbeth, honest and humble, was corrupted by the
powers of fortune in much the same way that the people of Hadleyburg, also
honest and humble, were corrupted by the same powers. The reader could not
possibly pity the community of Hadleyburg, and would typically cheer at its
fall. Isn't it the same with Macbeth? The townspeople of Hadleyburg felt
remorseful when they realized they'd been had, in much the same way that Macbeth
surely felt when he learned of Macduff's method of birth. The people of
Hadleyburg thought that no harm could come to them, because they held proper
character; they were in proper form. But behind closed doors they planned their
strategies to acquire the power, provided in the form of a monetary inheritance.
This greed/lust for power was the Hadleyburg downfall. Their own greed was their
own enemy. Likewise with Macbeth, a strong leader, upheld by his loyal comrades,
could do no wrong. But once he learned he was to acquire some great fortune, he
was his own enemy. His lust for power drove him to his bitter end. Satire may be
defined as a genre that uses mockery of society to shock that society into an
honest look at itself. Do we consider the Hadleyburg tale a tragedy? No. We see
it more as satire. It is a sarcastic view of society's morals and values, and
how hypocritical people, including ourselves, can be. Putting Macbeth on a
parallel with this entertaining American short story allows us to view the play
in a different light. One now can see Macbeth as a hypocrite, and one can see
him resembling ourselves. How often can the power of want, the desire for more,
lead humanity to destruction and despair? The same motivational tool that drives
a college student into a career can someday break him. So let the critics of
yesterday have their tragedy. Let them read their own literary mortality in
Macbeth: “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"5.5.21-30. Even Aristotle would have allowed Macbeth
into the "Tragedy Hall of Fame." But if a man has the gift of
foresight and is aware of the risks but chooses to ignore them and runs after
his fate, what tragedy is there? If Fate wins, it cannot be considered a tragedy
if Macbeth succeeds in meeting it.