Analyzing Macbeth: Tragic Hero According to Aristotle
Delve into the complexities of Macbeth's character as a tragic hero through Aristotle's definition of tragedy. Explore the significance of unified action, character traits, and the concept of catharsis in understanding Macbeth's journey from good fortune to tragic downfall.
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To what extent is Macbeth a tragic hero?
Aristotle and the origin of tragedy Aristotle created a definition of tragedy, and what we need to consider, is a) if Macbeth fits that definition and b) if not, can we still define Macbeth as a tragic hero.
To understand tragedy: three unities Many people say that Aristotle invented three unities: the unity of action, the unity of time and the unity of place. The unity of time states that the action of a play must not last longer than a single day. The unity of place states that the action of play must all take place in the same location. There cannot be any set changes.
To understand tragedy: unified action and the domino plotline PLOT Plot is the most important part of tragedy. It is more important than character. Tragedy, Aristotle says, is an imitation of life and of actions, not of people. Macbeth is haunted by paranoia and guilt Macbeth receives the prophecy Macbeth plots to kill Duncan A unified action is a sequence of events that tells a single and clear narrative. Each event in the plot must cause the event that comes next. To say that the king died and then the queen died is not a unified action. The king s death does not necessarily cause the queen s death. To say that the king died and then the queen died of grief is a unified action, because the king s death is clearly identified as the cause of the queen s death. To do this produces a unity of action. What is Macbeth s moment of good to bad fortune? In the plot of a well written tragedy, there should be a moment of reversal. This is a moment in which the tragic hero or heroine has a drastic change of fortune. They move from good fortune to bad fortune.
To understand tragedy: character CHARACTER Character is the second most important part of tragedy. Aristotle outlines four rules about characterisation. Tragic characters must be good. This means that they have the ability to make good choices about their actions. Tragic characters should be like us in some way, but better. They are like portraits of people. They reflect the person as they are, but they accentuate the person s best qualities. Tragic characters should be consistent in their behaviour. If they begin behaving in one way, they can t suddenly start behaving in a completely different way. Aristotle says one other very important thing about tragic heroes and heroines. He says that they must have a fatal flaw, a hamartia. This flaw doesn t make them a bad person, but it is the thing that will cause their fall from good fortune to bad fortune.
To understand tragedy: catharsis CATHARSIS Aristotle states that a well written tragedy produces catharsis. It produces a feeling of pity and fear in the audience watching it. The audience should feel pity for the tragic hero or heroine, a good person who falls from good fortune to bad fortune through no fault of their own. The audience should also feel fear, as they recognise that the tragic hero or heroine is a person like them, so therefore they too could suffer the same terrible fate. Aristotle sees catharsis as having a positive effect on the audience. It helps the audience to purge themselves of dangerous flaws. They recognise the hero or heroine s fatal flaw in themselves and through this moment of recognition, they can purge themselves of this flaw, so becoming better people.
Consider the question: Is Macbeth a tragic hero? Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear?
Consider the question: Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear? For brave Macbeth--well he deserves that name-- Disdaining fortune, with his brandish'd steel, Which smoked with bloody execution, Like valour's minion carved out his passage Till he faced the slave; Which ne'er shook hands, nor bade farewell to him, Till he unseam'd him from the nave to the chaps, And fix'd his head upon our battlements. Macbeth is introduced to us as a hero; his courage and duty are the foundations for his entire reputation. He is a likeable character for this, as well as the more flawed aspects. He has likeable imperfection.
Consider the question: Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear? Methought I heard a voice cry 'Sleep no more! Macbeth does murder sleep', the innocent sleep, The common mental impact of nervousness and anxiety make Macbeth and Lady Macbeth real, and relatable. As sleep is mentioned thirty four times in the play, we watch insomnia unravel them both.
Consider the question: Stay, you imperfect speakers, tell me more: With such prophetic greeting? Speak, I charge you. Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear? I conjure you, by that which you profess, Howe'er you come to know it, answer me: I will be satisfied: deny me this, And an eternal curse fall on you! Let me know. Why sinks that cauldron? and what noise is this? Macbeth s curiosity is relentless and persistent in nature. He becomes obsessed with knowing events before they take place.
Consider the question: Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear? Stars, hide your fires; Let not light see my black and deep desires: But now I am cabin'd, cribb'd, confined, bound in To saucy doubts and fears. Macbeth s ambition is his worst enemy. He is both motivated and trapped by it, as it leads him to the depths of more unlikeable traits within his character.
Consider the question: I have lived long enough: my way of life Is fall'n into the sear, the yellow leaf; And that which should accompany old age, As honour, love, obedience, troops of friends, I must not look to have; but, in their stead, Is he good? Can we relate to him? Is he consistent in his behaviour? Does he reveal his fatal flaw? Does he evoke pity or fear? I will not yield 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 is ultimately heroic, and refuses to give up, even when all hope is lost. He loses everything, but still persists in courage until the end.
A final thought: but, in their stead, Curses, not loud but deep, mouth-honour, breath, Which the poor heart would fain deny, and dare not. Seyton! Is Macbeth tragic, because he is simply a puppet to higher authorities?
Is Macbeth a victim, which makes him a tragic hero? According to Burton, man s melancholy is attributed to many various forces, of which the supernatural, or God, or witchcraft can contribute. Does this suggest that the less control Macbeth has over his own mental health, the more we can sympathise with his circumstance? Do not muse at me, my most worthy friends, I have a strange infirmity, which is nothing To those that know me
Knowledge of the tragic hero is useful for: Writing about Macbeth Writing about tragedy Writing about Macbeth s relationship with Lady Macbeth Writing about the supernatural forces within the play Writing about the theme of agency and individual responsibility Writing about how the audience feels towards Macbeth
To what extent is Macbeth a tragic hero?
