was macbeth a tragic hero essay

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Macbeth as a Tragic Hero: an Examination of Shakespeare's Protagonist

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Published: Jun 13, 2024

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Introduction, body paragraph 1: macbeth's noble beginning, body paragraph 2: the tragic flaw: ambition and moral corruption, body paragraph 3: the inevitable downfall.

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Shakespearean Macbeth as a Tragic Hero Essay

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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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.