" Macbeth as an Aristotelian Tragedy : The Tragic Hero's Journey to Downfall "
Krishna Baraiya's blog
" Macbeth as an Aristotelian Tragedy : The Tragic Hero's Journey to Downfall "
Prefece : 
Macbeth is a tragedy written by William Shakespeare, believed to have been first performed around 1606. Set in medieval Scotland, the play explores themes of ambition, power, guilt, and fate. It follows the rise and fall of Macbeth, a Scottish nobleman, who is propelled by a prophecy from three witches that he will become king. Encouraged by his wife, Lady Macbeth, he murders King Duncan to seize the throne. However, Macbeth's reign is marked by paranoia, guilt, and further violence, as he attempts to secure his power at any cost. The play examines the corrupting influence of unchecked ambition and the consequences of moral corruption, with both Macbeth and Lady Macbeth ultimately facing tragic ends.
Shakespeare's Macbeth is a timeless exploration of the human condition, focusing not only on ambition and guilt but also on the corrupting influence of power and the supernatural forces at play in human affairs. Written during the Jacobean era, it reflects the political anxieties of the time, particularly the threat of regicide and the instability it could bring to a nation. The play presents an unflinching view of how ambition, unchecked by moral restraint, leads to destruction. Shakespeare’s choice to set the play in medieval Scotland allows him to explore themes of tyranny and moral decay within a historical framework that resonates with his contemporary audience.
Aristotelian tragedy : 
1. Hamartia:
The protagonist's tragic flaw or error in judgment, often leading to their downfall.
2. Peripeteia:
A reversal of fortune, where the protagonist’s situation dramatically changes, typically from good to bad.
3. Anagnorisis:
A moment of recognition or self-awareness, when the protagonist realizes the truth about their situation, often too late to avoid their fate.
4. Catharsis:
The emotional release experienced by the audience, who are meant to feel pity for the protagonist's suffering and fear about the fragility of human life and fate.
Aristotle's ideal tragic hero is a person of noble stature whose downfall is not the result of pure evil, but rather a consequence of their own actions stemming from their fatal flaw. The tragedy aims to show how even the greatest individuals can fall due to their imperfections, thus imparting moral lessons to the audience.
Macbeth as an Aristotelian tragedy :
In Macbeth, the tragic hero's journey to downfall unfolds step by step, in accordance with the principles of Aristotelian tragedy, where the protagonist’s inherent flaws lead to a series of irreversible actions and consequences, culminating in tragic recognition and death. Shakespeare's Macbeth is a timeless exploration of the human condition, focusing not only on ambition and guilt but also on the corrupting influence of power and the supernatural forces at play in human affairs. Written during the Jacobean era, it reflects the political anxieties of the time, particularly the threat of regicide and the instability it could bring to a nation. The play presents an unflinching view of how ambition, unchecked by moral restraint, leads to destruction. Shakespeare’s choice to set the play in medieval Scotland allows him to explore themes of tyranny and moral decay within a historical framework that resonates with his contemporary audience. Here's a detailed breakdown of Macbeth's tragic journey using Aristotle’s framework:
1. Noble Stature and Initial Goodness
At the start of the play, Macbeth is portrayed as a respected and valiant nobleman. He is a brave and capable warrior in the service of King Duncan, and his efforts on the battlefield are crucial to Scotland’s victory. For example, he is praised for his role in the defeat of the rebellious Macdonwald and the Norwegian army. He is a figure of great potential and moral integrity, and this high status makes his eventual fall even more tragic. At the beginning of the play, Macbeth is introduced as a paragon of military virtue. He is the very embodiment of loyalty and courage. When King Duncan learns of Macbeth's valiant deeds on the battlefield, he rewards him with the title of Thane of Cawdor, a promotion that foreshadows Macbeth's ambition but also solidifies his place in the noble hierarchy. This initial portrayal of Macbeth as a man of honor is crucial because it establishes the tragedy’s emotional stakes. Unlike characters such as Othello, who is manipulated by external forces, Macbeth’s downfall stems from internal conflict—his unchecked ambition leads him astray. In the same vein as Hamlet, Macbeth is a character who struggles with his inner demons, but unlike Hamlet, his ultimate choice to act on his ambition propels him down a dark and irreversible path.
- Aristotle’s principle: A tragic hero must be of noble birth or a person of high social rank, whose downfall affects the world around them. Macbeth fits this criterion as a thane, a title of high social rank in Scotland, and later a king.
2. Hamartia (The Tragic Flaw)
Macbeth’s hamartia, or tragic flaw, is his overwhelming ambition, which blinds him to moral constraints and leads him to make fatal decisions. Upon hearing the witches’ prophecy that he will become the king, Macbeth is immediately tempted by the idea of power. However, he is initially hesitant and unsure, acknowledging that he is "not without ambition, but without the illness that should attend it."
- Lady Macbeth’s role:
Lady Macbeth, who is even more ambitious than he is, pressures him to murder King Duncan and seize the throne. Macbeth’s ambition, coupled with his wife’s persuasion, pushes him to commit the regicide. His ambition is the root cause of his downfall, and once he commits the murder, he is set on an irreversible path.
- Aristotle’s principle:
The tragic flaw is typically a quality that is otherwise admirable, but when taken to extremes, it becomes destructive. Macbeth’s ambition is initially a positive trait, as it drives him to greatness in battle, but it becomes dangerous when unchecked by morality. Macbeth’s tragic flaw—his ambition—is presented as both a force that drives him to greatness and ultimately leads to his destruction. His desire for power is ignited upon hearing the witches' prophecy, but it is his internal struggle that adds complexity to his character.
In Act 1, Scene 7, Macbeth soliloquizes about the consequences of murder, revealing his awareness of the moral and political ramifications. He recognizes that killing Duncan is wrong, acknowledging that it will bring "deep damnation" to his soul and that it could lead to his own downfall. Despite this his ambition overtakes his conscience, spurred on by Lady Macbeth's manipulation. The tension between his ambition and his moral understanding heightens the tragic nature of his flaw: he is aware of the consequences but is unable to resist his desires.
3. Peripeteia (Reversal of Fortune)
After Macbeth murders Duncan, he assumes the throne, believing that the fulfillment of the witches’ prophecy will bring him peace. However, instead of achieving security and satisfaction, he finds himself plagued by guilt, paranoia, and fear.
- The first reversal:
Rather than bringing Macbeth peace, the murder drives him into a downward spiral. He begins to fear that his power is unstable, especially because of Banquo’s descendants, as foretold by the witches. He arranges to have Banquo murdered, but Banquo’s ghost appears to torment him. This marks a key reversal: Macbeth's supposed triumph is now destabilized by the fear of losing power.
- The second reversal:
Macbeth seeks further reassurance from the witches, who give him cryptic prophecies that make him believe he is invincible. However, these prophecies, which seem to assure him of his safety, are later revealed to be misleading. The more he tries to secure his throne through violence, the more he loses control and alienates those around him.
- Aristotle’s principle:
Peripeteia occurs when the hero’s fortunes change unexpectedly. Macbeth’s rise to power is swiftly followed by a series of decisions that send him spiraling into further violence and instability, marking his reversal from a loyal thane to a tyrant.
The murder of Banquo and the subsequent appearance of Banquo’s ghost is a critical turning point for Macbeth. His increasing paranoia becomes evident when he orders Banquo's death, believing that eliminating his former friend will secure his hold on power. However, the appearance of Banquo’s ghost at the banquet symbolizes Macbeth's overwhelming guilt and descent into madness. This supernatural manifestation challenges Macbeth’s sanity and serves as a reminder that his actions are irredeemable. The ghost’s silent presence echoes the moral weight of his crimes, showing that Macbeth's sense of security is a mirage. His reversal of fortune here is not just political but psychological, as his guilt distorts his perception of reality and alienates those around him.
4. Anagnorisis (Moment of Recognition)
Macbeth’s anagnorisis occurs too late, in the final act of the play. When Macbeth learns from the witches’ ambiguous prophecies that “no man of woman born shall harm Macbeth” and that he will not be defeated until Birnam Wood moves to Dunsinane, he believes he is invincible. However, his recognition comes when he realizes that the witches’ words have been deceiving him: Macduff, who kills him, was not “born of woman” in the usual way but delivered by caesarean section.
- Too little, too late:
By the time Macbeth realizes that his fate has been sealed, it is too late for him to change his course. He faces his death with defiance, but his recognition of his doomed state brings him no redemption.
- Aristotle’s principle:
The tragic hero must undergo a moment of realization or self-awareness that reveals the consequences of their actions. Macbeth’s anagnorisis is tragic because it does not allow him to escape his fate, and instead highlights the futility of his earlier actions.
Macbeth’s anagnorisis is a critical moment of realization, but it occurs too late to alter his fate. His belief in his invulnerability, bolstered by the witches' prophecy, is shattered when he faces Macduff. In Act 5, Scene 8, Macbeth learns that Macduff was "from his mother’s womb untimely ripped," meaning he was not "born of woman" in the conventional way. This revelation unveils the witches’ true meaning and confirms that Macbeth’s death is inevitable. At this moment, Macbeth's recognition of the futility of his actions—his realization that he was manipulated by the witches all along—adds a layer of tragic irony. His final moments, in which he dies fighting rather than surrendering, demonstrate his tragic heroism: though he cannot avoid his death, he faces it with defiance.
5. Catharsis (Emotional Purging)
The audience experiences catharsis the emotional purging of pity and fear through Macbeth’s downfall. The play evokes pity because Macbeth, once a noble and respected figure, is reduced to a tyrant haunted by his own guilt. His downfall stirs fear because it shows how unchecked ambition can lead to the destruction of even the most powerful individuals.
- Pity and fear:
The audience feels pity for Macbeth because he is a tragic hero who could have avoided his fate but was consumed by ambition. They feel fear because Macbeth’s downfall illustrates the dangers of unchecked desire for power and the moral consequences of sacrificing integrity.
- Aristotle’s principle:
The purpose of tragedy is to elicit catharsis, or the purging of these emotions, so that the audience is left with a profound understanding of the hero’s flaw and the consequences of his actions.
The catharsis in Macbeth is not only emotional but also moral. The audience experiences pity for Macbeth, who, despite his initial nobility, succumbs to ambition and guilt. His eventual demise serves as a moral lesson: the consequences of unbridled ambition are catastrophic. The audience feels fear, too, because Macbeth’s fall is a reminder of the fragility of human nature and the destructive potential of unchecked desires for power. In modern terms, Macbeth's story may be seen as a cautionary tale about political corruption, the dangers of ego, and the moral costs of pursuing power In modern terms, Macbeth's story may be seen as a cautionary tale about political corruption, the dangers of ego, and the moral costs of pursuing power. without regard for others. This sense of catharsis is universal, making the play resonate with audiences across time periods and cultures.
6. The Final Downfall (Death of the Tragic Hero)
In the final act, Macbeth faces Macduff in combat. When he learns that Macduff is the one who will kill him, Macbeth shows some reluctance but ultimately dies fighting. His death represents the final destruction of his character.
- Death and restoration of order:
Macbeth’s death, though tragic, restores order to Scotland. The rightful king, Malcolm, is crowned, and the chaos Macbeth’s reign caused is brought to an end.
- Aristotle’s principle:
The tragic hero’s death is the culmination of their downfall and typically occurs after their recognition of their fate. Macbeth's death is a necessary part of the tragedy, as it serves to underscore the moral lessons of the play.
Conclusion:
Macbeth follows the Aristotelian structure of tragedy closely. He starts as a noble and capable man, but his tragic flaw—ambition—leads him to make destructive decisions. His reversal of fortune, recognition of his mistake, and eventual death bring about catharsis in the audience. Ultimately, Macbeth's journey from hero to tyrant exemplifies the Aristotelian tragic hero, whose fatal flaw brings about both his own ruin and the restoration of order in the wider world.
References :
1) The Poetics of Aristotle, by Aristotle. (n.d.). https://www.gutenberg.org/files/1974/1974-h/1974-h.htm
2)Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, and Macbeth. Penguin Publishing Group, 1991. Accessed 19 November 2024.
3)Shakespeare, William. Macbeth. Edited by A. R. Braunmuller, Cambridge University Press, 2008. Accessed 19 November 2024.
4)Hyde, Isabel. “The Tragic Flaw: Is It a Tragic Error?” The Modern Language Review, vol. 58, no. 3, 1963, pp. 321–25. JSTOR, https://doi.org/10.2307/3721422. Accessed 19 Nov. 2024.
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