William Shakespeare wrote four great tragedies, the last of which was written in 1606 and titled Macbeth. This 'tragedy', as it is considered by societal critics of yesterday's literary world, 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 we 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 katharsis, 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 we least want and most fear to face, and with what is destructive to human life and values.
It also draws out our ability to sympathize with the tragic character, feeling some of the impact of the evil ourselves. Does Macbeth succeed at this level? Can the reader feel pity and terror for Macbeth? Or does the reader 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 the reader '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 the reader 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 we assume 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 we need 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. In Act 2, Scene 2, 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's tuck 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 nourish er in life's feast-Macbeth shall sleep no more. In this scene, he shows great turmoil over the deed he has done. Thus the reader 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 apology enough to stimulate pity within the reader? After all, the man just committed his first of many murders! His contrition 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. In Act 4 Scene 1, he 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-mettle d, proud, and take no care Who chafes, who frets, or where conspire rs are. Macbeth.