Macbeth: His Tragic Flaw As the last of William Shakespe atomic number 18s tetrad great tragedies, Macbeth is a play based more on char passageer than deed. Set in feudal Scot down, the play dextrously develops each of the main(prenominal) characters, molding their traits and qualities into an intricate masterpiece environ Macbeth, the important character. The play is a journey along the life-time of Macbeth, capturing him at the visor of his c areer and following him until his just demise. What causes his emergent deterioration? How does this precious gentleman regress into the ranks of amorality (I.ii.24)? One take aim of cerebration attri andes Macbeths degeneration to ambition. Although Macbeth is non lacking in that quality, in that mending lies a greater force indoors his psyche. passim the main action of Macbeth we are confronted by idolize (Knight 125). This idolize permeates Macbeth--utter cowardliness which drives his will into the sinful acts resulting in his regression. Cowardice, non ambition, is the main and be factor which causes M! acbeth to drink down Duncan, to murder Banquo and to anticipate the embolden of the witches. The murder of Duncan is roused more by frightening admiration than by Macbeths vaulting ambition (I.vii.27). after(prenominal) hearing the witches prophetic greeting, Macbeth is lulled into a fantastical claim of headspring (I.iii.139). He ponders regicide which [s]hakes [his] single state of man that function / Is smotherd in doubt (I.iii.140-41). During the events heralding Duncans murder, Macbeth at a lower placegoes five changes of consciousness forwards deciding that [they] shall go no further in [that] stemma (I.vii.31). The hesitation to kill Duncan is the first symptom of Macbeths misgivingful confusion. What causes Macbeth to suddenly change his headspring and kill Duncan? Macbeth is a jerry-built man whose dearest coadjutor in greatness is his wife (I.v.10). He values her th inking above all else. After rejecting the m! urder plan, Macbeth is the victim of a storm of insults from Lady Macbeth: contrivance thou a headached To be the same in thine proclaim act and chivalry As thou art in lust? Wouldst thou come that Which thou esteemst the medal of life, And live a coward in thine own esteem. (I.vii.39-43) His awe of her disdain augments the confusion in bitterness of appearance his heat-oppressed brain, causing him to hesitantly couple to the combination (II.i.39). Macbeth, too rapt inwardly his own tending to prolong rational modestnessing, be captures a pawn of his tending-born confusion, leaving his mind no other option than killing Duncan. Had the murder been caused by ambition, Macbeth would non have been so hesitant in his actions. He would have had a clear goal and saw a superlative quite of the air-drawn dagger which was the very painting of [his] reverence (III.iv.62-63). Therefore, Macbeths regression is spurred by a fearful frenzy, not the over-ambitious plotting of a rational man. Macbeths fear sustains his murderous savage dis do as he plots the murder of Banquo and Fleance. During each ascension, in that location exists a period of upheaval in which rulers essential reform their land of those who may issue defiance against their reign. For Macbeth, Banquo extends the epitome of this curse: To be thus is nothing; But to be safely thus. Our fears in Banquo Stick deep; and in his munificentty of disposition Reigns that which would be feard: tis much he dares, And, to that gallant mode of his mind, He hath a wisdom that doth guide his valour To act in safety. There is n unmatched and only(a) yet he Whose organism I do fear; and below him My genius is rebukd. (III.i.48-56) Macbeth is cautious of Banquo not because Banquo is a menace to the crown, but because Banquo is a varan of his own corruption. Macbeths regression feeds gain fear; when there is nothing to fear, Macbeth conjures fear to satisfy his regressive appetite, My inap propriate and ego abuse / Is the initiate fear that ! needfully hard use (III.iv.142-43). Macbeth kills Banquo because his quenchless fear alters Banquo into the grown snake which he wrongly perceives as dangerous (III.iv.29). Macbeth is also goaded to murder because he is cowardly to right his wrongs. Macbeth is in channel/ Steppd in so far that . . . Returning were as tedious as go oer (III.iv.136-38). He is so afr supporter of losing his crown that he feels he must murder Banquo in order to hide his atrocities. Moreover, his deed is not motivated by the desire to safeguard the land or cleanse it of enemies. Obviously, this overwhelming endanger of fear contradicts the presumption that his actions are a result of ambition. Banquo presents no more harm than a garter snake; it is Macbeths fear, not ambition, which perceives him venomous and then a threat to the land. Lastly, cowardice is the driving force screw Macbeths visit to the preternatural sisters. By this time, his life lacked the guarantor which gives comfort and assu rance to ones life. Macbeths fear has driven him to seek foregone conclusion as his one objective. He requires certainty from the witches, howsoever they may come to know it, and at whatever cost (Campbell 228). This fear of the incomprehensible might be mistaken for ambition because it could be surmised that Macbeth desire the aid of the witches to become a more powerful king. However, fear is the predominant reason for his visit because he confirms his fears, instead of extend his ambition for Macbeth reveals, thusly live, Macduff: what need I fear of thee? (IV.i.82).
His fear is also apparent because he believes every vocalize of the witches instead of passing their re! velations under heavy scrutiny as he did during their first take over: and to be king Stands not within the prospect of belief, No more than to be Cawdor. Say from wherefore You owe this strange intelligence? or why Upon this demonic heath you obturate our way With such prophetic greeting? (I.iii.73-78) With such fear of the unknown, Macbeth no longer holds the skepticism which he once did. His fears are too great, and fueled by his desire for certainty, Macbeth believes every word of the witches. The naiveté which Macbeth displays belies his ambition and betrays his fear, for ambitious leaders point their future, as unconnected to being directed by them. at heart every tragic hero, Shakespeare instills a tragic speck. Macbeths flunk in character is often considered to be the ambition which he on the face of it shows. The lunge for the throne, the quest for security and the pursuit of metaphysical aid may all be the result of ambition. For Macbeth, these kit and muckle represent the manifestations of another type of emotion--an equivocating emotion that mangles the rationality within Macbeth. His actions are dictated by this deformity; they are controlled by the imbalance of reason and confusion. One could argue that this imbalance is sit to ambition, but a more suitable title for this twisty characteristic is fear. Paranoia is Macbeths tragic flaw, manipulating his every thought, conforming him from a gallant warrior to a tyrannical king. Fear is always in ambitions shadow, never receiving the acknowledgment it deserves. Ironically, this taciturn flaw manifests in everyone, often causing a regression into amorality. whole kit Cited Campbell, Lily B. Shakespeares Tragic Heroes, Slaves of Passion. Gloucester: Peter Smith Publisher Inc., 1973. Knight, G. Wilson. The royal Theme. London: Methuen & Co Ltd., 1965. Shakespeare, William. Macbeth. Oxford: Oxford University Press, 1994. Works Consulted Bradley , A.C. Shakespearean Tragedy. Toronto: Penguin Books ! Canada Ltd., 1991. Frame, Douglas. Nights Black Agents. Thunder Bay: La Mancha Books Ltd., 1967. Hawkes, Terence. Twentieth vitamin C Interpretations of Macbeth. New Jersey: Prentice-Hall Inc., 1977. Hunter, G.K. Macbeth in the Twentieth Century. Aspects of Macbeth. Ed. Kenneth Muir and Philip Edwards. Cambridge: Cambridge University Press, 1977. Merchant, W. Moelwyn. His Fiend-like Queen. Aspects of Macbeth. Ed. Kenneth Muir and Philip Edwards. Cambridge: Cambridge University Press, 1977. ---. Coles Notes: Macbeth. Toronto: Coles Publishing Company, 1997. If you want to get a full essay, order it on our website:
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