Macbeth: His Tragic Flaw As the last of William Shakespe ars quaternary great tragedies, Macbeth is a play based more on char passageer than deed. Set in feudal Scot down, the play dexterously develops each of the master(prenominal)(prenominal) characters, molding their traits and qualities into an intricate masterpiece environ Macbeth, the interchange character. The play is a journey along the life-time of Macbeth, capturing him at the acme of his c atomic number 18er and following him until his just demise. What causes his emergent deterioration? How does this valuable gentleman regress into the ranks of amorality (I.ii.24)? One take aim of image attri only ifes Macbeths degeneration to ambition. Although Macbeth is non lacking in that quality, in that location 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 cowardice which drives his will into the sinful acts resulting in his regression. Cowardice, non ambition, is the main and fundamental factor which causes M! acbeth to start Duncan, to murder Banquo and to anticipate the maintenance 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 reconcile of headspring (I.iii.139). He ponders regicide which [s]hakes [his] single state of man that function / Is smotherd in surmisal (I.iii.140-41). During the events heralding Duncans murder, Macbeth lowgoes five changes of brainiac forwards deciding that [they] shall cash in singles chips 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 musical theme and kill Duncan? Macbeth is a jerry-built man whose dearest partner in greatness is his wife (I.v.10). He values her ruling above a! ll else. After rejecting the murder 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 valour As thou art in lust? Wouldst thou rescue 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 transgress of appearance his heat-oppressed brain, causing him to hesitantly couple to the conspiracy (II.i.39). Macbeth, too rapt at heart his own maintenance to detect rational basising, be captures a pawn of his idolise-born confusion, leaving his mind no other option than killing Duncan. Had the murder been caused by ambition, Macbeth would not 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] concern (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 cutthroat dis do as he plots the murder of Banquo and Fleance. During both ascension, on that point exists a period of upheaval in which rulers must better their land of those who may issue defiance against their reign. For Macbeth, Banquo lasts the epitome of this flagellum: To be thus is nothing; But to be safely thus. Our fears in Banquo Stick deep; and in his gallantty of constitution Reigns that which would be feard: tis much he dares, And, to that venturesome mode of his mind, He hath a wisdom that doth guide his valour To act in safety. There is n one and only(a) further he Whose organism I do fear; and at a lower place 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 strike fear; when there is nothing to fear, Macbeth conjures fear to satisfy his regressive appetite, My strange and ego abuse /! Is the initiate fear that need hard use (III.iv.142-43). Macbeth kills Banquo because his quenchless fear alters Banquo into the grown ophidian which he wrongly perceives as dangerous (III.iv.29). Macbeth is also operate to murder because he is cowardly to right his wrongs. Macbeth is in race/ Steppd in so far that . . . Returning were as tedious as go oer (III.iv.136-38). He is so afr help oneself 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 and then a threat to the land. Lastly, cowardice is the driving force hind end Macbeths visit to the preternatural sisters. By this time, his life lacked the gag e which gives comfort and assurance to ones life. Macbeths fear has driven him to seek foregone conclusion as his one objective. He deficiencys 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, whence live, Macduff: what need I fear of thee? (IV.i.82).
His fear is also bare because he believes every explicate of! the witches instead of passing their revelations under heavy scrutiny as he did during their first converge: 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 limp 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 fence 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 manifestly 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, t hese 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 shift; they are controlled by the imbalance of reason and confusion. One could argue that this imbalance is bother to ambition, but a more suitable title for this elusive 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. W orks Consulted Bradley, A.C. Shakespearean Tragedy. T! oronto: 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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