Examine/Analyse the character of Macbeth. Is he a tyrant or a tragic hero?
Shakespeare:
Examine/Analyse the character of Macbeth. Is he a tyrant or a tragic hero?
It should include:
* The use of language, structure and presentation
* The play's moral and philosophical context
* The play's social and historical setting
Before discussing the character of Macbeth, it is essential that the above question is fully understood. Is Macbeth a tyrant or a tragic hero? The dictionary defines both of these terms as such:
* Tyrant - an oppressive or cruel ruler, or one who forces his will on others cruelly and arbitrarily
* Tragic Hero - a person who evokes both our sympathy and terror, or one who has suffered, struggled, and then ultimately realises that everything was his own fault.
It is obvious to the reader that Macbeth does not specifically fit into either category, as his character contains aspects of both traits. Although he is mainly tyrannical, many subtle hints of a tragic hero can be found in him - such as when he loses the support of those once close to him, due to his arbitrary acts of malicious brutality. Most will believe that he deserves this punishment, but Shakespeare has made Macbeth naïve to the loss of support, which makes the reader more sympathetic towards his character. However, this feeling quickly diminishes as Macbeth continues his flagitious search for a feeling of security, which he does, in fact, never find.
To be able to completely comprehend the character of Macbeth, and, therefore, be able to give a better analysis of him, the historical setting of the play must also be considered, as this will give an insight as to why the play was written, and what purpose Macbeth's character serves.
Shakespeare's 'Macbeth' was loosely based upon historical facts, with the addition of the supernatural theme for the benefit of James I of England/James VI of Scotland, who was the King at the time that the play was written. He showed a great interest in this subject, and witchcraft especially - which explains the inclusion of the witches in the play. Although primarily written in for James, the Elizabethan people were also quite susceptible to the idea of the supernatural, as they were in an age of great confusion and unrest. There were numerous new discoveries that caused them to feel insecure, and they craved a feeling of stability, hence the Chain of Being. This was a belief that the universe has a specific order - everything in its place. Every aspect of creation was included in this ordered system of hierarchy, and any inexplicable anomalies were put into the category of the supernatural.
The supernatural represented all that the Elizabethans hated and feared (mainly because they did not understand it), so although Macbeth is praised at the beginning of the play, by people such as the Captain:
"For brave Macbeth - well he deserves that name"
and even Duncan himself:
"O valiant cousin, worthy gentleman!"
the audience is aware that Macbeth is not all that he appears to be, for his association with the witches is all too apparent. He is first mentioned by the witches in Act 1 Scene 1, he is first seen with them in Act 1 Scene 3, and the first words that he utters, is an echo of their own:
"So foul and fair a day I have not seen" - Macbeth
"Fair is foul, and foul is fair" - Witches
This talking in paradox, shows a sinister connection between the two parties, and undermines and contradicts all the positive aspects previously mentioned. It also gives us an insight into the play, suggesting that Macbeth will become as both abhorred and terrorising as the witches are.
When examining Macbeth's character, and his growth of evil throughout the play, one cannot help but wonder whether he would have become such a totalitarian, so relentless in his efforts to become King, had he not met the witches and heard their prophecies:
"All hail Macbeth, hail to thee, Thane of Glamis!"
"All hail Macbeth, hail to thee, Thane of Cawdor!"
"All hail Macbeth, that shalt be King hereafter!"
He is rather taken aback with these forecasts, and is indecisive as to how to handle the situation. He is both reluctant, and eager, to believe the witches; reluctant because he does not accept that he will ever become King - that is not how it is meant to be - the natural order intends one of Duncan's sons to become King, as that is God's will; but the thought of becoming King excites him greatly, and when he is made Thane of Cawdor he determines:
"Glamis, and Thane of Cawdor.
The greatest is behind."
Rather than except the honour of being named Thane of Cawdor, his thoughts revert back to the prophecies - if the first two can become materialistic, then why not the third also?
Banquo acts as Macbeth's alter ego in this part of the play. When he first hears of the prophecies, he is eager to know what good fortune awaits him:
"Lesser than Macbeth, and greater"
"Now so happy, yet happier"
"Thou shalt get kings, though thou be none."
(This antithesis is a form of trademark of the witches, alongside the talking in rhyming couplets, though this is also used to indicate the end of an Act.)
His reaction to the prophecies is more disdainful, because of their ambiguity. He is unable to immediately latch onto them as possible truths, and in true human fashion because he couldn't see it, he questioned its existence. Then, when the witches disappear, he questions the stability of his mind, wondering whether he has gone mad.
Macbeth's prophecies are quite specific, and he is more susceptible to them because of this. Also, being named the Thane of Cawdor soon after it was prophesied, makes him believe that the idea of becoming King, is not as far-fetched as once ...
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His reaction to the prophecies is more disdainful, because of their ambiguity. He is unable to immediately latch onto them as possible truths, and in true human fashion because he couldn't see it, he questioned its existence. Then, when the witches disappear, he questions the stability of his mind, wondering whether he has gone mad.
Macbeth's prophecies are quite specific, and he is more susceptible to them because of this. Also, being named the Thane of Cawdor soon after it was prophesied, makes him believe that the idea of becoming King, is not as far-fetched as once thought.
When Macbeth is named Thane of Cawdor, Banquo immediately realises the danger, and says that evil encourages people to bring about their own destruction:
"The instruments of darkness tell us truths,
win is with honest trifles, to betray's
In deepest consequence"
Although Macbeth does consider the following:
"If chance will have me King, why chance
may crown me`
Without my stir."
But when Malcolm is named as Duncan's successor, Macbeth is somewhat perplexed. The witches had prophesied him becoming King, and he thought that Duncan would have named him as his successor, as a reward for his loyalty in the earlier battle. He then realises that his reward was being named the Thane of Cawdor, and that to become King, will take more than chance:
"The Prince of Cumberland - that is a step,
On which I must fall down, or else o'erleap,
For in my way it lies."
In this soliloquy, the reader hears the first example of Macbeth's "vaulting ambition," and as Macbeth battles with his conscience, deciding whether the fulfilment of the third prophecy would be "ill" or "good," he can already picture himself murdering Duncan! This is not a momentary thought, but one that he deliberates on for quite a while, and it appears that only the guidance of Lady Macbeth will aid him in his final decision - or force him to decide.
The witches have a considerable amount of influence upon Macbeth, but in comparison with that of Lady Macbeth, they are quite insignificant. She is the driving force behind Macbeth's embryonic ambitious nature. She knows that he is "not without ambition, but without the illness should attend it." He is "too full of the milk of human kindness." She further re-iterates this statement by saying:
"what thou wouldst
highly,
That wouldst thou holily;"
She realises instantly that for both her and Macbeth to become royalty, it will take more that fate, and that for her husband to perform the deceitful and barbarous tasks that she has planned, it will need her strength of character to persuade him, and true malevolence to gain her that strength:
"unsex me here,
And fill me from the crown to the toe top-full
Of direst cruelty; make thick my blood,
Stop up th'access and passage to remorse,
That no compunctions visitings of nature
Shake my fell purpose"
Lady Macbeth is a Machiavellian, manipulative and corruptive influence upon Macbeth, and although her suggestions do, in fact, make him King, the unseen affect upon his conscience, is irreparable.
The tragic hero in Macbeth is seen as he oscillates between deciding to kill Duncan, so as to become King, or let chance crown him. The contradiction of his conscience against the persuasion of Lady Macbeth, and his "vaulting ambition, which o'erleaps itself, and falls on th'other -" disturbs him greatly, but after much contemplation - weighing the good side against the bad, he finally decides thus:
"We shall proceed no further in this business."
Although this refusal takes a lot of courage on the part of Macbeth, Lady Macbeth only sees him as weak, and manages to alter his decision. Her means of doing so are quite unethical - she first insults his manhood, demoralising him and making herself more dominant; she then assures him that nothing will go wrong - their failure is an inconceivable idea. The pre-mediation of Duncan's murder makes the deed even more evil, especially since Lady Macbeth must have carefully considered every point - ensuring their success, and that they do not get caught, under any circumstances.
Re-assured by his wife, and feeling too overpowered to disagree, Macbeth settles his mind, and decides to kill Duncan:
"False face must hide what the false heart doth know"
There is imagery than runs throughout the entire play, and this is an example of the appearance and reality theme. Other examples of this are when Macbeth is named Thane of Cawdor and he exclaims:
"Why do you dress me
In borrowed robes?"
Clothing is one way of hiding one's true appearance from others. There is another example early on in the play, that does not take this theme so literally:
"beguile the time...
...look like th'innocent
flower,
But be the serpent under't"
Here Lady Macbeth tells her husband of how they can kill Duncan, but still ensure that the world is oblivious to the fact that it was them who executed the deed.
The other theme is growth, though this is referred to less compared to the previously mentioned appearance and reality. The growing of plants and such, is a parallel for the growth of evil throughout the play. Death is also represented by the dying of plants. One referral to this growth imagery comes from Banquo at his encounter with the witches:
"If you can look into the seeds of time,
And say which will grow, and which will not"
One referral to death is thus:
"To dew the sovereign flower, and drown the weeds"
This has no specific connection with any other occurrence in the play, but is simply one example.
Nature is also referred to throughout the play - mainly to show the unbalance due to the death of Duncan, and the disruption to the Chain of Being. Inharmonious sounds are also a representative of this:
"I heard the owl scream and the crickets cry"
Lady Macbeth says this sentence to Macbeth, soon after the murder of Duncan. They both talk in short sharp sentences, which heightens the tension and anxiety. This dramatic effect shows the fear of both characters:
"Did you not speak?"
"When?"
"Now."
"As I descended?"
"Ay."
Lady Macbeth shows no remorse at the murder of Duncan:
"My hands are of your colour; but I shame
To wear a heart so white."
She is still strong, and continues to control Macbeth, for fear of him weakening so much that they would be discovered. She is practical, and ensures that the blame is placed upon the guards, by smearing them with blood, and leaving the daggers with them. She is also careful in making sure that no traces of blood are left upon their hands, but believes that by washing it away, the deed will be forgotten:
"A little water clears us of this deed.
How easy it is then!"
Macbeth is in shock from killing Duncan, and would rather be lost in thought than face the reality of his actions. He was unstable even before killing Duncan, as he had hallucinations:
"Is this a dagger which I see before me"
"Come let me clutch
thee.
I have thee not, and yet I see thee still."
The reader is unsure as to whether they should feel sympathy for him, as it is obvious that he has a conscience, and does not wish to do the deed. The conflicting influences upon him, are confusing him greatly, but as Lady Macbeth is the strongest one, she has the main power over his actions. However, in the following scene, he gains strength - in a negative way.
Both Macbeth and Lady Macbeth act shocked when the news of Duncan's death is announced. Lady Macbeth pretends to faint, and Macbeth kills the guards out of his supposed 'love' for Duncan. The charade that they put on is quite convincing, and shows how Macbeth is gaining in strength and confidence.
This contrast with the previous scene shows Macbeth's more tyrannical side. Once the reader realises how Macbeth must have had enough strength to actually kill Duncan, and then takes into account how little remorse he shows now, they begin to see his development from a noble and trustworthy subject of the King, to an immoral and unethical despot.
His next act of tyranny involves the murder of his good friend Banquo. Banquo has become suspicious of Macbeth:
"Thou hast it now, King, Cawdor, Glamis, all,
As the weird women promised, and I fear
Thou play'dst most foully for't"
Although Macbeth and Lady Macbeth had successfully blamed the guards for the murder of Duncan, Malcolm and Donalbain fled the country, for fear of being blamed. By doing this, they automatically accused themselves, and as no-one was left to rule the country, the sovereignty fell upon Macbeth.
As Banquo was the only other person present at the revealing of the prophecies, he is a threat to Macbeth's place as King. Macbeth's feeling of insecurity in his place on the throne, causes him to be capricious in his decision to kill Banquo, as he wishes to remove all possible threats to his position:
"To be thus in nothing,
But to be safely thus."
The planning of Banquo's death is very pre-meditated, but Macbeth makes it seem so casual, that it is sickening.
"Ride you this afternoon?"
"Is't far you ride?"
He hires murderers to kill Banquo, as he is too cowardice to carry out the deed himself. He uses his powers of persuasion and manipulation, to convince the murderers that Banquo is their enemy also. What makes this crime even more malevolent, is the fact that Lady Macbeth plays no part in it.
Soon after the deed with the murderers is resolved, the two characters talk about the insecurity of Macbeth, and Lady Macbeth is strong here:
"You must leave this."
She tells him to take a look at reality. He is so pre-occupied with his insecurities, that he doesn't realise that he is King! He should be embracing this fact - not focusing on the negative aspects. Although he is being careful, he will be weakened by these threats to his position, and she will not allow this to happen.
Macbeth does care about his wife, and this is shown here, for when she asks what is to be done with Banquo and his son Fleance, he replies:
"Be innocent of the knowledge, dearest chuck"
For if she knows nothing about the crime that is about to occur, then she cannot be connected to it in any way. This may seem protective of Macbeth, but it is also calculating, for if his wife knows about the murder, then she is just another threat to him, and he has enough problems already without having to worry about Lady Macbeth.
As with the murder of Duncan. Macbeth feels some remorse for the death of his friend, though it is not shown in the same way as before. While feasting with guests, (this is a sign of order, which the Elizabethans would have approved of), he sees the ghost of Banquo sitting in his chair. He believes that it is some hoax performed by one of the guests:
"Which of you have done this?"
In fact, this is not the case. Banquo is a physical manifestation of Macbeth's guilt, which is why he can only be seen by Macbeth. This hallucination is another indication of the unbalance in, not only the country, but Macbeth himself.
Lady Macbeth is quick to produce an excuse for her husband's behaviour:
"My lord is often thus,
And hath been from his youth. Pray you keep seat,
the fit is only momentary"
Again, he can be called a tragic hero here, as he is suffering from compunction for his past deeds. Lady Macbeth again sees him as weak, and begins to insult his manhood for the second time. This is an attempt to goad him back into reality. Once he has regained his composure, he is quite shocked as to why his wife is not as affected by their past crimes as he is:
"When now I think you can behold such sights,
And keep the natural ruby of your cheeks,
When mine is blanched with fear."
Lady Macbeth feels as insecure as her husband, but does not reveal this to him. This is, in fact, the last time that Lady Macbeth is seen sane, for the affect of her conscience only emerges now, and it has a disastrous effect upon her.
To increase his feeling of security, Macbeth re-visits the witches, for some form of comfort. From them he hears three apparitions:
"Macbeth, Macbeth, Macbeth, beware Macduff;
beware the Thane of Fife"
"...none of woman born
shall harm Macbeth."
"Macbeth shall never vanquished be, until
Great Birnam wood to high Dunsinane hill
Shall come against him."
Macbeth now thinks himself indomitable, but he is wrong in that assumption. The witches have told him the truth, but have made it so ambiguous to him, that his interpretation is far from the reality.
Still, he takes note of the first apparition, as this message was clear to him.
"The castle of Macduff I will surprise"
This is an arbitrary decision by a tyrannical man. This is his most malevolent act in the whole play, and it shows his vindictive nature. He has heard of Macduff's flight to England, and decides to kill his wife and babes. To kill innocent women and children with no motive, is a truly Machiavellian action, and is made worse by the fact that he needed no prompt from his wife, or any other character. It re-iterates his cowardice, for as he could not kill Banquo himself, he again hires murderers to kill Macduff's family for him. He also chooses to invade the castle while Macduff is not there, so that there is no protection for his family. This slaughtering marks the beginning of his downfall.
Act 5 includes the main downfall of both Macbeths, and the first scene shows the break-down of Lady Macbeth - it is here we see her true character. Her disturbed sleep is a physical manifestation of her compunction, and is a parallel to Macbeths confrontation with Banquo's ghost. For although the couple often mirror one another, such as when he is full of guilt after Duncan's murder, and she seems remorseless, they also act as a parallel. This presentational device was done by Shakespeare, to emphasise both characters' situations. As well as contrasting the characters, he also contrasts the scenes, moving from scenes of great dramatic tension, to ones with a slower pace. This is also done for emphasis, and re-iterates the contrast between Macbeth and Lady Macbeth.
They do, however, they do not contrast in this scene, and as Lady Macbeth continues to walk in her sleep, she utters the dire actions that her and her husband have committed. Remembering the night of Duncan's death, she says:
"Yet
who would have thought the old man to have had
so much blood in him?"
The Doctor who has been called to diagnose her state, is appalled by what he hears:
"Foul whisperings are abroad. Unnatural deeds
Do breed unnatural troubles"
This quote suggests that the deeds that they committed, against the natural order of the universe, will cause them to have unnatural troubles, such as hallucinations that both of them have encountered.
Lady Macbeth soon dies - whilst her husband is in the middle of a battle. Macduff has heard of his family's murder, and is devastated by the news. He blames himself, for they died for his treason to the King. His sorrow is not allowed to last long, as he is urged by Malcolm, to turn it into anger, and use it to fight Macbeth:
"...let grief
Convert to anger; blunt not the heart,
enrage it."
Troops are gathered, and the army marches towards Scotland, ready to confront Macbeth, and return the rightful King to the throne.
Macbeth's reaction to his wife's death is the total opposite of the shock of Macduff's:
"She should have died hereafter;
There would have been a time for such a word."
This is a referral to the inconvenient timing of his wife's death, and the reader now sees a pitiless and cold-blooded man, who is quickly losing the support of those around him:
"Some say he's mad; others, that lesser hate him,
Do call it valiant fury"
"Those he commands move only in command,
Nothing in love"
People obey him because he is the King, not because they wish to. His so-called friends do not appreciate their loyalty being taken so loosely, and they realise the ruin that Scotland is in because the rightful king is not on the throne. However, they cannot contradict the King, for that is treason.
With the gunpowder plot being extremely relevant in the time of James I of England, treason was automatically included in 'Macbeth.' The treachery of Macbeth was the main point at which this was included, but the opposite is shown throughout the play - the fact that people with integrity will not contradict the King, as they know that it is God's will that he run the country. In this case God did not place Macbeth on the throne, but his subjects, however, still stay loyal to the King, though not to Macbeth himself.
The battle against the English begins, and Macbeth looks for security in the apparitions of the witches:
"The spirits that know
All mortal consequences have pronounced me thus:
'Fear not Macbeth, no man that's born of woman
Shall e'er have power upon thee'"
Once he has assured himself of victory, he appears ferocious and confident in front of his followers. He is very desensitised now, as he says:
"I have almost forgot the taste of fears."
He has become so accustomed to it, that it no longer startles him:
"I have supped full with horrors;
Direness, familiar to my slaughterous thoughts,
Cannot once start me."
This is not a thing to be boastful of, and he loses the sympathy of the reader here, because of this, and due to the fact that he is devoid of feeling for his wife's passing.
Whilst reflecting on the insignificance of life,
"Out, out, brief candle!
Life's but a walking shadow"
a messenger arrives with some news for him:
"I looked toward Birnam, and anon methought
The wood began to move."
He now realises the apparition's true meaning, for the army have used the foliage as camouflage. Although Macbeth knows that fighting fate is futile, he is prepared to die trying:
"At least we'll die with harness on our back."
This is the main point in the play where the tragic hero in Macbeth is seen, for it is here that he realises he will die
When Macduff and Macbeth finally meet in Act 5 Scene 8, Macbeth is confident, as the second apparition still holds true:
"I bear a charmed life, which must not yield
To one of woman born"
The twist in the play is discovered, as Macduff announces:
"Tell thee, Macduff was from his mother's womb
Untimely ripped."
As Macduff was delivered by a Caesarean section, he cannot, therefore, be said to have been born. Macbeth could not have anticipated this response, and he is crushed by this - he refuses to fight on as he knows that to do so would be futile. However, Macduff will not accept this, and enrages Macbeth, forcing him to fight:
"I will not yield,
To kiss the ground before young Malcolm's feet,
And to be baited with the rabble's curse.
Though Birnam wood be come to Dunsinane,
And thou opposed, being of no woman born,
Yet I will try the last."
Macbeth is then slain.
The country reverts back to its original harmonious state, with Malcolm now returned to his rightful place on the throne. Macbeth and Lady Macbeth are referred to as the "dead butcher, and his fiend-like queen" but the unseen damage that these two Machiavellian characters have caused, cannot be as easily undone as they can be assailed.
After his death, did Macbeth change the opinion of the reader? Did they suddenly feel deep sympathy for this man, because he thought that he was invincible, and was, in fact, not? Highly doubtful.
So then, Macbeth - tyrant or tragic hero? His tyrannical side has been the more prominent throughout the play, with the tragic hero in him being more subtle. Although neither description is a suitable definition of his whole character, the barbaric deeds that he executed outrank his heroic traits, and those moments in the play where he evokes the sympathy of the reader. It is ironic that the ambition which he held at the beginning of the play - the ambition that led him to be King, should be the main catalyst in his downfall. This may contribute to the tragic hero side of him, and although to some he may appear to have an equal mixture of the two traits, he is, in essence, a tyrant.
Rachel Reid
