An examination of the way that the downfall of a hero is presented in three diverse works: Macbeth, Gawain and the Green Knight, and The Tale of Genji
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each in different yet similar ways. from the start, Macbeth is portrayed as honourable and valorous by the account of the wounded sergeant. Brave Macbeth-well he deserves that name- disdaining fortune with his brandish d steel . He fights for his king against the traitor Macdonwald Till he unseam d him from the nave to the chaps . His heroic traits come from his skill in martial matters and courage; Norway s arrival does little to dismay him instead going into the fray As cannons overcharged with double cracks . Duncan himself acknowledges Macbeth O valiant cousin! Worthy gentleman! and ...
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each in different yet similar ways. from the start, Macbeth is portrayed as honourable and valorous by the account of the wounded sergeant. Brave Macbeth-well he deserves that name- disdaining fortune with his brandish d steel . He fights for his king against the traitor Macdonwald Till he unseam d him from the nave to the chaps . His heroic traits come from his skill in martial matters and courage; Norway s arrival does little to dismay him instead going into the fray As cannons overcharged with double cracks . Duncan himself acknowledges Macbeth O valiant cousin! Worthy gentleman! and awards him with the title of the traitor Cawdor. It is ironic perhaps, that he receives the traitor s title, but the Macbeth we initially see is the anti-thesis to what he becomes. Gawain is also of a similar vein. He is portrayed as the despite his relegation to commoner status; a trait that is prevalent throughout the novel and is never taken away. As he replies to the protests of a woman whom he seduces I can go where I want . The similarities between the three are apparent, and the way they are portrayed as soon as they are introduced follows what Aristotle wrote of his rule of ethos. However, he said that these noble characters would also require a flaw that would contribute to their downfall. It is these traits that shatters their heroic image and humanises them, enabling an audience to sympathise with their story. The moment of decline is marked by the moment that the strength of their self-restraint fails them and they give in to their flaws. Macbeth s failure is in harbouring ambition when it can only lead to damnation. His desire to be King is held in check by his sense of duty, but when he meets the witches, he lets doubt enter his mind. Gawain s journey is riddled with hardship, but unlike Macbeth, he holds strong to his conviction until the very end. His faith in God helps him endure the cruelty of nature, and this combined with his belief in the chivalric code helps him to rebuff the advances of the Lady. "Grete peryl betwene hem stode/ Nif Mary of hir knight mynne However where the Lady fails to tempt Gawain sexually, she manages to win against his desire to live. While he manages to fend off one basic human instinct (lust) through his strong moral codes, the fear of death eventually causes him to violate them, tainting his idealistic image. While Gawain can restrain lust, Genji is one who cannot. He is someone who lets passion and indulgence turn into self-destruction. It is fitting that the Japanese for love is also longing , for that is what starts Genji s obsessions. He could not remember his mother and it moved him, from the lady who had first told the emperor of Fujitsubo, that the resemblance was striking& Genji s affections grew, and the most ordinary flower or tinted leaf became the occasion for expressing it . In his world where he tries to fill the voids with substitutes, such as Murasaki for Fujitsubo, and he indulges his passion without heed to convention, karmic retribution eventually forces him to repay the sins of his past. The lack of self-restraint plays a part in the downfall of the three heroes. While they might give in at different points of their story, they eventually do so nonetheless. This idea serves to show how without restraint, the human character descends into its worst traits, whether it be a savage, a coward, or self-destructive. It undermines the rules humans place within society because it highlights how futile they are against human fallibility. Women also play an important role in the downfall of a hero. While it might seem misogynistic, they are invariably the instigators or catalysts that drives the hero s dilemma. Lady Macbeth pushes her husband to damnation when he is on the brink of salvation. Genji s tale of infatuations and mistakes is completely built around women. The Lady of the Castle tempts Gawain to break his chivalric code by appealing to his fear of death and succeeds Myght he have slypped to be unslayn the slyght were noble/ Then he thulged with hir threpe and tholed hir to speke So it is clear to see that in tragic literature women often are often placed by the authors into the role of catalysts to the fall through many guises, such as a temptress or object of unattainable desire. The fact that they are made so is a subtle hint at the power women hold over men, despite their historical lower status. The manner of the heroes fall varies, as each has a different meaning behind it. The Pearl Poet portrays Gawain as a flawless creature; so enthralled within the perfection of his society that he is almost ignorant of the harsh contradictions of humanity. Having embedded a Christian message throughout, the Poet can be seen to draw parallels with the original fall of man. Gawain too gives in to instinct and allows it to overrule reason. It is with irony that the Poet spends many lines on describing the process with which Gawain arms himself on the final day First he clad him in his clothes the cold for to were/ and sithen his other harnays, that holdely was keped both his paunce and his plates piked ful clene& for the armour, and by association through ceremony, society, cannot save him. The Green Knight, an otherworldly force linked to nature, has tested the noblest man of the noblest court, and found him wanting. While Bertilak himself forgives Gawain for his moment of weakness, Gawain is not so forgiving of himself. This is the bende of the blame I bere in my neck/ this is the loathe and the losse that I laght have/ Of cowardise and covetyse that I have caght thare/ This is the token of untruthe that I an tan inne/ And I mot nedes hit were while I may last His faith has been shaken, which makes his return and Camelot s reaction all the more poignant. Genji also faces disillusionment at the end of his tale. He is a man who has indulged in life to the full, and has grown attached to the world, obsessively in some cases. Similar to Gawain, when he is faced with the finality of death, he is helpless. This is demonstrated most clearly during the final days of Murasaki, and the way Genji handles it. Murasaki can relinquish all of her ties to the world and pass away, but Genji is a being who covets such bonds dearly, and his attachment to Murasaki is obsessive. So in an act of selfishness and defiance against he inevitable, he denies Murasaki that right. To be denied one s last wish is a cruel thing. The implication of this is that where sending her away could have meant her salvation, he has instead finalised her death through his own selfishness. He has known all along that desire is sin, and therefore can only cause suffering, yet he is unable to act upon this. His attempt to deny the inevitable when he could have lessened the impact means that the passing of Murasaki leaves him a broken man. He covered his face. Yugiri was weeping too. He struggled to brush them away to see through them as the sight of her dead face brought them flooding back again. Macbeth too, shares this trait with Genji. He deceives himself by believing only that which he wants to believe. He laughs that Macbeth shall not be killed by any man of woman born when he should realise that just as the witches past prophecies have come to past, so shall these. Macbeth s gradually growing obsession with these prophecies triggers a decline in his mental state; while he does not fear death by holding onto them, he kills others out of fear. This is most keenly seen in the murder of Macduff s family. In their own ways, the heroes are also demonstrations by their writers of the futility of humans when faced with the final destination of death. All are paragons within their society yet against death they are shown to be helpless and broken. Gawain s fear of death causes him to break his word and brings about his eventual disillusionment. Genji s attempt to deny Murasaki s death causes him to take the full impact of all it entails, further proof of his self-destructive nature. not wanting his perceptive friend to guess how thoroughly the loss had undone him. Macbeth can also not stop his inevitable death, although he convinces himself with false, yet true prophecies (a hint at the double meanings of the witches). It is evident that the writers all see humanity as helpless against that which is random and unknown. Supernatural forces in the Green Knight, the witches, and the spirit of Lady Rokujo all play a huge part in the downfall of these heroes. Death and fate too are unknowable and random, which shows how fallible humans are against that which we have no knowledge of. The fact that they fall to such forces which the everyday man must also fear makes them all the more human, and hence elicits more sympathy. Shakespeare, Shikubu and the Pearl Poet all portray their characters as lacking in self-restraint when tested by their flaw. While they might give in at different points of their story, they eventually do so nonetheless. This idea serves to show how without restraint, the human character descends into its worst traits, whether it be a savage, a coward, or self-destructive. It undermines the rules humans place within society because it highlights how futile they are against human fallibility. Macbeth s decline was triggered by his lack of self-restraint when he was presented with his vaulting ambition When Genji is finally able to consummate his obsession for Fujitsubo, he does not hesitate. Gawain, faced with the prospect of death, is unable to use his moral code that has restrained him from vices thus far and breaks his word. Therefore, this trait can be seen as a crucial element to their character, probably more so than the flaw itself. For it is not having the flaw that causes the destruction of these heroes; they have always carried it and they are initially lauded. It is being unable to restrain the flaws that causes the hero to fall. It is clear to see that despite the geological and chronological differences with the three books, the writers all somewhat adhere to Aristotle s literary laws in terms of downfall, which shows the universal nature of his rules and the theme of the downfall of a hero itself. Aristotle usually preferred that the heroes would be granted some form of redemption. The reasons for this is that an audience would feel far more sympathetic with the character, with makes for better characterisation. This could be for several reasons, for example, the resurgence of heroic qualities would insinuate that not all is lost, therefore there is still hope for the hero and through them, humanity. Macbeth s is the most obvious. Shakespeare s last portrayal of Macbeth is the same as his first, a skilled warrior who does not fear death. Yet I will try the last. Before my body I throw my warlike shield! Lay on, Macduff, And damn'd be him that first cries, "Hold, enough!" Throughout the play, Macbeth has not been a chaotic Shakespearean villain like Iago from Othello. He expresses much guilt over the murder of Duncan and the subsequent murders are clearly seen to have a psychological effect on him through events such as the appearance of Banquo s ghost. He is clearly shown to have still retained fragments of his original character beneath the façade of a tyrant, and Shakespeare uses his last moments to unveil this. Therefore by doing so, he completes the natural cycle of the play. Malcolm regains the throne, Fleance is still alive, and the nobles who fled return. Our last image of Macbeth casts him in a favourable light that shows that despite his fall, he is still a hero nonetheless. While Macbeth s redemption is easily spotted, Genji and Gawain s are far more complex. Their downfalls both involve opening up to the truth. Genji has to come to terms with the pain that he must have caused others when events from the past rebound back on him. While age has made him wiser and more able to control the impulses with marked his youth, he is still ignorant or in denial of many crucial things. In the final moments of his tale, karmic retribution damages him greatly. A moment that so mirrors Genji s adventures of the past serves to destroy the reputation of the Third Princess and cause the suicide of his nephew. With the birth of Kaoru from this tryst, Genji himself realises the irony. It was distasteful, but he would say nothing He wondered if his own father has known what was happening and said nothing. He could remember the dear very well, and the memory told him he was hardly one to reprove of those who strayed from the narrow path. Shikubu makes his passing extremely insignificant, devoting a mere line to it as if to show how humbled he has become, although his brilliance is still evident. The Shining Genji was dead, and there was no one quite like him Genji and Gawain are very sympathetic figures and perhaps that is where there salvation lies. They do not descend to evil like Macbeth does, and the way their mistakes haunt them elicits more sympathy from a reader than Macbeth might. Where Genji has to face the truth of his own actions, Gawain has to face the truth of human nature. His failing is embedded deep within it and the Poet s tying of Christian allegory through the fall of Man means that Gawain has to realise that the society upon which his strong moral codes are built is flawed. Genji and Macbeth may have been people who defied their society, but Gawain is one who serves it to the best of his ability. The disillusionment which he is left with almost makes him into a pitiable character, for the blissful ignorance within which he resided has now been shattered by the actions of the Green Knight. While his adversary and Camelot might forgive him for being human, Gawain is not so lenient on himself. His fall is very believable, and it humanises him when he is so close to being too perfect to be human. However, the ability of the court of Camelot to share his burden and laugh, shows the ability of humanity to rise together and laugh in the face of adversity. The kyng comforts the knight, and all the court als/ Laughen loud therat and lovely accorden/ That lordes and ledes that belonged to the table/ Uch burn of brotherhede. Therefore, Gawain s salvation is the most ambiguous of them all. The Pearl Poet may even be suggesting that Gawain, as perfect a human as there can be, may have redemption in the eyes of others, but within his soul he is still fallen, playing along with the Poet s theme of the futility of the human world. Yet the actions of Camelot show that humanity can share their burdens, as they do so to comfort Gawain. 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