Is Macbeth A Traditional Tragic Hereo

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Is Macbeth A Traditional Tragic Hereo

 There is one thing that seems to be common to all tragedies, whether classical or more contemporary. The tragedy is titled with the name of the central character, the tragic hero. This signals that the play is concerned with the fate, destiny, actions and consequences of this main character.

The two methods of Reversal and Recognition are used masterfully in 'Macbeth'. Reversal, the change from one state of affairs to its exact opposite, occurs when Macbeth begins the play noble and honourable; he is loved and respected as a skilled warrior. He kills many people in battle and spears their heads upon his battlements. At the end of the play Macbeth is killed , and it is his head upon the battlements, ironically put there by the same people he was fighting with. He begins the play heralded as 'valiant cousin' and 'worthy gentleman, he ends as a 'tyrant', 'usurper' and 'butcher'. This is a complete reversal of the situation. Recognition, the change from ignorance to truth, is used very powerfully at the end of the play. Macbeth thinks he is invincible because the witches have told him that he will not be vanquished until 'Great Birnam Wood (moves) to High Dunsinane Hill'. They also told him that 'none of woman born shall harm Macbeth'. He assumes he is safe then because a wood cannot move and no man can not be born of woman. But Macbeth is blinded by what he wants to be true. So when he is informed that Birnam Wood appears to be moving, we can imagine how he feels, though he still has the other prophecy to fall back on until he comes face to face with Macduff, who informs Macbeth that he was 'from his mother's womb Untimely ripped'. This is the recognition, the realisation that he is not invincible and that, in all probability, Macduff will kill him because there was another prophecy that said 'beware Macduff'. This revelation is very powerful because it turns Macbeth, who was arrogantly oblivious, into a frightened, overwhelmed man. It makes him human again because he had become a cold-blooded, ruthless monster.

A classical tragedy is usually a straight-down, unrelenting spiral leading to the death of the tragic hero. Tragedies usually begin with the hero at the pinnacle of his success, and then things just get progressively worse, until the hero dies. In 'Macbeth', there is a build up to Macbeth reaching the high social status of King. He goes up before he starts to tumble down, at least with regards to his social standing. If, however, you look at it from the point of view of his morality and his mental and emotional welfare, he definitely starts at the top and then begins his fall from grace. I think Shakespeare uses this very cleverly because in this respect, the more important aspect of Macbeth, there is a vertical drop to destruction, so he is keeping to the classical principle, but he is still able to build Macbeth up in terms of his social rank. This amplifies the effect of the downfall when it comes.

Before we can analyse Macbeth as a tragic hero we must define what a tragic hero is. Traditionally, a tragic hero is defined by five fundamental points. He is of high social status; a king, or of royal blood, or highly respected for some skill as in the case of Macbeth and Othello. Through this high social standing, the hero's downfall is made more significant. A tragic hero must also be powerful, and hold the happiness, or othrwise, of many others in his hands. This means that his downfall will affect many people and be more momentous. A tragic hero reveals fundamental truths about humanity through his suffering. This follows as a tragedy deals with universal themes. These essential truths help to make the hero's rise and fall more poignant. A tragic hero should also have a great character or talent, which is tragically wasted. This greatness makes the character a hero and not just tragic. But despite this greatness of character, a tragic hero must have a 'tragic flaw'. This flaw is one unconquerable failing that ultimately leads to the destruction of the hero. In Macbeth most people say it is ambition, in Othello it is jealousy. The tragic flaw is fundamentally important to the tragic hero, because it is what leads to his demise, and what makes him tragic, not just heroic. A tragic hero usually finds some release or resignation when facing death. This death is often inevitable. The hero might repent, or he might just be resigned to his fate. This acceptance is an element of the hero without the tragedy.

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Now we have the definition of a tragic hero, we can relate it to Macbeth. 'Macbeth' is all about social standing, or the battle for it. In his essay, 'Tragedy and the Common Man', Arthur Miller says that all tragic heroes are trying to gain their rightful position in society, that they are trying to 'evaluate themselves justly'. I believe this is certainly true for Macbeth. He starts the play as Thane of Glamis, as a renowned warrior, related to and loved by the King. He has a high social standing already. Yet as soon as he hears the witches' ...

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