Macbeth: From Zenith to Nadir – A Tragic Hero's Fall

I agree wholeheartedly with the description of Macbeth as an essentially good man who, over the course of the play, goes from zenith to nadir, evoking both our sympathy and repulsion. The Aristotelian definition of tragedy applies perfectly to Macbeth. To begin with, a man of high standing is introduced to us, and we see this clearly in the play's early scenes, where Macbeth is lionised by his peers. Furthermore, this man possesses a fatal flaw or hamartia—in Macbeth's case, this is his "vaulting ambition." Equally, the subject of an Aristotelian tragedy brings about the downfall of himself and those around him, as Macbeth does with his death and the deaths of Banquo, Duncan, and Macduff's family. Finally, Macbeth dies with our sympathy at the end of the play, the final prerequisite of an Aristotelian tragedy. Because Macbeth aligns so clearly with this literary genre, we can unequivocally state that he is an essentially good man who, although he loses, ultimately deserves and regains our sympathy.

Macbeth begins the play as an essentially good man. He is shown to be a general of extraordinary prowess, albeit somewhat bloodthirsty and overly violent. Those around him hold Macbeth in high regard: "For brave Macbeth—well he deserves that name." He is a fearless warrior, remarkably courageous on the battlefield. He is renowned for his bravery and is presented to us as a man of great daring. He is fiercely loyal and trusted by his king: "O valiant cousin! Worthy gentleman!" Macbeth fights valiantly for his kingdom, demonstrating his patriotism to such a degree that Duncan bestows the title "Thane of Cawdor" upon him. It is clear that, at the beginning of the play, Macbeth is a man of great honour. Through his devotion on the battlefield, we learn of his integrity. His peers speak highly of him: "Noble Macbeth." His fellow soldiers and the powerful men in the play admire him. Evidently, he can be described as a good man. However, Macbeth's brutal actions illustrate that he is also a man capable of murder: "Till he unseam'd him from the nave to the chaps." This graphic description of a murder committed by Macbeth reveals that he is not entirely virtuous—he possesses the ability to take human life in a savage manner. This is a foreshadowing of what is to come. Through the admiring words of Duncan, Ross, the Sergeant, and Macbeth's heroic actions and attitude, we can still regard him as an essentially good man.

However, the first time that we, the audience, begin to lose sympathy for Macbeth is soon after those early plaudits when he encounters the witches and their prophecies. He is immediately captivated, overcome by his "vaulting ambition." The witches are aware of this weakness and exploit it through equivocation. They make a series of predictions: "All hail, Macbeth, that shalt be king hereafter!" These prophecies are the catalysts for all of Macbeth's actions in the play. The witches have ignited the ambition that lay dormant in his soul. Here, we see Macbeth's radical metamorphosis begin, and our sympathy starts to wane: "Stay, you imperfect speakers, tell me more." Macbeth urges the witches to stay and reveal more, which marks the beginning of his downfall. Our sympathy diminishes as we realise that Macbeth has placed his trust in these apparitions, who are clearly messengers of evil: "Why do I yield to that suggestion whose horrid image doth unfix my hair and make my seated heart knock at my ribs?" Macbeth grows excited. His hair stands on end, and his heart pounds, indicating that the witches' words have truly captivated him. He is fixated on becoming king, but we know that for this to happen, Duncan must die. Our sympathy further diminishes as Macbeth becomes utterly preoccupied with this idea: "If chance will have me king, why, chance may crown me." He is indifferent to the consequences and no longer loyal to Duncan. He dreams of his death. Macbeth's obsession with the witches' prophecies overshadows his morals. Our sympathy lessens as his ambition starts to reveal his true colours.

Likewise, Macbeth's behaviour after the murder, when his courage begins to desert him, and paranoia sets in, further erode our sympathy. Macbeth is consumed by guilt, and his ambition transforms into insecurity: "To be thus is nothing, but to be safely thus." He feels threatened by Banquo because Banquo was promised that his sons would be kings. Macbeth, who has no sons, becomes obsessed with the future. He is clearly distressed and anxious, and his insecurity is unsettling. "To leave no rubs nor botches in the work." Macbeth decides to have both Banquo and his son killed. He cunningly manipulates Banquo into giving him information that ultimately results in Banquo's death. We see a deceptive side to Macbeth, and we are repulsed. He is no longer the noble warrior. "Be innocent of the knowledge, dearest chuck!" Macbeth is now acting alone and no longer requires Lady Macbeth's assistance to carry out the murder. He is deceitful, not disclosing his plan to her. Macbeth has taken the lead, and their relationship begins to erode beneath the guilt of Duncan's murder. Our sympathy is almost non-existent for the "dead butcher and his fiend-like queen" by the play's end.

However, Macbeth's lowest point comes when he orders the death of Macduff's family after learning that his former friend has gone to England to rally King Edward's forces against him: "I keep a servant fee'd." Macbeth's paranoia is revealed when we learn he has a spy in Macduff's home. He trusts nobody and becomes fiercely vengeful: "The castle of Macduff I will surprise." Macbeth has truly transformed into a feral tyrant. His decision to have Lady Macduff and her children murdered is cruel and unnecessary. His conscience is no more. His actions revolt us: "Run away, I pray you." Macduff's son, a beacon of innocence, is slaughtered before our eyes. His poignant plea to his mother as he dies illustrates how warped and barbaric Macbeth has become. "All my pretty ones?" We see a grief-stricken Macduff, whose anguish only fuels our loathing of Macbeth. The murder of Macduff's family, a callous, cold-blooded act, incenses the audience, leaving our sympathy for Macbeth at its lowest ebb.

However, as we trace Macbeth's journey through the Aristotelian tragedy, we see that he must end with our sympathy. Macbeth has undergone a radical metamorphosis. He is no longer brave and resilient but resigned: "They have tied me to a stake; I cannot fly." He understands that the witches have misled him and that his death is fast approaching. His resignation evokes a degree of sympathy from the audience: "She should have died hereafter." His reaction to his wife's death is cold and emotionless, but we pity him as he is now truly alone in the world. Death is the ultimate escape for Macbeth: "Out, out, brief candle!" Life has lost all meaning for him, and each day makes up a meaningless story. Our sympathy returns as we see the once-great warrior overcome with despair. However, though he is trapped, he refuses to go down without a fight: "Why should I play the Roman fool, and die on mine own sword?" He knows his fate but remains defiant, determined to fight until the bitter end. We see a glimpse of "Bellona's bridegroom" again, and this newfound strength allows him to regain some of our respect. Our sympathy is evoked by the return of the broken warrior, unwilling to play "the Roman fool." Macbeth is prepared to face death with the same rugged determination and bravery that we saw in "brave Macbeth" at the play's beginning.

Thus, the full journey of the Aristotelian tragedy is traced out in Macbeth, from the noble man at the beginning to the tragic fall from grace and ultimate death with our sympathies. Indeed, Macbeth is a highly emotive play, as the audience is forced to interact with Macbeth and Lady Macbeth with strong emotions invoked throughout. These reactions may be polar opposites at times, but ultimately, Macbeth is a brave warrior who, trumped by his ambition and external factors (the prophecies, Lady Macbeth, and his own weak will), commits terrible atrocities and ultimately pays the price. His complexity, the undeniable existence of both positive and negative traits, ensures that "Bellona's bridegroom" dies with our sympathies at the play's end.