macbeth tragic hero essay outline

Shakespearean Macbeth as a Tragic Hero Essay

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Greek mythology gave birth to the idea of the tragic hero, in which the concepts of the hero play a tremendous role. Aristotelian thought indicates “the tragic effect will be stronger if the hero is ‘better than we are’, in that he is of higher than ordinary moral worth. Such a man is shown as suffering a change in fortune from happiness to misery because of a mistaken act, to which he is led by his hamartia (his ‘effort of judgment’) or, as it is often literally translated, his tragic flaw” (Zarro, 2001).

There are two types of tragic heroes, those that are born into nobility with a tragic flaw inherent in their character who are therefore responsible for their own fate and doomed to make a serious error in judgment and those who have achieved great heights or esteem through hard work who eventually realize they have made a huge mistake causing them to face and accept their tragic death with honor (Zarro, 2001).

Greek tragedy abounds with examples of tragic heroes, as does much of Shakespearean tragedy. “Shakespeare wished to exhibit a more sublime picture – an ambitious but noble hero, yielding to a deep-laid hellish temptation, and in whom all the crimes to which, in order to secure the fruits of his first crime, he is impelled by necessity, cannot altogether eradicate the stamp of native heroism” (Bates, 1906: 36). In many ways, it can be argued that Macbeth of Shakespeare’s play Macbeth, was a tragic hero.

As the play opens, Macbeth’s nobility of spirit is revealed as reports come in to King Duncan regarding his exploits on the battlefield. The first two acts don’t even see Macbeth as he is busy on the battlefield, attempting to defend Duncan’s kingdom from the forces of Macdonwald, a man from the ‘Western Isles.’ Macbeth’s loyalty is shown in the fierceness of the battle being fought as it is reported by the wounded captain in Act I, Scene ii. He tells the king the battle was “As two spent swimmers that do cling together / And choke their art” (I, ii, 8-9), indicating that the two sides were equally matched and Fortune was favoring Macdonwald. “But all’s too weak / For brave Macbeth (well he deserves that name) / Disdaining Fortune, with his brandished steel … unseamed him from the nave to th’ chops” (I, ii, 15-17, 22).

In addition to fighting for his king, Macbeth is quickly and well rewarded for his efforts as King Duncan makes him the new Thane of Cawdor in addition to his already holding the title of Thane of Glamis. “According to Holinshed, Macbeth’s parents were Sinel, Thane of Glamis (whose existence is otherwise unattested) and a daughter of Malcolm II named Doada (again, modern genealogies mention no such person)” (Friedlander, 2005).

In addition to his supposed genealogy and position of rank, Macbeth himself demonstrates nobility of spirit as he considers the idea of assassinating King Duncan in his own home: “He’s here in double trust: / First, as I am his kinsman and his subject, / Strong both against the deed; then, as his hose, / Who should against his murderer shut the door” (I, vii, 12-15). Beyond this, he also knows that Duncan has been a good and fair king and killing him is unjustified.

However, once the idea that he might be king has entered his brain, thanks to the three witches, Macbeth can’t seem to shake it, particularly as his wife continues to press the issue. “One common form of hamartia in Greek tragedies was hubris, that ‘pride’ or overweening self-confidence which leads a protagonist to disregard a divine warning or to violate an important law” (Zarro, 2001).

Although he knows he has no reason to move against his king other than “vaunting ambition, which o’erleaps itself” (I, vii, 25-27), his commitment to his wife and his greed proves overpowering, forcing him to the act. “Lady Macbeth bitches at her husband and ridicules his masculinity in order to make him commit murder. She talks about a smiling baby she once nursed and what it would have been like to smash its brains out – she would prefer this to having a husband who is unwilling to kill in cold blood” (Friedlander, 2005).

Macbeth’s single evil action of killing his king thus commits him to further evil acts. “That same Macbeth, who once as a warrior could spurn at death, now that he dreads the prospect of the life to come, clings with growing anxiety to his earthly existence the more miserable it becomes, and pitilessly removes out of the way whatever to his dark and suspicious mind seems to threaten danger” (Bates, 1906: 37).

When Macbeth willingly participates in murder, this quickly escalates to massacres of perceived enemies and the propagation of lies and deceits as a means of maintaining the perception others have of him. His own deceit of Duncan forces him to consider the possible schemes of Banquo, thus leading him to order murder once again. In avenge himself on Macduff, he orders the massacre of Macduff’s family, and the evil flows on. In this process, he loses his heath and sanity.

Finally, after having made a mistake in judgment causing a fall from his nobility and high moral station, Macbeth is forced to participate in numerous other actions that continually wear away at his nobility and sanity until he is finally, mercifully, killed by a man who was not born of woman. “Macbeth is still found worthy to die the death of a hero on the field of battle. The noble Macduff is allowed the satisfaction of saving his country by punishing with his own hand the tyrant who had murdered his wife and children” (Bates, 1906: 38).

This, again, is something he has brought on himself as it was Macbeth who ordered the murder of Macduff’s entire household once he learned that Macduff had fled the country in search of justice for Duncan’s murder. “Holinshed spends a lot of time on the incident in which Malcolm (who became a popular king) tests Macduff by pretending to be mean when he is really nice” (Friedlander, 2005), thus establishing the difference between a noble man who would lie and cheat his way to the throne and a noble man who would lie and cheat to determine another’s honesty. In the end, though, Macbeth can be seen to be a tragic hero because he started noble, made a terrible decision based upon his own foolish pride egged on by his ambitious wife and finally died a disgraceful death as the result of his actions.

Works Cited

Bates, Alfred (Ed.). “Macbeth: An Analysis of the Play by Shakespeare.” The Drama: Its History, Literature and Influence on Civilization. London: Historical Publishing Company, 1906, Vol. 14: 34-39.

Friedlander, Ed. “Enjoying Macbeth, by William Shakespeare.” Pathguy. (2005). Web.

Shakespeare. “Macbeth.” William Shakespeare: The Complete Works. Alfred Harbage (Ed.). New York: Viking Books, 1969, pp. 1107-1135.

Zarro, Josephine. “More Terms Defined: Aristotelian Definition of Tragedy.” eGallery of Tragic Heroes in Literature and Life. (2001). Teach the Teachers. Web.

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Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Macbeth

Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

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!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

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Macbeth , tragedy in five acts by William Shakespeare , written sometime in 1606–07 and published in the First Folio of 1623 from a playbook or a transcript of one. Some portions of the original text are corrupted or missing from the published edition. The play is the shortest of Shakespeare’s tragedies, without diversions or subplots. It chronicles Macbeth’s seizing of power and subsequent destruction, both his rise and his fall the result of blind ambition.

Macbeth and Banquo , who are generals serving King Duncan of Scotland , meet the Weird Sisters , three witches who prophesy that Macbeth will become thane of Cawdor , then king, and that Banquo will beget kings. Soon thereafter Macbeth discovers that he has indeed been made thane of Cawdor, which leads him to believe the rest of the prophecy. When King Duncan chooses this moment to honour Macbeth by visiting his castle of Dunsinane at Inverness , both Macbeth and his ambitious wife realize that the moment has arrived for them to carry out a plan of regicide that they have long contemplated . Spurred by his wife, Macbeth kills Duncan, and the murder is discovered when Macduff , the thane of Fife , arrives to call on the king. Duncan’s sons Malcolm and Donalbain flee the country, fearing for their lives. Their speedy departure seems to implicate them in the crime, and Macbeth becomes king.

Worried by the witches’ prophecy that Banquo’s heirs instead of Macbeth’s own progeny will be kings, Macbeth arranges the death of Banquo, though Banquo’s son Fleance escapes. Banquo’s ghost haunts Macbeth, and Lady Macbeth is driven to madness by her guilt. The witches assure Macbeth that he will be safe until Birnam Wood comes to Dunsinane and that no one “of woman born” shall harm him. Learning that Macduff is joining Malcolm’s army, Macbeth orders the slaughter of Macduff’s wife and children. When the army, using branches from Birnam Wood as camouflage, advances on Dunsinane, Macbeth sees the prophecy being fulfilled: Birnam Wood has indeed come to Dunsinane. Lady Macbeth dies; Macbeth is killed in battle by Macduff, who was “from his mother’s womb untimely ripped” by cesarean section and in that quibbling sense was not “of woman born.” Malcolm becomes the rightful king.

For a discussion of this play within the context of Shakespeare’s entire corpus, see William Shakespeare: Shakespeare’s plays and poems .

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Macbeth Tragic Hero Essay | Essay on Macbeth Tragic Hero for Students and Children in English

February 12, 2024 by Prasanna

Macbeth Tragic Hero Essay:  Macbeth is considered one of Shakespeare’s classic tragic heroes. Usually, the tragic hero is a figure of high stature.

The person is most righteous but suffers a self-inflicted downfall due to flaws in their personality. Macbeth, the play’s protagonist, was a good character, but he faces his decline due to his wrong decisions.

You can also find more  Essay Writing  articles on events, persons, sports, technology and many more.

Long and Short Essays on Macbeth Tragic Hero for Students and Kids in English

We provide students with essay samples on an extended essay of 500 words and a short essay of 150 words on Macbeth Tragic Hero for reference.

Long Essay on Macbeth Tragic Hero 500 Words in English

Long Essay on Macbeth Tragic Hero is usually given to classes 7, 8, 9, and 10.

The Shakespearean play Macbeth focuses on a war hero whose desire for power, leading to his ultimate coronation as King and downfall. At the start of the drama, Macbeth was shown as a war hero who came back from his latest campaign and was given a new title.

Macbeth’s one mistake fills his life with regret and fear at every step. Macbeth was a good soldier who was loyal to his King, and his bravery and performance in Scotland’s battle were celebrated. His courage and greatness in the battle for his country ultimately lead him to be a great knight, and finally, an influential king, making his actions have a substantial impression on his land. His guilt and unwillingness in assassinating King Duncan also reveal his heroic nature. His potential in being a hero and positive attributes was displayed to justify his guilt. Macbeth’s conscience does not agree to kill Duncan because he was a loyal subject of King Duncan, and his obedience towards his King was also shown in the play.

Macbeth highly respected King Duncan and knew that everyone would mourn his death. He may not have committed assassination without the presence of Lady Macbeth, which shows that he is a tragic hero because he knew that he was making a wrong decision under the temptation of Lady Macbeth. His ambition to be a king and gain power, which turns into an obsession, is the only flaw in his character, and this flaw is responsible for the tragic events that occur in the whole play. He recognizes from the beginning of the tragedy that his ambition could be his demise, which shows that he is a tragic hero.

In the beginning, Macbeth used to be a good character, but he became corrupted and was shown as a tragic hero at the essential point at which all is lost. Although he was a man with good morals, at every step, his morals were taken over by his temptations and ambitions. Despite being a hero at heart, which readers and audience have seen from the start, his mistakes create an insight into evil.

With the manipulation and influence of Lady Macbeth, the hidden ambitions in Macbeth are strengthened, and her evil arrangement gradually tempts Macbeth. So although ambition and fate are the primary factors in Macbeth’s downfall, Lady Macbeth is also at fault. Macbeth’s weakness overturns his whole life and changes his honorable and respectable character into an evil and violent one hated by everyone.

The outcome of Macbeth’s decisions did not just affect him, but the whole of Scotland was also shaken. His character changed from a courageous and loyal man to an evil being despised by most Scotland due to his ill-fated decision, the witches’ prophecies, the influence of fate, and Lady Macbeth’s temptations. Due to his ambitions to reach his goals from the very beginning and maintaining this desire, Macbeth is seen as a tragic hero.

Short Essay on Macbeth Tragic Hero 150 Words in English

Short Essay on Macbeth Tragic Hero is usually given to classes 1, 2, 3, 4, 5, and 6.

One of the classic examples of a Shakespearean tragic hero is shown in the play Macbeth, where the protagonist Macbeth can be seen as a tragic hero. Macbeth was established as a hero with great stature. He earned the King’s trust with his loyalty and his extraordinary abilities on the battlefield. He was someone with noble and respectable nature, and king Duncan spoke of him with great fondness, but he was unaware of the destiny Macbeth imposed on him later on.

Macbeth’s blind ambition and provocation from his wife lead him to take a bloody and violent path where he murdered his own King and ultimately lead to his demise. Macbeth was a righteous and noble person who could have achieved much more and would have been adored by all. If he did not commit Duncan’s assassination, Macbeth was consumed by a sinful life after Duncan’s murder, making him a tragic hero.

10 Lines on Macbeth Tragic Hero in English

• Macbeth is a tragic Shakespearean hero who made a judgment error that inevitably leads to his downfall.
• Macbeth gains insight into his tragic, fatal flaw, although it was too late.
• Macbeth was unable to admit his grievous fault, which made him fall from grace and lead to tragedy.
• Macbeth was guided by his unrestrained ambition, due to which he refused to accept things as they are.
• Macbeth was forced to face the pushing fate and the supernatural’s consequences, supporting his acceptance of life.
• Macbeth was terrified by his desires, and his ambitions were too powerful, but his wife fuelled it.
• Macbeth was trusted by Duncan, who referred to him as a worthy gentleman but, he betrayed his King’s trust by assassinating him.
• Although Macbeth regretted his decision to assassinate Duncan, he still murdered Duncan to retain his throne.
• In the end, Macbeth saw that the crown, which he thought would bring him prosperity, brought him destruction instead.
• During the whole play, Macbeth was seen as a tragic hero caused by his ambitions.

FAQ’s on Macbeth Tragic Hero Essay

Question 1. Can Macbeth be considered a fatal hero or villain?

Answer: Many scholars see Macbeth as a villain instead of a hero due to his vile actions. But a tragic hero can be either an antagonist or a protagonist. The point is that the audience can empathize with the character.

Question 2.  Was Macbeth aware of his tragic flaw?

Answer: Macbeth was aware of his tragic flaw, but he kept going for what he wanted, no matter even if people have to die because of it.

Question 3. Who was the main antagonist in the play?

Answer: Lady Macbeth was the real antagonist of the play because she was evil, ambitious, and eventually insane. Due to her, Macbeth’s unrestricted ambition was fuelled and ultimately led to his downfall.

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Macbeth: a tragic hero

Lessons (7), 'macbeth' as a tragedy, macbeth the tragic hero, 'macbeth' and the witches' prophecies, 'macbeth' and the dagger hallucination, macbeth's internal conflict, macbeth's noble death, an analysis of macbeth as a tragic hero.

Shakespeares Macbeth: A Tragic Hero Essay

Francis Scott Key Fitzgerald once said, “Show me a hero and l’ll write you a tragedy”. Decades apart, Fitzgerald did not know that he would be making a claim that William Shakespeare, the author of the play, Macbeth, had perfected before. According to Wayne C. Booth he would, “Take a good man, a noble man, a man admired by all who know him – and destroy him, not only physically and emotionally” (Booth 17). Shakespeare was shown a hero, Macbeth, and made his story into a tragedy resulting in Macbeth becoming a tragic hero. Macbeth is tragic hero because he has hamartia, hubris, and experiences peripeteia.

Hamartia, by definition, is the tragic flaw that causes the downfall of a hero. The tragic flaw that Macbeth possesses that leads him to his downfall is his constant need for power; Macbeth is power hungry. His major flaw lead him down wicked roads and eventually lead him to his death. His need for power pushes him to make one bad mistake after another. His first mistake was when he agreed to murder King Duncan and finished the act out. Even after he murders the King, he could still have been safe. Instead, he kept seeking out power and that brought him to his own destruction.

He kept murdering people that he elieved were a threat to his power. People became suspicious and started to turn against him. If he had not done anything else besides killing Duncan, he could have taken the throne and no one would have questioned him. He had the perfect plan because people believed that the King’s sons, Malcolm and Donalbain, murdered him. However, he ruined that perfect plan by his need for power. He kept becoming more vicious and others started to wondering if that truly happened, when no one use to think the lesser of Macbeth.

His actions that were fueled by his hunger for power caused people to turn against im and lead to his death. If Macbeth was not power hungry, then he could possibly still be alive. He could have still been the Thane of Cawdor and possibly never been king. He wouldn’t have a high status, but he would still be alive. He probably would have been content with being the Thane of Cawdor too if he had never met the witches. He would have believed that it was a true honor like he did when he was decided that he would not kill the King. I have no spur / To prick the sides of my intent, but only / Vaulting ambition, which o’erleaps itself / And falls on th’ other-” (I. vii. 5-28). “. Macbeth might have always been power hungry, but the witches’ idea brought out his major flaw. The few words, “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! ” (I. ii. 48-50). Started his way down from a noble man to the worst of them all. Hubris is the excessive pride and disrespect of hero for natural order and the ultimate sign of disrespect is murder.

Macbeth murdered several people in order to protect his seat at the throne, but there are two specific murders that Macbeth ommits that are of the utmost disrespect. The first murder was of the beloved King Duncan. King Duncan was gracious king and was loved by many. People adored him, even Macbeth. Macbeth speaks of his praise when he said, “He hath honored me of late, and I have bought / Golden opinions from all sorts of people, / Which would be worn now in their newest gloss, / Not cast aside so soon” (I. vii. 32-35).

Macbeth spoke to Lady Macbeth reminding her of the mercy and kindness that he showed him. He appointed him to an honorable position, which resulted in people looking among Macbeth more favorably. He was a hero n the eyes of many of the people that he ruled, including Macbeth. However, Macbeth disrespected King Duncan in a way no one else did. He murdered King Duncan with his bare hands. The murder is especially disrespectful because Macbeth did it himself, even though he had some assistance from his wife, he was still the one who committed the act of murder.

He took daggers and slit the throat of the man who just awarded him a prestigious position. Even though, he later regretted the murder. It can not undo the mistake that he made. The second murder that was incredibly disrespectful was the one of Macbeth’s trusted friend, Banquo. Banquo was dear to Macbeth’s heart and was there for him in the beginning. He was even there when the witches told Macbeth all of the great things that he would become, however, that ended up being the same reason that he died. Banquo his son.

His last living actions cause Banquo to be seen as hero through the eyes of the audience as well because, “His dying words are spoken in our presence, and they are unselfishly directed to saving his son” (Booth 22). Banquo knew that he was about to die, but rather than trying to save himself, he saves his son. Banquo is a hero and Macbeth disrespects him. Even though Macbeth does not commit the murder himself, the murder is just as disrespectful as King Duncan’s because the audience knows Banquo personally. It is more wicked to kill Banquo than to have killed Duncan” (Booth 22). The reasoning for this is because the audience knows more about Banquo. seen as a hero in the eyes of They have witnessed the goodness of Banquo rather than just hearing about it, which is the case for King Duncan. Macbeth sent out the order for Banquo to be murder, so even though he did not perform the deed himself, the blood is still on his hands. If Macbeth was not around, then Banquo would have lived longer. Macbeth experiences peripeteia, which is the reversal of fate that the hero experiences.

Macbeth decided the fate of others and others decided the fate of Macbeth. Macbeth took it upon himself to play the role of God and decide who was going to live and who was going to die. He decided the fate of King Duncan, Banquo, Macduff’s wife and children, and others. Macbeth figured that they were obstacles in the way and decided it was in his best interest to remove them from his path. Macbeth did not need help to come up with ideas on how to chieve his goals, he always has that idea in the back of his mind.

The idea of playing dirty was not new to Macbeth, “When the play begins, he has already coveted the crown, as is shown by his excessively nervous reaction to the witches’ prophecy; it is indeed likely that he has already consider foul means of obtaining it” (Booth 18). Even though M he coveted the crown, Macbeth did not always think that he was destined for the throne. However, it did not take much for him to get completely on board with the idea. Once the idea was planted, he took charge of it. Macbeth thought that the highest power that he ould amount to would Thane of Glamis.

When he is moved up to the position of Thane of Cawdor, he allowed the words of the witches to get into his mind and cloud his focus. Rather than being grateful for his new appointed job, he focussed on trying to fulfil the rest of his prophecy from the witches. He takes King Duncan’s fate in his own hands, which resulted in someone else taking the fate of Macbeth into their own hands. He determined the fate of someone else and later in the story, someone would decide the fate of Macbeth. Macbeth murdered King Duncan, in retribution Macbeth is murdered.

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The title character and the play’s protagonist , Macbeth is a tragic figure whose soaring ambition compels him to lose his humanity. At the beginning of the play, he is a conquering hero. Before the audience has even been introduced to Macbeth, the level of respect which he is accorded by other characters demonstrates that he is worthy of attention.

A victorious general, Macbeth is rewarded for his great deeds with noble titles and praise from King Duncan. But it is not enough. After an encounter with a coven of witches, Macbeth becomes obsessed with becoming king. His frequent asides to the audience make clear that his ambitions have taken over his entire character. Once a confident, benevolent, and respectable figure, Macbeth transforms into a deranged, paranoid despot who butchers innocent women and children on a whim.

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Macbeth: The Tragic Hero's Downfall

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