Macbeth As A Classical Tragedy

Examining Macbeth – As A Classical Tragedy

INTRODUCTION

Tragedy has been defined as the presentation of serious/important actions which turn out disastrously for the protagonist/chief character.

Further, a classical tragedy according to Aristotle in his book, Poetics, (representing the classical view of tragedy) must have the following features:
- a plot with the three unities of time, place and action.
- characters used in tragedies must be of noble birth.
- the use of elevated/enhanced language
- There must also be the arousal of pity and fear which dose not violate our human emotions.

PLOT AND SETTING

Shakespeare’s Macbeth is about a General in the Scottish Army(Macbeth – our protagonist and hero) whose “vaulting ambition” premised on the prophecies of some metaphysical creatures (three witches) causes him to murder his loving, trusting and kind king (Duncan) in order to gain control of the realms of power (the kingdom of Scotland). However, in the end, nemesis catches up with him as he and his chief-partner in crime (his wife) pay dearly for it, even as the kingdom is restored to one of the late king’s son in the person of Malcolm.

According to Aristotle, a classical tragedy must have as one of its features, the presence of the three unities of time, place and action. That is, all the actions in the play must occur within twenty-four hours – one day. In addendum, all the actions would as well have to take place in one geographical entity (place) and finally, all the actions in a play must occur in one piece. So, in Shakespeare’s Macbeth, all the actions take place in Scotland, except for Act 4, Scene 3 which takes place in England. This of course is because of William Shakespeare’s opinion and which is true that life is not as unified as Aristotle presented it. Also note that all actions in Shakespeare’s Macbeth occur in one piece.

However, Shakespeare’s Macbeth does not follow the rule of the unity of time as the events in the play quite well exceed 24 hours as seen in the Doctor’s speech. See Act 5, Scene 1, Line 1 (5,1,1).

THE USE OF NOBLE CHARACTERS

Shakespeare’s Macbeth in conformity with the classical idea of tragedy makes use of characters of noble birth. Here, we see characters such as Duncan (the king of Scotland); his two sons Donalbain and Malcolm – princes of Scotland; Macduff; Ross, Lennox, etc and even Macbeth himself – all thanes of Scotland, with Macbeth later ascending to the throne of Scotland.

These characters are not just noble of birth, but as well in virtues. See the excerpt below describing Duncan per Macbeth:

…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-tongu’d, against
The deep damnation of his taking-off;
And pity, like a naked new-born babe,
Striding the blast, or heaven’s cherubin, hors’d
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’er-leaps itself
And falls on the other.
(1,7,16-28)

Also see Lady Macbeth’s comment on Macbeth in 1,5,14-29.

So, Shakespeare’s Macbeth in this respect again conforms to the classical ideals of tragedy.

THE USE OF ELEVATED/ENHANCED LANGUAGE

This is also all too-clear as seen in Shakespeare’s Macbeth where we see a highly elevated/enhanced use of language loaded with much imagery, sound and meaning conforming to the classical views of tragedy. Such words as “augment” (2,1,27); “clear” (2,1,28); “born franchised” (2,1,28); “stirring” (2,3,45); take on the elevated/enhanced meanings of “increase”; “loyal”; “heart from guilt”; and “awake”; respectively. Also consider the expression below:

Fair is foul, and foul is fair;
Hover through the fog and filthy air.
(1,1,11-12)

Now, one would wonder how fair can become foul and also about the possibility of the reverse. However, this is a classical example of the beauty of the enhanced form of language as often used in classical tragedies to, among other things, capture the minds of the readers/audience and also generally improve sound and meaning – as words leave their denotative levels and get connotative constructions.

In other words, we find a lot of words and expressions being elevated/ enhanced beyond their normal meaning which more often than not, enhance the imagery, sound and meaning in the play.

We also find the words of the characters in verse form which all accords with the classical prescriptions for tragedies.

THE AROUSAL OF PITY AND FEAR

The arousal of pity and fear is also present in Shakespeare’s Macbeth. For example, as we picture Macbeth – our tragic hero- going to murder his cousin and king –Duncan to whom he owes three levels of allegiance, i.e. that of a “kinsman”, “subject” and a “host”, pity is aroused for the unsuspecting king Duncan whom we see has an unreserved love and trust for Macbeth who then betrays this trust because of his “vaulting ambition”. See generally 1,7,12-28.

This, as a matter of fact, also generates fear in the heart of the audience/readers as we are made to understand that we cannot trust anybody, not even our close associates/friends, or relatives.

We further pity Macduff whose family and all that belonged to him are murdered by Macbeth for no just cause. This also on the other hand makes us fear our friends and what ill they can do to us – with such useful pieces of information they may have about us which are not normally revealed to others by us. For in Shakespeare’s Macbeth, we discover that Macduff was in good terms with Macbeth before falling out of favour and it is because his place of abode is known to Macbeth that he (Macbeth) is able to set spies around him and also successfully waste his family as soon as he flees Scotland for England in the play. See generally 4,2 and 4,3,204-219.

We finally pity Macbeth (the protagonist and hero of the play) whose hubris causes his downfall despite his initial courage and bragging. We see him finally admit his fears even in his final moments. On the other hand, through the play’s general lesson of “it does not pay to do evil and that evil doers would surely pay for their sins”, fear again is aroused in our hearts as evil doers are warned of their evil doings – since of course, they would have to pay for their sins even here on earth and beyond. See generally, 5,7,30-63 and the excerpt below:

…But in these cases,
We still have judgment here…
(1,7,7-8)

So, in conformity with the classical ideals of tragedy as opposed to modern view(s) of tragedy, Shakespeare’s Macbeth as a play both generate fear and pity that does not violate human emotions in the hearts/minds of the readers or audience as the case may be.

CONCLUSION

Finally, we can say that though there are little variations as to the form, Shakespeare’s Macbeth to a large extent conform to and indeed is a classical tragedy. This is because there is a plot that to a great extent follows the rules concerning the three unities of time, place and action; the characters are noble; there is the use of elevated/enhanced language and finally, there is the arousal of pity and fear which does not violate our human emotions.

Also note that the events/actions in the play turn out disastrously for the protagonist/chief character in the person of Macbeth.

Further note that it is no tragedy where a man kills his enemy or when people die out of a natural disaster, etc, as it tragedy only when the death of someone or something is caused by someone or something he was or is in good relationship with. Therefore, in Shakespeare’s Macbeth, we see the characters die at the hands of those whom they formerly loved and or still love.

OHALETEM EZEUGO EMMANUEL
(University of Benin, Benin-City, Edo State, Nigeria.)