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Essay: Exploring Aristotle’s Poetics Through the Tragedy of Macbeth

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  • Published: 1 April 2019*
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Aristotle’s poetics

In 335 BC, Greek philosopher Aristotle wrote Poetics; the earliest surviving work of dramatic theory that focuses on the ideals of tragedy and comedy. Tragedy, as Aristotle describes it, is “an imitation, not of men, but of an action and of life” (Butcher VI, 27). There should be one single, complete action, who’s hubris will connect a cause-and-effect chain of consequences from “ignorance to knowledge” (Butcher XI, 41) as the plot progresses. The protagonist’s journey is split into two sections: “complication” and “unravelling.” (Butcher XVIII,67). The complication stretches from the beginning to peripeteia – the turning point. This is soon followed by denouncement, when all the loose ends of the plot are tied, and secrets are revealed. The audience should at this point feel a sense of catharsis – purging of emotions like fear, pity and sadness after watching the performance.

The following paragraphs will include an analysis of the Macbeth’s character arc guided by Freytag’s theory; a five-act structure that includes an:

1)   Exposition; introducing the setting, characters and relationships of the tragedy

2)   Rising action; conflicts and happenings that hinders the protagonist’s goal to reach their objectives

3)   Climax; the highest point of the pyramid as it changes the character’s fate for better or worse

4)   Falling action; where things finally begin to resolve, plots and secrets are being revealed

5)   Conclusion; The protagonist usually fails at the end of a tragedy (i.e dies, banished) while other characters resume to their own normal lives.

By looking at Macbeth’s character arc, comparing with Hamlet’s character arc as well as looking into the dramatic devices used in the plays, this essay will discuss whether the dramatic theory by Aristotle are included in Shakespeare’s works.

The Tragedy Of Macbeth

The Tragedy of Macbeth – Macbeth in short, was first performed in 1606 during King James I’s reign. As a patron of The King’s Men – Shakespeare’s acting company, it is most likely that the playwright would’ve written it to compliment the king as the “influences of James and of James’ interest are evident…” (Williams, 3) in the structure, image and language of the play. This dramatic tragedy speaks of how Scottish general Macbeth’s hunger for power becomes the ultimate cause of his downfall as he trusts the prophecy of three witches that he will one day be king of Scotland. Bloodbath and a civil war soon follows as both him and Lady Macbeth slowly fall into madness and eventually, death. This narrative stems from Holinshed’s Chronicles of England, Scotland and Ireland where Shakespeare draws inspiration for the likes of Richard II, Lear and many others. The idea of murder and bloodshed that could also be seen in Hamlet as well sets a framework of a play that shows the “succession of kings” making it a lesson for King James I himself to be wary of “envious courtiers.” Despite being the shortest tragedy, it is so beautifully paced; taking its audiences on a rollercoaster ride of emotions, mainly guilt and fear.

Macbeth was first introduced into the story as someone of high regard; a valiant, determined Scottish general under the order of King Duncan. Against all odds, the Scottish emerged victorious even when they had to battle the Irish soldiers before the king of Norway decided to challenge them too and lost. The Captain recalls how “brave Macbeth” (Macbeth I.ii.16) kills Macdonwald while the Thane of Ross described him as “Bellona’s bridegroom” (Macbeth I.ii.54), leading Scotland to victory as he “Confronted him [Norway] with self-comparisons . . . curbing his lavish spirit” (Macbeth I.ii.55).  Amidst the high praises, Macbeth’s violent nature was first exposed too as Shakespeare spares no detail on how Macbeth executes Macdonwald:

“… with his brandishing steel, Which smoked with bloody execution, Like a valor’s minion carved out his passage Till he faced the slave; Which ne’er shook hands, nor bade farewell to him, Till he unseamed him from the nave to th’ chops, And fixed his head upon our battlements.” (Macbeth I.ii.17-23)

Macbeth fits the ideals of a character in an Aristotelian tragedy; one who is neither entirely good nor bad. It is also interesting to point out how this can be considered a foreshadowing into his violent misdoings in the subsequent scenes and yet, it doesn’t stray the audience’s first impression of Macbeth.

We see the first of many examples of equivocation during Macbeth and Banquo’s first encounter with the three witches. The rising action begins as they present questionable prophecies to them. Hailing Macbeth as the “… Thane of Cawdor” and “… that shalt be king thereafter” (Macbeth I.iii.52), the witches were successful in exciting him with small truths whilst leaving out important information. Later the witches continued with riddling prophecies towards Banquo, calling him someone “Lesser than Macbeth and greater.” (Macbeth I, iii, 66) and “Not so happy, yet much happier.” (Macbeth I, iii, 67). Had he paid closer attention to the witches’ words as well as Banquo’s warning on how the witches could be capturing their attention with “honest trifles” only to be betrayed later on, Macbeth could have picked up signs of trickery but that fell on deaf ears as his focus shifts towards his hunger for honor and fame. In a sense, Macbeth was never lied to; he simply decides what he wants to hear. This hubris further exposes itself in the later parts of the play.

Hecate, goddess of witchcraft, speaks about “security is mortals’ chiefest enemy.” (Macbeth III.v.32-33) This is a classic example of foreshadowing Macbeth’s character flow; being one who is inherently arrogant. Linking back to the Aristotelian idea of frailty: “that of a man who is no eminently good and just, yet whose misfortune is brought about not by vice or depravity, but by some error or frailty.” (Butcher, 45)

The idea of equivocation stems beyond the witches. Macbeth too showed attempts to lie to himself about the knowledge of his thoughts and deeds by using imagery and appearance. He asks the stars to hide their light so that his “eyes” cannot see the misdoings of his “hands”.  (Macbeth I.iv.53) Macbeth is no hero but not entirely a villain either. Shakespeare’s use of an aside allows the audience to develop a multi-dimensional view of Macbeth himself. While he doesn’t fancy the idea of murder, his ambitious nature precedes it. Before the night of Duncan’s murder, he is seen questioning whether it was the right thing to do. Sadly, the voice of Lady Macbeth, the three witches and his greed proved louder than his conscience.

The impending battle between Macbeth and Malcolm’s armies found Macbeth’s hubris neck deep. His final soliloquy gives the audience one final chance at feeling for him despite his mistakes. Macbeth admits feeling almost defeated as his begins to “pull in resolution and begin to doubt th’ equivocation of the fiend.” (Macbeth I.v.41-42). Yet still, Macbeth chooses to believe that he bears “a charmèd life, which must not yield to one of woman born.” (Macbeth I.v.11-12). Till this point, his obstinate decision to only listen to the witches’ predictions refrains him from making any further logical judgement. The climax unfolds as he soon reaches anagnorisis; Learning that Macduff was in fact, “from his mother’s womb untimely ripped.” (Macbeth I.v.15-16) He accepts his fate, learns that tyranny and ambition are the causes of his downfall before being slain.

One thing the audience doesn’t see here is the actual murder of Macbeth. Shakespeare uses the off-stage technique in the final act by having the murder done away from their eyes, thus allowing their imagination to fill in the missing details by themselves. By eliminating the gory details, their attention is better focused on everything that has gone on prior instead of the murder itself. With the head of Macbeth in one hand, Malcolm proclaims to set things right for the Scotland once more by seeking justice for the dead by punishing ministers in support of Macbeth, calling the ones who fled for their safety back home and thanking the thanes and kinsmen who supported him through this ordeal. Relating back to the Aristotelian tragedy ideal, denouement happens as the plot is finally unraveled and is finally resolved.

Macbeth in comparison with Hamlet

By bringing the likes of Macbeth in comparison to Hamlet, it is possible to compare how their character arc resonates with each other. Hamlet, the prince of Denmark seeks to revenge for his father, King Hamlet who came to him as a ghost one night and spoke about his uncle Claudius’ poisoning him as a ploy to take over his kingship. Hamlet is also troubled by the fact that his Mother, Queen Gertrude married Claudius shortly after King Hamlet’s death.

Hamlet’s well-known soliloquy “To be, or not to be?” (Hamlet III.i.57) is a classic example of how this dramatic device gets the audience to question their own moral values. they too can contemplate questions about the value of life. Just like Macbeth, Shakespeare shows us the weaker sides of each tragic character. Even though Hamlet is not as fast moving as Macbeth because of the time he takes to question, he too acts violently and rashly when he decides to do so. One distinctive instance is when he stabs through the curtains thinking that it was Claudius eavesdropping when in actual fact, it was Polonius.

Hamlet’s anagnorisis happens as he watches Claudius leave the room after watching a play with a similar storyline to their real life situation. This confirms that Claudius is indeed the murderer and therefore takes it on himself to avenge for his Father.

We can see a similarity between Shakespearean and Aristotelian tragedy; how the suffering characters like Macbeth and Hamlet brought opportunities to learn about the human condition. Protagonists play a more active role in showing the potential in surviving or transcending from misery. The more the protagonist suffers; being pushed beyond their limits, the greater the catharsis is experienced by the audience. Shakespeare’s plays have been successful in doing so even till this day.

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