Introduction
Shakespeare’s *Macbeth*, first performed in 1606, is a tragic exploration of ambition, guilt, and moral decay. The central character, Macbeth, evolves from a noble warrior to a tyrannical murderer, driven by prophecy and personal ambition. This essay examines the extent to which Shakespeare presents Macbeth as a character deserving of pity, considering his initial heroism, the external influences that propel his downfall, and the internal torment that accompanies his actions. While Macbeth’s crimes are undeniable, Shakespeare imbues his character with human frailty and suffering, arguably inviting sympathy from the audience. Through an analysis of key scenes and critical perspectives, this essay will argue that Shakespeare constructs Macbeth as a tragic figure whose descent into evil, though self-inflicted to a degree, is marked by factors that elicit a degree of pity.
Macbeth’s Initial Virtue and Potential for Pity
At the outset of the play, Shakespeare presents Macbeth as a valiant and respected figure, establishing a foundation for audience sympathy. Described as “brave Macbeth” who “carved out his passage” through battle (Act 1, Scene 2), he is a hero in the eyes of King Duncan and his peers. This portrayal of Macbeth as a loyal subject underscores the tragedy of his eventual fall, as it highlights the loss of a once-noble character. Bloom (1998) argues that Shakespeare deliberately constructs this initial image to accentuate the depth of Macbeth’s moral decline, making his later actions more pitiable as they contrast sharply with his earlier virtue.
Moreover, Macbeth’s initial reluctance to act on his ambition suggests a moral conscience that invites empathy. When first considering the witches’ prophecy that he will become king, he states, “If chance will have me king, why, chance may crown me / Without my stir” (Act 1, Scene 3). This hesitation reveals a man not inherently predisposed to evil, but rather one who is gradually corrupted. Indeed, his internal conflict—evident in his asides and soliloquies—demonstrates a struggle between ambition and morality, a human flaw that many can relate to. Thus, Shakespeare lays the groundwork for pity by presenting Macbeth as a man of potential virtue whose tragic choices lead to his undoing.
The Role of External Influences in Macbeth’s Downfall
Shakespeare further complicates the audience’s perception of Macbeth by introducing external forces that drive his actions, arguably diminishing his personal responsibility and eliciting sympathy. The witches’ prophecies serve as a catalyst for Macbeth’s ambition, planting the seeds of regicide in his mind. Their prediction that he will be “king hereafter” (Act 1, Scene 3) manipulates his sense of destiny, blurring the line between fate and free will. Critics such as Muir (1984) suggest that the witches represent a supernatural force that preys on Macbeth’s latent desires, thereby reducing his agency and inviting pity for a man ensnared by forces beyond his control.
Similarly, Lady Macbeth’s influence cannot be overlooked. Her taunting of Macbeth’s masculinity—“Are you a man?” (Act 3, Scene 4)—and her relentless goading push him toward murder. While Macbeth ultimately makes the choice to kill Duncan, Lady Macbeth’s manipulation highlights his susceptibility to external pressures. This dynamic suggests that Macbeth is, to an extent, a victim of coercion, a factor that may soften the audience’s judgment. Therefore, Shakespeare’s depiction of these influences encourages a more nuanced view of Macbeth’s culpability, fostering a sense of pity for a man caught in a web of external temptation.
Macbeth’s Internal Torment and Pathos
Perhaps the most compelling reason to pity Macbeth lies in the intense psychological torment he endures following his crimes. Shakespeare vividly illustrates Macbeth’s guilt through haunting imagery and soliloquies that reveal his fractured state of mind. After murdering Duncan, Macbeth laments, “Methought I heard a voice cry ‘Sleep no more! / Macbeth does murder sleep’” (Act 2, Scene 2). This personification of guilt as an inescapable force underscores the heavy toll of his actions on his psyche, presenting him as a man suffering profoundly for his sins.
Furthermore, Macbeth’s growing paranoia and isolation deepen the pathos of his character. His fear of being overthrown leads to further atrocities, such as the murder of Banquo and the massacre of Macduff’s family, yet these acts only intensify his loneliness. By Act 5, his despair is palpable as he reflects, “I have no spur / To prick the sides of my intent, but only / Vaulting ambition, which o’erleaps itself” (Act 1, Scene 7). This introspection reveals a man aware of his tragic flaw, yet powerless to reverse his course. According to Knights (1964), this self-awareness amplifies the tragic dimension of Macbeth’s character, as it positions him as a figure trapped by his own nature. Such psychological complexity invites the audience to pity rather than solely condemn him.
Counterarguments: Macbeth’s Responsibility and Lack of Redemption
However, it must be acknowledged that Shakespeare does not wholly exonerate Macbeth, and there are limits to the pity his character may evoke. Macbeth’s actions—particularly the cold-blooded murders he orchestrates—demonstrate a willing engagement with evil. Unlike tragic heroes such as Hamlet, who often act out of necessity or external compulsion, Macbeth’s initial murder of Duncan is a calculated choice driven by ambition. His later descent into tyranny, marked by the ruthless elimination of perceived threats, further alienates him from sympathy. As Bradley (1904) notes, Macbeth’s increasing cruelty suggests a moral degradation that undermines claims for unreserved pity.
Additionally, Macbeth shows little remorse or attempt at redemption, which might otherwise bolster audience sympathy. Unlike Lady Macbeth, who descends into madness and ultimately takes her own life, Macbeth remains defiant until the end, declaring, “I will not yield” (Act 5, Scene 8). This stubbornness could be interpreted as a refusal to acknowledge his wrongs fully, limiting the extent to which audiences might feel compassion for him. Thus, while Shakespeare presents elements of Macbeth’s character and circumstances that invite pity, he also ensures that the audience remains aware of his culpability, creating a balanced portrayal.
Conclusion
In conclusion, Shakespeare presents Macbeth as a character who elicits a significant degree of pity, though this sympathy is tempered by his moral failings. Through his initial portrayal as a noble hero, the influence of external forces such as the witches and Lady Macbeth, and the profound internal torment that accompanies his crimes, Shakespeare constructs a tragic figure whose downfall is both self-inflicted and externally driven. However, Macbeth’s active participation in evil and his lack of redemption serve as counterpoints that limit the extent of audience compassion. Ultimately, this duality reflects Shakespeare’s nuanced approach to tragedy, inviting audiences to grapple with the complex interplay of fate, choice, and human frailty. The character of Macbeth, therefore, stands as a poignant reminder of the destructive potential of ambition, while also prompting reflection on the capacity for pity in the face of profound moral failure.
References
- Bloom, H. (1998) Shakespeare: The Invention of the Human. Riverhead Books.
- Bradley, A. C. (1904) Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. Macmillan.
- Knights, L. C. (1964) Some Shakespearean Themes. Stanford University Press.
- Muir, K. (1984) Shakespeare’s Tragic Sequence. Routledge.
