Why Macbeth is an Aristotelian Tragedy

Execution like valours minion carved out his passage

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execution, | Like valour’s minion carved out his passage | till he faced the slave; (lines 20 - 24, act 1, scene 2)”; a man who has shown braveness in battle, but is still an average guy. He can be compared to a modern fire fighter who has rescued a person from a blazing horse--a local hero, but not seen as infallible. Enter the tragic flaw. A tragic flaw can be an intellectual error or mistake (such as receiving misinformation and relying on it, etc.), or a moral weakness, such as
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in the case of Macbeth, and his “vaulting ambition (line 30, act 1, scene 7).” It is this hitherto small foible that ensnares Macbeth’s will and, as he admits in his first soliloquy, leads him down his path of moral decay. Perhaps the moment at which the viewer’s sympathy for the tragic hero really begins to wax is when his or her fortune reverses. This is because the hero’s tragedy does not become fully apparent until his or her downfall is imminent. When Macbeth gets away with killing whoever he wants, he’s a jerk who has fallen from grace, but still a jerk. When things start to backfire, though, the audience realizes that Macbeth has brought all this trouble on himself, and, if only he had had a bit more fortitude, or, if only he hadn’t placed so much trust and hope in the witches, or, if only he hadn’t listened to his wife, etc. etc. On a sympathetic level, the audience pities poor Macbeth, and, on an empathic level, the audience fears that maybe they might succumb to the same weaknesses of character. When a play is successful on reaching audiences on both levels, through sympathy and empathy, it is Aristotelian. Macbeth’s in-depth portrayal of Macbeth’s tragedy on the internal (Macbeth’s mental and emotional turmoil as revealed through his
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