Is it true that fear and courage, the two different passions, emerge as paving simultaneously in Macbeth?
The Tragedy of Macbeth is one of the three most discussed Shakespearean plays. According to many readers and experts, it is also the best Shakespearean creation that unveils William Shakespeare’s exceptional mastery in drawing two contrasting elements side-by-side. Yes, the said drama is the sole Shakespearean creation that ensures carrying two different passions, fear and courage, simultaneously.
Without any exaggeration, it is better to start discussing this issue. Let’s begin with the first component, i.e., fear.
Macbeth is an acute instance of producing a robust image of fear:
The Tragedy of Macbeth is an embodiment of murkiness and baffling fear. An uncanny, fearsome sense begins to sprout in readers’ minds from the beginning of the play.
Macbeth is an excellent example of unique Shakespearean mastery that involves the best artistic portrayal of several adverse components. These are the darkness, horrible rumors, uncertainty, ruthless murders, and an adequate amount of mystery. Without any doubt, all these components together unveil an essence of apprehension and anxiety. Moreover, this ultimately confirms an association with the nightmare, which is also a pivotal part of the discussion.
Many literary experts question whether Shakespeare, as a playwright, intentionally unlocks a robust image of fear in Macbeth. It is a proven truth that this uneasy, concerning passion is one of the ruining evil ingredients of human feeling that acts as a severe life-draining of all positive emotions.
Fear hammers the human mind most and impacts so negatively that it sometimes paralyzes confidence and destroys the power of positive human thinking. Now, Macbeth is a study of fear, and the playwright portrays this passion with increased momentum using another contrasting passion, i.e., courage. In short, the play is a manifestation of fear and courage.
The nature of fear and courage in The Tragedy of Macbeth:
William Shakespeare draws the storyline of Macbeth in such a specific way that it develops a uniquely constructed fear theme against the artistically conceived background of courage.
There is no denying that Macbeth’s courage appears to be associated with rashness in the play. The play shows that both the hero and his wife, Lady Macbeth, become deeply inspired by their urge driving ambition. As a result, they don’t hesitate to follow a chain of rash deeds. However, this course of action compels them to suffer from disillusion and become the victims of the horrible effects of fear.
In the introductory part, readers find Macbeth is greeted as a courageous person like “Valour’s minion,” “brave” and so on. But, in the next part of the play readers discover the prime character of the play an embodiment of rashness. Yes, his, so far earned, bravery reflects in the later part as being an unwise human.
One notable thing is when Banquo and Macbeth meet three witches on the heath while returning from the war, and Banquo appears unmoved, but fear becomes evident and noticeable in Macbeth’s words or response. It is undeniably normal that, like many other human beings, Macbeth must have some ambition. However, his ambitious nature finds no choice but to contend with fear when he hears King Duncan announce Malcolm as his next heir to the throne. Undeniably, this part of the play explains how the Shakespearean creation carries two different passions simultaneously, i.e., fear and courage.
One surprising reality is that Lady Macbeth knows her husband’s confused mind. She realizes his fear and conscience-driven nature when Macbeth says he can’t do any wicked thing to fulfill his ambition. To utter surprise, he makes it very clear that if any other person chooses to do the dirty work for him, he never prevents that person. However, Lady Macbeth convinces him to tame his fear and be bold enough to murder King Duncan.
The matchless Shakespearean creation even displays the essence of the coexistence of fear and courage in the ending portion:
The last part of the play shows how loneliness engulfs Macbeth’s mind, and being an isolated person, he finally admits his evil deeds without being afraid. His courageous nature even makes him adamant to fight to the end instead of succumbing to fear. It is another acute instance of the coexistence of fear and courage.
One crucial fact is that this anxiety-mixed bold nature appears absent before he encounters three witches on the heath. The complex situation begins to sprout after Macbeth hears the prophecies of the witches and experiences debilitating fear with an ambiguous mind.
Things become utterly complicated, and Macbeth becomes rigid and determined when he realizes he can no longer escape the consequences of his misdeeds. He understands that fear and courage no longer pave side by side. And so, the hero of the tragic play finally decides to embrace the courage of one cornered beast. He points out that he is now ready to be driven by the rash courage that has no association with reason or good sense. In short, Macbeth chooses to befriend with rash, animal-like courage.
On the contrary, readers can see how young Siward fights with true manly courage and dies in the battle and how old Siward receives this painful truth stoically. With this portion of the play, Shakespeare finally ensures fear and courage to establish an association with the evil theme in Macbeth.
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