Plato was one of the first philosophers to introduce the concept of dualism in his philosophy. In a nutshell, he believed that there is a clear separation between the mind and spirit of a person versus their physical body. The two acts together in a yin and yang fashion, where either relies on the other to remain a perfect circle but yet their qualities have stark difference. In German philosopher Friedrich Nietzsche’s theoretical book, The Birth of Tragedy, he distinguishes between the two Greek gods Apollo and Dionysus and applies their religious significance to artistic productions; specifically, literary tragedy, though he makes references to other types of media such as paintings and music. His perception of dualism falls between the use of the Apollonian material appearance of art versus (or in tandem) with the Dionysian auditory (or in a way, spiritual) form. Nietzsche dissects the two gods further to find that each represent specific elements present in Greek tragedy, including Apollonian prophecy and fate as well as a Dionysian behavior of excessive excitement and obsessiveness. This idea of dualism is present in Macbeth, in regards to the way Macbeth interacts with the witches and their prophecy, bringing in the literary distinctions between the two gods. As a character, Macbeth presents both Apollonian and Dionysian tragic elements and even provides a lament of reconciliation before falling victim to his own fate which was prophesized by the witches.
The idea of prophecy is particularly prevalent in Greek tragedies and in the case of Macbeth, he was tragically fated from the moment the witches prophesized his and Banquo’s future. Nietzsche includes that Apollo “is at the same time the god of prophecy” who also is responsible for causing dream sequences (2). Taking into consideration that a Dionysian complex of developing “the tremendous awe which seizes a man when he suddenly doubts his ways of comprehending illusion” is the dualistic concept at play (Nietzsche 3). This creates the foundations of a tragic plot because the destiny the characters are being told forces them to decide whether to try and make the prophecy come true or to attempt to suppress it, the former is accepted in Macbeth’s case. The witches prophesize that Macbeth would become the Thane of Cawdor, he would rule as king, but Banquo’s sons would hold the bloodline following Macbeth (Shakespeare 1.3.51-52, 69). The prophecy filled Macbeth with doubt at first until he meditated on the possibility of achieving Duncan’s status. This is when he becomes excessively happy and obsessed over the prophecy in an attempt to make it come true. The Apollonian prophecy triggered the Dionysian excitement. His doubts were transformed into anxiety and paranoia toward Banquo and any other character who had a chance at the throne.
One conflict which arises as a result from the former duality according to prophecy and delight is that the character will begin to stray from the being he or she was before they were told their fate. Nietzsche found that the more the “Dionysian excitement arises…the subjective fades into complete forgetfulness of self” or that their behavior begins to shift dramatically (Nietzsche 3). Macbeth, and to some extent Lady Macbeth, began to change their thought process and even start to develop disturbing and murderous intentions. The beginning of scene seven features a long soliloquy by Macbeth who muses on the possibility of the assassination of Duncan, but he also he doubts it and eventually decides against the thought completely. When Lady Macbeth inquired about his decision, he replied by saying that they “would proceed no further in this business,” to which she belittles Macbeth into thinking otherwise (Shakespeare 1.7.31). This is where the shift into forgetfulness really comes into play for both characters. Macbeth, forgetful of his highly masculine reputation and wartime positions, let Lady Macbeth persuade him to think he was feminine and weak. The two become driven by the prophecy and obsessed with the potential power either would achieve. This change is also prevalent with the sinister transformation with Lady Macbeth. In arguing with Macbeth over whether or not to kill Duncan, she exclaimed “unsex me here, and fill me from the crown to the toe top-full of direst cruelty,” fill her with all the evil needed to plan a murder in cold blood (Shakespeare 1.5.41-43). Lady Macbeth desexualizes herself to separate from the suppressed and generally politically ostracized female gender. In her new-found masculinity, she tears apart her husband and devises the entire murder to aid Macbeth in gaining kingly status which, in part, makes her a queen.
This power, to apply it to the Greek religious figures, creates a god-complex among the tragic figure. The Apollonian and Dionysian concepts coincide with each other and clash together into the person affected, in this case, Macbeth. He should feel “himself a god; he himself now moves in as lofty and ecstatic a way as he saw the gods move in his dream” or prophecy (Nietzsche 4). Macbeth has this intoxication with the prophecy and it not only spiraled him into an out of control murderous, paranoid stricken frenzy, but it also elevated him to the position he hoped to obtain by killing Duncan. He gained power too quickly and used it to help aid his conquest of killing every last individual that may try to overthrow him; Malcolm calls him a “tyrant, whose sole name blisters our tongues” (Shakespeare 4.3.12). The way Macbeth had developed a sense of tunnel vision with murder can be equated to being overtaken by the idea of the Apollonian prophecy to the point where an unhealthy obsession drives the figure deeper into a tragic rabbit hole. From the depth of the hole, a sort of reconciliation follows suit when Macbeth found out that his tyrannical reign forced Macduff to form an army to overtake him (Shakespeare 4.3.234).
For tragic figures who journey through the Apollonian and Dionysian concepts of art, the tragic figure must come to some extensional or godly call of forgiveness before succumbing to their demise, which was a gruesome death for Macbeth. The tragic figures go through the “final process of reconciliation, limited itself to taking the destructive weapon out of the hand of the powerful opponent” (Nietzsche 5). The weapon is literally and figuratively taken from Macbeth’s hand as he duels it out one-on-one with Macduff in the final pages of the play. The fight is never fully laid out in the scene, but considering that the stage directions cue “Enter Macduff, with Macbeth’s head,” there is an assumption that Macbeth was overtaken in the battle and his weapon was disposed of by Macduff to help him finish off the king without conflict (Shakespeare 5.8.52). Before there was a physical ripping of the weapon from Macbeth’s hands, he lamented to his servant Seyton that “as honor, love, obedience, troops of friends, [he] must not look to have,” that is those who were once fond of him now were conspiring to overthrow his despotic rule (5.3.25-26). This is the scene where Macbeth reflected on the destruction he has done not only to his kingdom but to the friends he once had. His reconciliation was contemplated, but he realized that he had gone too far with his murderous intentions and completed assassinations that they were only going to destroy his power. Mentally, Macbeth let down his weapon though he is still going to fight Macduff because it was the societal standard to die in battle rather than accept defeat.
In essence, while the actual tragedy in the plot is what makes the genre a “tragedy,” there needs to be a character who feeds into his or her own demise. Nietzsche’s own theory of the gluttonous and obsessive Dionysian behavior mixed with the Apollonian concept of the dream or prophecy is a brew for disaster. Unfortunately, with the guidance and persuasion of the weird sisters constantly reminding Macbeth of his future position, he fell victim to the dream. Macbeth and Lady Macbeth obsessed over the idea of becoming royalty and having reign over Scotland. It prompted them to release their human selves and adopt villainous personalities that plan the murder of their own king as well as the murder of women, children, and close friends out of paranoia and anxiety. Macbeth attempted a reconciliation but failed when he realized that it was far too late to strive for forgiveness, but he still repented for his sins towards the end of the play. This Nietzsche concept directly involves the character and the stages he or she needs to go through which will create a tragic character. Whereas Aristotle focuses on the emotions which fill the tragedy, Nietzsche finds that the true tragedy lies in the character. Macbeth needed to hold both Apollonian and Dionysian qualities which would morph together to transform them from dualism to a connection. When reading other tragic plays, instead of trying to find the devices in Aristotle’s Poetics, look for Nietzsche’s stages, it lies in the characters rather than the plot itself.