Most of the tragedies written by Shakespeare are revenge and ambition tragedies. For instance, Othello, Hamlet, King Lear and Macbeth are the dark tragedies showing revenge and ambition. However, there is an exception to this in the form of a romantic tragedy, rather the only romantic tragedy written by Shakespeare and that is Romeo and Juliet. Unlike the revenge/ambition tragedy, there are two tragic characters in Romeo and Juliet. Romeo becomes impulsive and acts without thinking about the consequences which brings in the separation and ultimately the death of the two lovers. Coming back to the revenge/ambition tragedies, there are some noticeable features which are dealt within the following part.
Tragic/Fatal Flaw
O farewell,
Farewell the neighing steed, and the shrill trump,
The spirit-stirring drum, th’ ear-piercing fife;
The royal banner, and all quality,
Pride, pomp, and circumstance of glorious war!
And O you mortal engines, whose rude throats
Th’ immortal Jove’s dread clamors counterfeit,
Farewell! Othello’s occupation’s gone. – Othello
A ‘tragic flaw’, by definition, is a personality trait that leads to the downfall of the protagonist. It can also be a wrong action performed by the protagonist that results in his own ruin. It is the most important element in the tragedy and almost every hero/heroine of a Shakespearean tragedy possesses a tragic flaw. Examples of tragic flaw in Shakespearean tragedy are: Macbeth’s obsession with power, Othello’s jealousy and Hamlet’s indecisiveness.
Supernatural Elements
By the pricking of my thumbs,
Something wicked this way comes. [Knocking]
Open locks,
Whoever knocks! – Macbeth
Use of super-natural elements is a common characteristic of the Elizabethan drama, to which Shakespeare’s plays are no exception. The supernatural powers contribute to the fate of the protagonist. However, they are not solely responsible for the downfall of the hero, it still lies in the deeds/actions of the hero. Usually, these actions are the outcome of the protagonist’s over-ambitious nature (as in Macbeth where he wants to become the king) or the feeling of revenge. Furthermore, they are not the illusions in the mind of the hero because they contribute to the action of the play with their presence in more than one or two scenes. The effective use of witches in Shakespeare’s plays reflects the old society beliefs in the evil powers who practice evil rites to affect the central character(s). For instance, in Macbeth, when Macbeth encounters the three witches, he starts believing whatever they say without any doubt in mind of their existence. This is what the old society belief in the evil spirits reflected in Shakespeare’s tragedy.
