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In order to answer this you have to believe, first, that Macbeth has a flaw in his character. Second, you have to believe that this flaw defines who he is. Third, that this flaw is responsible for all of his misfortunes. Fourth, that he doesn't change at all during the play.

Well, notwithstanding that your teacher is trying to tell you that characters in plays work like this, I'm here to tell you that they don't, at least not in this play. There is a kind of play called melodrama where the characters have fixed and somewhat superficial characters and stay that way throughout the play: the hero is strong and good, the heroine is pure and weak, the villain is evil and twirls his moustache. Victorians (people living 100 to 150 years ago) loved this kind of play and watched a lot of them. Many of them assumed that Shakespeare was writing melodramas, and so imagined them that way. A Victorian guy called A.C. Bradley actually wrote a very influencial book saying so, which your teacher may be referring to.

But Bradley is full of that stuff you flush down the toilet. Macbeth does not have one single overriding flaw. He is no more ambitious than Malcolm is. When the play starts he is a greatly respected warrior, who has worked very hard to save King Duncan from the traitor Macdonwald. He is also the king's cousin, and a natural choice as a successor. He does not know whether to believe the witches' prophecies: sometimes he thinks he should, sometimes he wishes he didn't, sometimes he thinks that they will not come true unless he does something about it, sometimes he thinks they will come true anyway, and sometimes he thinks they are nonsense. He is constantly changing his mind.

That is the point about Macbeth and all of Shakespeare's major characters. They change over the course of the play, and not just because of one aspect of their characters, but in response to what others do, because the others are reacting as well. Macbeth kills Duncan, not because of some "flaw" in his character, but because he is momentarily prodded by what his wife does and says and how he feels about her and about himself to do so. He regrets it almost immediately ("Wake Duncan with thy knocking! I would thou couldst!") but from then on he is driven by fear of discovery to Horror after horror. The fear of discovery is not a flaw--it is normal self-preservation--but in this case Shakespeare shows that it works on Macbeth, constantly changing him and eating away at his humanity.

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