A.C. Bradley, a renowned Shakespearean scholar and literary critic, is best known for his work in the realm of literary analysis, especially in his exploration of the concept of tragedy. One of his most significant contributions to literary criticism is his exploration of the relationship between character and fate (or destiny). In his seminal work Shakespearean Tragedy, Bradley outlines the idea that in Shakespeare’s tragic plays, particularly those like Macbeth, Othello, King Lear, and Hamlet, the tragic hero’s character is often the defining factor that leads to their ultimate downfall. Bradley's notion that "character is destiny and destiny is character" encapsulates the central thesis of his analysis of tragedy, where the essence of a character’s nature and choices directly shapes their fate, and conversely, their fate reveals the core elements of their character.
Character as Destiny
Bradley’s assertion that “character is destiny” emphasizes the idea that the personal traits and dispositions of an individual will inevitably lead to specific outcomes in their life. This concept operates on the assumption that human nature, with its flaws and virtues, is the root cause of the major events in a person’s life. In the context of Shakespearean tragedy, the tragic hero’s inherent characteristics—whether ambition, jealousy, pride, or impulsiveness—are the driving forces behind the course of the tragedy. These characteristics shape their decisions, lead to mistakes, and often bring about their ultimate downfall.
In Shakespeare’s tragedies, the hero’s internal flaws are usually the critical factors that lead them to make fatal decisions. Take, for example, the character of Macbeth in Macbeth. Macbeth’s unchecked ambition is the central characteristic that propels the plot of the tragedy. His desire for power, which is ignited by the witches' prophecy, leads him to murder King Duncan. Once Macbeth has committed the murder, his ambition spirals out of control, causing him to make further ill-fated decisions, ultimately leading to his demise. Macbeth’s character is the origin of his fate—his ambition, coupled with his guilt and paranoia, ensures that his destiny is one of ruin and death.
Similarly, in Othello, the character of Othello, driven by insecurities about his race and his status, becomes vulnerable to Iago’s manipulation. His deep trust in Iago, combined with his jealousy and lack of self-confidence, leads him to murder Desdemona. The tragedy of Othello is rooted in his inability to see through his own feelings of inadequacy and his dependence on external validation, which leads him to make decisions that ultimately destroy his life and the lives of those around him. His character traits shape the trajectory of his fate, showing the intimate connection between one’s nature and the outcomes in life.
In this sense, A.C. Bradley’s phrase "character is destiny" suggests that the tragic hero’s downfall is not the result of random external forces or mere chance, but rather a consequence of their internal nature and the choices they make based on that nature. It is a recognition that human behavior is predictable to some extent, and that the patterns of behavior exhibited by characters will inevitably lead to their destinies.
Destiny as Character
On the flip side of the equation is Bradley’s assertion that “destiny is character.” This suggests that the fate or outcomes that a character experiences in life are also a reflection of who they are. In other words, the results of a person’s actions and the consequences they face are inherently tied to their character. The destiny that unfolds for a tragic hero is not merely an external force that happens to them, but rather the consequence of their own actions and the flaws in their character.
For example, in King Lear, Lear’s downfall is not just the result of external betrayal or political scheming. Rather, it is the result of his own character flaws—his pride, his rashness, and his inability to understand the true nature of his daughters’ love. When Lear disowns his loyal daughter Cordelia and divides his kingdom between the deceitful Goneril and Regan, he makes a grave misjudgment that will ultimately bring about his ruin. Lear’s destiny is sealed by his character, and his eventual madness and death come as a consequence of the decisions rooted in his pride and misjudgment.
The same principle applies to Hamlet, where the character of Hamlet is defined by indecision, intellectualism, and a deep moral conflict. His hesitations and overthinking prevent him from acting decisively in critical moments, causing prolonged suffering for himself and others. Hamlet's inability to reconcile his ideals with the need for action leads to the tragic conclusion of the play. His destiny, in a sense, is created by his character—his indecisiveness becomes his doom.
Bradley’s interpretation of destiny as a manifestation of character also touches on the broader philosophical implications of fate and free will. In Shakespeare’s tragedies, the characters are often caught in a web of their own making, unable to escape the consequences of their choices. Their fates are the natural outgrowth of their own inner lives—what they believe, how they act, and the principles by which they live. In this way, their destiny is not something imposed upon them externally, but rather the result of the choices they make in alignment with their character.
The Interplay of Character and Destiny
Bradley’s dual assertion—“character is destiny and destiny is character”—implies a reciprocal relationship between the two concepts. Character and destiny are not independent of each other but are intertwined, each influencing the other in a dynamic cycle. In the context of Shakespearean tragedy, a character’s inherent traits and the decisions they make shape their destiny, but the unfolding of their destiny also reveals and reinforces aspects of their character.
In Macbeth, for instance, Macbeth’s ambition directly leads him to murder Duncan, which in turn forces him into further acts of violence, creating a downward spiral of guilt, paranoia, and more violence. Each successive action in the play brings him closer to his tragic end, revealing the depth of his character flaws and the irreversible consequences of his choices. His fate reflects the nature of his character, and his character is made evident by the fate that befalls him.
Similarly, in King Lear, Lear’s journey from a proud, powerful king to a mad, broken man illustrates how his character flaws—his pride, his misjudgments, and his inability to discern true loyalty—are the causes of his tragic end. However, Lear’s suffering and eventual realization—his insight into his own flaws and the nature of love—serve to reveal the complexity of his character. His journey is both a consequence of his character and a process that reveals the inner workings of that character.
Conclusion
A.C. Bradley’s concept of “character is destiny and destiny is character” offers a profound way of understanding the relationship between a character’s nature and the events that unfold in their lives, particularly in the tragic genre. In the Shakespearean tragedies that Bradley analyzes, the heroes are often caught in a cycle where their character traits—whether ambition, pride, jealousy, or indecision—inevitably lead to their downfall. Their destiny is not an external force imposed upon them, but rather the direct result of the choices and actions they make based on their inner nature. This reciprocal relationship between character and destiny underscores the idea that in tragedy, the line between personal responsibility and external fate is often blurred, making the tragic hero’s downfall a reflection of both their internal flaws and the inevitable consequences of those flaws. Through this lens, Bradley offers a timeless reflection on the power of human nature and the inextricable link between who we are and what becomes of us.
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