You might consider addressing Macbeth's tragic flaw. You could make an argument that identifies his tragic flaw and then defends it. There are several contenders. First, his ambition is a possibility. Lady Macbeth first identifies Macbeth as ambitious when she receives his letter (1.5.19). She knows he's ambitious but fears that he won't "catch the nearest way" to the throne (1.5.17). Then, Macbeth identifies his one reason to go ahead with Duncan's murder as his...
You might consider addressing Macbeth's tragic flaw. You could make an argument that identifies his tragic flaw and then defends it. There are several contenders. First, his ambition is a possibility. Lady Macbeth first identifies Macbeth as ambitious when she receives his letter (1.5.19). She knows he's ambitious but fears that he won't "catch the nearest way" to the throne (1.5.17). Then, Macbeth identifies his one reason to go ahead with Duncan's murder as his "Vaulting ambition," after he's outlined the many reasons he has not to go through with it (1.7.27). Second, it could be his pride that is his tragic flaw. Right after Macbeth identifies his ambition, he decides not to go forward with the crime (1.7.34). It is not until Lady Macbeth wounds his pride, calling him a "coward" that he relents and recommits to their plan (1.7.47).
You could also consider identifying Macbeth's foil and making an argument that consists of the traits possessed by Macbeth that are illuminated by his contrast with his foil. A "foil" is a character that highlights some attributes of the protagonist (usually) through contrast. So, Banquo could be a foil for Macbeth: he doubts the sincerity of the Weird Sisters (1.3.134-138) while Macbeth (perhaps gullibly) believes them completely (1.3.157-159). He also remains loyal to Duncan, showcasing Macbeth's terrible disloyalty. Further, Banquo is honest, and Macbeth's ability to lie only gets stronger and stronger. You might also consider Lady Macbeth as a foil for Macbeth. She begins the play as a ruthless, murderous, guiltless villain; though, by the plays end, she's descended into a madness brought on by her terrible guilt. She emphasizes Macbeth's opposite trajectory. He starts off as the one who is guilt-ridden and fearful, but he quickly becomes even more murderous and merciless than Lady Macbeth ever was as the play progresses.
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