macbeth play review essay

Home — Essay Samples — Literature — Macbeth — Play Review: Macbeth by William Shakespeare

Shakespeare's Macbeth: Play Review

• Categories: Macbeth William Shakespeare

About this sample

Words: 467 |

Published: Dec 12, 2018

Words: 467 | Pages: 2 | 3 min read

"Macbeth" Review Essay

Works cited:.

• Everyday Health. (2013, September 3). Get up, get out: Exercise boosts mood and self-esteem. Everyday Health. https://www.everydayhealth.com/depression/get-up-get-out-exercise-boosts-mood-and-self-esteem.aspx
• McCann, A. (2017, December 18). Impact of social media on teens: Is social media ruining our kids? Tech Times. https://www.techtimes.com/articles/217920/20171218/impact-of-social-media-on-teens-is-social-media-ruining-our-kids.htm
• Wapshott, N. (2014, October 14). Buying into Big Brother: How surveillance capitalism conquers us. Newsweek. https://www.newsweek.com/buying-big-brother-how-surveillance-capitalism-conquers-us-277792
• Carpenter, C. J. (2018). A meta-analysis of the relationship between social media use and body dissatisfaction. Journal of Eating Disorders, 6(1), 34.
• Christofides, E., Muise, A., & Desmarais, S. (2012). Risky disclosures on Facebook: The effect of having a bad experience on disclosures. Journal of Social and Clinical Psychology, 31(4), 329-349.
• Clayton, R. B., Nagurney, A., & Smith, J. R. (2013). Cheating, breakup, and divorce: Is Facebook use to blame?. Cyberpsychology, Behavior, and Social Networking, 16(10), 717-720.
• Gould, M. S., Jamieson, P. E., & Romer, D. (2003). Media contagion and suicide among the young. American Behavioral Scientist, 46(9), 1269-1284.
• Lenhart, A. (2015). Teens, social media & technology overview 2015. Pew Research Center: Internet, Science & Tech.
• Primack, B. A., Shensa, A., Escobar-Viera, C. G., Barrett, E. L., Sidani, J. E., Colditz, J. B., & James, A. E. (2017). Use of multiple social media platforms and symptoms of depression and anxiety: A nationally-representative study among US young adults. Computers in Human Behavior, 69, 1-9.
• Twenge, J. M. (2019). The smartphone generation. The Atlantic.

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Prof Ernest (PhD)

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

1 pages / 463 words

2 pages / 1090 words

3 pages / 1194 words

4 pages / 1712 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on Macbeth

Shakespeare's Macbeth is a literary masterpiece that employs various rhetorical strategies to convey its themes and messages. The play is a tragic tale of a Scottish nobleman, Macbeth, who is driven by ambition to commit heinous [...]

Shakespeare, William. Macbeth. Simon & Schuster Paperbacks, 2009.Bradley, A. C. 'The Witch Scenes in Macbeth.' In Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. Macmillan, 1904.Knight, G. Wilson. 'The [...]

William Shakespeare's "Macbeth" is a timeless masterpiece that offers a compelling portrayal of a tragic hero. A tragic hero is a character who possesses noble qualities but is flawed by a tragic flaw, leading to their downfall. [...]

Be careful what you wish upon because it might come back to haunt you in the end. Macbeth was a general, with some positive qualities but he definitely has flaws that come with his personality. Such as committing numbers of [...]

Death plays a big part in the play Macbeth by William Shakespeare, one of these death scenes is the death of Lady Macbeth. In Act 5, Scene 5, Macbeth hears a scream and turns to his servant and asks what it is, he is told that [...]

Tragedy is a serious play in which the main character is characterized to have some psychological weakness, thereby going through a series of misfortunes that lead to his destructive end. Aristotle in his Poetics posited that [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Literary Theory and Criticism

Home › Drama Criticism › Analysis of William Shakespeare’s Macbeth

Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

Macbeth Ebook pdf (8MB)

Share this:

Categories: Drama Criticism , Literature

Tags: Analysis Of William Shakespeare’s Macbeth , Bibliography Of William Shakespeare’s Macbeth , Character Study Of William Shakespeare’s Macbeth , Criticism Of William Shakespeare’s Macbeth , Drama Criticism , ELIZABEHAN POETRY AND PROSE , Essays Of William Shakespeare’s Macbeth , Lady Macbeth , Lady Macbeth Character Study , Lady Macbeth Feminist Criticism , Literary Criticism , Macbeth , Macbeth Analysis , Macbeth Essays , Macbeth Guide , Macbeth Lecture , Macbeth Notes , Macbeth pdf , Macbeth Play Analysis , Macbeth Play Notes , Macbeth Play Summary , Macbeth Summary , Macbeth theme , Notes Of William Shakespeare’s Macbeth , Plot Of William Shakespeare’s Macbeth , Simple Analysis Of William Shakespeare’s Macbeth , Study Guides Of William Shakespeare’s Macbeth , Summary Of William Shakespeare’s Macbeth , Synopsis Of William Shakespeare’s Macbeth , Themes Of William Shakespeare’s Macbeth , William Shakespeare

Related Articles

Leave a Reply Cancel reply

You must be logged in to post a comment.

Website navigation

A Modern Perspective: Macbeth

By Susan Snyder

Coleridge pronounced Macbeth to be “wholly tragic.” Rejecting the drunken Porter of Act 2, scene 3 as “an interpolation of the actors,” and perceiving no wordplay in the rest of the text (he was wrong on both counts), he declared that the play had no comic admixture at all. More acutely, though still in support of this sense of the play as unadulterated tragedy, he noted the absence in Macbeth of a process characteristic of other Shakespearean tragedies, the “reasonings of equivocal morality.” 1

Indeed, as Macbeth ponders his decisive tragic act of killing the king, he is not deceived about its moral nature. To kill anyone to whom he is tied by obligations of social and political loyalty as well as kinship is, he knows, deeply wrong:

         He’s here in double trust:

First, as I am his kinsman and his subject,

Strong both against the deed; then, as his host,

Who should against his murderer shut the door,

Not bear the knife myself.                  ( 1.7.12 –16)

And to kill Duncan, who has been “so clear in his great office” (that is, so free from corruption as a ruler), is to compound the iniquity. In adapting the story of Macbeth from Holinshed’s Chronicles of Scotland, Shakespeare created a stark black-white moral opposition by omitting from his story Duncan’s weakness as a monarch while retaining his gentle, virtuous nature. Unlike his prototype in Holinshed’s history, Macbeth kills not an ineffective leader but a saint whose benevolent presence blesses Scotland. In the same vein of polarized morality, Shakespeare departs from the Holinshed account in which Macbeth is joined in regicide by Banquo and others; instead, he has Macbeth act alone against Duncan. While it might be good politics to distance Banquo from guilt (he was an ancestor of James I, the current king of England and patron of Shakespeare’s acting company), excluding the other thanes as well suggests that the playwright had decided to focus on private, purely moral issues uncomplicated by the gray shades of political expediency.

Duncan has done nothing, then, to deserve violent death. Unlike such tragic heroes as Brutus and Othello, who are enmeshed in “equivocal morality,” Macbeth cannot justify his actions by the perceived misdeeds of his victim. “I have no spur,” he admits, “To prick the sides of my intent, but only / Vaulting ambition” ( 1.7.25 –27). This ambition is portrayed indirectly rather than directly. But it is surely no accident that the Weïrd Sisters accost him and crystallize his secret thoughts of the crown into objective possibility just when he has hit new heights of success captaining Duncan’s armies and defeating Duncan’s enemies. The element of displacement and substitution here—Macbeth leading the fight for Scotland while the titular leader waits behind the lines for the outcome—reinforces our sense that, whatever mysterious timetable the Sisters work by, this is the psychologically right moment to confront Macbeth with their predictions of greatness. Hailed as thane of Glamis, thane of Cawdor, and king, he is initially curious and disbelieving. Though his first fearful reaction ( 1.3.54 ) is left unexplained, for us to fill in as we will, surely one way to read his fear is that the word “king” touches a buried nerve of desire. When Ross and Angus immediately arrive to announce that Macbeth is now Cawdor as well as Glamis, the balance of skepticism tilts precipitously toward belief. The nerve vibrates intensely. Two-thirds of the prophecy is already accomplished. The remaining prediction, “king hereafter,” is suddenly isolated and highlighted; and because of the Sisters’ now proven powers of foreknowledge, it seems to call out for its parallel, inevitable fulfillment.

The Weïrd Sisters present nouns rather than verbs. They put titles on Macbeth without telling what actions he must carry out to attain those titles. It is Lady Macbeth who supplies the verbs. Understanding that her husband is torn between the now-articulated object of desire and the fearful deed that must achieve it (“wouldst not play false / And yet wouldst wrongly win,” 1.5.22 –23), she persuades him by harping relentlessly on manly action. That very gap between noun and verb, the desired prize and the doing necessary to win it, becomes a way of taunting him as a coward: “Art thou afeard / To be the same in thine own act and valor / As thou art in desire?” ( 1.7.43 –45). A man is one who closes this gap by strong action, by taking what he wants; whatever inhibits that action is unmanly fear. And a man is one who does what he has sworn to do, no matter what. We never see Macbeth vow to kill Duncan, but in Lady Macbeth’s mind just his broaching the subject has become a commitment. With graphic horror she fantasizes how she would tear her nursing baby from her breast and dash its brains out if she had sworn as she says her husband did. She would, that is, violate her deepest nature as a woman and sever violently the closest tie of kinship and dependence. Till now, Macbeth has resisted such violation, clinging to a more humane definition of “man” that accepts fidelity and obligation as necessary limits on his prowess. Now, in danger of being bested by his wife in this contest of fierce determinations, he accepts her simpler, more primitive equation of manhood with killing: he commits himself to destroying Duncan. It is significant for the lack of “equivocal morality” that even Lady Macbeth in this crucial scene of persuasion doesn’t try to manipulate or blur the polarized moral scheme. Adopting instead a warrior ethic apart from social morality, she presents the murder not as good but as heroic.

Moral clarity informs not only the decisions and actions of Macbeth but the stage of nature on which they are played out. The natural universe revealed in the play is essentially attuned to the good, so that it reacts to the unambiguously evil act of killing Duncan with disruptions that are equally easy to read. There are wild winds, an earthquake, “strange screams of death” ( 2.3.61 –69). And beyond such general upheaval there is a series of unnatural acts that distortedly mirror Macbeth’s. Duncan’s horses overthrow natural order and devour each other, like Macbeth turning on his king and cousin. “A falcon, tow’ring in her pride of place”—the monarch of birds at its highest pitch—is killed by a mousing owl, a lesser bird who ordinarily preys on insignificant creatures ( 2.4.15 –16). Most ominous of all, on the morning following the king’s death, is the absence of the sun: like the falcon a symbol of monarchy, but expanding that to suggest the source of all life. In a general sense, the sunless day shows the heavens “troubled with man’s act” ( 2.4.7 ), but the following grim metaphor points to a closer and more sinister connection: “dark night strangles the traveling lamp” ( 2.4.9 ). The daylight has been murdered like Duncan. Scotland’s moral darkness lasts till the end of Macbeth’s reign. The major scenes take place at night or in the atmosphere of the “black, and midnight hags” ( 4.1.48 ), and there is no mention of light or sunshine except in England ( 4.3.1 ).

Later in the play, nature finds equally fitting forms for its revenge against Macbeth. Despite his violations of the natural order, he nevertheless expects the laws of nature to work for him in the usual way. But the next victim, Banquo, though his murderer has left him “safe in a ditch” ( 3.4.28 ), refuses to stay safely still and out of sight. In Macbeth’s horrified response to this restless corpse, we may hear not only panic but outrage at the breakdown of the laws of motion:

                           The time has been

That, when the brains were out, the man would die,

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is.                           ( 3.4.94 –99)

His word choice is odd: “ they rise,” a plural where we would expect “he rises,” and the loaded word “crowns” for heads. Macbeth seems to be haunted by his last victim, King Duncan, as well as the present one. And by his outraged comparison at the end—the violent death and the ghostly appearance compete in strangeness—Macbeth suggests, without consciously intending to, that Banquo’s walking in death answers to, or even is caused by, the murder that cut him off so prematurely. The unnatural murder generates unnatural movement in the dead. Lady Macbeth, too, walks when she should be immobile in sleep, “a great perturbation in nature” ( 5.1.10 ).

It is through this same ironic trust in natural law that Macbeth draws strength from the Sisters’ later prophecy: if he is safe until Birnam Wood come to Dunsinane, he must be safe forever:

Who can impress the forest, bid the tree

Unfix his earthbound root? Sweet bodements, good!

Rebellious dead, rise never till the Wood

Of Birnam rise . . .                  ( 4.1.109 –12)

His security is ironic because for Macbeth, of all people, there can be no dependence on predictable natural processes. The “rebellious dead” have already unnaturally risen once; fixed trees can move against him as well. And so, in time, they do. Outraged nature keeps matching the Macbeths’ transgressions, undoing and expelling their perversities with its own.

In tragedies where right and wrong are rendered problematic, the dramatic focus is likely to be on the complications of choice. Macbeth, on the contrary, is preoccupied less with the protagonist’s initial choice of a relatively unambiguous wrong action than with the moral decline that follows. H. B. Charlton noted that one could see in Richard III as well as Macbeth the biblical axiom that “the wages of sin is death”; but where the history play assumes the principle, Macbeth demonstrates why it has to be that way. 2 The necessity is not so much theological as psychological: we watch in Macbeth the hardening and distortion that follows on self-violation. The need to suppress part of himself in order to kill Duncan becomes a refusal to acknowledge his deed (“I am afraid to think what I have done. / Look on ’t again I dare not”: 2.2.66 –67). His later murders are all done by proxy, in an attempt to create still more distance between the destruction he wills and full psychic awareness of his responsibility. At the same time, murder becomes a necessary activity, the verb now a compulsion almost without regard to the object: plotted after he has seen the Weïrd Sisters’ apparitions, Macbeth’s attack on Macduff’s “line” ( 4.1.174 ) is an insane double displacement, of fear of Macduff himself and fury at the vision of the line of kings fathered by Banquo.

Yet the moral universe of Macbeth is not as uncomplicated as some critics have imagined. To see in the play’s human and physical nature only a straightforward pattern of sin and punishment is to gloss over the questions it raises obliquely, the moral complexities and mysteries it opens up. The Weïrd Sisters, for example, remain undefined. Where do they come from? Where do they go when they disappear from the action in Act 4? What is their place in a moral universe that ostensibly recoils against sin and punishes it? Are they human witches, or supernatural beings? Labeling them “evil” seems not so much incorrect as inadequate. Do they cause men to commit crimes, or do they only present the possibility to them? Macbeth responds to his prophecy by killing his king, but Banquo after hearing the one directed at him is not impelled to act at all. Do we take this difference as demonstrating that the Sisters have in themselves no power beyond suggestion? Or should we rather find it somewhat sinister later on when Banquo, ancestor of James I or not, sees reason in Macbeth’s success to look forward to his own—yet feels it necessary to conceal his hopes ( 3.1.1 –10)?

Even what we most take for granted becomes problematic when scrutinized. Does Macbeth really desire to be king? Lady Macbeth says he does, but what comes through in 1.5 and 1.7 is more her desire than his. Apart from one brief reference to ambition when he is ruling out other motives to kill Duncan, Macbeth himself is strangely silent about any longing for royal power and position. Instead of an obsession that fills his personal horizon, we find in Macbeth something of a motivational void. Why does he feel obligated, or compelled, to bring about an advance in station that the prophecy seems to render inevitable anyway? A. C. Bradley put his finger on this absence of positive desire when he observed that Macbeth commits his crime as if it were “an appalling duty.” 3

Recent lines of critical inquiry also call old certainties into question. Duncan’s saintly status would seem assured, yet sociological critics are disquieted by the way we are introduced to him, as he receives news of the battle in 1.2. On the one hand we hear reports of horrifying savagery in the fighting, savagery in which the loyal thanes participate as much as the rebels and invaders—more so, in fact, when Macbeth and Banquo are likened to the crucifiers of Christ (“or memorize another Golgotha,” 1.2.44 ). In response we see Duncan exulting not only in the victory but in the bloodshed, equating honor with wounds. It is not that he bears any particular guilt. Yet the mild paternal king is nevertheless implicated here in his society’s violent warrior ethic, its predicating of manly worth on prowess in killing. 4 But isn’t this just what we condemn in Lady Macbeth? Cultural analysis tends to blur the sharp demarcations, even between two such figures apparently totally opposed, and to draw them together as participants in and products of the same constellation of social values.

Lady Macbeth and Duncan meet in a more particular way, positioned as they are on the same side of Scotland’s basic division between warriors and those protected by warriors. The king is too old and fragile to fight; the lady is neither, but she is barred from battle by traditional gender conventions that assign her instead the functions of following her husband’s commands and nurturing her young. In fact, of course, Lady Macbeth’s actions and outlook thoroughly subvert this ideology, as she forcefully takes the lead in planning the murder and shames her husband into joining in by her willingness to slaughter her own nurseling. It is easy to call Lady Macbeth “evil,” but the label tends to close down analysis exactly where we ought to probe more deeply. Macbeth’s wife is restless in a social role that in spite of her formidable courage and energy offers no chance of independent action and heroic achievement. It is almost inevitable that she turn to achievement at second hand, through and for her husband. Standing perforce on the sidelines, like Duncan once again, she promotes and cheers the killing.

Other situations, too, may be more complex than at first they seem. Lady Macduff, unlike Lady Macbeth, accepts her womanly function of caring for her children and her nonwarrior status of being protected. But she is not protected. The ideology of gender seems just as destructive from the submissive side as from the rebellious, when Macduff deserts her in order to pursue his political cause against Macbeth in England and there is no husband to stand in the way of the murderers sent by Macbeth. The obedient wife dies, with her cherished son, just as the rebellious, murderous lady will die who consigned her own nursing baby to death. The moral universe of Macbeth has room for massive injustice. Traditional critics find Lady Macbeth “unnatural,” and even those who do not accept the equation of gender ideology with nature can agree with the condemnation in view of her determined suppression of all bonds of human sympathy. Clear enough. But we get more blurring and crossovers when Macduff’s wife calls him unnatural. In leaving his family defenseless in Macbeth’s dangerous Scotland, he too seems to discount human bonds. His own wife complains bitterly that “he wants the natural touch”; where even the tiny wren will fight for her young against the owl, his flight seems to signify fear rather than natural love ( 4.2.8 –16). Ross’s reply, “cruel are the times,” while it doesn’t console Lady Macduff and certainly doesn’t save her, strives to relocate the moral ambiguity of Macduff’s conduct in the situation created by Macbeth’s tyrannical rule. The very political crisis that pulls Macduff away from his family on public business puts his private life in jeopardy through the same act of desertion. But while acknowledging the peculiar tensions raised by a tyrant-king, we may also see in the Macduff family’s disaster a tragic version of a more familiar conflict: the contest between public and private commitments that can rack conventional marriages, with the wife confined to a private role while the husband is supposed to balance obligations in both spheres.

Malcolm is allied with Duncan by lineage and with Macduff by their shared role of redemptive champion in the final movement of the play. He, too, is not allowed to travel through the action unsullied. After a long absence from the scene following the murder of Duncan, he reappears in England to be sought by Macduff in the crusade against Macbeth. Malcolm is cautious and reserved, and when he does start speaking more freely, what we hear is an astonishing catalogue of self-accusations. He calls himself lustful, avaricious, guilty of every crime and totally lacking in kingly virtues:

                Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth.                  ( 4.3.113 –16)

Before people became so familiar with Shakespeare’s play, I suspect many audiences believed what Malcolm says of himself. Students on first reading still do. Why shouldn’t they? He has been absent from the stage for some time, and his only significant action in the early part of the play was to run away after his father’s murder. When this essentially unknown prince lists his vices in lengthy speeches of self-loathing, there is no indication—except an exaggeration easily ascribable to his youth—that he is not sincere. And if we do believe, we cannot help joining in Macduff’s distress. Malcolm, the last hope for redeeming Scotland from the tyrant, has let us down. Duncan’s son is more corrupt than Macbeth. He even sounds like Macbeth, whose own milk of human kindness ( 1.5.17 ) was curdled by his wife; who threatened to destroy the whole natural order, “though the treasure / Of nature’s germens tumble all together / Even till destruction sicken” ( 4.1.60 –63). In due course, Malcolm takes it all back; but his words once spoken cannot simply be canceled, erased as if they were on paper. We have already, on hearing them, mentally and emotionally processed the false “facts,” absorbed them experientially. Perhaps they continue to color indirectly our sense of the next king of Scotland.

Viewed through various lenses, then, the black and white of Macbeth may fade toward shades of gray. The play is an open system, offering some fixed markers with which to take one’s basic bearings but also, in closer scrutiny, offering provocative questions and moral ambiguities.

• “Notes for a Lecture on Macbeth ” [c. 1813], in Coleridge’s Writings on Shakespeare , ed. Terence Hawkes (New York: Capricorn, 1959), p. 188.
• H. B. Charlton, Shakespearian Tragedy (Cambridge: Cambridge University Press, 1948), p. 141.
• A. C. Bradley, Shakespearean Tragedy (London: Macmillan, 1904), p. 358.
• James L. Calderwood, If It Were Done: “Macbeth” and Tragic Action (Amherst: University of Massachusetts Press, 1986), pp. 77–89.

Stay connected

Find out what’s on, read our latest stories, and learn how you can get involved.

Macbeth: An Analysis of the Play by Shakespeare Essay

Introduction, plot development, works cited.

Macbeth is Shakespeare’s work with attachment of historical connotations. Many literary scholars agree that this drama is from a tragic perspective, and has a consistent plot delivery. Macbeth presents the true foundation of human nature with stark superstition that permeates the play. In this drama, a monstrous crime takes place as an extension of ill-intentioned ambition. Motives seem to drive humanity to seek greatness regardless of what it takes ( Macbeth: An analysis of the play by Shakespeare par. 1). The development of the plot stems from one lustful wickedness to the other.

In his quest for greatness, Macbeth commits several murders to subdue his opponents. He seems to be concentrating more on protecting his ambition than offering service to his people. Macbeth’s treachery springs from his reliance to the witches who gave him prophecy that results in his endless creation of enemies. The prophecy by the witches blot Macbeth’s perspective of the world around him, making him see everybody as enemies ( Macbeth: An analysis of the play by Shakespeare par. 2).

Nonetheless, he seeks to disguise himself and presents a picture of statesmanship, a quality that he lacks. Macbeth endlessly reproaches himself by presenting an obtuse picture of himself to the unsuspecting ordinary people. Notably, Duncan and Banquo are his worst perceived enemies. He certainly leaves in denial, as he refuses to open up to both Lady Macbeth and Macduff – his close confidants. Apprehension seems to characterize Macbeth’s life, especially when he asks, “How say’st thou, that Macduff denies his person at our great bidding?” Evidently, Macbeth is living in self-pity and denial. All these acts further reveal disorder in Macbeth’s mind.

In this drama, Shakespeare presents Macbeth as suffering from tragic consequences mainly due to his exaggerated ambition which Macbeth himself admits as true “o’er-leaps itself,” (I.vii.27). Macbeth is subdued by the witches’ influence of the prophecy, which prompts him to make one mistake after another. His actions set him on an inclined downfall “so foul and fair a day,” (I.iii.39). Clearly, ambition is the main tragic flaw that leads Macbeth to peril.

Many literary devices enhance the plot. For example, soliloquy by Macbeth makes it obvious that he is in trouble, and the listener can easily discern it. He has a dubious belief of eliminating his perceived enemies; he kills Duncan to ascend to kingship. Visual elements permeate the plot to guide the audience through the piece. Both alliteration and repetition permeate the plot; these helps in laying emphasis as seen in Macbeth’s resolve to comfort himself from his wickedness – “The handle towards my hand” (Shakespeare 34).

Soliloquy helps to mark out Macbeth’s confusion, as he resorts to keep to himself his affairs. Macbeth keeps on saying, “I see thee”… “I see thee” (Shakespeare 35), and makes mention of unseen guests. Markedly, these actions mark out his stark paradox between reality and illusion. Macbeth seems to have awareness of what overwhelms him, but has no power to control it. He seems compelled by some powerful forces when he says “marshall’st me the way I was going,” (Shakespeare 42), suggesting how powerless he has become. At this point, he can do nothing to redeem his sinking persona.

In Macbeth, Shakespeare uses many different literary devices to explore vivid human confusion that comes after one subject himself to wickedness. The drama explores a moral lesson that wickedness does not pay off, but its consequences are stuck in misery and mystery.

Macbeth: An analysis of the play by Shakespeare . N.p., 2011. Web.

Shakespeare, William. Macbeth . Waiheke Island: Floating, 2008. Print.

• Shakespearean Macbeth as a Tragic Hero
• Are the Witches Responsible for Duncan’s Death?
• Shelley's Novel "Frankenstein," Shakespeare's Play "Macbeth," and Austen's Novel "Persuasion"
• Stylistics of Frankenstein by Mary Shelly
• Ethical Issues in the Novel "Frankenstein" by Mary Shelley
• Joseph Conrad’s Novel "Heart of Darkness"
• Iago and Othello Relationships
• Narrator' Role in "Orlando: A Biography" by Virginia Woolf
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2020, July 3). Macbeth: An Analysis of the Play by Shakespeare. https://ivypanda.com/essays/macbeth-an-analysis-of-the-play-by-shakespeare/

"Macbeth: An Analysis of the Play by Shakespeare." IvyPanda , 3 July 2020, ivypanda.com/essays/macbeth-an-analysis-of-the-play-by-shakespeare/.

IvyPanda . (2020) 'Macbeth: An Analysis of the Play by Shakespeare'. 3 July.

IvyPanda . 2020. "Macbeth: An Analysis of the Play by Shakespeare." July 3, 2020. https://ivypanda.com/essays/macbeth-an-analysis-of-the-play-by-shakespeare/.

1. IvyPanda . "Macbeth: An Analysis of the Play by Shakespeare." July 3, 2020. https://ivypanda.com/essays/macbeth-an-analysis-of-the-play-by-shakespeare/.

Bibliography

IvyPanda . "Macbeth: An Analysis of the Play by Shakespeare." July 3, 2020. https://ivypanda.com/essays/macbeth-an-analysis-of-the-play-by-shakespeare/.

(92) 336 3216666

[email protected]

Read below our complete notes on “Macbeth”, a famous play by William Shakespeare. Our notes cover Macbeth summary, themes, characters, and analysis.

Introduction

Macbeth was written by William Shakespeare in either 1605 or 1606. Its full name is “The Tragedy of Macbeth”. It was first performed in around 1606.

The drama revolves around a Villain named Macbeth who is ambitious and brave but because of his thirst for power, he begins to do evil. He receives a prophecy from three witches that he will become the king of Scotland. To make this prophecy true, he kills the king of Scotland and many other people who become a threat to his throne. At the end he faces a downfall.

The play has many elements i.e. temptation, conspiracy, madness, pathos and destruction.

Macbeth by William Shakespeare Summary

This play portrays a tragic downfall of a brave warrior, Macbeth. After defeating the forces of Norway and Ireland, he receives a prophecy from a trio of witches that he will become the king of Scotland. The other part of the prophecy is that the children of Banquo, another Scottish general, will become the future kings. Macbeth is already made the Thane of Cowder. He is happy and ambitious after receiving the prophecy.

Afterwards, King Duncan declares that he will spend a night at Macbeth’s castle as a celebration of their victory. Macbeth informs Lady Macbeth about the King’s arrival and prophecies of witches. Lady Macbeth appears to be very evil. She makes the plan to kill the king and convinces Macbeth to act accordingly by challenging his manhood.

Lady Macbeth plans to get the chamberlains drunk to show them as culprits after murder. When everyone sleeps, they start acting upon their plan and Macbeth stabs Duncan with a knife and kills him. After that, Lady Macbeth stains the clothes and faces of chamberlains sitting outside the king’s chamber and puts the knives near them to show that they are the culprits.

The next morning, Macduff comes to Macbeth’s castle to receive the king but finds him dead. Subsequently, Macbeth kills the chamberlains to show anger towards king’s death and to show that he is innocent. Banquo discusses the certain issue with Macbeth and departs.

Later, Macbeth proclaims himself the king in front of everyone. He fears his friend Banquo because of the second part of the prophecy, so he arranges two murders to kill Banquo and his son, Fleance. Murderers kill Banquo but his son manages to escape outside the castle in the dark woods.

Although, he successfully executes his plans but he starts behaving abnormally during dinner. He starts witnessing Banquo’s ghost and Lady Macbeth gives excuses for his unusual behavior.

Afterwards, Macbeth again meets the witches and receives three prophecies; Beware of Macduff, none of woman born shall harm him and that he is safe until Burnam’s wood moves to Dunsinane hills. Macduff goes to England to meet Malcolm and plan revenge against Macbeth. They decide to take help from King Edward of England and plan to attack Scotland with 10,000 soldiers. Meanwhile, Ross comes and tells Macduff that his family has been killed by Macbeth.

Moreover, Lady Macbeth starts behaving abnormally because of the guilt of her crimes. Death of Macduff’s family increases her madness and she becomes ill. English army attacks and reaches towards Burnam’s wood and they plan that each soldier will carry a bush in front of him. It seems like the forest is moving towards Dunsinane and the Prophecy of witches becomes true.

Lady Macbeth dies and the war begins. Macbeth fights keeping in mind that no-one can kill him as everyone is born out of mother. He kills Seward’s son and disappears. Macduff finds him, tells him that he was born by cesarean-section and beheads him.

Afterwards, he declares Malcolm the king of Scotland and everyone curses Macbeth and Lady Macbeth for their cruelty.

Themes in Macbeth

Kingship vs. tyranny:.

In the play Duncan is always referred to as a “king” while Macbeth becomes known as “tyrant” when he comes to the throne. This is because of the qualities present in a good king and a tyrant.

Macbeth starts doing evil for the thirst of power and throne which shows his violent temperament and disloyalty towards the country.  He kills the king and other people who are a threat to his kingship.

On the other hand, Duncan is kind-hearted and loyal towards his country. At the end, Macbeth faces downfall because of his cruel and immoral nature.

Relationship between Cruelty and Masculinity:

This theme shows that violence is not just a male’s attribute, females can also show violence. It is explored by the character of Lady Macbeth and the three witches in this play.

As we can clearly see, how Lady Macbeth shows aggression, cruelty and violence. She plans to kill the king and forces Macbeth to follow her evil plan and to kill every person who she sees as a threat.

On the other hand, we can see three witches who seem cruel and evil from their conversations throughout the play.

Fate vs. Freewill:

Another major theme of this play is fate vs. freewill. The character of Macbeth and three witches represent this theme.

Although, Macbeth is told by the witches about his future that he will become the king but he is not told how to take the position of king. Prophecy of witches is fate but how to make it reality depends upon Macbeth’s freewill. Instead of waiting for the right time, he chooses a wrong path that leads him towards downfall.

Reason vs. Passion:

This theme is represented by Macbeth and Lady Macbeth. Throughout the play we can see the difference between their persuasive strategies.

Macbeth is very logical and clear-sighted. He knows that he is doing evil and the consequences of it. He feels guilty for breaking King Duncan’s trust but he is persuaded by his wife to do evil.

On the other hand, Lady Macbeth passionately examines the pros and cones of her plan of killing the king. She is an emotional and evil person who uses emotional arguments to convince her husband to do the crime.

Macbeth Characters Analysis

Macbeth is the villain of the play. His initial impression is of a brave and courageous warrior who has won the battle through his bravery and dedication. However, when he meets the three witches, his lack of strength of character and overly ambitious nature is revealed. Shakespeare tries to convey the effects of ambitious nature and self-doubt in a person with weak character.

When Macbeth receives the prophecy from witches he becomes happy but later he is persuaded by his wife’s emotional argument to kill the king. He is a rational person who knows the consequences of doing evil but he is also occupied by evil forces.

Moreover, he also starts behaving abnormally because of the guilt of the sins committed by him but again the thirst for power makes him strong and he begins to act according to his evil plans.

In the end of the play, Macduff beheads him and he faces a downfall.

Lady Macbeth:

Lady Macbeth is one of the Shakespeare’s most evil female characters. She is Macbeth’s wife and a deeply ambitious and cruel woman who lusts for power and position. Her first appearance in the play is when she is plotting Duncan’s murder. She is a cruel and ruthless woman who convinces her husband to commit a sin by challenging his manhood.

She represents the relationship between femininity and violence in the play. Macbeth says that Lady Macbeth is a masculine soul residing in a female body which shows that females can also be cruel and ruthless.

Moreover, she remains firm to her decision of murdering the king and persuades Macbeth but later on the guilt of sins makes her mad. She tries to wash away the invisible blood stains from her hands. Her strength becomes her weakness and she commits suicide by the close of the play.

The Three Witches:

The three witches are referred to as “weird sisters” in the play. They are the ones who give prophecy about Macbeth’s future and play upon him like puppeteers.

Macbeth believes in their prophecies which lead him towards darkness and downfall.  However, their true identity is unclear. Although, they are servants of Hecate but the play does not tell us whether they are independent agents playing with human lives or the agents of fate.

Furthermore, some of their prophecies seem fulfilling and some are acted upon by Macbeth.

Banquo is another Scottish General and Macbeth’s friend. He is a brave, ambitious and virtuous person unlike Macbeth.  He also receives a prophecy from witches that his children will come to the throne in future.  This prophecy becomes a threat to Macbeth’s kingship and he orders to kill Banquo and his son, Fleance. However, his son escapes but he is murdered.

Later, his ghost haunts Macbeth and he starts acting abnormally.

King Duncan:

He is the king of Scotland who is murdered by Macbeth for the lust of power and throne. He is a virtuous man and a good king who is faithful towards his country. His decision to pass the kingdom to his son, Malcolm, becomes the reason of his death.

Macduff is the thane of Scotland. He is loyal towards king and turns against Macbeth after discovering king’s death.  He flees to England to meet Malcolm where he comes to know about his family’s murder so he plans to take revenge from Macbeth. He also wants to unseat Macbeth from the throne.

Malcolm is the son of Duncan.  He flees to England fearfully after his father’s death. He raises an army there to take back his throne from Macbeth. In the end of the play, Malcolm becomes the king with the support of Macduff and England army.

He is Duncan’s son and Malcolm’s younger brother who flees to Ireland after his father’s death.

He is Banquo’s son who escapes the castle when murderers attempt to kill him. After that he does not appear in the play.

She is the goddess of three witches who guides them to plot mischief against Macbeth.  She is evil and weird.

Macbeth Literary Analysis

The play “Macbeth” portrays a tragic downfall of a brave warrior, Macbeth. At first he appears as a brave and courageous Army General who has won the battle through his bravery but later we come to know about his real self when he receives the prophecies from the three witches.  The prophecies are that Macbeth will become the king of Scotland soon and children of Banquo, another army general, will inherit the throne in future.

After these prophecies, Macbeth appears to be an evil, ruthless and overly ambitious person. He lacks the strength of character and starts doing evil to become the king. The thirst for power and position leads him towards a great downfall.

On the other hand, Lady Macbeth, a violent and ruthless woman, persuades him to murder the king because of the lust of throne and power. He is a masculine soul in a female body that is strong and overly ambitious about her plans. In the beginning she strongly acts upon her evil plans but later she cannot carry the burden of her sins that leads her towards madness. This shows that no matter how strongly one commits sins, at some point in life those sins overly burden him/her and haunt him/her.

Moreover, Banquo, who is faithful towards Duncan and does not plot evil to make the prophecy come true, is killed by Macbeth. But later on we discover that his ghost starts haunting Macbeth and he starts acting abnormally. It shows the contrast between personalities of the two, Macbeth and Banquo. Both are ambitious and brave but Macbeth is evil and Banquo is virtuous because he does not choose a wrong path to become more powerful.

Additionally, the king of Scotland named Duncan is also a virtuous and honored king who is killed by Macbeth because of his lust for throne. Duncan is referred to as ‘King’ throughout the play whereas Macbeth is referred to as a ‘Tyrant’ when he declares himself as a king. It shows the contrast between a good king and a tyrant. Macbeth murders every person who comes on his way of becoming the king. He is a wicked and immoral person who commits sins whereas Duncan is a moral person who rules the Scotland justly and peacefully.

The play also portrays the consequences and effects of thirst for power of a person who is morally weak and lacks the decisive power. Macbeth knows the consequences of his evil deeds but keeps on committing sins because he lacks the decisive power, he is constantly persuaded by his wife to murder those who are a threat to his kingship. It leads him to a tragic downfall.

More From William Shakespeare

• A Midsummer Night’s Dream
• The Merchant of Venice
• Twelfth Night
• The Taming of the Shrew
• As You Like It
• Much Ado About Nothing
• The Comedy of Errors

William Shakespeare

Ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on William Shakespeare's Macbeth . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Macbeth: Introduction

Macbeth: plot summary, macbeth: detailed summary & analysis, macbeth: themes, macbeth: quotes, macbeth: characters, macbeth: symbols, macbeth: literary devices, macbeth: quizzes, macbeth: theme wheel, brief biography of william shakespeare.

Historical Context of Macbeth

Other books related to macbeth.

• Full Title: The Tragedy of Macbeth
• When Written: 1606
• Where Written: England
• When Published: 1623
• Literary Period: The Renaissance (1500 - 1660)
• Genre: Tragic drama
• Setting: Scotland and, briefly, England during the eleventh century
• Climax: Some argue that the murder of Banquo is the play's climax, based on the logic that it is at this point that Macbeth reaches the height of his power and things begin to fall apart from there. However, it is probably more accurate to say that the climax of the play is Macbeth's fight with Macduff, as it is at this moment that the threads of the play come together, the secret behind the prophecy becomes evident, and Macbeth's doom is sealed.

Extra Credit for Macbeth

Shakespeare or Not? There are some who believe Shakespeare wasn't educated enough to write the plays attributed to him. The most common anti-Shakespeare theory is that Edward de Vere, the Earl of Oxford, wrote the plays and used Shakespeare as a front man because aristocrats were not supposed to write plays. Yet the evidence supporting Shakespeare's authorship far outweighs any evidence against. So until further notice, Shakespeare is still the most influential writer in the English language.

• Skip to main content
• Keyboard shortcuts for audio player

Movie Reviews

• LISTEN & FOLLOW
• Apple Podcasts
• Google Podcasts
• Amazon Music

Your support helps make our show possible and unlocks access to our sponsor-free feed.

This 'Macbeth' adaptation distills Shakespeare's tragedy to its furious essence

Justin Chang

Denzel Washington and Frances McDormand play Shakespeare's famously murderous couple in The Tragedy of Macbeth. Apple TV+ hide caption

Denzel Washington and Frances McDormand play Shakespeare's famously murderous couple in The Tragedy of Macbeth.

In The Tragedy of Macbeth , director Joel Coen slashes away at Shakespeare's text, distilling every scene to its furious essence. At 105 minutes, this is a shorter Macbeth movie than most. The best-known lines are still there, of course — "Is this a dagger which I see before me" and all the rest. But the story of Macbeth's murderous rise to power is told with ruthless concentration.

The visuals are as stark and stripped down as the text. Coen and his cinematographer, Bruno Delbonnel, evoke the look of older movies with a spectral black-and-white palette and a nearly square frame. Carter Burwell's score sets an ominous mood, complemented by what sounds like an executioner's drumbeats.

Pop Culture Happy Hour

The best movies and tv of 2021, picked by npr critics.

It's an immaculate piece of craftsmanship; the very look and feel of the movie cast a spell. At times you might be reminded of Orson Welles' 1948 Macbeth , and also of Akira Kurosawa's masterful 1957 retelling, Throne of Blood . Still, Coen's greatest influence here is Carl Theodor Dreyer, the austere Danish director who peered deep into his characters' tormented souls.

The tormented souls here are played by Denzel Washington and Frances McDormand , and it's fascinating to watch two of our most famous actors step out of this movie's expressionist shadows. Washington and McDormand are both in their 60s, somewhat older than most actors cast as Macbeth and Lady Macbeth. And so there's an even greater sense of futility to their deadly plot against the king, Duncan, while he's a guest in their home. This Macbeth's reign of terror is destined to be short-lived.

Not much else has changed: Macbeth does the awful deed and seizes power, setting in motion a brutal chain of violence. At one point he turns to the three old witches who first prophesied that he would become king. All three witches are played by the English stage actor Kathryn Hunter, whose brilliant performance, with its spooky intonations and contortionist gestures, give this movie its darkest magic.

Coen's staging of Macbeth's sequence with the witches is ingenious: Rather than showing us the witches stirring their pot, he positions them up in the rafters like birds, looming over Macbeth, while the floor beneath his feet becomes a bubbling cauldron. Again and again, the director takes some of the most famous moments in the history of the theater and gives them a sense of abstraction. Macbeth's castle looks like something out of a surrealist painting, with its rows of identical archways and bold contrasts of light and dark.

As bewitching as the movie looks, the actors are never eclipsed by the production design. McDormand brings her usual steely poise to Lady Macbeth, which makes her unraveling all the more pitiable to behold. And Washington is remarkable: I had feared that this role might call forth a lot of stentorian bellowing, but until all hell breaks loose in the final act, the actor underplays beautifully. Washington plays Macbeth like an old man lost in a fog of his own bloodlust. He murmurs Shakespeare's language as though it really were welling up from someplace deep inside himself.

Arts & Life

The only 'new' thing about cross-cultural casting is who's getting the roles.

The rest of the superb ensemble combines actors from both stage and screen. Brendan Gleeson plays the doomed, unsuspecting Duncan with a genuinely kingly air, while Bertie Carvel brings the requisite gravity to the role of Banquo, the close friend and battle comrade whom Macbeth will betray. And I loved Corey Hawkins' youthful vitality in the role of Macduff, the rival who will help bring Macbeth's reign to its bloody end.

Like the many movies Joel Coen has made with his brother Ethan, The Tragedy of Macbeth has been directed to within an inch of its life, which leeches it of some emotional impact. Sometimes I wanted to linger longer in this dark world, to let its chill seep more fully into my bones. Still, there's no denying Coen has the right temperament for this doomiest of Shakespeare plays. Add it to the many stories he's told about men lost in tragedies of their own making.

• Share full article

Advertisement

Supported by

‘Bluets’ Review: This Maggie Nelson Adaptation Is All About the Vibes

How do you bring an almost plotless book of elliptical fragments to the stage? The director Katie Mitchell has tried with three actors, four screens and three bottles of whiskey.

By Houman Barekat

The critic Houman Barekat saw the show in London.

When the Royal Court Theater in London announced it was staging an adaptation of Maggie Nelson’s prose poem memoir “Bluets,” my first reaction was head-scratching surprise. This largely plotless book, in which elliptical fragments of autobiography are entwined with meditations on the cultural history of the color blue and loosely coalesce around the theme of depression, doesn’t exactly scream theater.

In Margaret Perry’s adaptation, directed by Katie Mitchell and running through June 29, a trio of actors — Ben Whishaw, Emma D’Arcy and Kayla Meikle — recite passages from “Bluets” and act out moody scenes of everyday life; these are combined with innovative use of video technology and melancholic music to generate a multisensory representation of the narrator’s consciousness. It’s an admirably ambitious undertaking, but a lack of narrative thrust or tonal variation make for a somewhat bloodless experience.

The performers are stationed at three tables, each equipped with a bottle of whiskey and a tumbler. Behind each of them, a television screen plays prerecorded footage of everyday English locales: an ordinary shopping street, a subway carriage, a municipal swimming pool. Each actor is filmed by a ball-shaped camera, like a webcam, on a tripod in front of them; this footage is instantly relayed to a large movie screen, where it is superimposed over images from the TVs below, so that the actors and their backdrops merge to uncanny effect.

The gloomy aesthetic and lugubrious soundscape befit the morose timbre of the material as Nelson’s maudlin narrator reels off tidbits about her favorite color — referencing Derek Jarman, Joni Mitchell and Johann Wolfgang von Goethe — while intermittently brooding over her ex-partner, whom she addresses in wistful and reproachful tones, and recounting the struggles of a close friend who was paralyzed in an accident. (The video design is by Grant Gee and Ellie Thompson; the sound is by Paul Clark). Onstage and onscreen, we see a lot of blue: blue props, blue outfits and blue-centric video clips, including one in which a bowerbird builds a nest with bits of blue detritus.

First published in 2009, “Bluets” was reissued in 2017 after the success of Nelson’s similarly hybrid 2015 work, “The Argonauts,” which heralded a publishing fad for essay-memoirs that combined ambient erudition with diaristic introspection. But the very quality that some readers enjoy in these books — the weightlessness of the narrative, evoking an untethered, freewheeling subjectivity — makes them exceptionally ill-suited to the theater, which thrives on momentum, tension and conflict.

These elements are lacking here, and, aside from a few giggles — invariably occasioned by the narrator’s frank reminiscences about her sex life — there isn’t much mirth, either. Wishaw’s charming comic bearing does inject a sense of levity: For the past two decades, he has played a variety of roles — ranging from the poet John Keats to Paddington Bear — with a semi-abstracted, ironical air of stunned bewilderment, which is on show again here. D’Arcy and Meikle’s more wryly impassive deliveries are perhaps truer to the sardonic spirit of Nelson’s book.

The real star is the camerawork, which is at times impressively discombobulating. Every now and then, an actor lays their head on a pillow, and the lighting in their part of the stage is adjusted for nighttime; the footage relayed to the big screen from the camera in front of them doesn’t admit even the tiniest sliver of light, so that the image of slumbering calm feels strikingly hermetic, like it couldn’t possibly have been shot on this busy stage.

The Royal Court has long had a reputation for risk-taking, and this kind of vibes-based theater — in which texture, rather than action, is the driving force — is rare at major playhouses in Britain, though more common in France and Germany, where Mitchell’s work is popular. If this production drags a little, it’s because the presence of a narrator’s voice demands charisma, and Nelson’s literary achievement in “Bluets,” with its judicious cherry-picking of cultural curios, was in large part curatorial: She doesn’t have the wit and sparkle of a raconteuse.

Yet as a downbeat portrait of banal melancholia intermingled with obsessive mania, Mitchell’s “Bluets” adaptation is a competent realization of Nelson’s text. This might prompt us to consider what constitutes success in such an endeavor, and to think about the difference between a homage and an adaptation that can stand on its own. If you didn’t already know “Bluets” (the book) and went to see “Bluets” (the play), would it captivate you? I doubt it.

Arts and Culture Across Europe

A production of “Richard III” at the Shakespeare’s Globe theater faced criticism because a nondisabled actor plays the scheming king. But disputes like these miss the point , our critic writes.

The violent history of the Dutch colony that is now New York is not well known in the Netherlands. The curators of a new exhibition at the Amsterdam Museum  want to change that.

The Victoria and Albert Museum in London is a treasure trove of art and design. Here’s one besotted visitor’s plan for taking it all in .

The Royal Shakespeare Company’s co-artistic directors have put together a challenging debut season . But many visitors come to Stratford-upon-Avon seeking something more traditional.

The Venice Biennale, the art world’s most prestigious exhibition, opened recently  to some fanfare, some criticism  and a number of protests . Here’s a look at some of the standouts  from the 2024 edition.