English Literature - Shakespeare

Supernatural P1

Big Idea 1: The witches use the supernatural to manipulate Macbeth and awaken his fatal ambition.
“All hail, Macbeth! Hail to thee, Thane of Glamis! / Hail to thee, Thane of Cawdor! / Hail to thee, that shalt be king hereafter.”

“Hail” repeated 3x – The tricolon creates a hypnotic chant, resembling a spell or incantation, connoting manipulation and supernatural control.

The escalating titles (from current to future) emphasize the witches’ power to influence Macbeth’s perception of fate, planting the seed of ambition.

The prophetic tone suggests that Macbeth’s future is predestined, tempting him into believing he’s destined for power—removing moral responsibility.

The witches act as agents of the supernatural, embodying evil temptation, which aligns with Jacobean beliefs about witches being servants of the Devil.

“So foul and fair a day I have not seen.”

Macbeth echoes the witches’ paradox from earlier—“Fair is foul, and foul is fair”—suggesting their influence has already taken hold of his thoughts.

The oxymoronic “foul and fair” suggests the blurred boundaries between good and evil, a theme tied deeply to the supernatural’s deceptive nature.

His mirroring of the witches’ language implies the beginning of his moral confusion, as if the supernatural is already clouding his judgment.

To a Jacobean audience, this eerie mirroring would signal that Macbeth is spiritually tainted, already under the witches’ spell.

Supernatural P2

Big Idea 2: The supernatural is used to reflect Macbeth’s guilt and descent into madness.

“Is this a dagger which I see before me, the handle toward my hand?”

The hallucinated dagger represents Macbeth’s inner conflict, acting as a supernatural manifestation of his murderous desire.

The dagger’s “handle toward [his] hand” suggests that fate—or some dark force—is luring him toward the murder, removing the need for conscious moral choice.

The question form reveals his uncertainty and instability; the line between illusion and reality is distorted, reflecting the supernatural’s psychological control.

To a contemporary audience, such visions might be seen as the Devil’s way of tempting Macbeth to commit regicide, which was a crime against God’s divine order.

“Never shake thy gory locks at me.”

Banquo’s ghost is a supernatural embodiment of Macbeth’s guilt, haunting him for his betrayal and murder.

“Gory locks” vividly depict the blood and violence Macbeth is responsible for, symbolising that the supernatural is now punishing him.

The ghost is invisible to everyone else, suggesting Macbeth’s mind is unraveling—his guilt is so overwhelming it manifests supernaturally.

The supernatural doesn’t just tempt—it torments. Shakespeare shows how guilt can mentally consume someone once they’ve aligned themselves with dark forces.

Supernatural P3

Big Idea 3: Lady Macbeth calls upon the supernatural to reject her femininity and embrace cruelty—but it ultimately destroys her.

“Come, you spirits / That tend on mortal thoughts, unsex me here.”

Lady Macbeth directly invokes the supernatural, showing how she actively aligns herself with evil to gain power—unlike Macbeth who is more passive.

The phrase “mortal thoughts” connotes murder and death, while “spirits” implies demonic forces, suggesting she’s surrendering her humanity.

“Unsex me here” is a rejection of her femininity and maternal instincts, asking the supernatural to strip away all that is natural and nurturing.

In Jacobean England, women were expected to be submissive—so Lady Macbeth’s bold summoning of evil would have been viewed as monstrous and unnatural.

“Out, damned spot! Out, I say!”

The imagined bloodstain represents her inescapable guilt, showing that the supernatural has now turned from empowering her to torturing her mind.

“Damned” implies eternal punishment and hell, suggesting she is spiritually condemned for invoking evil.

This is a reversal of her earlier confidence—she once summoned dark forces; now, she is haunted by their consequences, unable to cleanse herself.

Shakespeare uses the motif of blood to show how murder stains the soul, and when one calls on the supernatural, there is always a price.

Ambition P1

BIG IDEA 1: Ambition as a corrupting, immoral desire that opposes natural order

“Stars, hide your fires; Let not light see my black and deep desires.”

The personification and imperative verb “hide” shows Macbeth trying to command nature, symbolising how his ambition makes him defy the natural and moral order.

The noun “stars” connote divinity and guidance, so Macbeth's plea for them to hide suggests he wants to escape moral scrutiny and divine judgment.

The juxtaposition between “light” and “black” implies a conflict between good and evil, mirroring Macbeth’s inner turmoil — ambition is shown as a force that creates moral decay.

The adjectives “black and deep” intensify the secrecy and immorality of his ambition; “deep” also implies how entrenched and irreversible his desires have become.

A Jacobean audience would associate darkness with sin and evil. Macbeth’s desire to conceal his thoughts suggests he already recognises the damnation ambition will bring.

“I have no spur / To prick the sides of my intent, but only / Vaulting ambition, which o’erleaps itself.”

The metaphor of horse-riding positions ambition as wild and uncontrollable — Macbeth lacks a “spur” or valid motive, so his ambition is directionless and impulsive.

“Vaulting ambition” suggests an excessive, almost athletic leap, reinforcing the idea that ambition is inherently overreaching and dangerous.

The phrase “o’erleaps itself” is a paradox — ambition is self-defeating. In trying to go too far, Macbeth ends up falling, symbolising how ambition becomes self-destructive.

The sibilance in “sides of my intent” subtly mimics a hiss — perhaps indicating the serpent-like, sinister nature of this intent.

Shakespeare critiques unchecked ambition as a path to moral and political ruin, echoing Jacobean fears of social disruption and regicide.

Ambition P2

BIG IDEA 2: Ambition is an infectious force that can be manipulated by others

“Art not without ambition, but without / The illness should attend it.” — Lady Macbeth

The abstract noun “ambition” is acknowledged as a neutral or even positive quality, but it must be accompanied by “illness” — a metaphor for cruelty, manipulation, and evil.

The juxtaposition of ambition and illness reinforces the idea that for ambition to succeed, it must be tainted with immorality.

The modal verb “should” implies that evil is not optional but a necessary companion to ambition, further presenting it as a corruptive force.

Lady Macbeth almost speaks like a doctor diagnosing Macbeth’s psyche, illustrating her manipulation and the calculated way she nurtures his ambition.

To a Jacobean audience, a woman encouraging evil and rejecting morality would be deeply unsettling — Shakespeare challenges gender expectations by showing ambition as infectious and subversive.

“When you durst do it, then you were a man.”

The verb “durst” (dared) directly challenges Macbeth’s courage, linking ambition to masculinity and pride.

The conditional structure (“when... then…”) implies that Macbeth’s identity is conditional — he’s only worthy if he acts on his ambition.

Lady Macbeth redefines manhood as the ability to commit regicide, twisting traditional values to manipulate Macbeth’s desires.

The tone is accusatory and emasculating, showing how ambition can be provoked and inflamed by those who know how to exploit insecurities.

Shakespeare presents ambition as something that can be transmitted, like a mental infection, through the manipulation of language and societal pressures.

Ambition P3

BIG IDEA 3: Ambition leads to psychological torment and self-destruction

“To be thus is nothing, but to be safely thus.”

The repeated deictic “thus” (meaning king) suggests Macbeth’s fixation on his status — he is obsessed with power, but finds no peace in it.

The adverb “safely” shows that ambition doesn’t fulfil him — instead, it breeds paranoia and insecurity.

The abstract noun “nothing” implies a void — his ambition has consumed everything, even his sense of purpose.

Shakespeare exposes how ambition does not provide stability; rather, it leads to constant fear and psychological unrest.

This would shock a Jacobean audience — Macbeth has everything, yet remains tormented, showing that ambition brings spiritual and mental ruin.

“O, full of scorpions is my mind, dear wife!”

The metaphor “full of scorpions” presents Macbeth’s thoughts as venomous, poisonous, and dangerous, consumed by ambition and fear.

The plosive ‘sc’ sound reflects his agitation and mental unrest, evoking a sense of internal violence.

The phrase “dear wife” adds ironic tenderness, as he conceals murderous intentions while pretending to care — ambition has made him duplicitous.

The exclamative “O” signals emotional torment, showing how ambition has left him psychologically unstable.

Shakespeare shows that ambition is not only destructive externally but also internally corrodes the mind and soul — a consequence deeply feared by his religious audience.

Power P1

Big Idea 1: Macbeth's unchecked ambition leads him to pursue power at any cost, resulting in moral decay and tyranny.​

“I have no spur to prick the sides of my intent, but only vaulting ambition, which o’erleaps itself.”

Metaphor – "no spur to prick the sides of my intent": Macbeth compares his lack of motivation to a rider without a spur to urge his horse forward, indicating he has no justifiable reason to kill Duncan beyond his own ambition.

Personification – "vaulting ambition": Ambition is depicted as a force that propels one to leap beyond bounds, suggesting that Macbeth's desire for power is excessive and uncontrollable.

Foreshadowing – "which o’erleaps itself and falls on th’ other": This phrase predicts Macbeth's downfall due to his overreaching ambition, as he acknowledges that such unchecked desire can lead to one's ruin.​

“To be thus is nothing, but to be safely thus.”

Juxtaposition – "to be thus is nothing, but to be safely thus": Macbeth contrasts mere kingship with secure kingship, revealing his growing paranoia and the insatiable nature of his ambition.

Theme of Power: Despite achieving the throne, Macbeth feels insecure, illustrating how power gained through immoral means leads to perpetual fear and instability.​

In Jacobean England, the Divine Right of Kings was a prevailing belief, asserting that monarchs were appointed by God. Macbeth's contemplation and subsequent act of regicide would have been seen as a heinous violation of the natural and divine order, emphasizing the destructive nature of his ambition.

Power P2

Big Idea 2: Lady Macbeth seeks power by challenging traditional gender roles, using manipulation to achieve her aims, which ultimately leads to her psychological unraveling.​

“Come, you spirits that tend on mortal thoughts, unsex me here, and fill me from the crown to the toe top-full of direst cruelty.”

Imperative Verbs – "Come", "unsex me", "fill me": Lady Macbeth commands supernatural forces to strip her of feminine qualities, indicating her desire to adopt traditionally masculine traits associated with ruthlessness.

Imagery – "from the crown to the toe top-full of direst cruelty": She seeks to be entirely consumed by cruelty, rejecting any compassion or remorse that might hinder her plans.

Symbolism – "unsex me": This phrase symbolizes her rejection of societal expectations of women, as she believes that femininity equates to weakness in the pursuit of power.​

“When you durst do it, then you were a man.”

Challenge to Masculinity: Lady Macbeth questions Macbeth's manhood to manipulate him into committing regicide, equating masculinity with the willingness to seize power through violence.

Theme – Gender and Power: This reflects the play's exploration of gender roles, where Lady Macbeth adopts a traditionally male-associated trait of aggression to achieve her ambitions.​

During the early 17th century, women were expected to be passive and nurturing. Lady Macbeth's rejection of these norms and her active role in political machinations would have been shocking to contemporary audiences, highlighting the play's exploration of gender and power dynamics.

Power P3

Big Idea 3: Banquo represents the path of virtue, resisting the temptation of power and ambition, which contrasts with Macbeth's moral decline.​

“Merciful powers, restrain in me the cursed thoughts that nature gives way to in repose.”

Appeal to the Divine – "Merciful powers": Banquo seeks guidance from higher powers to resist the dark thoughts spurred by the witches' prophecy, showcasing his reliance on moral and spiritual strength.

Euphemism – "cursed thoughts": He refers to his ambitions and desires as "cursed," indicating his awareness of their potential to lead to wrongdoing.

Contrast with Macbeth: Unlike Macbeth, who succumbs to his ambitions, Banquo actively resists them, highlighting his integrity and the moral choices he makes despite similar temptations.​​

Kingship P1

Big Idea: Shakespeare juxtaposes Duncan’s virtuous rule with Macbeth’s moral decay to highlight what true kingship should embody.

“His virtues / Will plead like angels, trumpet-tongued…”

• The noun “virtues” suggests moral integrity and righteousness, reinforcing Duncan’s natural authority as king.

• The simile “like angels” implies that Duncan is divinely aligned, presenting him as a sacred figure protected by heaven.

• The metaphor “trumpet-tongued” conveys justice as loud and undeniable, foreshadowing that Macbeth’s actions will not go unpunished.

Relevant Context: Kings were believed to rule by the Divine Right — appointed by God. Duncan’s virtues make him a symbol of legitimate rule.

“I have no spur / To prick the sides of my intent…”

• The metaphor of the horse and spur shows Macbeth’s lack of moral justification for regicide — ambition is his only driver.

• The noun “intent” highlights the cold, calculated nature of Macbeth’s decision, in contrast to Duncan’s instinctive righteousness.

• The absence of “spur” implies Macbeth lacks true motivation or honour — his kingship will be hollow and driven by selfishness.

Relevant Context: Macbeth’s ambition reflects the growing anxieties in Jacobean society about usurpers and threats to divine order.

Kingship P2

Big Idea: Shakespeare contrasts Duncan’s benevolent leadership with Macbeth’s tyranny to show that real kingship is rooted in service, not fear.

“So clear in his great office, that his virtues / Will plead like angels”

• “Great office” alludes to the nobility and responsibility of kingship, portraying Duncan as a moral role model.

• The adjective “clear” implies Duncan’s transparency and purity in rule — he is uncorrupted by power.

• The repetition of “virtues” reinforces that Duncan governs ethically, by goodness, not by force.

Relevant Context: A true king was seen as a servant of God and of his people — justice and mercy were considered key royal qualities.

“I’ll fight till from my bones my flesh be hacked”

• The violent imagery of “flesh be hacked” reflects Macbeth’s descent into brutality and desperation.

• The verb “fight” shows Macbeth clings to kingship through violence rather than virtue.

• The phrase suggests self-destruction, revealing that Macbeth’s rule is ultimately unsustainable and unnatural.

Relevant Context: Macbeth becomes a tyrant, echoing fears of illegitimate rulers who use force to maintain power, a concern in James I’s reign.

Kingship P3:

Big Idea: Duncan’s death causes disorder and grief, while Macbeth’s brings relief — Shakespeare uses their contrasting legacies to reinforce the sacredness of legitimate kingship.

“Most sacrilegious murder hath broke ope / The Lord’s anointed temple”

• “Sacrilegious” shows Duncan’s murder is not just political but a sin against God — it violates spiritual order.

• The metaphor “Lord’s anointed temple” equates Duncan’s body with a holy church, reinforcing the idea of divine kingship.

• The verb “broke” suggests chaos and violence, showing the deep societal rupture caused by his death.

Relevant Context: Regicide was considered the ultimate crime — a violation not just of monarchy but of heaven’s will.

“This dead butcher and his fiend-like queen”

• The noun “butcher” dehumanises Macbeth, suggesting he ruled by bloodshed, not justice.

• The compound “fiend-like” aligns both Macbeth and Lady Macbeth with evil, distancing them from the moral nobility of Duncan.

• The final judgement comes from Malcolm, symbolising the restoration of rightful order and God’s justice.

Relevant Context: The play ends with Malcolm — the rightful heir — taking the throne, reaffirming the idea that kingship must be moral and divinely sanctioned.

Guilt P1

Big Idea: Macbeth is haunted by guilt, which corrupts his mind and distorts his sense of reality, leading to paranoia, madness and inner torment.

“Will all great Neptune’s ocean wash this blood clean from my hand?”

• The hyperbole suggests that not even an ocean can cleanse his guilt — it’s impossibly permanent.

• The symbolism of blood links to guilt — it’s not just physical blood, but moral stain.

• The mythical allusion to Neptune (Roman god of the sea) makes his guilt feel cosmic and inescapable.

• The rhetorical question reflects his panic, showing he knows there’s no escape from the consequences.

  • Jacobean audiences believed in the divine right of kings. Macbeth has committed a crime against God, so his guilt is more than emotional — it’s spiritual damnation.

“O full of scorpions is my mind, dear wife.”

• The metaphor of “scorpions” shows his thoughts are poisonous, dangerous, and torturous.

• “My mind” shows the guilt is internal, creating psychological torment.

• Juxtaposition of “dear wife” with violent imagery shows how guilt and ambition corrupt even his relationships.

• This shows Macbeth’s descent — instead of repenting, he turns to more violence to silence his guilt.

  • The fear of psychological consequences was key in tragic heroes. Macbeth follows the arc of a tragic protagonist: guilt leads to downfall.

Guilt P2

Big Idea: Lady Macbeth initially tries to suppress guilt with ambition and manipulation, but it returns to destroy her mind and sanity.

“A little water clears us of this deed.”

• The minimising adjective “little” shows her attempt to downplay the crime and the guilt.

• The verb “clears” shows she believes guilt is superficial — easily washed away.

• Contrast with Macbeth’s ocean metaphor — she’s naively confident, unaware of the deeper consequences.

• Reflects her early belief in pragmatism over morality — guilt is a problem to solve, not an emotion to feel.

  • Women in Shakespeare’s time were expected to be submissive, yet Lady Macbeth defies gender roles. Her attempt to suppress guilt mirrors how society silenced female emotion and power.

“Out, damned spot! Out, I say!”

• Imperative verbs show desperation — she’s trying to command her guilt away, but it doesn’t listen.

• The metaphor of the “spot” represents guilt that has become part of her identity.

• “Damned” links her guilt to eternal punishment and religious fear.

• The fragmented syntax (short sentences, exclamations) shows her mental collapse.

  • The guilt leads to madness — a common fate for those who defy natural and divine order in Shakespearean tragedy. Lady Macbeth’s breakdown would evoke both fear and pity in a Jacobean audience.

Guilt P3

Big Idea: Macduff’s guilt is righteous but tragic — he feels personally responsible for the murder of his family and channels guilt into justice and emotional honesty.

“Sinful Macduff, they were all struck for thee!”

• The religious adjective “sinful” shows deep, moral guilt — he sees himself as the cause of their death.

• The third-person reference creates distance, showing internal conflict and self-loathing.

• “Struck for thee” highlights how he carries the burden of their deaths on his conscience.

• Exclamatory tone reveals the rawness and pain of his guilt — this is a man broken by loss.

  
  Macduff’s guilt reflects the honourable suffering of a true man. In contrast to Macbeth, who kills to protect power, Macduff grieves those he failed to protect.

“I must also feel it as a man.”

• The modal verb “must” suggests guilt and grief are a moral responsibility.

• Juxtaposition of “feel” and “man” challenges toxic masculinity — he redefines what strength looks like.

• Highlights emotional maturity — Macduff chooses to process guilt through grief, not revenge alone.

• Directly contrasts Macbeth, who suppresses guilt with murder — Macduff processes it with mourning and justice.

  • Jacobean men were expected to suppress emotion. Shakespeare makes Macduff a hero not in spite of his guilt, but because he allows himself to feel it.

Appearances P1

Big Idea: Macbeth shows how appearances can mask dangerous ambition. He constantly presents a false image to manipulate others, but this deception leads to paranoia, isolation and downfall.

“False face must hide what the false heart doth know.”

Analysis:

• Alliteration of “false” emphasises the duplicity — both his face and heart are deceptive.

• The verb “hide” shows Macbeth is actively choosing deception — guilt and betrayal are already internal.

• “Must” (modal verb) signals necessity — he sees false appearances as essential to success.

• Suggests inner conflict — he knows it’s wrong but chooses appearance over morality.

Context:
In the Jacobean era, treason and regicide were the ultimate sins. Audiences would be disturbed by Macbeth’s ability to lie to God and king — deception was unnatural and dangerous.

“Look like th’innocent flower, but be the serpent under’t.”

Analysis:

• Juxtaposition of “flower” and “serpent” shows the contrast between appearance (gentle) and reality (deadly).
  “Flower” — Connotations:

  • Innocence & Purity: flowers are soft, delicate, and beautiful — often associated with virtue, femininity, and gentleness. Lady Macbeth wants Macbeth to appear harmless.

  • Peacefulness: a flower represents calmness and non-violence — no one would suspect danger from something that looks so gentle.

  • Temptation / Beauty as a trap: certain flowers (like poppies or poisonous blooms) look beautiful but are deadly — hinting that even beauty can be deceptive.

  • Femininity & Traditional Roles: connects to how women were expected to be delicate and passive — she tells Macbeth to fake those traits to manipulate others.
    
    “Serpent” — Connotations:

  • Deception & Evil: huge Biblical link to the serpent in the Garden of Eden, who tempts Eve to sin — the serpent becomes a symbol of manipulation, sin, and fall from grace.

  • Hidden Danger: a serpent lurks beneath the flower — it’s sneaky, predatory, and strikes without warning. That contrast makes the deceit more chilling.

  • Satanic / Supernatural: to a Jacobean audience, the serpent wasn’t just “sneaky,” it was satanic. Shakespeare taps into religious fear here — this isn’t just clever deceit, it’s a kind of moral corruption.

  • Masculine aggression & power: snakes are also symbolic of threat and action — she’s urging Macbeth to be violent, but to disguise it under charm.

• The imperative “look” shows Lady Macbeth is coaching Macbeth in false appearances.

• Suggests corruption — he's being taught to weaponise appearances.

Context:
Shakespeare is warning against outward charm masking inner evil — something deeply feared in a society obsessed with order, religion and loyalty.

Appearances P2

Big Idea:
Lady Macbeth projects strength and control, hiding her inner vulnerability. She uses false appearances to manipulate Macbeth and mask her own morality, but her facade ultimately cracks under pressure.

“Come, thick night, / And pall thee in the dunnest smoke of hell”

Analysis:

• The personification of “night” shows her calling on darkness to hide her evil intentions.

• “Pall” (a funeral cloth) is a metaphor for concealment — she wants to cover death in darkness, showing awareness of the need to appear innocent.

• The phrase “dunnest smoke of hell” links deception to hellish imagery, implying moral corruption beneath a composed surface.

• The structure of her speech is ritualistic and commanding — almost like a spell, enhancing the idea of performance and illusion.

Context:
Lady Macbeth embodies the fear of ambitious, powerful women in Jacobean society. She’s manipulating appearances to overstep gender roles and align herself with supernatural forces, something seen as deeply unnatural and threatening in Shakespeare’s time.

“Had he not resembled / My father as he slept, I had done’t.”

Analysis:

• The interrupted, broken syntax reflects hesitation — her confidence is beginning to unravel.

• Shows that her appearance of fearlessness is just that — an appearance. She is not as heartless as she pretends.

• The personal memory of her father creates an emotional image — suggesting a hidden vulnerability behind her cold persona.

• Juxtaposes earlier language (“smoke of hell”) — showing discrepancy between appearance and internal truth.

Context:
Lady Macbeth’s collapse beneath guilt later in the play proves that performing ruthlessness doesn’t make it real. Shakespeare critiques the idea that ambition and deceit can protect people from psychological consequences.

Appearances P3

Big Idea:
The supernatural embody deception and illusion. They use ambiguous language and manipulate appearances to mislead Macbeth and lure him into destruction.

“Fair is foul and foul is fair.”

Analysis:

• Paradox reveals the play’s central theme — nothing is as it seems.

• The chiasmus (mirrored structure) reflects inversion — good appears evil, evil appears good.

• The repetition of “fair/foul” blurs moral boundaries — creates confusion and distrust.

• Establishes the witches as agents of chaos and manipulation from the start.

Context:
Audiences in 1606 believed witches could distort reality and control minds. Their language immediately signals dangerous deceit, challenging the natural order.

“None of woman born shall harm Macbeth.”

Analysis:

• Apparent reassurance — the prophecy appears protective, but it’s a half-truth.

• The vague, riddle-like structure lulls Macbeth into false confidence.

• Plays on ambiguity of language — appearances in words, not just actions, can deceive.

• Macbeth misinterprets the prophecy, showing how appearance can mislead even the powerful.

Context:
Witchcraft was feared and punishable by death. Shakespeare uses the witches to explore how language, illusion and prophecy can corrupt through misinterpretation.