Macbeth quotes

“vaulting ambition which o’erleaps itself and falls on th. other” act 1 Macbeth

personification: Macbeth personifies his ambition, portraying it as posseting a potency (making an impression) comparable to an human force that can exert influence and corrupt his formerly innocent mind.

• When he acknowledges its eventual "fall," it indicates Macbeth's awareness that his all-encompassing ambition is his hamartia (fatal flaw that leads to his downfall) destined to lead to his mental and physical decline.

• Alternatively, this portrayal positions Macbeth as a victim ensnared (trapped) by his own ambition, showcasing his introspective understanding of its fatal consequences and presenting him as vulnerable to its relentless (constant) influence.
  Metaphor: The metaphorical portrayal of Macbeth'3 "vaulting ambition" draws a parallel between
  him and a jockey who is to manage an untameable, almost animalistic force

*This metaphor not only depicts Macbeth's struggle to control his ambitious nature but also suggests self-deception - Macbeth believes that he is able to harness some control over his ambition, enough that he is able to transcend the societal, political and divine limitations placed

“with tarquuins ravshing strides ,towards his design” act 2 Macbeth

contexual links: Macbeth ambitiously strives to emulate Tarquin, the Roman tyrant whom raped his wife, so he can embody what it means to be a ruthless blood-thirsty leader.

Macbeths ambition is further fuelled by the lingering emasculation (using his masculinaty against him) he experienced at the hands of Lady Macbeth in Act 1 for him, power becomes synonymous (closely linked) with brutality and the perception is compounded by his insatiable(impossible to satisfy) ambition, which propels him towards a relentless pursuit of dominance through brute force

connotation on “design” the diction connotes intentional creation, mirrowing Macbeths intentional crafting of his desired position as king through ambitious pursuits.

Despite his transgression (going against) of natural order in this pursuit, the seductive allure of these temptations of power and authority obstructs him from seeing the permanent and eternal consequences he will face

“I have no words ;my voice is my sword” Macduff

Violent metaphor: In employing a violent metaphor, Macduff contends that the restoration Or Scotland's natural order necessitates physical violence - his ambition is to rightfully restore Scotland from Macbeth's violation of kingship. Thus, the initial upheaval, brought about by Macbeth's violent tyrannical means, mandates a similar force to rectify the natural order of the divine right of kings that has been disrupted.

• Macduff is the archetype (perfect- example) of the avenging hero, motivated by revenge. Despite his personal motivations rooted in revenge, the nobility of his intentions shines through as he wants to eradicate the chaos brought about from Macbeth's immoral kingship.

• His ambitious pursuit of dismantling Macbeth single-handedly to restore order is materialising into a reality.

Short sentence: The short sentence reflects the short amount of time that Scotland will have to continue to suffer - by slewing Macbeth Scotland can be rightly governed and flourish under divine ordain.

“Worthy cawdor!…all hail hereafter” to a “coward” act 1 lady Macbeth

Juxtaposition: lady Macbeth initial flattery curdled into a poisonous insult which emasculates(uses his masculinity against him) Macbeth. Having hailed him as a soon-to-be king, she now reduces him to a mere "coward." to catalyse him into committing regicide to become king.

• This single word pierces Macbeth's core, a soldier defined by courage and strength. It's not just a questioning of his masculinity; it's a brutal attack on the very essence of his identity and his battlefield reputation.

Contextual link: Within the rigid gender roles of Jacobean society, a man's dominance over his wife was paramount. Lady Macbeth recognised that Macbeth's ambition, his hamartia (fatal flaw), was deeply intertwined with his perceived masculinity and exploits this to propel him to violate kingship.

• By stripping him of the mantle (important part) of a dominant husband, through the epithet (nickname)

"coward" she threatened the very foundation of his self-worth: This emasculation becomes a key factor in Macbeth's downfall, as his ambition crumbles when his image of a powerful man is shattered - all he can do to reinstate his power lost is to become king.

“I heard a voice cry ‘sleep no more! Macbeth does murder sleep’ act 2 Macbeth

Motif of sleep: Throughout the play, there is a recurring motif that makes sleep synonymous (linked) innocence. Macbeth, troubled by guilt, experiences a disturbed sleep pattern, symbolising his departure from a state of innocence.

• This disintegration (breaking into small pieces) of innocence is a direct consequence of his deceitful actions in seizing the throne and committing regicide (killing of the king).

• Macbeth's descent into madness is evident, as he no longer issues imperative commands like "stars hide your fires." Instead, he reflects on the mental anguish and haunting "cries" that torment his troubled mind
  Exclamative sentence: The exclamative sentence "Sleep no more!" emphasises the enduring and irreversible nature of Macbeth's loss of sleep and innocence.
  His disruption of the natural order through his wickedness, masked by a facade of moral piety (religiousness), has forever condemned his mind to the relentless torment of guilt.

• Sempiternally (forever), he will battle with moral restlessness, finding no redemption or salvation (being saved from sin) for the sins he has committed as a murderous tyrant who defied the innate moral order and natural order

“I am in blood/stepp’d so far that should I wade no more,returning were as tedious” act 3 Macbeth

Motif of blood:Previously, the "blood" (which is a motif (recurring symbol) for the consequences of murder) was merely on his hands, yet now it has enrobed his entire body, and by extension his entire sense of being

• Macbeth's response to fear and guilt has transitioned from being horrified to indulging further in heinous acts, murder now becomes his means of self-preservation

"Wade" has biblical allusions: Macbeth's metaphorical wading in blood exemplifies how he acknowledges his conscience (knowing right from wrong) is permanently stained with guilt as a result of his violence.

• Similar to Cain in the Book of Genesis who commits the first murder in the bible, his irreversible act of murder of his brother Abel results in his punishment by God

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“Instruments of darkness” BANQUO act 1

Auditory image on "instruments": The auditory (image about sound) imagery created by the lexis (word-choice) "instruments" to characterise the Witches implies a malevolent musicality

• This showcases how their words possess an almost hypnotic trance for Macbeth

• The choice of "instruments" suggests a deliberate orchestration of their deceit, framing their speech as a manipulative melodic composition that enchants its victims
  Plosive on "darkness": The 'd' plosive sound in the word "darkness" creates a harsh sound foreshadowing the dark, ominous and grim destiny the Witches are ready to inflict upon
  Macbeth

• Significantly, Banquo's discernment (able to judge it well) of this "darkness," indicates his immunity to the hypnotic and malevolent musicality that captivates Macbeth.

• Banquo's ability to perceive their looming malevolence distinguishes him as a character not easily swayed by the enchanting allure that Macbeth falls victim to

“A little water clears us of this deed” act 2 Lady Macbeth

Litotes (under-exaggeration): Lady Macbeth's omnipotent (all-powerful) ambitions blind her to the profound mental turmoil Macbeth is experiencing

• Her callousness (cruelness) becomes apparent as she employs litotes, such as the understatement "a little," not only to trivialise (make it seem less important) the act of murder but also to emasculate Macbeth, encouraging him further along his murderous path
  Euphemism: She employs euphemism (substituting a phrase or word with something less harsh or blunt) to characterise regicide as a mere "deed"

• This highlighting a paradoxical (conflicting) aspect of her character as despite her ambitions to shed feminine traits and embrace tyrannical brutality, she struggles to articulate the gravity (seriousness) of the heinous (evil) act

• This foreshadows her descent into a melodramatic state of insanity in act 5.where she grapples with an uabilitynto fully grasp the enormity of the sins commuted

“[enters with a taper]” lady Macbeth act 5

Symbolism of taper: As a [taper] provides light, this is emblematic of how Lady Macbeth is seeking light, hope and solace in her eternal mental darkness.

• In Christian symbolism, light often represents hope and divine guidance. Thus, her (entering] with it can be seen as a desperate grasping for solace (comfort) and perhaps even a subconscious plea for God's redemption (being saved) from the sins that torment her
  Character development: Her need for light is the antithesis to her earlier presentation in Act 1 where she calls upon the night, wanting darkness to help fuel her violent and malevolent plans:
  "come thick night"

• The motif of darkness and light reinforces how Lady Macbeth's depraved and dark wants for violence consequently cause her desperation to see the light and seek redemption (being saved from sin)

“I dream’s of the three weird sisters last night” act 2 BANQUO “ I think not of them” act 2 Macbeth

Abstract noun "dream'd": The abstract noun "dream'd" signifies Banquo's affliction (pain), suggesting that he is haunted not only in his waking moments but also in the realm of sleep

• This implies the intrusion of superstition into Banquo's consciousness, trespassing on his unconscious mind.

Motif of sleep: The motif of sleep in the play becomes synonymous with the loss of innocence. As Macbeth grapples with guilt, he declares he "sleeps no more," echoing Lady Macbeth's somnambulant (sleep-walking) state.

Intriguingly, Banquo retains the capacity to sleep but acknowledges his ability to "dream." This contrast illuminates Banquo's preservation of innocence, as he truthfully admits to being captivated by the supernatural without succumbing to guilt-induced insomnia like Macbeth and Lady Macbeth

Foil to Macbeth: Banquo's sincerity operates as a foil to Macbeth's deceit, as Macbeth falsely asserts that he does not "think" of the prophecies

Banquo's moral characterisation is strategically employed to heighten the contrast with Macbeth's dishonesty and duplicity (deceitfulness). This deliberate juxtaposition serves to accentuate the moral divergence (dividing) between the two characters

“Make thick my blood,stop up th’ access and passage to remorse” lady Macbeth act 1

Imperative (commanding words): The imperative "make thick my blood" illustrates how she commands for emotional restraint and a callous (cruel) indifference.

• Recognising that her aspirations for tyranny require a detachment from femininity and the accompanying emotions, Lady Macbeth seeks to rid herself of these elements to pave the way for her ruthless ambitions

Femme fatale: This is a seductive and manipulative woman who can lure men into danger or sin- it is a common trope within literature and poetry

• She is thus a femme fatale as she not only is manipulative but rejects her womanhood and motherhood- a typical trope (theme or idea) of a femme fatale.

“Royalty of nature” said by Macbeth in act 3

Imagery on "royalty": The portrayal of "royalty" conjures an image of divine ordination (chosen by God to be king)

• This signalling Macbeth's acknowledgment of Banquo's moral stature and respectability akin to one chosen by God
  Foil: Banquo serves as a foil (contrast) to Macbeth, epitomising an ideal balance between ambition and respectability.

• As Macbeth descends from being "worthy" to a "hell-hound," he contrasts sharply with Banquo's ability to retain both ambition and piety (being religious)

“He hath wisdom that ditch guide his valour act in safety” said by Macbeth act 3 (Macduff

7 deadly sins: Macbeth epitomises the sin of envy, one of the seven deadly sins

• This is as he desires for Banquo's capacity for courage in tempering ambition and abstaining from succumbing to these "deep desires."
  Diction + connotation: The diction of term "guide" connotes leadership, revealing Macbeth's initial attempt to direct and lead his ambition

• However, he succumbs to its potent influence, rendering him vulnerable. In stark contrast, Banquo emerges as a figure capable of self-guidance, steering clear of the temptations of sin.

• The ambivalent (uncertain) portrayal of Banquo stands as the antithesis (contrast) to Macbeth's bloodthirsty depiction, underscoring the contrast in their responses to ambition's compelling force.

“Turn,hell-hound, turn” act 5 Macduff

Repetition on "turn": The repetition of the term "turn" symbolises Macbeth's upheaval of order through his tyrannical rule.

• Conversely, it also highlights the palpable (almost reachable) nature of Macduff's ambitions and aspirations to reinstate order in Scotland. Once Macbeth "turns" to face Macduff, Macduff knows he is able to defeat him

Epithet "hell-hound": The infernal (hellish) imagery evoked by the epithet (nick-name) "hell-hound" accentuates Macduff's condemnation of Macbeth's diabolical ambitions and the ensuing turmoil

• Macduff stands in stark contrast once more as the antithesis to Macbeth. While Macbeth prioritises his own selfish ambitions and desires, Macduff places his country and the people that reside in it at the forefront of his concerns

“ a good and virtuous nature may recoil/ in imperial charge.” Act 4 (said to macduff) Macduff

Diction on 'recoil': Malcolm's statement betrays a deep understanding of human nature. The diction on "recoil" illuminates he recognises the seductive nature of power and the risk of moral compromise, even for the well intentioned

• This subtle admission (statement) underscores Malcolm's wisdom - he recognises that true leadership requires not just good intentions, but also the strength to confront the potential compromises that power demands

Enjambment: The enjambment (no punctuation at the end of the line) after 'recoil' makes the line bleed into the next, this physically representing how swiftly an individual with a "good and virtuous nature" can be seduced by the allure of "imperial charge" and power.

•Malcolm is shrewd (good judgement) and wise as he understands the complexities of human nature - how even those divinely ordained, like himself, can be swayed by the satanic temptation of power.

“What i am truly,/ is thine,and my put countries,to command” act 4

Caesura (pause in middle of the line): The caesura after "thine" creates a momentary pause. This silence, delivered by the actor, allows the audience to fully absorb Malcolm's honest dedication and ambition to be the best King for his people

• There's no gap between his outward presentation and his inner reality - he is, in essence, the embodiment of a true king

• Here, Malcolm defines himself through unwavering dedication to his service - serving Macduff and his "poor country." This selfless declaration positions him once again as the antithesis (contrast) of the tyrannical ambitions of Macbeth
  Possessive pronoun "my": Malcolm's use of the possessive pronoun "my" before "poor countries reveals more than just ownership. It illuminates a sense of paternalistic (fatherly) tenderness

• The word "poor" evokes sympathy for Scotland's suffering under Macbeth's dismantling rule. By calling it "my poor country," Malcolm portrays himself not as a distant ruler, but as a compassionate protector.

“So foul and fair a day I have not seen” act 1 Macbeth

Emulating the Witches' paradoxes: In Macbeth's first line within the play, he echoes the paradoxical (conflicting) expression "fair is foul and foul is fair."

• This foreshadows that he will become a vessel for their twisted misconduct right from the offset.

• Alternatively, Macbeth's emulation of the witches paradoxical and oxymoronic phrases before encountering them suggests a predestined susceptibility to manipulation and deception. While his overreaching ambition causes his downfall, the supernatural forces exerted influence over him are a catalyst for the inevitability of his tragic fate.
  Visual image on "have not seen": The phrase "have not seen" evokes a vivid image of blindness, potentially foreshadowing how Macbeth will be metaphorically blinded by the irresistible allure of the supernatural prophecies

• This blindness foreshadows how his unchecked hubris (ego/pride) becomes a driving force leading him astray.

“Tell me” “call me” act 4 Macbeth

Imperative phrases: Macbeth's hubris (excessive pride) is explicit as he enters, he speaks with imperative phrases such as "tell me" and "call 'em"

• Fuelled by insatiable greed and an unbridled (uncontrolled) hunger for power, this marks Macbeth's intentional engagement with the witches for the first time.

• This deliberate encounter underscores his abandonment of resistance to evil, signifying a departure from any pretence (claim) of morality.
  Personal pronoun "me":

The imperativeness embodied in the command "tell," coupled with the

ersonal pronoun "me," implies Macbeth's authoritative demand for universal respect and obedience, extending even to the supernatural realm

•His illegitimate title of King has evidently inflated his sense of self-importance and his hubris has made him believe he can supersede the power of the supernatural

“Come you spirits…unisex me here” act 1 “Pour my spirits” act 1 Lady Macbeth

a commanding familiarity with the ominous supernatural realm

• Unhesitant and determined, she calls upon dark external forces without hesitation, seeking liberation from the societal constraints imposed by her femininity

• Her androgynous (male and female) nature would be perceived to be supernatural in the Jacobean era as the gender roles were rigid and any break in this would show she is possessed by a supernatural force
  Syntax (word-order): the syntax of "spirits" preceding "unsex" underscores her conviction that supernatural intervention is imperative for her desire to be successfully "unsexed."

• The deliberate arrangement of these terms in her speech illuminates the dependence she places on the supernatural, revealing how this is a necessity for transcending societal norms.

• Her recognition on her dependence on the supernatural realm reflects a social awareness that liberation (freed) from the societal constraints imposed on her femininity necessitates an engagement with forces beyond the natural order

“Look like th’innocent flower but be the serpent under’t” act 1 LM

“All hail,Macbeth that shall be king hereafter” act 1 Witches

Both personify key theme of appearance vs reality: Lady Macbeth assumes the role of the fourth witch within the play, employing cunning schemes to manipulate Macbeth.

• Significantly, both the Witches and Lady Macbeth embody the central theme of appearance versus reality, skillfully employing deceptive practices to manoeuvre acquiring power over
  Macbeth
  Biblical allusion: Lady Macbeth incorporates a biblical allusion by employing the term "serpent," drawing parallels to the Genesis narrative depicting the fall of mankind.

• This deliberate choice of diction serves to underscore her belief in the effectiveness of deception, akin to the serpent's manipulation of Adam and Eve.

• Lady Macbeth adeptly highlights the effectiveness of deception when cloaked in an "innocent" flower like façade (mask), emphasising the ease with which such deceit can be orchestrated, especially when temptation and pride are at play.
  Short sentence: Similar to Lady Macbeth, the Witches exploit Macbeth's hubris (excessive pride) to help employ their deceptive influence.

“Eye of a newt “ “fire burn,and caldron bubble” “hell-broth” act 4 Witches

Semantic field of hell: The selection of words such as "fire burn," "hell-broth," and "bubble" crafts a semantic field of hell.

• This strengthens the idea that the Witches' supernatural abilities are intrinsically linked to malevolence and they are agents of the devil

Links to context: Moreover, the elements contained in their potion adhere to the archetypal (perfect example) portrayal of witches outlined in King James I's "Daemonologie".

•This conformity taps into the audience's pre-existing apprehensions and anticipations related to witchcraft prevalent during that historical era.

“Look not like th’ inhabitants o’th’earth” BANQUO

Context: The witches physiognomy (when appearances are believed to be reflective of your true character) exposes them as inhumane and evil.

• Banquo's perceptiveness in recognising their depraved demeanour is important, especially considering the historical belief that he was an ancestor of King James I

• This perceptiveness serves as a subtle form of indirect flattery, aligning Banquo with a quality associated with the monarch and subtly reinforcing his sagacity (deep wisdom)
  Image on "earth": The word "earth" cultivates a natural image, accentuating the Witches' unnatural essence and their deliberate attempt to subvert the natural order.

• Banquo's perceptiveness, unaffected by the malevolent allure crafted by the Witches, serves as a testament to his purity and moral integrity - he is immune to the corrupting influences that engulf others like Macbeth

“Dash’d the brains out” act 1 lady macbeth

Plosive on "dash'd": The plosive on "dash'd" creates a brutal sound, mirroring her brutal rejection of motherly instincts

Her proclivity (tendency) for violence takes precedence over motherhood, leading to her unapologetic willingness to extinguish human life in the relentless pursuit of unchecked violent ambition.

Juxtaposition: The deliberate contrast between the forceful verb "dash'd" and the delicate nature of "brains" serves as a poignant symbol reflecting Lady Macbeth's character.

• Despite her seemingly fragile exterior, she harbours a strong desire to instigate violence and chaos.

• Notably, her choice of targeting the vulnerable "brains" of infants signifies a recognition of both the paramount importance and extreme fragility of human existence. Yet this is ironic, as the very organ she seeks to disrupt in her unborn child - the seat of morality and reason - becomes the locus (particular place something occurs) of her own downfall.

“Beards” BANQUO act 1

Masculinity synonymous with power: Masculinity is presented as synonymous (closely linked) with power throughout the play, thus this description imbues them with a threat of dominance.

They therefore appear androgynous (partly male, partly female), alike to Lady Macbeth, and their lack of gender conformity exacerbates them as duplicitous and powerful beings

+ In a patriarchal (male-dominated) society where power is associated with a clear gender identity, the Witches' ambiguity becomes a potent symbol of their threat.

They represent a chaotic force that can unravel the carefully constructed social order.

“disdaining fortune…smok’d with bloody execution” act 1 Macbeth

"Smok'd " connotations: smok'd" could connote to heat and hell, foreshadowing his malevolent nature he will later face moral and psychological ramifications (unwelcome consequences) for.

• The phrase "disdaining fortune" shows a disregard for his fate, and his attempt to manipulate the natural order. This later becomes evident in his disruption of the Divine Right of Kings (the belief that Kings were chosen by God)

Syntax: Although Macbeth receives commendation for his stoic bravery as a soldier in Act 1, the syntax implies a symbiotic (close and interactive) relationship between his downfall and his intrinsic proclivity (a tendency to do something) for violence

• The positioning of 'fortune' preceding (coming before) 'execution' foreshadows

Macbeth's acquisition of an illegitimate title and wealth through violent means, but how this will also lead to his eventual 'execution'

“Bleed,bleed,poor country” Macduff act 4

Personification: Macduff laments (grieves) Scotland, personifying the nation to underscore his profound emotional bond but also reflects the pervasive (quickly spreading) sense of loss and despair that permeates Scotland.

• Macduff's sorrow, then, becomes emblematic (symbolic) of the collective grief felt by the nation, further highlighting the immense political upheaval and chaos that has befallen Scotland due to Macbeth's tyranny and violence (cruel/oppressive leadership)

Repetition: The recurrent motif (symbol/theme throughout) of "bleed" highlights Macduff's despair about Scotland's progressive demise, effectively encapsulating Macbeth's misanthropic (disliking of others) disposition

• Macduff's patriotism (love for his country) emphasises Macbeth's ruthless indifference to dismantling Scotland but also serves as a compelling juxtaposition to the inherent nobility expected of a rightful king

“Stars hide your fires,Let no light see my black and deep desires” act 1 Macbeth

Dark and light imagery: The contrast between the ominous connotations associated with "black" and the bright imagery linked to "light" highlights Macbeth's dichotomous (divided into two)

character.

• Despite projecting a virtuous facade (moral mask) of an upright Jacobean man, he harbours malevolent and tyrannica (cruel/oppressive) intentions.

• Macbeth wants to shroud his sinister motives in metaphorical darkness, as if his true intentions come to "light" this would obstruct him from acquiring his illegitimate title of King

Rhyming couplet: The rhyme between "desires" and "fires" in this couplet has a resemblance to the enchanting spellcasting technique employed by the Witches, who also utilise rhyming couplets to accentuate their deceptions.

•This emphasises Macbeth's descent into a shadowy and malevolent trajectory as he is asking for his duplicitous intentions to be revealed so he can fulfil his ambitious ego-centric desires

“I heard a voice cry sleep no more! Macbeth does murder sleep” act 2 Macbeth

Motif of sleep: Throughout the play, there is a recurring motif that makes sleep synonymous (linked) innocence. Macbeth, troubled by guilt, experiences a disturbed sleep pattern, symbolising his departure from a state of innocence.

• This disintegration of innocence is a direct consequence of his deceitful actions in seizing the throne and committing regicide (killing of the king).

• Macbeth's descent into madness is evident, as he no longer issues imperative commands like
  "stars hide your fires." Instead, he reflects on the mental anguish and haunting "cries" that torment his troubled mind

Exclamative sentence: The exclamative sentence "Sleep no more!" emphasises the enduring and irreversible nature of Macbeth's loss of sleep and innocence.

• His disruption of the natural order through his wickedness, masked by a facade of moral piety (religiousness), has forever condemned his mind to the relentless torment of guilt.

• Sempiternally (forever), he will battle with moral restlessness, finding no redemption or salvation (being saved from sin) for the sins he has committed as a murderous tyrant who defied the innate moral order and natural order

“Most sacrilegious murder hath broke ope the lord anointed temple” (sacred lord) act 2 Macduff

Religious semantic field: There is a religious semantic field as words like "sacrilegious" and

"anointed" conjure images of sacredness and holiness. This emphasises Macduff's sincere loyalty to the King and the established order of Scotland.

• His deep distress arises from the tragic murder of the King, who is believed to be divinely ordained (chosen by God) according to the doctrine of the divine right of kings, thus betraying his sacred status

Hyperbolic language: Macduff's language explodes with hyperbole, reflecting how the king's murder feels like a personal affront (insult) to God himself

• The word "broke" shatters the peaceful image of a divinely ordained ruler and foreshadows the fractured and broken state of Scotland under

“I am not treacherous” act 4 Macduff

Simple sentence: The emphatic (being clear) simple sentence in Macduff's declaration strips away ambiguity (uncertainty). He doesn't cloak himself in decorative language or feigned (forced) virtue.

• This directness strengthens the sincerity of his claim, leaving no room for doubt about his true intentions

The diction on treacherous: Macduff's diction of "treacherous" serves as a clear distinction between him and the treacherous stain that now defines Macbeth.

• This single word isn't merely a denial; it's a weaponised antithesis (contrast), a declaration of the moral principles that separates him from the murderer Macbeth

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