macbeth

“By the pricking….

of my thumbs, something wicked this way comes” - the witches (act 4, scene 1)

• the witches sense Macbeth approaching as they feel something evil - shows how his character has shifted from heroic to evil

• Foreshadowing - the witch’s instincts foreshadows Macbeth’s arrival and the evil he has come to embody as he has transformed into a tyrant - this line reveals that even the witches, who are emblematic of dark power, recognise Macbeth as a force if greater wickedness, suggesting his complete surrender to the unchecked ambition and corruption that drive his actions - he’s experienced moral decay - Shakespeare has crafted the witches as an emblem of dark prophecy with their instinctive foresight marking Macbeth as the epitome of human corruption - even agents of evil recognise his tyrannical transformation as surpassing natural wickedness

• Personification - pricking of the witches’ thumbs personifies an ominous, supernatural awareness - symbolises the witches’ connection to dark forces and their inherent duplicitousness (deceitful) - they know how to exploit Macbeth’s hubris - their power is instinctual which is tied to fats and prophecy - deepens the theme of supernatural influence over Macbeth’s life and the course of events - fair is foul - Macbeth and witches say fair and foul

Context and wow

• quote redirects ideas from king James 1’s Daemonologie which explored witchcraft and the supernatural - the witches whose instincts foretell Macbeth’s arrival align with the king’s fear of witchcraft’s influence, reinforcing the idea of unnatural forces controlling human destiny

• Great chain of being - Macbeth’s transformation into something wicked indicates his descent down the great chain of being, from a nobleman to a tyrant - his alignment with evil and the supernatural places him outside the natural order, challenging the divine and hierarchical structure of the universe

• Snyder’s roman á clef - Snyder asserts that the witches present nouns rather than verbs - they put titles on Macbeth without telling what actions he must carry out to attain those titles - snyder’s assertion that the witches present nouns rather than verbs is relevant - witches label Macbeth as something wicked - a noun signifying an entity or state of being - done dictate what specific actions Macbeth must take to achieve the title - in doing so they leave the course of his actions ambiguous - creates an opportunity for Macbeth to go down a violent and morally destructive trajectory

“When shall we three….

meet again? In thunder, lighting or in rain? (Act 1, scene 1)

• witches plan to meet in stormy weather which evokes eerie undertones - links them to trouble

• Pathetic fallacy - mirror the witches’ chaotic and unnatural influence on the world - the stormy weather sets an ominous tone, immediately associating the witches with disorder and violence - tumultuous weather conditions reflect the internal and external turmoil that Macbeth will later experience, foreshadowing his psychological downfall as the tragic hero - this opening question marks the witches’ progression as orchestrators of fate, setting into motion Macbeth’s psychological regression - storm reflects the brewing internal tempest that will consume Macbeth’s conscience

• Rhyming couplets - the witches speak in rhyming couplets which makes their speech seem like a chant - structural choice emphasises the supernatural nature of the witches, sets them apart from other characters within the play - the couplets also enhance the sense of ritualistic power as their words seem to cast a spell on Macbeth and the events that unfold drawing attention to their roles as antagonists

Context and wow

• Daemonologie - opening scene’s portrayal of the witches aligns with the fear and suspicion of the supernatural during king James’ reign - the storm imagery and the witches’ control over the weather reflect contemporary beliefs about the witches’ power to disrupt the natural world - aligns with James’ belief in the dangers posed by witchcraft - witches become symbolic of the threat to both the king’s power and the natural order, emphasising the divine right of kings which Macbeth later violates by being a tyrant

• Great chain of being - the witches’ meddling in Macbeth’s fate challenges the great chain of being, the belief in a hierarchical structure that dictates natural order - by suggesting the future to Macbeth and tempting him to take action to become king, they disrupt the balance between human and divine

• Patriarchy

• Snyder’s nouns and titles rather than verbs idea show how the witches plant ambition but hide the means to power - their vagueness fuels Macbeth’s tragic fall through uncheck ambition as he was corrupted to choose the path that included violence

“All hail,….

Macbeth, that shalt be king hereafter!” - the witches (act 1, scene 3)

• witches greet Macbeth with a prophecy - the beginning of his tragic downfall

• Prophecy - the witches’ prophecy serves as the irresistible allure (pull) that fuels Macbeth’s unchecked ambition - dramatic irony - lies in the fact that the audience understands the dangers of such as promise whereas Macbeth initially only sees it as a glorious future - the supernatural nature of the prophecy makes Macbeth a tragic hero as he becomes consumed by the desire to fulfill his destiny, ignoring the moral and violent - the witches’ prophecy serves as a foil to banquo’s cautiousness - amplifies Macbeth’s impulsive ambition against banquo’s sceptic integrity - contrasting reactions exposes how vulnerable Macbeth is when it comes to manipulation

• Foreshadowing - hints Macbeth’s rise will lead to a downfall - the witches present the idea of kingship without explaining the means by which it will come about - leaves Macbeth to fill in the blanks with violence and treachery - this hubris he gains from this prophecy leads him down a trajectory of murder and tyranny

Context and wow

• daemonologie- in a society heavily influenced by fear of witches, their ability to predict Macbeth’s future heightens pre existing anxieties about supernatural interference in humanity - the witches embody the dark forces James sought to warn against, leading men to tyranny

• Great chain of being - prophecy challenges the great chain of being - Macbeth’s rise to kingship through murder represents a disruption of this order - illustrates the chaos that follows when one defies the divine structure - witches acting as supernatural disruptors spark this break in the cosmic hierarchy

• Snyder - witches provide titles rather than instructions - they grant him the title of king without specifying how he is to achieve it, leaving him vulnerable to his own interpretation of the prophecy

“Fair is….

foul, and foul is fair” - the witches (act 1, scene 1)

• repetition - creates ambiguity - what seems fair (Macbeth’s kingship) is foul and what seems foul (the witches) could turn out to be fair - appearance vs reality - antithesis - from the beginning of the play boundaries between good and evil have been blurred

• Alliteration - f sound - creates a sun suited and uneasy tone, the repetition of fair and foul suggests the 2 ideas are interchangeable, emphasises further by the definite “is”. Foul is more dominant and intimidating than “fair” which us caring and pleasant - the evil element overpowers goodness - the king at the time James I write a book stating all magic was evils - this can’t sounds almost like a magic spell, the audience would fear it and have more trust in their king

Context and wow

• witches represent women in a patriarchal society and women’ attempt to gain power - their attacks are only against male characters - complains about patriarchal society - a society like this only creates witches as women in the real world are denied from power which means it should be normal for them to turn to the supernatural or even the devil as they need to find ulterior ways to get power “and like a rat without a tail”

• Weird sisters - Shakespeare is criticising the patriarchal society as they are bound together which means that women have to come together as a united front to even have the ambition of achieving power

• Supernatural power - High degree of intelligence - wisdom as they can see into the future - witches think they have power but do they actually ? - Shakespeare’s intellectual debate - don’t have control - have an insight to the psychological state of people - control the future using their influence not their powers

• Lady Macbeth - she looks for supernatural power to change her state as a woman - challenge patriarchal society - ability to be cruel is a masculine ability - can’t achieve power in this patriarchal society - doesn’t call them witches calls them spirits - can’t become queen through her own right can only become queen through the influence of her husband - both have influence over Macbeth but not power

“I fear….

thou play’dst most foully for’t” - banquo (act 3, scene 1)

• banquo says Macbeth now has all titles promised but fears he killed Duncan unfairly to get them

• Alliteration of f - drawing attention to banquo’s deep suspicion that Macbeth has gained power through duplicitous (deceitful) and violent means - this emphasises the corruptive force of unchecked ambition - banquo’s ambition is tempered by integrity while Macbeth’s is swayed by the irresistible allure - Shakespeare has crafted banquo as an emblem of honourable ambition with the alliteration highlighting his suspicion of Macbeth’s corrupt ascent - banquo represents ambition tempered by moral integrity

• Foreshadowing - his suspicion of Macbeth’s actions hints at Macbeth’s eventual downfall as his tragic hero arc is driven by the consequences of his overreaching ambition - this moment anticipates Macbeth’s eventual confrontation euthanasia his own hamartia - contrasts with Macbeth as banquo isn’t as susceptible to manipulation - banquo is perceptive and can understand that Macbeth’s downfall is pending

Context and wow

• Shakespeare flatters the monarch by portraying banquo as a figure of moral fortitude who unlike Macbeth does not give in to temptation or ambition at the expense of honour - banquo’s resistance to unchecked ambition and his caution around Macbeth’ ascent serves as a subtle reinforcement of James I’s own divine right and lineage

• Great chain of being - Macbeth’s actions which banquo condemns disrupt the great chain of being - Macbeth’s violence and misconduct directly disrupts this divine order which banquo realises - his awareness of this transgression elevates banquo’s position as a figure aligned with natural moral order

• Snyder asserts that Macbeth is a Roman à clef - a novel which relates to real life people - banquo is intended to be an ancestor of king James I relating to James’ mother Mary Queen of Scot’s whose children became monarchs despite her never being one - banquo’s portrayal of figures such as king James - strengthens his role as a moral figure who unlike Macbeth doesn’t allow ambition to rot his values

“look not….

like th’inhabitants o’th’earth” - banquo (act 1)

• banquo says the witches don’t look human and appear strange

• Physiognomy - belief that external appearance reflects an internal character - banquo’s recognition of the witches’ unnatural appearance highlights their moral and supernatural depravity - believes witches are intrinsically evil - intrinsic and wise - his ability to perceive their inhumanity contrasts with Macbeth’s later moral blindness - the witches” physiognomy marks them as agents of unchecked evil, subtly aligning banquo with discernment and wisdom - banquo knows the involvement with the supernatural will lead to a downfall - highlights how Macbeth isn’t wise - banquo’s moral stagnation contrasts with Macbeth’s ambition gained slide into delusion - his grounded perspective endures, even within the witches’ supernatural chaos

• Motif of subversion - emerges through the witches’ rejection of natural order - the world “Earth” invokes an image of the natural world which the witches are fundamentally opposed to - banquo’s resistance to their irresistible allure contrasts with Macbeth’s eventual capitulation, positioning banquo as a moral anchor amidst the growing turmoil

Context and wow

• Patriarchy - the witches, embodying an androgynous (male and female characteristics) form, challenge the traditional gender roles upheld by a patriarchal society - banquo’s immediate scepticism reflects the need to uphold the patriarchal structure, resisting the witches’ efforts to dismantle the natural and social order

• King James - banquo is believed to be a direct ancestor of king James I - his resistance to the witches contrasted with Macbeth’s eventual submission, is a form of indirect praise to the monarch - this portrayal flatter king James positioning his lineage as one of wisdom and righteousness in the face of supernatural corruption

• Snyder asserts that Macbeth is a Roman à clef - a novel which relates people to real life figures - banquo is intended to be an ancestor of king James I - his moral strength reflects king James’ lineage through symbolic storytelling - his clear judgement creates an allegory praising James’ wisdom and purity

“It will….

be rain tonight.” - banquo (act 3, scene 3)

• Pathetic fallacy - uses the weather to reflect the emotional tone and impending violence - banquo’s simple statement about the rain symbolises the blood that will soon be spilled in his murder - the rain, as a natural force, mirrors the unchecked ambition and violence that have taken over the play - the ominous atmosphere created by the rain serves as a subtle foreshadowing of banquo’s death - also foreshadows the fact that Macbeth will need to purify himself (water links to purity) after banquo’s death due to guilt - Shakespeare has crafted banquo as a microcosm of innocent virtue with the rain symbolising nature’s mourning for the violence about to consume him - the pathetic fallacy reflects how unchecked ambition disrupts natural order

• Motif of darkness and concealment - just as the rain shrouds the night the characters conceal their true intentions under the guise of civility- the night’s darkness hides the deceitful nature of Macbeth’s ambition, allowing him to murder banquo without suspicion

Context and wow

• great chain of being - Macbeth disrupts the natural order through violence - nature itself responds with disturbances such as the rain symbolising the bloodshed that stains the world - banquo as a nobleman is a victim of Macbeth’s unchecked ambition and his murder represents the violation of this natural order

• Seven deadly sins - Macbeth’s uncontrolled ambition is closely linked with the sins of greed and envy - banquo’s recognition of Macbeth’ rise to power and his prophecy about banquo’s descendants becoming kings plant the seed of Macbeth’s greed leading to the violent act - this murder is driven by Macbeth’s inability to tolerate any threat to his rule fuelled by the hubris that blinds him to the moral consequences of his actions

• Snyder asserts that banquo’s walking in death is caused by the murder that cut him off prematurely - the impending rain doesn’t just foreshadow his death bur also the supernatural consequences that will come after as the murder of banquo is an unnatural disruption of moral and social order, symbolised by the rain

“O treachery!….

Fly, good Fleance, fly, fly, fly! Thou mayst revenge” - banquo (act 3, scene 3)

• banquo realises he’s been betrayed and hopes his son will avenge him one day

• Exclamatory sentence and foreshadowing - “o treachery!” - captures the sudden betrayal and violent ambush orchestrated by Macbeth - in the theatres this exclamatory sentence would’ve forced the actor to scream which would’ve inflicted the same fear upon the audience that banquo felt in this moment - his instinctive reaction demonstrates his understanding of the unchecked ambition driving Macbeth to tyrannical deeds - banquo is a foil to Macbeth and is perceptive and is restrained in his ambition - banquo could’ve become Macbeth - fleance symbolises the peripeteia (change in fortune) - turning point where Macbeth’s crimes will lead to his ruins - banquo regresses into martyrdom - his death symbolising resistance to Macbeth’s tyranny and his sacrifice foreshadows fleance’s role in restoring justice

• Contrast of ambition and legacy - quote exemplifies the contrast (character juxtaposition) between banquo and Macbeth in their handling of ambition - banquo’s dying hope that cleanse might avenge him one day reflects his belief in moral justice, rooted in the great chain of being - banquo is the epitome of a pious Jacobean man - rooted in god and morality - ambition aligns him with divine justice, marking a stark contrast to Macbeth’s bloody rise to power through deceitful means

Context and wow

• king James - banquo is traditionally believed to be an ancestor of king James I - flatters the monarch as it portrays banquo as a figure of virtue whose descendants are destined for greatness, despite treacherous acts of Macbeth

• Great chain of being - banquo’s death is emblematic of the disruption of the natural order - Macbeth’s ambition violates this divine hierarchy however banquo has faith that fleance will eventually restore it

• Snyder assets banquo’s walking in death was caused by his premature murder - his exclamation signals the brutality of his premature death, an act of treachery that defies the natural order - this unnatural murder sets the stage for banquo’s ghostly return - violation of natural law causes unnatural movement in the spirit world

“I have no….

words; my voice is in my sword.” - Macduff (act 5, scene 8)

• personification - sword is given human like qualities - Macduff claims that his voice is in it - his grief and anger over the murder if his family will be expressed through combat, reinforcing the idea that violence is the only way to restore justice and order - avenging hero - motivated to bring down Macbeth - uses violence with intention - his actions act as a foil to Macbeth as he uses it from a place of a morality rather than unchecked violence - different intentions - Macduff is still moral even when executing violence - Shakespeare has constructed Macduff as an epitome of honourable vengeance, channelling personal loss into a just cause - his silence contrasts the deceitful rhetoric of others, proving action restores moral order

• Symbolism - symbolises justice and vengeance - by allowing his voice to be his sword Macduff embodies the concept of righteous retribution as his actions are driven by the need to avenge his family and restore the great chain of being, disrupted by Macbeth’s oppressive nature

Context and wow

• great chain of being - macduff’s desire to kill Macbeth and restore order is rooted in the belief of the great chain of being - Macbeth’s unnatural rise to power must be corrected to restore order- macduff’s actions seek to re-establish the rightful order

• King James - Macduff’ role as the restorer of peace is used as flattery to appease James I as he is a patron to Shakespeare’s plays - Macbeth’s tyrannical rule is contrasted with Macduff’s noble ambition to restore Scotland, symbolising the righteous lineage king James claimed

• Snyder - banquo as the ancestor of king James I is mirrored in Macduff’s quest to defeat the tyrant and restore order - the quote reflects the idea of retribution and justice being served, aligning with the royal lineage theme Snyder highlights

“My wife and….

children’s ghosts will haunt me still” - Macduff (act 5, scene 7)

• Macduff feels haunted by the murder of his family, driving his need for revenge

• Metaphor - ghosts - represent the guilt and sorrow that persistently follow Macduff - highlights his internal suffering and suggests that no matter what actions he takes his emotional burden is inescapable - creates a strong psychological dimension to the violence of the play, where death doesn’t simply result in physical loss but also unchecked emotional damage - macduff’s persistent grief reveals a stagnation in his emotional healing, haunted despite achieving justice - unlike Macbeth’s desensitisation, Macduff’s moral compass remains burdened by loss

• Personification - describing the ghosts as haunting him - Macduff’s guilt is personified as an active force that will contribute to pursue him - adds a layer of horror and emphasises the carcass of insanity (a metaphor describing a state of complete madness or mental breakdown) - his emotional state is duplicitous, masking his suffering beneath the need for vengeance which fuels his role as the tragic hero of this subplot

Context and wow

• patriarchy - macduff’s anguish ties into the patriarchal expectations that men are protectors of their families - his inability to fulfill this role causes his immense guilt - within the patriarchal structure of society, macduff’s tried is an emasculation of his role as a father and husband

• Divine right of kings - macduff’s internal struggle reflects a broader critique of Macbeth’s reign - under the principle of the divine right of kings, monarch were believed for be chosen by god - Macbeth’s illegitimate seizure of the throne disrupts its order and Macduff’s suffering can be seen as a metaphor for the disorder that is created when the great chain of beings is disturbed

• Shakespeare uses elision (omitting events offstage) to increase dramatic tension - never see Duncan’s murder happen onstage - heightens the horror and psychological intensity of the scene as it’s left to the audience to create - macduff’s lamenting of his family reminds the audience of the true heinous news of Macbeth and consequences of unchecked ambition

“With an untitled….

tyrant bloody- sceptered, When shalt thou see thy wholesome days again?” - Macduff (act 4, scene 3)

• Macduff is calling Macbeth a fake king and a blood tyrant who’s ruined the peace in Scotland

• Personification - Scotland is personified as a nation suffering under the “bloody-sceptered” rule of Macbeth, the tyrannical leader who has caused immense violence and bloodshed - Macduff empathises Scotland’s victimhood, framing it as a wounded entity that needs liberation - Shakespeare presents Macduff as the tragic hero, the only one with the power and responsibility to restore wholesome days - Shakespeare has crafted Macduff as an allegory of patriotic duty, voicing Scotland’s suffering under illegitimate rule - his plea personifies the nation as a wounded victim needing righteous defenders

• Rhetorical question - demonstrates Macduff’s despair over the state of Scotland but also implies hope for restoration through his actions - this question points to the peripeteia (change in fortune) that Macduff seeks to enact - a change in Scotland’s fortune that can only be achieved by defeating Macbeth

Context and wow

• divine right of kings - Macbeth, referred to as an “untitled tyrant” has disrupted the natural order by unlawfully seizing the throne - this directly challenges the belief in the divine right of kings which asserts that only those chosen by god should rule - macduff’s criticism underscores the illegitimacy of Macbeth’s power and the necessity to restore the rightful king to repair Scotland’s moral fabric

• Patriarchy - macduff’s appeal to Scotland is deeply intertwined with notions of masculinity and leadership - Macbeth’s emasculation in his role as a legitimate leader is emphasised by macduff’s portrayal of him as a “bloody-sceptered” tyrant - reflects the patriarchal expectations of strong, just leadership, which Macbeth has failed to uphold as he’s portrayed as corrupt and weak in moral stature

• Roman à clef - untitled tyrant aligns with this notion as it critiques the concepts of illegitimate rule and the consequences of usurpation - Macduff’s description could be seen as a reflection of the historical fears surrounding the legitimacy of royal succession - just as Macduff longs to remove Macbeth from the throne the play reflects anxieties about the rightful inheritance of power

“Most sacrilegious….

murder hath broke ope the Lord’s anointed temple” - Macduff (act 2)

• Macduff is saying that king Duncan’s murder is like destroying a holy church as it’s a shocking crime against god

• Semantic field of religion - sacrilegious, anointed, temple, lord - invokes images of sacredness and holiness - by referring to Duncan as the lords anointed temple Macduff signals his view that Duncan, as king, is divinely chosen - the irresistible allure of the divine status emphasises Macduff’s genuine loyalty and underscores how deeply this act shakes his moral foundation - the murder is almost blasphemous - macduff’s sacred outrage acts as a foil to Macbeth’s blasphemous ambition, contrasting sacred duty with sacrilegious greed - their reactions to Duncan’ death deepen the moral divide between them

• Hyperbole - intensifies the sense of sacrilege as he describes the murder as an event so extreme it feels like an insult to god - verb “broke” violently disrupts the peaceful imagery of a divinely anointed king, symbolising the breakdown of Scotland’s rightful order

Context and wow

• divine right of kings - monarchs are seen as god’s representatives on earth - this murder therefore is an unforgivable act against god not just a political transgression - deeply disturb audiences in a period when divine order was integral to society

• Great chain of being - Duncan described as the lords anointed temple- reflects his ordained place at the top of the chain - if disrupted it was believed to brung chaos - Macbeth’s tyrannical act of regicide disturbs this natural order, setting off a chain of disorder and tragedy throughout Scotland

• Snyder’s Roman à clef - Duncan’s murder and the destruction of Scotland’s divinely ordered hierarchy could reflect the political tensions around succession and legitimate monarchy that were familiar to king James I - banquo intended as an ancestor to James, embodies loyalty to rightful kingship while Macbeth’s betrayal represents the hubris and moral decay that threaten the stability of the monarchy

“Let grief convert….

to anger; blunt not the heart, enrage it” - Malcolm (act 4, scene 3)

• let your sadness turn into anger - don’t hold back your feelings, use them to fight

• Imperative command - reflects an unchecked desire to channel personal grief into violent revenge, aiming to transform Macduff’s sorrow into righteous fury - by emphasing an urgent need for retaliation, Malcolm’s words underscore the tyrannical cruelty of Macbeth, making revenge appear both inevitable and justified - this moment characterises Malcolm as an antagonist to Macbeth’s tyranny, driven by an understanding of power and justice intertwined with personal vengeance - Malcolm serves as a foil to Macbeth - Macbeth’s anger stems from unchecked ambition, Malcom’s fury is crafted as a noble, justice driven response to tyranny

• Metaphor of emotion - blunt not the heart - compares the heart to a weapon - suggests that Macduff’s emotions should remain sharp and capable of provoking him into action - the irresistible allure of revenge blurs the line between justice and violence inviting the audience to consider whether Malcolm’s words serve as a call to re-establish justice or simply fuel further cycles of violence - by provoking Macduff’s tragic hero impulse, Malcolm both heightens the stakes and underscores the central theme of ambition unchecked by moral restraint

Context and wow

• patriarchy - Malcolm’s appeal to masculine ideas aligns with patriarchal expectations that men must channel their feelings into action rather than sorrow, reinforcing societal roles - aligns with the Jacobean view of linking violence with masculinity

• Divine right of kings - Malcolm, as the rightful heir, frames his justification for revenge as an almost divine mandate to restore order - emphasising the perceived moral righteousness in reclaiming a throne usurped by Macbeth’s hubris - Malcolm’s siege on Macbeth’s tyranny would have been seen to reflect god’s will

• Snyder - sees Macbeth as a Roman à clef reflecting real people like king James I - Malcolm’s speech supports James’ rule, making the play a political endorsement - Malcolm’s rallying of Macduff to rise against tyranny could be interpreted as a subtle endorsement of James’ right to the throne, further aligning with the play’s political motives with king James I’s interests

“What’s more to….

do, Which would be planted newly….” - Malcolm (act 5, scene 8)

• there are just new things to begin nurturing and growing

• Malcom echoes his father’s reign and submits himself to fate and the will of god unlike Macbeth

• Macbeth is dead and all hail Malcolm - he is grateful (like his father was) and promises to reward everyone

• Metaphor “planted” echoes Duncan’s promise to Macbeth “I have begun to plant thee” from earlier in the play

• Intention - Shakespeare restores Scotland by honouring Duncan’s and god’s wish to have Malcolm as his heir - making Malcolm emulate his father the good king Duncan is designed to restore the equilibrium that the tyrant Macbeth interrupted

Context and wow

• messaging like this helps king James to maintain peace because it encourages his Christian society to view dissatisfaction and suffering as a test that must be passed to gain entry to heaven

• Guy Fawkes has recently failed to assassinate king James I

• Audience feel that Scotland’s future is in the hands of a man that possesses Duncan’s best qualities minus his over trusting nature to prevent any repeat of Macbeth’s treachery - the writer depicts the restoration of the chain of being as the correct outcome, through Malcolm audiences are reminded that respect for god and humility will be rewarded, they will also experience a sense of catharsis from witnessing their original hero tragically fall as they learn a grave lesson about hubris and the dangers of excessive ambition

• Personal response - the message warning against ambition could be viewed as a form of Jacobean propaganda designed to keep society under control, however though ambition and social mobility are welcome ideas in modern society the play still serves as a warning about the dangers of excessive ambition for purely selfish motives

“This tyrant,….

whose sole name blisters our tongues, was once thought honest” - Malcolm (act 4, scene 3)

• Macbeth used to appear to have good intentions but now he’s been revealed as a cruel tyrant

• Imagery of pain - blisters our tongues - portrays the visceral impacts of Macbeth’s tyrannical rule on Scotland - the imagery conjures physical suffering suggesting that Macbeth’s actions are so unchecked and damaging that merely speaking his name brings discomfort - highlights how cruel leadership has permeated Scotland symbolising the enduring harm of a ruler’s uncles ambition and hubris - Malcolm’s description therefore frames Macbeth as an antagonist whose transformation from a once respected nobleman to a despised tyrant reflects his descent into moral and political corruption

• Malcolm frames Macbeth as an emblem of corrupted power, crafted by Shakespeare to warn against unchecked ambition’s capacity to morally disfigure leaders

• Irony - Malcolm’s observation that Macbeth was “once thought honest” presents stark irony between Macbeth’s initial noble appearance and his present reality as a despot - the shift underscores the theme of appearance vs reality wheee Macbeth’s outward persona belies his duplicitous nature, leaving others to realise his true character only after the damage is done - this contrast reveals a profound anagnorisis about Macbeth’ character comes too late with Scotland suffering the consequences of his concealed ambition

Context and wow

• patriarchy - Macbeth’s betrayal of Scotland’s trust disrupts the expected order and values of patriarchal leadership as he fails to fulfil the role of a noble honest king, instead embodying the carcass of insanity that unchecked ambition can create

• Divine right of kings - Macbeth’s tyranny represents a defiance of the divine right of kings, the belief that a ruler is appointed by divine will - his fall from honest to despised tyrant reflects the notion that violating this divine order leads to suffering and chaos

• Snyder - Macbeth is a Roman à clef - resonates with Malcolm’s statement - Macbeth’s tyrannical transformation could serve as an indirect warning to king James about the dangers of corruption and betrayal

“He’s worth more….

sorrow, and that I’ll spend for him” - Malcolm (act 5, scene 3)

• Siward deserves to be mourned and Malcolm will take time to grieve him properly

• Metaphor of spending - liken sorrow to currency - suggests that emotions, particularly grief are valuable resources that must be appropriately spent in proportion to a person’s worth - this challenges traditional views on masculinity as Malcolm permits himself to acknowledge sorrow rather than suppressing it - in a patriarchal society that often expects men to adopts stoicism this would’ve been viewed as emasculating - Malcolm progresses into a leader who balances duty with humanity, evolving beyond the cold, rigid ideals of masculinity

• Sibilance - highlights Malcolm’s ability to separate emotion from logic, contrasting with Macduff’s raw impulsive grief which fuels his thirst for revenge - unlike Macduff whose emotional intensity drives action- this distinction reinforces Malcolm’s legitimacy as king not just by divine right but through his pragmatic governance - soft Sibilance conveys both his compassion for Scotland and his calculated restraint, honouring those who sacrificed their lives, like young siward while ensuring stability and order in his rule

Context and wow

• patriarchy - men were expected to conceal emotions - by sounding his grief, Malcolm opposes these patraichal norms, suggesting a form of masculinity that values emotional expression - this aligns with shifting perspectives on what defines a noble man, as Malcolm redefines honour through emotional depth rather than mere vengeance

• Divine right of kings - spending of sorrows is morally appropriate and part of his duty - within the great chain of being Malcolm’s ascension to kingship marks a return to divinely sanctioned rule, contrasting Macbeth’s hubris that violated its order

• Roman à clef - moment of Malcolm’s open sorrow could be seen as a subtle hint to king James I’s lineage - linking Malcolm’s emotional and family based loyalty that James promoted - aligns mad old and Macduff the the values king James idealised - strength, familial loyalty and moral righteousness

“Pluck’d my….

nipple from his boneless gums and dash’s the brains out” - lady Macbeth (Act 1, Scene 7)

• lady Macbeth emphasises how ruthless she can be - she’d kill her own baby to keep a promise

• Violent imagery - emphasises her ruthlessness and her willingness to forsake maternal instincts for power, embracing androgyny (male and female characteristics) - intended to manipulate Macbeth - shows her commitment and questions his masculinity by implying that she is more resolute than he is - she embodies the femme fatale (dangerous woman) - Shakespeare has crafted lady Macbeth as an emblem of subverted femininity, forsaking maternal instincts to embody ruthless ambition - her violent imagery symbolises the play’s inversion of natural gender roles

• Juxtaposition - between the nurturing nature of boneless gums with the act of infanticide (dashed the brains) - underscored lady Macbeth’s moral corruption - reveals a grotesque inversion of the motherly role, turning a moment of care into an act of extreme violence - portrays lady Macbeth as a femme fatale, willing to commit unimaginable horrors to achieve her goals

Context

• patriarchy - in a patriarchal society lady Macbeth’s speech is deeply subversive - her rejection of traditional femininity and her aggressive desire for power challenge the expectations of women’s roles at the time - violent imagery symbolises her attempt to adopt masculine qualities of aggression and dominance, which she believes are necessary for achieving power - emasculates Macbeth

• Great chain of being - quote highlights the disruption of the natural order implying that extreme actions are necessary to restore balance after such disruption

• Critic D.J Enright - contends that Macbeth and Lady Macbeth adopt differing approaches to their heinous crimes - he calls lady Macbeth a “sprinter of evil” whereas Macbeth is more of a “long distance runner” - her declaration showcases her readiness to commit evil actions without hesitation - this aligns with sprinted of evil as she demonstrates an urgent drive to push Macbeth into action, ready to embrace dark deeds in the short term

“Give me….

the daggers; the sleeping and the dead are but as pictures.” - lady Macbeth (act 2, scene 2)

• trying to calm Macbeth and take control, whilst also pushing him

• Simile - as pictures - downplay the significance of death, equating the dead to inanimate images - this highlights her hubris as she trivialises the consequences of violence and suggests that murder is as harmless as a picture - her cold pragmatism shows her unchecked ambition, revealing a deep detachment from the moral implications of her actions - Shakespeare has crafted lady Macbeth as an epitome of cold pragmatism, trivialising murder through the simile as pictures - her detachment symbolises how ambition is overriding her moral conscience

• Motif of sleep - dismisses the vulnerability of sleep, portraying it as powerless and insignificant much like death itself - by equating sleep to pictures she denies its usual symbolic role as a state of peace or innocence, further reflecting her detachment from the natural order - the motif of sleep late becomes critical as her inability to sleep in peace signifies the psychological toll and catharsis of her actions

Context and wow

• divine right of kings - her unchecked ambition and desire for control violate the natural order, a concept central to king James I’s rule - her actions are driven by a dangerous hubris disregarding the consequences of regicide

• Great chain of beings - by trivialising the sanctity of death lady Macbeth breaks the established social and spiritual order - her irresistible allure for power leads her to dismiss life and death as inconsequential, reflecting a duplicitous nature that ignores the natural consequences of their violent actions

• Snyder - contends that the unnatural murder unleashes unnatural movement in the dead - lady Macbeth becomes subject to this disorder as she sleepwalks - an act symbolising her gradual descent into madness - mirrors the perturbation they have caused in nature

“Out, damned….

spot! Out, I say! - lady Macbeth (act 5, scene 1)

• symbolism - spot - symbolises the indelible guilt she feels - the blood represents the lasting consequences of her antagonistic role in Duncan’s murder - her frantic attempt to wash it away reflects her psychological turmoil, as she is haunted by the belief that nothing can absolve her of her sins - the spot is not just a physical mark but a manifestation of her internalised guilt and moral corruption - her obsessive guilt acts as a foil to Macbeth’s emotional numbness, amplifying her internal collapse against his desensitised brutality - their diverging responses expose the corrosive impact of guilt

• Repetition - out - emphasises lady Macbeth’s increasing hysteria and desperation to rid herself of the guilt she can’t escape - emphasises the futile nature of her attempt to cleanse herself of her moral transgressions (washing her hands), highlighting the extent to which her mind has unravelled leading to her descent into madness

Context and wow

• Daemonologie - her hallucination of the damned spot can be seen as a manifestation of her being spiritually tormented as if she is possessed - this portrayal of her guilt aligns with the belief of the time about how meddling with unnatural forces such as through regicide could invite supernatural consequences

• Divine right of kings - lady Macbeth’s assertion of Macbeth’s future kingship challenges this divine order as her ambition drives her to encourage him to seize power through nefarious means - creates tension as macbeth’s ascent to the throne is marked by moral corruption

• Verse vs prose - lady Macbeth transitions from verse (associated with Hugh status characters) to prose which Shakespeare often indicates a character’s loss of control and mental disturbance - quote marks a critical point in this transition - highlighting her psychologically unravelling - before this she spoke in verse with her high status and composes nature

“Look like….

the innocent flower, but be the serpent under’t.” - lady Macbeth (act 1, scene 5)

• simile - juxtaposes 2 images - the innocent flower and the serpent - the flower is a symbol of virtue and purity represents the outward facade Macbeth must adopt to appear trustworthy and unthreatening - being deceitful - in contrast the serpent traditionally a symbol of treachery and danger embodies the underlying malice and ruthless ambition necessary to execute their plans - Shakespeare has crafted lady Macbeth as an allegory of deceptive appearances, using the flower and the serpent simile to symbolise the duality of facade and hidden malice - she embodies the manipulation of outward virtue to conceal inner corruption

• Allusion - biblical allusion - serpent refers to the garden of Eden, a symbol is ultimate duplicity and the fall of mankind - by evoking this imagery - Shakespeare heightens the moral gravity of lady Macbeth’s counsel, aligning her manipulation with notions of original sin and temptation

Context and wow

• divine right of kings - lady Macbeth reflects the deceitful nature of ambition in a monarchy where outward appearances can be deceptive - the need to project innocence while concealing treachery resonates with political machinations that characterise James’ court - villains and betrayal were masked by a facade of loyalty

• 7 deadly sins - greed, envy and pride are embodied within lady Macbeth’s ambition and her willingness to conceal her malevolence - emphasises how one can appear virtuous whilst upholding sinful intentions - moral decay

• Snyder’s Roman á clef - witches gave Macbeth a title rather than tell him what actions he’s supposed to carry out - lady Macbeth supplies the verbs that drive the actions - she pushes him to the crown through her instructions and plans their rise to power

“When you durst….

do it, then you were a man.” - lady Macbeth (act 1, scene 7)

• emasculation - directly challenges Macbeth’s sense of masculinity by suggesting that his ability to commit murder is what define him as a man - this manipulation of gender expectations serves to fuel his ambition, as she insinuates that true manhood is linked to the willingness to engage in ruthless acts - by framing the act of murder as a test of his masculinity - this moment initiates Macbeth’s moral regression as lady Macbeth’s emasculation coerces him into equating manhood with murderous resolve - her manipulation plants the seed for his tyrannical transformation

• juxtaposition - stark contrast presented between being a man and the act of committing murder highlights the complexities of masculinity in the play - by forcing Macbeth to equate manhood with ruthlessness, lady Macbeth distorts traditional gender roles suggesting that strength and courage are intrinsically tied to violence and moral corruption

Context and wow

• great chain of being - lady Macbeth challenges Macbeth to prove his masculinity through murder - disrupts the great chain of being - act of regicide violates the established hierarchy - indicates a profound moral decay - hints at her role as a villain

• Patriarchy - challenging off manhood underscores how deeply entrenched gender roles are - uses patriarchal expectations and her role as a femme fatale to exert influence over him - aligns violence and ambitions with the masculine ideals of the time

• Critic D.J Enright - challenges Macbeth’s masculinity - demonstrates her ability to embrace evil without considering the moral implications - she sees this murder as a way to achieve power and status - unchecked ambition

“come you….

spirits,….unsex me here”. - lady Macbeth (act 1, scene 5)

• refers to the witches as spirits

• Unsex - verb - trying to reverse her sex - wants to become less feminine and more masculine - rid herself of the weakness associated with women - patriarchal society - to become powerful she must unsex herself - the replacement of conventional womanhood with a more sinister and powerful version

• Me - she is the subject - wants to be empowered

• Here - right now right here - immediately - impatient - impulsive

• Command - power - thinks she has power over the spirit

“unseamed him….

from the nave to the chaps” - Macbeth (act 1, scene 2)

• imagery of dismemberment - the violent imagery sets the tone for the play’s exploration of unchecked aggression and foreshadows Macbeth’s descent into ruthless bloodshed - the image of a body being literally split from the “nave” to “chaps” - serves to dehumanise the victim, portraying war and murder as savage acts that strip individuals of their identity, much like how Macbeth will later dehumanise himself through his own ambition and violence - Macbeth’s initial sanctioned violence marks the start of his regression, as noble brutality evolves into tyrannical savagery - his identity becomes increasingly defined by relentless bloodlust

• Metaphor - unseamed serves as a metaphor comparing the human body to a piece of cloth, and Macbeth’s action to that of a tailor or executioner - highlights Macbeth’s efficiency and skill in violence but also implies that life, like a piece of fabric can be easily undone

Context and wow

• king James I - the vivid imagery of violence in this quote reflects the political climate of his reign - Shakespeare write Macbeth during a time when James was keenly interested in themes of kingship and legitimacy, having ascended to the throne after the tumultuous reign of Elizabeth I

• Divine right of kings - quote illustrates the violent assertion of power and the consequences of violating the divine right of kings - emblematic of a warrior’s duty but also foreshadows his later betrayal towards king Duncan

• A.C. Bradley argues that Macbeth commits his crime as if it were “an appalling duty” - Bradley suggests that Macbeth can’t reap the fruits of his labour due if the unholy associations attached - Macbeth feels a twisted sense of obligation toward his violent ambitions

“I dare do….

all that may become a man; Who dares do more is none.” - Macbeth (act 1, scene 7)

• gender norms - Macbeth confronts the societal expectations of masculinity and the inherent pressures that come with them - he equates his identity as a man with his willingness to act assertively and tyrannically - this moral debate reveals his fear of emasculation - he believes that failing to pursue his ambition through regicide will strip him of his manhood - Shakespeare has crafted Macbeth as an emblem of fragile masculinity equating manhood with honourable restraint - his identity is constructed around societal pressures that distort true masculinity

• Tragic heroism - this internal struggle illustrates the tragic hero’s journey; Macbeth is not inherently evil but is driven to destruction by the very ideals that define him - his eventual inability to reconcile these conflicting aspects of his identity marks the tragic hero’s journey trajectory of his character, as he becomes a victim of his ambition and societal expectations, leading to a profound sense of loss and despair

Context and wow

• divine right of kings - this belief heightens the gravity of Macbeth’s actions, as he disrupts the natural order by murdering king Duncan - Macbeth’s inner turmoil, expressed in the quote, reflects his awareness of the sacrilege of his ambition

• Great chain of being - Macbeth’s assertion about masculinity highlights the importance of maintaining one’s rightful place within the hierarchy - his ambition disrupts the order - struggle to uphold his identity as a man while contemplating regicide illustrates the broader theme of his ambition can lead to the unravelling of the social and cosmic order

• Elision - increases dramatic tension and maintain the fast pace of Macbeth’s rise and fall - for example we never see Duncan’s murder happen onstage - as Macbeth wrestles with his ambition and the fear of emasculation the audience is left to ponder the implications of his thoughts and motivations

“Vaulting ambition which….

o’erleaps itself and falls on th’ other” - Macbeth (act 1, scene 5)

• personification - personifies his ambition as a force that can leap and fall suggesting it possesses a life of its own - this speaks to its irresistible allure - this technique elevates ambition from a mere desire to a powerful entity that influences his unchecked thoughts - this personification reveals the internal struggle within Macbeth illustrating his awareness of ambition as a corrupting influence that transforms his formerly innocent mindset into one driven by moral decay and ruthless pursuit of power - Macbeth’s awareness of ambition’s dangers act as a foil to lady Macbeth’s unrelenting drive, highlighting his inner conflict vs her relentless manipulation

• Metaphor - vaulting ambition - illustrates ambition as a physical leap suggesting that Macbeth’s aspirations aes not only lofty but also fraught with danger - when he acknowledges its eventual “fall”, it indicates Macbeth’s awareness that his all-encompassing ambition in his hamartia destined to lead to his mental and physical decline

Context and wow

• divine right of kings - his ambition overreaches itself shows an awareness of the moral transgression he commits against the divine order - pursued power through illegitimate means - disrupts great chain of beings - leads to chaos

• Daemonologie - ambition aligns with moral decay discussed in Daemonologie - excessive desires and actions contrary to divine will are seen as sinful - status and his eventual fall serve as a warning against the perils of succumbing to such desires - reinforcing the ethical imaginations of unchecked ambition

• Snyder Roman à clef - Macbeth’s “vaulting ambition” serves as a cautionary tale (warning) about the dangers of overreaching in the quest for power, particularly as it relates to the legitimacy of kingship - banquo’s lineage which ultimately leads to the Stuart dynasty contrasts with Macbeth’s tragic downfall, branding him a tragic hero.