thesis for guilt in macbeth

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Theme of Guilt in Macbeth

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Mr Salles Teaches English

How is Guilt Presented in Macbeth?

Hi Mr Salles, I’m a new subscriber but using your articles and YouTube videos I recently scored 26-27/30 on a Macbeth essay, the text I struggle with the most. So I’d just thought I share it for any feedback.

The question was on guilt, the extract was Act 5 Scene 1 - Lady Macbeth sleep walking.

The Essay on How Guilt is Portrayed (27/30)

Throughout the tragedy “Macbeth”, William Shakespeare constantly references guilt, its nature and focus constantly shifting. It enacts the role of a moral compass allowing the audience to establish the difference between good and evil - which the lack of guilt comes to represent. Through his intertwining of the motifs of guilt, Shakespeare crafts a complex character arc for Macbeth as well as Lady Macbeth who partake in regicide- a grave sin.

The extract clearly portrays guilt through Lady Macbeth, who uses the motif of blood to portray her guilt. Through her exclamation of “ all the perfume of Arabia will not sweeten this little hand ” she portrays the weight the metaphorical blood has on her conscience, which entices the idea of guilt. The use of the hyperbole establishes her changed attitudes, as she had previously manipulated Macbeth though phrases such as “ a little water clears us of this deed ”, a euphemism for the regicide that had not affected her then but seems to now. The description of “ perfumes of Arabia ” can also connote wanting to be cleansed of sins, such as through religious sacraments such as anointing, which is done with oil. The perfume she mentions may not presents just the fragrance which will give her temporary salvation from the memory but rather her wanting redemption from God through undergoing a holy sacrament such as the anointing, which will rid her of the guilt she harbours due to the regicide plaguing her mind.

The audience at the time would have been aware of the gravity that disruptions to the Great Chain of Being had, which was a direct opposition of God, meaning Shakespeare’s religious allusion was intentional to show Lady Macbeth’s growth and how guilt has impacted her morality. While previously she called on “ spirits who tend on mortal thoughts, ” she now seeks God, portraying her guilt as a catalyst for her change. The fact she says the statement while sleep walking could also connote that it’s not intentional, while she acted in a way that a likened her to the witches, she is human and therefore a product of God’s creation, so will ultimately seek him out.

However, through her unrest, it’s clear that she has strayed too far from God due to her aid in Duncan’s regicide. Perhaps Shakespeare attempts to reinforce his allegiance to the Great Chain of Being and the divine right of kings, portraying it as God’s will. Following the gun powder plot, Shakespeare’s loyalty was questioned, allowing the assumption that his play was an ode to King James, not only as a form of flattery but also to reinstate to others that he criticised those who strayed from social norms, portraying their suffering through guilt and moral decline.

Earlier in the play, guilt is also portrayed through Macbeth’s initial reaction to committing regicide, when he begins to hallucinate, stating “ is that a dagger I see before me? ” The use of the rhetorical question makes it seem as those his thoughts are exposed, showing vulnerability. Possibly Shakespeare comments on Macbeth feeling lost, due to having committed a grave sin and in turn straying from God, who acted as a moral compass for him previously. The use of this highlights to the audience the impact that God has on morality. And how interacting with the supernatural has caused Macbeth to lose that, in turn following through with this malicious plan, an insidious plot of the Witches who plant the seeds for Macbeth’s ambition.

However, religious allusions are constantly threading into the play, such as when Macbeth states that Duncan is “ silver laced golden blood ”. At face value the use of “silver” and “gold”, which are precious metals, can connote his value to the nation while also portraying him as pure, due to the unreactive nature of the metals. The comparison of them together can highlight the difference in value that Macbeth and Duncan had as rulers, with Duncan portrayed by the more expensive metal “gold”.

Alternatively it can be interpreted as alluding to the betrayal of Jesus, who Judas betrayed for “silver” coins. England being a religious country would have realised the association, leading to Macbeth indirectly admitting the betrayal of not only Duncan, but also God. He betrayed the king who considered him his “kinsman” for power. His realisation portrays his indirect guilt, which seems to disappear as he turns more power hungry, following his id rather than his superego. Once he strays from God, he becomes primal and instinctive, showcasing to the audience that he exhibits animal like behaviour, indicating that he has rejected God, becoming like the animals who do not posses a conscience and act on instinct, portraying his moral decline through the fact he lacks guilt

Furthermore, Macbeth’s initial lack of guilt when killing the “traitor” Macdonwald, portrays that morality, and in turn guilt, is dictated by societal norms. When defending his country, Macbeth sees the killing of Macdonwald as necessary and as an honour. Despite the brutal violence of “ unseamed him from the nave to his chop s”, he’s still honoured as “ Brave Macbeth ”.

This is similar to how Macduff is honoured when killing Macbeth- the lack of guilt from both men representing that guilt is fueled by the superego. This highlights how Scottish warrior culture had a skewed sense of morality, making susceptibility to violence and manipulation, such as by the Witches and Lady Macbeth, more likely due to a lack of stability in beliefs.

The cyclic structure employed by Shakespeare also dictates that this is continuous, highlighting that the lack of guilt these men feel is dictated by society and leads to corruption due to their increased hubris, which in many cases is their hamartia. Perhaps this is Shakespeare’s comment on society, illustrating that the values they hold are transient and do not hold any value. Through this it can be interpreted that Shakespeare implores the audience to use their conscience as a moral guide rather than other influence, which through the use of Scottish warrior culture shows that guilt is subjective.

Perhaps Shakespeare also aims to educate society on the fact that violence breeds more violence. Such as shown through Macbeth committing regicide which lead to him experiencing the same thing, a warning to King James, that his violence towards the traitors of the gunpowder plot will result in increased violence towards him.

Ultimately, guilt is presented as subjective, adapting to suit the morality of the characters as they progress through the play. The tragedy comes to represent the effects of the supernatural, portraying how they impact the guilt that’s felt by Macbeth and Lady Macbeth, who throughout the play take many forms. He shows that power is transient and that righteousness ultimately prevails. Various religious references allow the audience to learn a lesson from the mistakes of Macbeth and Lady Macbeth.

I’ve had to make a few grammatical changes to the essay which is still, in places, confusing. However, I can see how an examiner could give this 27 marks, like Amelia’s teacher did.

I don’t have time to mark this, but Tilf.io will do it instantly.

The final mark is still under development. I’m much more interested in the feedback on how to improve.

Mr Salles Teaches English is a reader-supported publication. To receive new posts which help you get top grades, consider becoming a free or paid subscriber.

This is a strong opening paragraph that establishes the theme of guilt in 'Macbeth' and its role as a moral compass. You've effectively introduced the concept of regicide and its significance within the play. At the top of the level, consider exploring the contrast between Macbeth and Lady Macbeth's experiences of guilt in more depth to enhance your analysis.

The extract clearly portrays guilt through Lady Macbeth, who uses the motif of blood to portray her guilt. Through her exclamation of “all the perfume of Arabia will not sweeten this little hand” she portrays the weight the metaphorical blood has on her conscience, which entices the idea of guilt. The use of the hyperbole establishes her changed attitudes, as she had previously manipulated Macbeth though phrases such as “a little water clears us of this deed”, a euphemism for the regicide that had not affected her then but seems to now. The description of “perfumes of Arabia” can also connote wanting to be cleansed of sins, such as through religious sacraments such as anointing, which is done with oil. The perfume she mentions may not presents just the fragrance which will give her temporary salvation from the memory but rather her wanting redemption from God through undergoing a holy sacrament such as the anointing, which will rid her of the guilt she harbours due to the regicide plaguing her mind.

Your analysis of Lady Macbeth's guilt using the motif of blood is insightful, and you've made a good connection to religious symbolism. To improve, try to link back to the question by discussing how Shakespeare explores guilt through these motifs, rather than just describing them.

The audience at the time would have been aware of the gravity that disruptions to the Great Chain of Being had, which was a direct opposition of God, meaning Shakespeare’s religious allusion was intentional to show Lady Macbeth’s growth and how guilt has impacted her morality. While previously she called on “spirits who tend on mortal thoughts,” she now seeks God, portraying her guilt as a catalyst for her change. The fact she says the statement while sleep walking could also connote that it’s not intentional, while she acted in a way that a likened her to the witches, she is human and therefore a product of God’s creation, so will ultimately seek him out.

You've provided a thoughtful consideration of the historical context and its impact on the audience's understanding of guilt. However, aim to integrate this analysis more seamlessly with the exploration of guilt in the play to strengthen the connection to the question. (My note - Tilf.io doesn’t understand the last sentence of this paragraph - neither do I),

This paragraph offers a clear understanding of the thematic implications of guilt and its relation to the divine right of kings. To reach a higher level, consider discussing how Shakespeare's portrayal of guilt serves to explore broader themes within the play, such as ambition and power.

Earlier in the play, guilt is also portrayed through Macbeth’s initial reaction to committing regicide, when he begins to hallucinate, stating “is that a dagger I see before me?” The use of the rhetorical question makes it seem as those his thoughts are exposed, showing vulnerability. Possibly Shakespeare comments on Macbeth feeling lost, due to having committed a grave sin and in turn straying from God, who acted as a moral compass for him previously. The use of this highlights to the audience the impact that God has on morality. And how interacting with the supernatural has caused Macbeth to lose that, in turn following through with this malicious plan, an insidious plot of the Witches who plant the seeds for Macbeth’s ambition.

Your examination of Macbeth's hallucination and its connection to guilt is well done. Try to delve deeper into how this moment reflects the play's overall exploration of guilt and its consequences for Macbeth's character development.

However, religious allusions are constantly threading into the play, such as when Macbeth states that Duncan is “silver laced golden blood”. At face value the use of “silver” and “gold”, which are precious metals, can connote his value to the nation while also portraying him as pure, due to the unreactive nature of the metals. The comparison of them together can highlight the difference in value that Macbeth and Duncan had as rulers, with Duncan portrayed by the more expensive metal “gold”.

The religious allusions in your analysis are effective, but the connection to the theme of guilt could be made clearer. Focus on how these allusions contribute to Shakespeare's exploration of guilt and its impact on Macbeth's psyche.

You've identified Macbeth's changing perception of guilt effectively. Enhance your response by discussing how this evolution in his character reflects the play's broader themes and Shakespeare's exploration of guilt.

Furthermore, Macbeth’s initial lack of guilt when killing the “traitor” Macdonwald, portrays that morality, and in turn guilt, is dictated by societal norms. When defending his country, Macbeth sees the killing of Macdonwald as necessary and as an honour. Despite the brutal violence of “unseamed him from the nave to his chops”, he’s still honoured as “Brave Macbeth”.

This paragraph shows an understanding of how societal norms influence perceptions of guilt. To improve, consider how Shakespeare uses these norms to explore the theme of guilt in a more nuanced way. (My note - if Tilf gives me a bit of advice I don’t understand or is vague, I simply ignore it - this is one such).

Your discussion of the cyclic structure and its relation to guilt is a good point. Further develop this idea by examining how Shakespeare uses this structure to comment on the nature of guilt and its societal implications.

The connection between violence and guilt is an interesting point. Expand on this by discussing how Shakespeare uses the characters' experiences to explore the cyclical nature of violence and guilt.

In your conclusion, you've summarized the subjective nature of guilt in the play. To enhance your conclusion, reflect on how Shakespeare's exploration of guilt contributes to the play's tragic impact and the lessons it imparts to the audience.

Mark: 21 - 24 (this is a beta feature and mark may not be very accurate)

My Note: If 27 is the correct mark from a senior examiner, 24 would still be allowed by another examiner.

Overall feedback: Your essay demonstrates a thoughtful and developed consideration of the theme of guilt in 'Macbeth'. You have used a range of references effectively and shown clear understanding of the text and its context. To further improve, ensure that your analysis consistently links back to the question, exploring how Shakespeare uses guilt to develop characters and themes throughout the play. Additionally, consider the implications of guilt on the play's structure and the audience's perception.

What went well: You have effectively used textual references to support your interpretations and have shown a good understanding of the historical and religious context of the play. Your analysis of the characters' experiences of guilt is detailed and well-explained.

Even better if: To achieve a higher level, ensure that your analysis is consistently focused on the question, exploring the theme of guilt in relation to the play's broader themes and character development. Additionally, consider the structural elements of the play and how they reinforce the exploration of guilt.

My Thoughts

I’ve divided some of Amelia’s longer paragraphs to make more paragraphs.

This means Tilf.io can give more specific feedback. I don’t disagree with any of the feedback it gives. The final Even Better If is especially helpful.

However, it does mean that you have to pick and choose which feedback is most useful to you. Looking at the final EBI is a great way to do this: which small changes will lead to this big change?

If you don’t want so much feedback, just paste in your work using fewer paragraph breaks.

Mr Salles Teaches English is a reader-supported publication. To receive new posts which help you tet top grades, consider becoming a free or paid subscriber.

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The Theme of Guilt in "Macbeth"

The bloody dagger is one manifestation of the Scottish king's remorse

Francesco Zuccarelli / Wikimedia Commons 

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One of Shakespeare's most famous and fearsome tragedies, " Macbeth " tells the story of the Thane of Glamis, a Scottish general who hears a prophecy from three witches that he will one day be king. He and his wife, Lady Macbeth, murder King Duncan and several others in order to fulfill the prophecy, but Macbeth is wracked with guilt and panic over his evil deeds. 

The guilt Macbeth feels softens the character, which allows him to appear at least slightly sympathetic to the audience. His exclamations of guilt before and after he murders Duncan stay with him throughout the play, and provide some of its most memorable scenes. They're ruthless and ambitious, but it's their guilt and remorse which are the undoing of both Macbeth and Lady Macbeth. 

How Guilt Affects Macbeth — and How It Doesn't

Macbeth’s guilt prevents him from fully enjoying his ill-gotten gains. At the start of the play, the character is described as a hero, and Shakespeare persuades us that the qualities which made Macbeth heroic are still present, even in the king's darkest moments. 

For example, Macbeth is visited by the ghost of Banquo, whom he murdered to protect his secret. A close read of the play suggests that the apparition is the embodiment of Macbeth’s guilt, which is why he nearly reveals the truth about King Duncan’s murder.

Macbeth's sense of remorse is apparently not strong enough to prevent him from killing again, however, which spotlights another key theme of the play: a lack of morality in the two main characters. How else are we expected to believe Macbeth and his wife feel the guilt they express, yet are still able to continue their bloody rise to power?

Memorable Scenes of Guilt in Macbeth

Perhaps the two best-known scenes from Macbeth are based on a sense of dread or guilt that the central characters encounter.

First is the famous Act II soliloquy from Macbeth, where he hallucinates a bloody dagger, one of many supernatural portents before and after he murders King Duncan. Macbeth is so consumed by guilt that he's not even sure what's real:

Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee. I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight? Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?

Then, of course, is the pivotal Act V scene where Lady Macbeth tries to wash imaginary bloodstains from her hands. ("Out, out, damned spot!"), as she laments her role in the murders of Duncan, Banquo, and Lady Macduff :

Out, damned spot! Out, I say! — One, two. Why, then, ’tis time to do ’t. Hell is murky! — Fie, my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account? — Yet who would have thought the old man to have had so much blood in him.

This is the beginning of the descent into madness that ultimately leads Lady Macbeth to take her own life, as she cannot recover from her feelings of guilt.

How Lady Macbeth’s Guilt Differs From Macbeth's

Lady Macbeth is the driving force behind her husband’s actions. In fact, it could be argued that Macbeth’s strong sense of guilt suggests that he would not have realized his ambitions or committed the murders without Lady Macbeth there to encourage him.

Unlike Macbeth’s conscious guilt, Lady Macbeth’s guilt is subconsciously expressed through her dreams and is evidenced by her sleepwalking. By presenting her guilt in this way, Shakespeare is perhaps suggesting that we are unable to escape remorse from wrongdoing, no matter how feverishly we may try to cleanse ourselves. 

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If you get a question about guilt in the exam, there are two ways you can approach it:

A) you can look at how macbeth and his wife feel guilty about what they've done - of course they do: they killed a good king and, when it comes to it, they don't have a clue what they're doing. they weren't made to be rulers. they're rubbish at it. so what happened was that they killed a good king and were rubbish at ruling the state., b) who was guilty for killing duncan because if macbeth was begin controlled by a magic spell then was it fair to say that he takes responsibility for the crime, in short: any: question about guilt can approach either of these ideas and still do well., i've written more about lady macbeth here as i find her a more interesting character when looking at guilt, but there's plenty for both of them....

Macbeth's guilt

During the opening of the play, macbeth makes it clear that he doesn't want to kill duncan. he calls the idea a "horrid image" and says that it will "shake his single state of man" so violently that he won't be able to do it. he argues that he should be "shutting the door" against anyone who wants to kill duncan, and that duncan's death will be so awful that even the angels will rage "trumpet tongued" against his death. so macbeth seems to know that killing duncan won't get what he wants, but he does it anyway. as a result, quite predictably, he feels really guilty afterwards ., here are some key quotes looking at macbeth's regret for what he did to duncan:, i had most need of blessing, and 'amen' stuck in my throat - just after killing duncan, macbeth must have said a prayer but he cannot say amen which suggests that god cannot bless him., methought i heard a voice cry 'sleep no more macbeth does murder sleep', the innocent sleep . - the fact that macbeth stops being able to sleep is commonly cites as being a result of him feeling guilty. however, although there are repeated connections between sleep and innocence the line "sleep no more macbeth does murder sleep" is written in speech marks, and macbeth clearly says that he "heard a voice cry" it, and it's what the witches did to the sailor during the opening, so it would seem to make much more sense that macbeth can't sleep as a result of the witches' magic spell than any sense of guilt., i am afraid to think what i have done; - macbeth doesn't fear the norwegian army, but he is afraid to face what he's done., will all great neptune's ocean wash this blood / clean from my hand - the image of having bloo d on your hands runs through macbeth, and here he's arguing that even all the water in the sea won't wash his hands clean of their guilt., we sleep / in the affliction of these terrible dreams / that shake us nightly: - regardless of who caused his inability to sleep, macbeth cannot sleep throughout most of the play. here, he talks about his sleep being haunted by terrible dreams that shake him awake again. this is a clear reference to how he cannot escape his guilt for what he's done., better be with the dead .. . than on the torture of the mind to lie / in restless ecstasy. - in this quote he can't sleep, but lies with his mind being tortured. in fact, it is so bad that he would rather be dead, o, full of scorpions is my mind, dear wife - t his is the classic line to show macbeth's unstable mental state. sc orpions attack from both ends, they're desert dwellers - like the serpent from the bible - and they're inside his brain; the centre of his sense of self., however, despite this macbeth quickly finds himself in a position where he can't go back. he says that he is "in blood stepp'd so far that should i wade no more, returning were as tedious as go o'er." which is essentially a way of saying that he's already done so much wrong that it would be as bad to go back as to continue. and so, although he feels guilty, he doesn't turn back and eventually kills banquo as well as macduff's wife and child, and seems pretty non-plu s sed about his wife's death when that gets announced. as a result of all this, it's tough to feel that sorry for him., below, i've gathered a collection of quotes from the play that reflect the mess that macbeth is in by the end. he feels bad about killing more people, but can't seem to stop himself:, i am in blood / stepp'd in so far that, should i wade no more, / returning were as tedious as go o'er: - this is a great line when looking at macbeth's mental state. here, he claims that he's so knee deep in blood that it's as "tedious" to continue killing people as it would be to try to return to his old state of decency. "tedious" is a pretty crazy word to use to describe what he's talking about, but the image is clear: he's over committed now, so he may as well see the whole thing through..., i have almost forgot the taste of fears; - remember when macbeth was afraid to think on what he'd done well by the end that is not the case... he's committed so many terrible acts that he's forgot what it feels like to be afraid of anything his life is a big old mess and that's pretty much how he ends up..., lady macbeth and guilt:, lady macbeth's guilt, when it comes to guilt, lady macbeth comes up most often. she starts the play being adamant that she will feel no regret - she's the classic image of the psychopathic killer. she remains like this for acts 1, 2 and 3 (though there are four lines in act 3 where she's a bit sorry.) she doesn't appear in act 4 at all, then, suddenly in act 5 she's so full of regret that she commits suicide., so, in a nutshell, her character arc goes:, act 1: no remorse act 2: no remorse act 3: no remorse act 4: no appearance act 5: suicidal regret, on the back of this, it's not unreasonable to argue that her character arc is a little lacking. when did she change her mind did something happen to change it what motivated her to rethink her actions why did she just suddenly realise what she'd done, and go through one of the biggest u-turns in literary history, entirely off-stage shakespeare never really explains, and it's absolutely reasonable to argue that this constitutes a considerable missing element in the play., quotes about lady macbeth not feeling any guilt :, stop up the access and passage to remorse - in lady macbeth's m agic spell from act 1 scene 5 she asks the spirits to stop her from feeling any "remorse" - which means regret or guilt. so here, she is using magic to stop guilty feels from being able to access her., the bit when she said she'd kill her own baby - if ever there was a sign that someone lacked the capacity to feel regret or remorse it's the fact that they say they'd kill their own baby to fulfil a promise. lady macbeth really is psychotically ruthless., these deeds must not be thought / after these ways; so, it will make us mad - one thing with this play is that the characters quite often predict what will eventually happen to them. here, lady macbeth recognises that if they spend too long thinking about what they've done - if they dwell on their feelings of guilt - that it will make them mad. which is exactly what happens to her, my hands are of your colour; but i shame / to wear a heart so white. - h e re, lady m a cbeth claims that her hands are as bloody as macbeth's but she'd be ashamed to pretend that she was pure. she accepts what she's done and won't pretend to feel guilty when she doesn't. she won't pretend to have a pure white heart when she knows her heart is bad., things without all remedy / should be without regard: what's done is done. - here , she's basically saying that if you can't do anything to fix something, you shouldn't think about it. she's arguing that because they can't change what they've done they shouldn't worry about it anymore. there is no time or space in lady macbeth's world for feelings of guilt., note : there are loads more of these, but they're a pretty good selection, four lines in act 3:, nought's had, all's spent, where our desire is got without content: 'tis safer to be that which we destroy than by destruction dwell in doubtful joy., these four lines from act 3 are really important as they're the only time prior to her sleepwalking scene that she expresses anything close to any regret for what they've done. really, to take her character from not feeling any guilt to feeling so much that she's suicidal takes a change in her character which we don't ever see., but really, if you look closer at these lines she's not actually feeling regret for what they've done, she's just angry that they've got what she wanted but still aren't happy. she's also troubled by the fact that they're not safe in their position, which isn't really a feeling of regret at all but just a concern for their position., so really, she doesn't actually express any regret until she suddenly becomes suicidal., quotes about lady macbeth feeling regret:, out, damned spot out, i say - here, lady macbeth is sleepwalking a nd trying to wash the blood from her hands. the most common argument here is that she cannot escape what she's done - she has blood on her hands and she cannot escape that fact. she discovers, in fact, that you can boss other people around, but she cannot manage her own conscience. this is what eventually brings her down., what, will these hands ne'er be clean ... here's the smell of the blood still: all the / perfumes of arabia will not sweeten this little hand. - these t wo lines come from the same scene where she's fretting about the blood on her hands., it is very telling though that lady macbeth's expressions of guilt come while she's sleepwalking. sleeping - and dreaming - are often considered to be interesting states as they allow us to get in touch with our subconscious. here, it could be that shakespeare is saying that although lady macbeth may seem like she feels no guilt, she is actually just repressing it. it's possible that shakespeare is really just saying that even someone as evil as lady macbeth can't escape her subconscious feelings of guilt., why did shakespeare leave her lacking so much detail, this is a completely reasonable question and if you're going to mention this idea in an essay you should really look at this. without being able to ask shakespeare himself, i've put together a few ideas that seem reasonable:, a) if we'd spent time with her, going through the slowly dawning process of remorse, there was a danger that we'd develop some sympathy for her position. shakespeare didn't want this. because the whole point of the play was to put people off doing what she did, any element of sympathy for her would have been frowned upon by king james. as a result, shakespeare cut out her descent into madness, and made sure we feel no sympathy for her at all., b) she was a woman and, as such, her character didn't need to be as developed as the male characters on stage. the play itself is really a study in macbeth's motivations anyway, and although his wife steals the scenes she's in she's only ever a secondary character. you could argue that there was just no need to delve into her reasons that deeply., c) she never actually felt any regret consciously... this is a tough one to argue but the fact is that the only time we see her feeling regret is when she's sleepwalking; so she really only dreams the regret that we see. here, shakespeare could be highlighting the way that you can't escape your actions, even if it only in your sleep that they come back to haunt you. this argument is complicated a little when you consider that she killed herself, but...., did she definitely kill herself, the fact is that we think lady macbeth killed herself because malcolm says that macbeth's "fiend-like queen, who, as 'tis thought, by self and violent hands took off her life." but this is the only reference to her having killed herself., during the action of the play, we hear some women screaming off stage and then a character called seyton (whose name sounds suspiciously like satan) goes to check on her and comes back saying she's dead. now, i'm not saying that satan killed her and then malcolm just cast it aside on the grounds that she was dead and he didn't need to know anymore, but it actually makes a lot more sense of her character arc if she was killed by seyton and his minions rather than that she killed herself., whichever way you choose to look at it, the fact remains that shakespeare doesn't spend long enough on her regret for me to find her character arc very believable, and although you should avoid directly criticising shakespeare you're well within your rights to observe this., who was guilty, essentially, if you're going to argue that macbeth wasn't in control of himself when he killed duncan you'll need to refer to the sections on ambition and the supernatural ., but, if you do this, it's important to bear in mind that macbeth did kill duncan., so while you can argue that he was being controlled by a magic spell or being manipulated by his wife, you can't avoid the fact that he was holding the knife that ended duncan's life. and that's a fact....

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• Macbeth Essay: Guilt & Crimes

What is guilt and is it shown in the play Macbeth? Who demonstrates this guilt, and why is it being displayed? Guilt is a feeling that haunts the conscience for a while. Usually, this feeling comes when one has committed an offence, crime, violation, or wrong act. It is the feeling of responsibility for this poor action that has been committed.

In this play, there are many themes, but guilt is one of the most significant ones. It teaches crucial lessons to the readers, with everlasting morals. In Shakespeare’s play Macbeth, the theme of guilt is established through Lady Macbeth, blood imagery and Macbeth’s internal conflict.

Lady Macbeth is a strong-willed character who will do anything to have her way. Her desire for Macbeth to become King is even greater than that of Macbeth. Throughout the play, Macbeth is forced to commit unforgivable sins to achieve the position of King. Lady Macbeth shows her guilt towards the deaths of Duncan, Banquo, Lady Macduff and her family.

Lady Macbeth’s guilty conscience is displayed near the end of the story when she is sleepwalking. She discusses her feelings, but mainly she reiterates her guilt. “The thane of Fife had a wife. Where is she now? What, will these hands ne’er be clean? No more o’that, my lord, no more o’that. You mar all with this starting.”(V. i. 38-40). This demonstrates how Lady Macbeth is feeling guilty about Lady Macduff’s murder and how Macbeth has ruined everything with his nervousness.

Lady Macbeth also shows another form of guilt when she says “Wash your hands put on your nightgown. Look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave.”(V. i. 54-56). This confirms how Lady Macbeth is constantly thinking about the deaths that she was part of, and how the feeling of guilt is taking over her life. Lady Macbeth shows her guilt throughout this whole scene.

She writes a letter, but the reader does not know what the letter says. It is possible she is writing about her guilty feelings, or writing an apology letter. Although the content of the letter is unknown, Lady Macbeth does end her life as a result of her guilty conscience.

Blood represents guilt as it is a significant image pattern in the play. Blood also represents murder, which results in the guilt of the characters in Macbeth . Duncan and Macbeth are loyal friends to each other, but once Macbeth finds out that he needs to kill his loyal kinsmen his feelings change. He is hesitant to commit this crime, but as a result of Lady Macbeth’s persistence he ends up murdering Duncan.

Macbeth makes the choice to kill Duncan. “Will all great Neptune’s ocean wash this blood clean from my hand? No, this my hand will rather the multitudinous seas incarnadine making the green one red.” (II. ii. 63-66). This illustrates that Macbeth is feeling guilt towards the death of Duncan. He is asking if the ocean will wash his hands clean, but instead he will stain the water red, from the blood on his hands.

The blood shows an image of guilt, the guilt is on his hands, and how Macbeth wants it to go away. Another form of blood is represented when Lady Macbeth says, “Here’s the smell of the blood, still, all the perfumes of Arabia will not sweeten this little hand.”(V. i. 44-45). This shows that Lady Macbeth’s hands still have traces of blood on them and even the best perfumes will not rid her of the smell.

This blood is from the killings she has taken part in, and it shows that the guilt can not be easily rid of, but will stick with her for a long time. Finally, blood is also shown through the murders that were committed. The murders formed a feeling of guilt, which is connected to why blood is an image of guilt through the deaths, but this may only be shown in Macbeth’s point of view.

Guilt is displayed a number of times through the internal conflict of Macbeth. Macbeth has to make many decisions throughout the play that revolve around his guilty conscience. Macbeth’s conflict at the beginning of the play is whether or not he should kill his kinsmen. He shows a guilty feeling before and after the crime is committed.

He is guilty before when he is deciding to kill his best friend, and he is guilty after because he went and killed his best friend, and as a result, he is guilty of committing this crime. Another form of internal conflict is when Macbeth says, “I’ll go no more: I am afraid to think what I have done; Look on’t again I dare not.”(II. ii. 53-55). This shows that after killing Duncan, Macbeth regrets his decision.

He is saying that he can not go back and that he is afraid to think about what he has done. This proves that he feels guilty over what he has done and that he can not go back in time. However, if he could, he would not have killed Duncan. He was faced with a conflict that he had to resolve, but he realized that he did not make the right decision. It also shows that in the play, Macbeth is not able to say “Amen”. Only because he can not agree with what people have to say, because he regrets his actions, and feels guilty for what he has done.

In conclusion, guilt is displayed through various representations in the play . The theme of guilt is expressed by Lady Macbeth, through blood imagery and Macbeth’s internal conflict. Guilt is a major factor in people’s lives and will continue to haunt the characters of Macbeth for a long time. Guilt can be a result of many things, as it is a feeling that remains forever.

Usually, this feeling occurs when an offense, crime, violation or wrong act is committed. It is the feeling of responsibility for this poor action that has been committed. Macbeth commits this poor action just to be happy, but in the end, he was only left with much remorse.

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• Corruption in Macbeth
• Shakespeare’s Lady Macbeth: Manipulation & Ruthlessness
• Blood in Shakespeare's Macbeth
• Lady Macbeth: Character Analysis

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Notes on the Theme of Guilt in Macbeth by William Shakespeare

Back to: Macbeth by William Shakespeare

Only a person who knows good from bad will feel the guilt for doing something wrong. Guilt is one of the most important thematic concerns of the play Macbeth. Macbeth, the play’s protagonist has a strong sense of good and bad but his unsettling ambition overpowers his conscience.

His ambition is due to his lust for power for its own sake. He doesn’t want power for the responsibilities which comes along with it. So, after killing Duncan, ascending his throne, he does such deeds which he didn’t know of earlier and his inability to contain his conscience against the realisation of such misdeeds descends him into guilt and disintegration. 

At the beginning of the play, we see King Duncan genuinely acknowledging Macbeth’s bravery and grandeur as a fighting and victorious general but Macbeth’s heart is already corrupted by prophecies of the three witches.

His conflict is his knowledge of how he looks like and what he really is. He says, “ let not light see my black and deep desires…yet let that be which the eye fears, when it is done, to see.” 

By scene 7 in Act 1 , Macbeth hesitates by saying, “ we will proceed no further in this business. He hath honoured me, of late, and I have bought golden opinions from all sorts of people, which would be worn now in their newest gloss, not cast aside so soon. ”

This is where the playwright shows that the character is going to feel guilty. His awakened conscience is suppressed under the provocations made by Lady Macbeth . Both of them are to realise the graveness of their error and disintegrate inwardly.

The first psychic effect of his inner guilt is physically illustrated when he hallucinates of a bloody dagger in Act 2 . Lady Macbeth’s vulnerability to guilt is first shown when she thought of her father while looking at King Duncan asleep.

When Macbeth has finally committed the murder, he shouts, “ sleep no more, Macbeth does murder sleep. ” It means, he is going to be haunted by his conscience and confirming it he says, “ I am afraid to think what I have done. Look on’t again I dare not. ” 

As a vastly imaginative character, Macbeth summons vast visuals to express his tremendous guilt. He says, “ Will all great Neptune’s ocean wash this blood clean from my hand? No, this my hand will rather the multitudinous seas incarnadine, making the green one red. ”

Lady Macbeth combats to this with her already vulnerable self by saying, “ My hands are of your colour, but I shame to wear a heart so white .” This tells us how the guilt has already started dividing their inner selves.

Afterwards, every time they mention the word “ blood ” it signals the further intensification of their guilt. Ironically, it is Lady Macbeth who first succumbs to her guilty conscience and descends into madness and finally dies.

Afterwards, Macbeth gives upon any reason and his final battle is almost suicidal. Macduff , a secondary character shows guilt too for abandoning his family but it is the guilt of Macbeth and Lady Macbeth which drives the plot and gives us an everlasting moral. 

Macbeth – A* / L9 Full Mark Example Essay

This is an A* / L9 full mark example essay on Macbeth completed by a 15-year-old student in timed conditions (50 mins writing, 10 mins planning).

It contained a few minor spelling and grammatical errors – but the quality of analysis overall was very high so this didn’t affect the grade. It is extremely good on form and structure, and perhaps could do with more language analysis of poetic and grammatical devices; as the quality of thought and interpretation is so high this again did not impede the overall mark. 

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MACBETH EXAMPLE ESSAY:

Macbeth’s ambition for status and power grows throughout the play. Shakespeare uses Macbeth as an embodiment of greed and asks the audience to question their own actions through the use of his wrongful deeds.

In the extract, Macbeth is demonstrated to possess some ambition but with overriding morals, when writing to his wife about the prophecies, Lady Macbeth uses metaphors to describe his kind hearted nature: “yet I do fear thy nature, / It is too full o’th’milk of human kindness”. Here, Shakespeare presents Macbeth as a more gentle natured being who is loyal to his king and country. However, the very act of writing the letter demonstrates his inklings of desire, and ambition to take the throne. Perhaps, Shakespeare is aiming to ask the audience about their own thoughts, and whether they would be willing to commit heinous deeds for power and control. 

Furthermore, the extract presents Macbeth’s indecisive tone when thinking of the murder – he doesn’t want to kill Duncan but knows it’s the only way to the throne. Lady Macbeth says she might need to interfere in order to persuade him; his ambition isn’t strong enough yet: “That I may pour my spirits in  thine ear / And chastise with the valour of my tongue”. Here, Shakespeare portrays Lady Macbeth as a manipulative character, conveying she will seduce him in order to “sway “ his mind into killing Duncan. The very need for her persuasion insinuates Macbeth is still weighing up the consequences in his head, his ambition equal with his morality. It would be shocking for the audience to see a female character act in this authoritative way. Lady Macbeth not only holds control of her husband in a patriarchal society but the stage too, speaking in iambic pentameter to portray her status: “To catch the nearest way. Thou wouldst be great”. It is interesting that Shakespeare uses Lady Macbeth in this way; she has more ambition for power than her husband at this part of play. 

As the play progresses, in Act 3, Macbeth’s ambition has grown and now kills with ease. He sends three murders to kill Banquo and his son, Fleance, as the witches predicted that he may have heirs to the throne which could end his reign. Macbeth is suspicious in this act, hiding his true intentions from his dearest companion and his wife: “I wish your horses swift and sure on foot” and “and make our faces vizards to our hearts”. There, we see, as an audience, Macbeth’s longing to remain King much stronger than his initial attitudes towards the throne He was toying with the idea of killing for the throne and now he is killing those that could interfere with his rule without a second thought. It is interesting that Shakespeare presents him this way, as though he is ignoring his morals or that they have been “numbed” by his ambition. Similarly to his wife in the first act, Macbeth also speaks in pentameter to illustrate his increase in power and dominance. 

In Act 4, his ambition and dependence on power has grown even more. When speaking with the witches about the three apparitions, he uses imperatives to portray his newly adopted controlling nature: “I conjure you” and “answer me”. Here, the use of his aggressive demanding demonstrates his reliance on the throne and his need for security. By the Witches showing him the apparitions and predicting his future, he gains a sense of superiority, believing he is safe and protected from everything. Shakespeare also lengthens Macbeth’s speech in front of the Witches in comparison to Act 1 to show his power and ambition has given him confidence, confidence to speak up to the “filthy nags” and expresses his desires. Although it would be easy to infer Macbeth’s greed and ambition has grown from his power-hungry nature, a more compassionate reading of Macbeth demonstrates the pressure he feels as a Jacobean man and soldier. Perhaps he feels he has to constantly strive for more to impress those around him or instead he may want to be king to feel more worthy and possibly less insecure. 

It would be unusual to see a Jacobean citizen approaching an “embodiment” of the supernatural as forming alliance with them was forbidden and frowned upon. Perhaps Shakespeare uses Macbeth to defy these stereotypical views to show that there is a supernatural, a more dark side in us all and it is up to our own decisions whereas we act on these impulses to do what is morally incorrect. 

If you’re studying Macbeth, you can click here to buy our full online course. Use the code “SHAKESPEARE” to receive a 50% discount!

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The ‘Hush Money’ Trial Is Not Helping Trump

May 21, 2024 at 8:44 am EDT By Taegan Goddard Leave a Comment

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Brian Beutler writes:

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Goddard earned degrees from Vassar College and Harvard University. He lives in New York with his wife and three sons.

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Trump’s New York Trial: Where Page Six Meets ‘12 Angry Men’

The machinery of celebrity is being laid bare in a Manhattan courtroom amid the first criminal prosecution of a former U.S. president.

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By Jesse McKinley

Of every question asked during the trial of former President Donald J. Trump, few have so precisely reflected the proceeding’s universe as the one a defense lawyer asked a witness, Keith Davidson, in early May:

“Do you know who Tila Tequila is?”

Mr. Davidson, a Los Angeles lawyer with a niche specialty of extracting financial settlements from celebrities, certainly did: A men’s magazine model and reality television star who was fleetingly MTV famous in the early 2000s, Tila Tequila had once appeared in a sex tape that Mr. Davidson tried to profit from before he came to prominence representing Stormy Daniels, the porn star at the center of the first prosecution of a former American president.

Tila Tequila, Ms. Daniels and Mr. Trump are all members of a cast of media-world operators, A-list celebrities and also-rans whose names have popped up in four weeks of testimony that has been equal parts Page Six and “12 Angry Men.”

The stakes in the case are momentous, but the backdrop has been pure pulp, complete with accusations of adultery and extortion, covert deals and surreptitiously recorded phone calls, meetings at the White House and sex in a Lake Tahoe, Nev., hotel suite.

Hollywood — and “Access Hollywood” — have been discussed repeatedly, as has Mr. Trump’s onetime reality hit “The Apprentice.” Ms. Daniels has said he dangled a role on the show to entice her to have sex with him in 2006. (He denies the sex, which Ms. Daniels nonetheless described on the stand in PG-13 detail.)

Movies as varied as the animated “Up” — which features an excitable dog, apparently not unlike Michael D. Cohen, Mr. Trump’s former fixer and current prosecution witness — and the Fox News drama “Bombshell” have been mentioned. Ms. Daniels, prosecutors said, cited that film as prompting her to remember new details of her night with Mr. Trump.

A ban on cameras in the courtroom has hamstrung television coverage of the trial, but the proceedings have drawn a steady steam of cable stars who then fill up hours of airtime. They have included liberal hosts like Rachel Maddow of MSNBC, conservatives like Jeanine Pirro of Fox News and high-profile anchors like CNN’s Anderson Cooper. He attended court on Thursday, and rushed from the courtroom at lunch to announce that the defense had done an “incredible” job, delighting Mr. Trump’s conservative supporters .

Republican officials from Washington, which is sometimes jeeringly known as “Hollywood for the ugly,” have also been on parade, with a procession of potential vice-presidential contenders appearing to show their support for Mr. Trump.

Those Republicans have sharply criticized the case, as well as witnesses, whom a gag order prevents Mr. Trump from attacking. Such appearances help to satiate the crush of hungry camera crews in front of the Manhattan courthouse, and create content for Mr. Trump’s social media feeds and campaign emails.

Actors and athletes like Charlie Sheen, Arnold Schwarzenegger, Tiger Woods and Ben Roethlisberger have all been mentioned in court, as have a roster of Friends of Donald, or F.O.D.s, who populated his contact list. Rosie O’Donnell, the comedian and former talk-show host who apparently has a firm friendship with Mr. Cohen , had her name besmirched in an insulting aside in a piece of evidence. Even Elvis Presley got a shout-out.

The result has been a mélange of pop culture and courtroom drama, seasoned with seamy details, boldface names and legal claims, a dash of politics and a presidential race, with Mr. Trump as the presumptive Republican nominee and, some polls show, running ahead in many battleground states.

That said, Tony Kushner, a screenwriter and Pulitzer Prize-winning playwright who has been an outspoken critic of Mr. Trump , said he found the defendant less compelling as a character than those who followed him.

“ I think they’re tired of democracy — it’s too hard — and so they’re grabbing for the magic solution that gets rid of the strain of trying to live on the planet with people who aren’t exactly like you,” said Mr. Kushner, who has long been working on a play about the former president. “So that’s dramatic.”

That the case has a tabloid feel is no surprise. Mr. Trump was long a fan and feature of those easy-to-read publications. And a man and politician whose public persona was forged by television and social media is catnip for both.

Yet, for all of the sizzle and slime surrounding Mr. Trump’s case, which is likely to reach closing arguments next week, it has not seemed to dominate American conversation like one it was often compared to before it began: the 1995 murder trial of O.J. Simpson.

The explanation is complicated, including political fatigue and an atomized media environment in which consumers can choose to tune out stories they do not care for, said Whitney Phillips, a professor of journalism and communication at the University of Oregon who describes her area of expertise as “the political hellscape.”

“It’s got pop culture references, high-profile personality-slash-celebrity references, it has pornography as a backdrop,” Professor Phillips said. “It has everything that you would expect that would make it be the thing that people are sort of centering their lives around. But that’s not exactly how it’s playing out.”

David Margolick, an author who covered the Simpson trial for The New York Times , was even more blunt.

“If this is the trial of the century,” he said, “the next 75 years promise to be pretty dull.”

Still, there have been ample jaw-dropping moments in court, particularly for fans of political news, who have gotten to peek behind the scenes at Mr. Trump’s frantic efforts to suppress Ms. Daniel’s story and one told by Karen McDougal, a former Playboy model who said she had a 10-month affair with Mr. Trump in 2006 and 2007. (Mr. Trump also denies this.)

There has been a revisiting of the “Access Hollywood” scandal, in which Mr. Trump bragged of grabbing women’s genitals, and an appearance by Hope Hicks, the former White House communications director who broke into tears on the stand.

In the eyes of Mr. Trump, a fan of television — and ratings — the trial has almost surely delivered: It has led to an across-the-board increase in overall viewership on the major cable news networks, compared with the same period last year. Fox News is up 18 percent, CNN up 24 percent and MSNBC up 19 percent, according to Nielsen.

But from a dramatic standpoint, the trial could be difficult to recreate onstage or screen, writers say, despite its cast of characters and potential themes of revenge and redemption, justice served or denied.

J.T. Rogers, the Tony Award winning playwright of “Oslo,” a drama about diplomacy, said that one challenge was the sense that the verdict — whatever it is — will not change many minds.

“You really couldn’t make a movie out of this or a series, because it just doesn’t have the shift,” said Mr. Rogers. He added that the central character, Mr. Trump, was not “capable of the profound the moment of revelation of your own mistakes and failures, which is what we go to see.”

Late-night talk shows have had a field day , with jokes about everything from Republican lawmakers showing up at the courthouse to Mr. Trump’s habit of closing his eyes in the courtroom .

J-L Cauvin, a comedian and former prosecutor in the Bronx district attorney’s office, said he had been struck by the reaction of conservatives to Mr. Trump’s case, calling him “the white O.J.”

“I think most of the people supporting him are aware of his guilt,” said Mr. Cauvin, adding that Mr. Trump’s supporters believe “this is bigger than one case” and that their movement has “been done wrong by the system.’”

Mr. Cauvin, who does a fine imitation of Mr. Trump , added that the trial was a mirror of the nation’s celebrity-obsessed culture. “We created him,” he said.

In the courtroom, which has been packed to capacity with reporters, members of the public and elected officials, the judge, Juan M. Merchan, has been trying to keep things from becoming a circus.

During Ms. Daniels’s testimony, for instance, he sternly reminded her to avoid tangents. He has also cited Mr. Trump for violating the gag order, and at one point warned the former president about making remarks in the courtroom.

Even before testimony began, Justice Merchan told the jury that some of what they would see in court would not comport with the high drama of legal thrillers on the screen.

“That happens on TV and in the movies,” Justice Merchan said. “But it doesn’t happen in real trials.”

Michael M. Grynbaum and Kate Christobek contributed reporting.

Jesse McKinley is a Times reporter covering upstate New York, courts and politics. More about Jesse McKinley

Our Coverage of the Trump Hush-Money Trial

News and Analysis

Michael Cohen, the star witness against Donald Trump, testified for a fourth and final day . The prosecution rested  once Cohen left the stand.

The first major defense witness is Robert Costello , a lawyer who once advised Cohen. He is expected to cast Cohen as a liar.

An entourage of more than a dozen supporters who joined Trump at the courthouse included Chuck Zito , a former leader of the Hells Angels motorcycle gang who spent years in prison on drug charges.

More on Trump’s Legal Troubles

Key Inquiries: Trump faces several investigations  at both the state and the federal levels, into matters related to his business and political careers.

Case Tracker:  Keep track of the developments in the criminal cases  involving the former president.

What if Trump Is Convicted?: Could he go to prison ? And will any of the proceedings hinder Trump’s presidential campaign? Here is what we know , and what we don’t know .

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