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Analysis of William Shakespeare’s Macbeth

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

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

—William Hazlitt, Characters of Shakespeare’s Plays

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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A Modern Perspective: Macbeth

By Susan Snyder

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

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

He’s here in double trust:

First, as I am his kinsman and his subject,

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

Who should against his murderer shut the door,

Not bear the knife myself. ( 1.7.12 –16)

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

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

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

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

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

The time has been

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

And there an end. But now they rise again

With twenty mortal murders on their crowns

And push us from our stools. This is more strange

Than such a murder is. ( 3.4.94 –99)

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

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

Who can impress the forest, bid the tree

Unfix his earthbound root? Sweet bodements, good!

Rebellious dead, rise never till the Wood

Of Birnam rise . . . ( 4.1.109 –12)

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

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

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

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

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

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

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

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

Nay, had I power, I should

Pour the sweet milk of concord into hell,

Uproar the universal peace, confound

All unity on earth. ( 4.3.113 –16)

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

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

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

Macbeth Research Paper Topics

Exploring Macbeth research paper topics is an insightful journey into one of Shakespeare’s most celebrated tragedies. This guide delves into the complexities of ambition, power, and moral decay, providing students and researchers a foundational understanding to embark on deeper academic investigations. Whether one aims to dissect character dynamics, themes, or the play’s historical context, Macbeth continues to offer a wealth of material for scholarly exploration.

100 Macbeth Research Paper Topics

Shakespeare’s Macbeth has long been a cornerstone of English literature, captivating readers and audiences for centuries with its intricate web of ambition, power, and destiny. A rich canvas of characters, themes, and motifs makes it a perfect subject for academic exploration, resulting in an abundance of Macbeth research paper topics. The play’s depth, ranging from its multifaceted characters to its profound thematic concerns, offers students a unique opportunity to delve into various areas of study, each brimming with potential insights and revelations.

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1. Character Analysis:

The transformation of Macbeth: From hero to villain.
Lady Macbeth’s descent into madness.
The role of the three witches in shaping Macbeth’s fate.
Banquo’s inner conflict: Loyalty to friend vs. ambition for his lineage.
How secondary characters, like Ross and Lennox, reflect the political unrest.
Duncan’s leadership style vs. Macbeth’s reign of terror.
The significance of Malcolm and Donalbain’s reactions to their father’s death.
The silent power: Lady Macduff’s minimal but poignant presence.
Comparing Macbeth’s and Lady Macbeth’s reactions to guilt.
The role and significance of the Porter: Comic relief or deeper implications?

2. Themes and Motifs:

The corrupting influence of unchecked ambition.
The dichotomy of appearance vs. reality.
The role of fate and free will in Macbeth’s downfall.
The recurring motif of blood and its symbolism.
The theme of masculinity and its distortions in the play.
Sleep and sleeplessness: A reflection of conscience and guilt.
The impact of nature and the supernatural.
The exploration of political legitimacy and usurpation.
The cycle of violence and its perpetuation.
The moral implications of ambition and power.

3. Symbolism:

The haunting significance of the dagger scene.
Blood as a symbol of guilt and murder.
The role of darkness and night in the play.
The symbolic meaning of the three witches.
The relevance of weather patterns, especially storms.
The dead children: Macduff’s offspring and Lady Macbeth’s child.
The significance of sleepwalking in the play.
Hallucinations and their psychological implications.
The role of prophecies and their double meanings.
The crown: A symbol of power or a heavy burden?

4. Historical Context:

The true history of King Macbeth of Scotland.
How the Gunpowder Plot influenced the play.
The role of King James I in the creation of Macbeth.
The Elizabethan worldview on witchcraft and its representation.
The political climate of Shakespeare’s England reflected in Macbeth .
The historical practices of kingship and succession.
Views on masculinity and leadership in Elizabethan times.
Superstitions and beliefs about the supernatural in the 17th century.
The role of women in society and politics during Shakespeare’s time.
How historical inaccuracies in Macbeth shape its narrative.

5. The Supernatural:

Analyzing the role of the three witches.
The importance of prophecies in shaping the play’s trajectory.
The ghost of Banquo: Guilt or supernatural intervention?
The cultural beliefs about witchcraft in the Elizabethan era.
Hecate’s role and her influence on the witches.
The supernatural vs. psychological interpretations of the play.
How the supernatural elements intensify the play’s tragic nature.
Apparitions in the play and their meanings.
The role of omens and their significance.
The blurring lines between reality and the supernatural.

6. Literary Devices:

The use of soliloquies in revealing character depth.
Dramatic irony in Macbeth .
The significance of foreshadowing in the narrative.
The role of metaphors and similes in enhancing the text.
Symbolism used by Shakespeare to enrich the tragedy.
The linguistic choices and their effect on the play’s tone.
Use of paradoxes and their impact.
The structural significance of the five acts.
How Macbeth’s character is revealed through dialogue.
The significance of rhymes and chants.

7. Comparative Analysis:

Macbeth vs. Othello : A study in tragic flaws.
Lady Macbeth and Ophelia: Madness in Shakespeare’s plays.
The supernatural in Macbeth vs. Hamlet .
Macbeth and King Lear : A study in power dynamics.
The tragic heroes: Macbeth vs. Romeo.
Themes of ambition in Macbeth and Julius Caesar .
Lady Macbeth vs. Desdemona: The strength of female characters.
The role of prophecies in Macbeth and Oedipus Rex .
Comparing the downfall of Macbeth and Faustus.
The moral landscape in Macbeth vs. The Merchant of Venice .

8. Critical Perspectives:

A feminist reading of Macbeth .
Macbeth through the lens of psychoanalytic theory.
A Marxist interpretation of Macbeth’s quest for power.
New Historicism’s take on Macbeth .
Postcolonial views on Macbeth’s imperial ambitions.
The ecological readings of nature in Macbeth .
Applying structuralism to the play’s narrative.
Macbeth from a queer theory perspective.
A postmodernist interpretation of the play.
Analyzing Macbeth through the lens of disability studies.

9. Performance and Adaptation:

Macbeth on stage: Evolution over the centuries.
Film adaptations: From Orson Welles to Justin Kurzel.
Gender-swapped versions of Macbeth : A new perspective.
Adapting Macbeth for a contemporary audience.
The challenges of staging Macbeth ‘s supernatural elements.
Macbeth in opera and ballet.
Global adaptations: Macbeth in non-English speaking countries.
Setting Macbeth in different time periods.
The influence of Macbeth on modern media.
The characterization of Macbeth in popular culture.

10. Philosophical Undertones:

The existential crisis in Macbeth .
Macbeth and the Nietzschean concept of will to power.
The Stoic philosophy in the face of Macbeth’s tragedies.
Macbeth and the debate of determinism vs. free will.
The play’s exploration of the human psyche.
Macbeth’s moral relativism.
The concept of ambition and its philosophical implications.
The nature of evil in Macbeth .
The clash of honor and morality in Macbeth’s decisions.
Shakespeare’s insight into the human soul through Macbeth’s journey.

In choosing Macbeth research paper topics from this expansive list, students embark on a journey into the heart of Shakespearean tragedy, delving into the complex interplay of ambition, morality, and fate. As scholars peel back the layers of this iconic play, new interpretations and perspectives emerge, reaffirming Macbeth as a timeless work that continues to inspire and challenge us.

Macbeth – A Tapestry of Complex Themes and Research Opportunities

Macbeth stands as one of Shakespeare’s most riveting tragedies, an intricate interplay of characters, themes, and motifs that has made it a favorite subject for research and analysis. These complexities have given rise to a plethora of Macbeth research paper topics, inviting scholars and students alike to probe deeper into the psychological, philosophical, and sociopolitical dimensions of the play. But what is it about Macbeth that renders it such a fertile ground for investigation?

A Journey into the Human Psyche

At the heart of Macbeth lies a profound exploration of the human psyche. Shakespeare delves deep into the mind of his titular character, illustrating the transformative power of unchecked ambition. This obsession, once lit, can push an individual to commit acts of unspeakable cruelty. The descent of Macbeth, from a noble and valiant general to a tyrannical murderer, offers a rich terrain for psychological analysis. When diving into Macbeth research paper topics surrounding this theme, one can explore the psychological triggers of Macbeth’s downfall, the role of external influencers, or even draw comparisons with modern understandings of ambition-driven disorders.

The Omnipresence of Supernatural Elements

The world of Macbeth is one shrouded in mysticism and the supernatural. From the eerie prophecies of the three witches to the haunting specter of Banquo’s ghost, these elements underscore the play’s themes and shape its characters’ fates. Scholars exploring Macbeth research paper topics in this domain can consider how the supernatural acts as a catalyst for Macbeth’s actions or as a reflection of his internal guilt and paranoia. The witches, in particular, can be analyzed from multiple angles – as embodiments of fate, as manipulative entities, or as mere figments of Macbeth’s imagination.

The Dynamics of Power and Morality

Macbeth presents a brutal critique of the corrosive nature of power and the lengths to which individuals might go to obtain it. However, Shakespeare doesn’t stop there. He further delves into the ethical ramifications of such pursuits. The moral quandaries faced by Macbeth and his wife have given rise to numerous Macbeth research paper topics. Discussions can encompass the mutable nature of morality, the conflicts between personal ambition and ethical considerations, and the eventual consequences of moral degradation.

Gender Roles and Ambition

Lady Macbeth, one of Shakespeare’s most formidable female characters, shatters the contemporary conventions of femininity. Through her, Shakespeare examines the intersection of gender and power, suggesting that ambition is not the sole domain of men. When diving into Macbeth research paper topics that focus on Lady Macbeth, one can explore the subversion of gender norms, the dynamics of power within the Macbeths’ marriage, and the societal expectations of women during Shakespeare’s era.

The Inescapability of Fate

Is Macbeth a puppet of fate, or does he exercise free will? This age-old debate stems from the play’s intricate dance between destiny and agency. Macbeth research paper topics on this theme can traverse the philosophical terrains of determinism, the self-fulfilling nature of prophecies, or the extent to which characters are architects of their doom.

The brilliance of Macbeth lies not just in its masterful storytelling but in its layered thematic richness. Whether dissecting the intricacies of its characters, its thematic tapestry, or its socio-political critiques, Macbeth research paper topics offer a treasure trove of research avenues. It stands as a testament to Shakespeare’s genius that hundreds of years after its first performance, Macbeth continues to captivate, inspire, and provide inexhaustible material for scholarly exploration.

How to Choose Macbeth Research Paper Topics

Delving into Shakespeare’s Macbeth offers an almost endless wealth of themes, motifs, character analyses, and historical contexts to explore. With such an expansive range of potential subjects, choosing the ideal Macbeth research paper topic can be both an exhilarating and daunting task. The vastness of this play’s content provides freedom, but this same vastness requires strategic selection to ensure your research is both original and comprehensive. Here are some guidelines to aid in that decision-making process.

Passion and Personal Interest: Always choose a topic that you are passionate about. Your interest will not only make the research process more enjoyable but also reflect in the quality of your paper.
Scope of the Topic: It’s easy to get lost in the wide array of Macbeth research paper topics. When selecting, ensure that your topic is neither too broad that it lacks depth nor too narrow that it lacks sufficient content.
Academic Relevance: Ensure that the topic aligns with the guidelines provided by your instructor or institution. It should challenge you academically and push the boundaries of what is already known.
Available Resources: Before finalizing a topic, conduct preliminary research to ensure there are enough resources available. These can be literary critiques, academic journals, or reputable online sources.
Originality: While many topics from Macbeth have been extensively covered, aim for a fresh perspective or a unique angle. This will make your paper stand out and contribute a new voice to the existing discourse.
Historical and Cultural Context: Consider exploring topics that delve into the historical and cultural background during Shakespeare’s time. This provides a richer understanding of the play’s themes and character motivations.
Character Analysis: Choose a character that intrigues you. Instead of general traits, dive deep into their psychology, relationships, and evolution throughout the play.
Comparative Analysis: Compare Macbeth with another of Shakespeare’s plays or even a modern work. Highlight parallels, contrasts, and insights that such a comparison brings.
Themes and Motifs: Macbeth is rife with intricate themes like power, ambition, supernatural elements, and more. Choose a theme and explore its representation, evolution, and relevance throughout the play.
Feedback: Before finalizing your choice among the many Macbeth research paper topics, seek feedback. Discussing with peers, instructors, or mentors can provide valuable insights or angles you hadn’t considered.

Choosing the right Macbeth research paper topic is a crucial first step in your academic journey. It sets the tone for the research, analysis, and writing phases that follow. While the plethora of options might seem overwhelming, by following the above guidelines and remaining true to your interests and academic goals, you’re sure to land on a topic that’s both engaging and rewarding. Remember, the essence of Macbeth is its depth and complexity; mirror these traits in your research, and you’re on the path to academic success.

How to Write a Macbeth Research Paper

Writing a research paper on Shakespeare’s Macbeth is an exercise in exploring deep human emotions, intricate relationships, and the nuances of ambition, power, and morality. Tackling such a multifaceted work requires an organized approach, a keen analytical eye, and the ability to weave your observations into a compelling narrative. Here’s a step-by-step guide to help you craft a masterful Macbeth research paper.

Begin with a solid understanding of Macbeth . Before even commencing the writing process, immerse yourself in the play. Read it multiple times, and perhaps watch different theatrical renditions to grasp the emotional undertones and character dynamics.

Thesis Statement: The foundation of your research paper. Based on your readings, determine what angle or aspect of Macbeth you wish to explore. Your thesis should be clear, arguable, and specific.
Outline Your Paper: Plan your research paper by breaking it down into sections. Decide on the main points you want to cover, the arguments you wish to make, and the evidence you’ll use to support these arguments.
Dive Deep into Analysis: Don’t just scratch the surface. Explore the symbols, motifs, character arcs, and historical context. How does the theme of ambition drive Macbeth and Lady Macbeth? How do supernatural elements influence the narrative?
Use Supporting Evidence: Every assertion you make should be backed by textual evidence. Use quotations from Macbeth judiciously, ensuring they align with your arguments.
Consider Historical Context: Understanding the sociopolitical climate of Shakespeare’s time can provide deeper insights into the play’s themes and characters. Delve into the beliefs, norms, and values of that era.
Compare and Contrast: Position Macbeth against other Shakespearean tragedies. How does it stand out? What common themes does it share with works like Hamlet or Othello ?
Maintain Flow: Ensure that your paper has a logical flow from introduction to conclusion. Each paragraph should transition smoothly to the next, creating a cohesive narrative.
Seek Feedback: Before finalizing your paper, have peers or mentors review it. Fresh eyes can offer new perspectives, catch inconsistencies, or identify areas needing more depth.
Proper Formatting and Citation: Whether it’s APA, MLA, or any other format, ensure you adhere to the required citation style. Accurately citing your sources is crucial to avoid plagiarism and to lend credibility to your paper.
Conclusion and Reflection: Wrap up your paper by revisiting your thesis and summarizing your main points. Offer a reflection on the significance of your findings in relation to broader Shakespearean studies or contemporary interpretations of the play.

A Macbeth research paper is not just an academic exercise; it’s a deep dive into one of literature’s most profound works. By approaching the task with diligence, passion, and an analytical mindset, you can unravel the layers of Shakespeare’s genius, offering readers a fresh perspective on this timeless tragedy. Remember, as with Macbeth’s own journey, the process may be challenging, but the rewards, in terms of personal growth and academic achievement, are immeasurable.

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129 Macbeth Essay Topic Ideas & Examples

🏆 best macbeth topic ideas & essay examples, 👍 good essay topics on macbeth, 📌 most interesting macbeth topics to write about, 👍 good research topics about macbeth, ❓ macbeth essay questions.

Writing an essay on Shakespearean tragedies may be tricky for some students. There are a lot of ideas to put in your paper, and that may puzzle you. That’s why we’ve prepared a short guide on how to write Macbeth essay.

Macbeth is a tragedy by William Shakespeare based on the true story of Scottish king Macbeth. The play tells us about a Scottish general who heard a prophecy from a trio of witches and decided to bring predictions to fulfillment. This is a drama about the jeopardy of excessive lust for power and betrayal of friends.

Some researchers state that William Shakespeare adopted the plot from Holinshed’s Chronicles, a popular history of England, while others argue that the plot of the play was borrowed from George Buchanan. Before you start your Macbeth essay, you should do thorough research on facts and fiction around the play.

To give you ideas on how and what to write in your essay, check the tips below:

Check our Macbeth essay samples to acquire knowledge on characters: Macbeth, Lady Macbeth, King Duncan, Banquo, Malcolm, Macduff, Three Witches, and others. Each character is unique, and it’s quite easy to write a paper on each of them. Make a meticulous analysis of each of them, if you decide to write an essay on Macbeth characters. Use dialogues and monologues as supporting arguments to your ideas.
In your Macbeth essay introduction provide readers with the thesis statement and a summary you’re going to discuss in the paper. Specify what exactly you will depict or analyze. Sometimes, you may need to write the intro after you finish the body and already have done an in-depth analysis of text and critique materials.
When writing body paragraphs, describe the essay topic in detail. Start each section with a short statement, provide a supporting quote, explain it, and make a conclusion. You can always analyze IvyPanda Macbeth essay titles to learn various points of view on each character and event.
In the Macbeth essay conclusion, reiterate a topic and your analysis. You should not only summarize the information you’ve gathered and analyzed in the paper body. You have to get back to the intro and provide clear and extensive answers on the questions you raised. Try not to leave any further questions for your readers. Here’s the secret: some professors read the conclusion first. So make it persuasive and give a complete portion of information.

You may be wondering how to use essay examples that you may find on our website. It is super easy. First of all, look through the titles to get some topic ideas.

Then, look through the sample and learn how to create your outline. Think about what you can write in your essay. Check the bibliography: there you can find useful sources for the research.

Indeed, any paper on Shakespeare’s play may concern a variety of topics. So check out our Macbeth essay examples and think of the topics which you can choose.

Betrayal in Shakespeare’s “Macbeth” The betrayer, Macbeth betrays the King, friend and other subjects in the kingdom. However when Macbeth is told he has just been chosen as the Thane of Cawdor, scenes of the possibilities of him as […]
Dramatic Irony in Macbeth Essay Shakespeare uses dramatic irony to amuse the audience and to show the level of deception developed by the main character. The porter gives a clear picture of what is about to happen.
The Use of Hands as a Motif in Shakespeare’s “Macbeth” The play presents readers with the world of royalty and the well-knit state; the world of Duncan, his two sons, Banquo, Macbeth and the whole of Scotland and England.
William Shakespeare: Hamlet and Macbeth It is important to examine the role that the setting plays in Hamlet and Macbeth in relation to the tragic flaw and developments of the plot.
Supernatural Elements of Act I and II in Macbeth In the play, the supernatural things are central to the plot of the play as they provide a basis for action as Shakespeare meant them to fit in putting the play together.
Concept of Power in Shakespeare’s “Macbeth” While The government is the system that makes laws and ensures that they are followed, it is the person who wields power who is responsible for the equality and impartiality of its enforcement.
Unchecked Ambition in Shakespeare’s “Macbeth” However, in Act 1, scenes 1 to 4, the audience is introduced to Macbeth’s increasing fear and the developing desire to be the king. It appears that the desire to be the king overrides his […]
Macbeth & Frankenstein: Compare & Contrast In the being of the play, we assume that Macbeth is akin to the king, a loyal soldier, and a person “full of the milk of human kindness”.
The Downfall of Macbeth Nonetheless, he goes on to murder the king and his character takes a turn for the worst as he kills the chamberlains who would give witness of the king’s death and he claims he killed […]
Emotions and Outward Actions in Shakespeare’s “Macbeth” In this regard, in William Shakespeare’s Macbeth, the relationship of inward emotions and outward actions is relevant in fully conveying the interplay of themes in this tragedy.
The “Macbeth” Film by Rupert Goold While Shakespeare’s play happened in the 11th century in Scotland, the movie’s design is more similar to the events of the 20th century. Corresponding to the era of the first half of the 20th century, […]
“Macbeth” by William Shakespeare: Language and Tropes Typically, ‘the end of something means the onset of another.’ Using this as a viewpoint that provides a lead to what Macbeth is all about, the fact that ‘we will proceed no further in this […]
Comparison of the Opening Scene of Macbeth by Orson Welles and The Tragedy of Macbeth by Roman Polanski The opening scene of The Tragedy of Macbeth starts with the words “fair is foul and foul is fair” that Polanski takes from the end of the Shakespeare’s scene.
British Literature: Beowulf vs. Macbeth They are as follows: the presentation of the heroes, the consideration of the ethical themes, and the final stages of the plays the latter help to draw some ethical conclusions based on the peculiarity of […]
Macbeth and Hamlet Characters Comparison The queens in Hamlet and Macbeth play a pivotal role in the life of the heroes of the play. She is portrayed as a mother who, in her awareness of Hamlet’s crisis, feels guilty and […]
Shakespeare Tragedies: Macbeth and King Lear At the beginning of the play, he decides to abdicate his throne and divide his kingdom among his three daughters. This choice eventually undermines the ethical integrity of this character, and he murders murder to […]
Literary Character Analysis of Shakespeare’s “Macbeth” The very reason that made me write about this character was how he is depicted as a hero in the opening pages of the play, and only to learn how weak he is from his […]
Omens in The “Macbeth” Play by William Shakespeare The supernatural was an aspect of the plot structure used to add tension and drama to the occurrences and situations and manifested in various ways. To conclude, the owl and raven were utilized as omens […]
Macbeth Versions Comparison Film Analysis The use of classic settings in the design of the play helps in portraying the role that gangsters play in the original play of Macbeth and helps present it in the modern world.
Shakespeare’s “Macbeth” and Sophocles’ “Oedipus” The idea of a person being in the center of the action and trying to overcome some problems connected with doom, fate and some other supernatural forces become peculiar to this kind of art.
The Life and Work of William Shakespeare: His Contribution to the Contemporary Theater In addition, the plays and sonnets of William Shakespeare continue to set the standard for the study of the English language in its dramatic context in institutes of higher learning and performance training.
Character Analysis of “Macbeth” by William Shakespeare The unplanned overnight stay of King Duncan and his entourage at Macbeth’s castle precipitates Macbeth’s first fateful decision: to murder King Duncan and clear the way for the witches’ prophecy to come true.
Analyzing the Adaptation of the Shakespeare’s “Macbeth” Furthermore, the names of all the characters in both films are the same except for a little twist in the spelling of names like Mcbeth and Mcduff.
Representing the Heroic: Macbeth and Odysseus In Homer’s Odyssey, the noble nature of the hero is made clear in the way that his servants speak of him and strive to behave as he would expect.
Philosophy of Literature: Shakespearean Tragedy In addition, it is also an indication of the facts that human beings are always nosy and ready to participate in other people’s issues.
The Play “Macbeth” by Shakespeare and the Film “Maqbool” by Bhardwaj Bhardwaj’s Maqbool is a great example of how the weather sets the tone for the story, it is not the backdrop in the film, but an active force expressing the psychological state of the characters.
Themes in the Tragedy of Macbeth by Shakespeare The character of Macbeth is used by Shakespeare to illustrate a man who lacks the strength of moral fiber under the affection of guilt and ambition.
Supernatural in “Macbeth” Play by Shakespeare The supernaturally manufactured predictions lure Macbeth and Banquo with the idea of power, leading Macbeth to plot the cruel murder of Duncan.
Jeffrey R. Wilson: Macbeth and Criminology The genre of tragedy used in Macbeth poses the question to the reader: who is responsible for committing a crime – the individual or the society?
Intro to Theatre: “Macbeth” Shakespeare’s theatrical performances are widespread all over the world and do not lose their relevance, both due to the problems raised by the playwright and the various interpretations of his works. One of such plays is the production of Macbeth directed by Bodinetz (2020) and created by the troupe of Digital Theater +. The performance […]
The Story of Macbeth by W. Sheakspeare: Relationship and Strengths Between Macbeth and His Wife Lady Macbeth reads a letter her husband had written about the witches’ prophecy and manipulates him to kill King Duncan and take over the kingdom.
Shakespeare and His View on Kingship: Macbeth, King Lear and Othello At the same time, it is beyond doubt in the basement Macbeth’s character is clean and as a soldier, he is true to his job and his king.
Analysis of Characters in Shakespeare’s “Macbeth” The witches’ predictions spark Macbeth’s ambitions and then hearten his violent performance; Lady Macbeth offers the brains and the will behind her husband’s intrigues; and the only heavenly being to emerge is Hecate, the divinity […]
Shakespeare’s Tragedy of Macbeth The world of Macbeth is a world of contradiction. Already a successful soldier in the army of King Duncan, Macbeth is informed by Three Witches that he is to become “Thane of Glamis!”, “Thane of […]
Shakespearean Macbeth as a Tragic Hero In addition to fighting for his king, Macbeth is quickly and well rewarded for his efforts as King Duncan makes him the new Thane of Cawdor in addition to his already holding the title of […]
Shakespear’s “Macbeth”: Main Character Change Analysis Macbeth is essentially the story of a character who lives his life in a state of confusion to the degree that the only constant in his life changes.
Chaucer’s ‘Miller’s Tale’ and Shakespeare’s ‘Macbeth’ Chaucer’s The Miller’s Tale and in Shakespeare’s Macbeth, to be more exact, we will find out how the notion of poetic justice is represented by examples of the main characters of the works mentioned.
An Explication on Shakespeare’s Macbeth However, Macbeth’s wife is murdered and the news is broken to him, and he is drifted into a life of futility and remorsefulness.
Literary Elements in “Macbeth” Poem In addition, use of Symbolism imagery and symbolism creates a better picture in audience mind, concerning the themes that the play covers; such as where dark is used to represent evil.
King Macbeth in Shakespeare’s Play and History He proved to be a courageous man and ambitious because he wanted to become the king, and the only way he could do it was by killing the king.
Characters’ Traits in Shakespeare’s Macbeth As weird as it might sound, Lady Macbeth is very emotional; as a matter of fact, the crimes that she committed can be attributed to her emotionality rather than her greed, though the latter has […]
Macbeth: An Analysis of the Play by Shakespeare Macbeth’s treachery springs from his reliance to the witches who gave him prophecy that results in his endless creation of enemies.
Oedipus King vs. Macbeth: Drama Comparison The concept reflects the foundation of the decent authority through showing the tendencies of power both in the ancient times and in the period of Renaissance.
Drama Macbeth: Shakespeare’s Play and Wells’ Film However, the play communicates the meaning of the text in a better way as compared to the film by Orson Wells.
Macbeth by Shakespeare and Oedipus by Sophocles Comparison In Act 1 Scene 3 of Macbeth, we have the three witches who greet him and inform him that he is to become the “Thane of Cawdor,” the title that he will receive that evening, […]
Shakespeare Literature: Prophecy and Macbeth Morality The divination made by the witches pushes Macbeth further into immorality as he is made to believe that he deserves the position of king. In addition, Macbeth abandons reason and morality so as to make […]
Power and Evocation of Horror: The Macbeth Witches’ Chant Among them are the rhymes, the rhythm of the words, the interpolation of a chorus, the increasing complexity of the lines as the poem progresses, and the vivid and horrifying imagery.
The Ambitions and Immoral Decision in “Macbeth” by William Shakespeare
Analyzing Macbeth’s Conscience Throughout Shakespeare’s Play “Macbeth”
Murder and Power in William Shakespeare’s Play “Macbeth”
Unprincipled Ambition in Shakespeare’s “Macbeth”
Use of Supernatural to Create Suspense in Shakespeare’s “Macbeth”
Psychological Victimization of William Shakespeare’s Protagonist in “Macbeth”
Responsibility for Planning to Kill Duncan in William Shakespeare’s “Macbeth”
Dramatic Techniques to Create a Sense That Macbeth Is Not in Control of His Own Thoughts and Deeds
An Analysis of Jam-Packed With Malfeasance and Darkness in the Play “Macbeth” by Shakespeare
The Application of Imagery in “Macbeth” by William Shakespeare
Witches, Supernatural, and Evil in Shakespeare’s “Macbeth”
The Banquet Scene of William Shakespeare’s “Macbeth”
Analyzing Macbeth’s Weak Character in Shakespeare’s “Macbeth”
Ambition Often Results in Greed as Portrayed in Shakespeare’s “Macbeth”
Psychoanalytical Criticism of Shakespeare’s “Macbeth”
Women as The Driving Action of the Play in “Macbeth” by William Shakespeare
William Shakespeare’s Manipulation of the Audience Through “Macbeth”
Suspense and the Supernatural in “Macbeth” by William Shakespeare
Sharing the Blame in Shakespeare’s “Macbeth”
Macbeth’s Tragic Downfall in William Shakespeare’s “Macbeth”
The Characterization of Macbeth in Relation to the Development of Scotland in “Macbeth” by William Shakespeare
Role Reversal in William Shakespeare’s Play “Macbeth”
The Butcher and His Fiend Like Queen in William Shakespeare’s “Macbeth”
Supernatural Forces Create a Suspense Atmosphere in Shakespeare’s “Macbeth”
The Archetypal Tragic Hero Characteristics of William Shakespeare’s “Macbeth” and Sophocles’ “Oedipus”
An Analysis of Macbeth as a Victim of Circumstances in “Macbeth” by William Shakespeare
Power, Ambition, and Treason in William Shakespeare’s “Macbeth”
The Breakdown of Lady Macbeth in William Shakespeare’s “Macbeth”
Unbridled Ambition in Shakespeare’s “Macbeth”
The Art of Appeasement and the Political, Religious, and Social Issues Reflected in Shakespeare’s “Macbeth”
Parallels Between Macbeth and Satan in “Macbeth” by William Shakespeare
Some of the Ways in Which Shakespeare Portrays an Atmosphere of Evil in “Macbeth”
An Analysis of Lady Macbeth’s Character in “Macbeth” by Shakespeare
The Blood Imagery in “Macbeth” by William Shakespeare
Macbeth’s Representation of Ambition in William Shakespeare’s “Macbeth”
The Attract of Wicked in Shakespeare’s “Macbeth”
The Manipulations, Greed, and Guilt in William Shakespeare’s Play “Macbeth”
Stereotypical Images of Women in “Macbeth” by Shakespeare
Symbolism and Imagery in “Macbeth” by William Shakespeare
Subjective Reality to the Viewer in the Play “Macbeth” by William Shakespeare
The Betrayal of Human Nature in “Macbeth” by William Shakespeare
Treatment of Gender Disruption in William Shakespeare’s “Twelfth Night” and “Macbeth”
Significance of Act Four Scene One in William Shakespeare’s “Macbeth”
Role of Women in “Macbeth” by William Shakespeare
Recurring Images in “Macbeth” by William Shakespeare
Similarities Between the Philosophies From Machiavelli’s “The Prince” and Shakespeare’s “Macbeth”
The Aristotelian Standards of a Tragic Hero in the Tragedy of “Macbeth” by William Shakespeare
Struggles of the Conscience in “Macbeth” by William Shakespeare
The Battle Between Good and Evil in Shakespeare’s “Macbeth”
Sleep and Its Meaning in “Macbeth” by William Shakespeare
Relationship Between Spouses in “Macbeth” by William Shakespeare
A Musical Analysis of “Macbeth” by William Shakespeare
What Did Macbeth’s Character, Words, and Actions Show About Changes in His Character?
Who Are the Women in Shakespeare’s “Macbeth”?
When Power Falls Into the Wrong Hands in “Macbeth”?
Why Are the Period and Place Important in “Macbeth”?
What Makes William Shakespeare’s “Macbeth” a Pessimistic Play?
How Ambitions and Immoral Decision Play a Part in Shakespeare’s “Macbeth”?
How and Why Does Macbeth Turn a War Hero Into an Evil Murderer?
Did the Three Witches Push Macbeth to Kill Duncan?
What Are the Attitudes Towards Gender Can Be Seen in Shakespeare’s “Macbeth”?
What Part Does the Supernatural Play in “Macbeth”?
Was Macbeth Responsible for His Downfall?
Does Shakespeare Present Lady Macbeth as Good or Evil?
Can One Feel Pity for Shakespeare’s “Macbeth”?
What Dramatic Techniques Are Used in Shakespeare’s “Macbeth”?
How Did Lady Macbeth and Macbeth’s Relationship Change Throughout the Play?
What Did Macbeth Say About Good and Evil?
Does Shakespeare Present Lady Macbeth as Fiend-Like?
Does Macbeth Have Power?
How Did Macbeth Turn From “Nobel Macbeth” to “A Bloody Butcher”?
What Does Shakespeare’s “Macbeth” Have to Say About Kingship?
Did Macbeth Suffer From Fate?
What Are the Character Traits of Lady Macbeth?
Does Macbeth Have Free Will?
What Are the Influences of the Witches’ Prophecies on Macbeth’s Actions?
How Are the Themes of Appearance and Reality Presented in “Macbeth”?
How Are Characters Presented as Disturbed in “Macbeth”?
Was Macbeth Considered the Tragic Hero of the Play?
How Did Lady Macbeth and Witches Change?
What Are the Differences and Similarities Between “Medea” and “Macbeth” Plays?
What Factors Lead Macbeth to Kill Duncan?
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Chicago (N-B)

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Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

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Macbeth and Banquo Analysis

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