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Madness is an intensely compelling component of many dramatic texts and William Shakespeare’s Macbeth is certainly no exception. However, the portrayal of madness in Macbeth, specifically the madness of Macbeth, Lady Macbeth, and the three Witches, is uniquely compelling when examined in regard to the play’s implications as a moralistic text. Through the use of repetition, syntax, and imagery, Shakespeare creates and juxtaposes two abstract worlds in the play in which his characters must function: the world of the sane and the world of the mad. It is the juxtaposition and incompatibility of these two worlds that results in the alienation of the titular couple from the rest of the play’s human characters. This alienation is incredibly important
Throughout the play, Shakespeare uses characters’ dialogue as a primary indicator of their sanity, but not the only one. Characters that exist in the world of the mad, like the three witches, speak in rhymed verse, whereas characters in the sane world speak in blank verse. This is best exemplified in the scene where Macbeth and Banquo first encounter the three witches. The witches’ rhythmic incantation, “A drum, a drum! Macbeth doth come! [dancing in a circle] The weird sisters, hand in hand, Posters of the sea and land, Thus do go, about, about, Thrice to thine, and thrice to mine, and thrice again to make up nine” (Macbeth. 1.3.32-37), stands in stark contrast to Banquo’s much simpler line, “You should be women, And yet your beards forbid me to interpret that you are so” (1.3.46-48), thus establishing the first of many syntactical demarcations between the world of the sane and the world of the mad. Macbeth affirms this particular syntactical distinction throughout the play as his speech shifts from exclusively blank verse to include more rhymed verse, paralleling his descent into madness. His first rhyming couplet, “Hear it not, Duncan, for it is a knell that summons thee to heaven or to hell” (2.1.63-64) comes at the end of the “Is this a dagger which I see before me?” soliloquy (2.1.33-64), during which he
His comment about the witches’ beards not making them appear wholly female establishes the idea that the characters existing in the world of the mad are not entirely one gender or the other. This idea is reinforced later in the play by several characters, but none more so than Lady Macbeth. Her descent into madness begins when she resolves to kill Duncan, which only happens after she asks to be “unsexed” (1.5.39) so that she may have the strength of will to commit such a heinous act. By doing this, she is rejecting the suggested notion that women in the social world of this play are characterized by their lack of willingness to commit acts of violence. This subversion of gender roles appears once again in the line “When you durst do it, then you were a man” (1.7.49) when she chides Macbeth and questions his virility after he expresses an unwillingness to go through with her plan to kill Duncan. By shying away from the idea of committing a violent act, he is rejecting the suggested notion that men in the social world of this play are characterized by a proclivity toward violence. This chiastic movement of Macbeth and Lady Macbeth diminishes their respective virility and femininity and, in turn, makes each of them
Macbeth rejects conformation to traditional gender roles in its portrayal of Lady Macbeth’s relationship with her husband, her morals and their effect on her actions, and her hunger for power. Her regard for Macbeth is one of low respect and beratement, an uncommon and most likely socially unacceptable attitude for a wife to have towards her spouse at the time. She often ignores morality and acts for the benefit of her husband, and subsequently herself. She is also very power-hungry and lets nothing stand in the way of her success. Lady Macbeth was a character which challenged expectations of women and feminism when it was written in the seventeenth century.
Macbeth displays the characteristics of an insane character because of his foolish acts and poor mental state when he visualizes the floating dagger, speaks to a ghost, becomes obsessed with killing others and with the idea of being invincible. When Macbeth begins talking to a ghost, his insanity becomes very apparent to the reader. From another one of the witches prophesies, Macbeth is threatened by Banquo because his sons are to be king one day as well. Macbeth begins to see Banquo’s and makes foolish comments. He says, “[Macbeth] The table’s full.
One permeating aspect of Shakespeare’s depiction of masculinity is its dominance over femininity. Lady Macbeth is a vital contributor to this mindset throughout the plot. As a means of obtaining power, Lady Macbeth sees her femininity as an obstacle and obtaining masculine attributes as a step toward the throne. We see this when she says, “Come, you spirits that tend on mortal thoughts, unsex me here, and full me from the crown to the toe top-full of direst cruelty” (33). In this quote she is literally asking to replace her feminine attributes with masculine ones, which she perceives as cruelty and aggression. She continues to emphasize this ideal when she states “Come to my woman’s breasts, and take my milk for gall” (33). This line is a blatant reference ...
Since the witches’ prediction about him becoming Thane of Cawdor had already come true, Macbeth felt very little desire to chase after the throne. Lady Macbeth, on the other hand, wanted her husband to pursue the rank by murdering King Duncan instead of waiting to receive it. The idea that a woman, who were considered inferior and powerless compared to men during shakespeare's time, would be the responsible for such violent conflict in the play was unusual. Because she was still unsure of her thoughts, Lady Macbeth prayed that her womanly features would be removed in order to gain more, at the time, manly qualities; such as violence and ambition. “...unsex me here, And fill me from the crown to the top-full of direst cruelty.” (Act I, Scene V) This decision was not an easy one, for it meant that Lady Macbeth would no longer be able to give birth to any children, thus resulting in the end of their blood line. In the spur of the moment, Lady Macbeth trusted that her decision was the best, even though she was completely blinded by her desire. She was willing to change her gentle, womanly features for those of a man’s. Once her ambition began to grow, it affected Lady Macbeth’s morals, because it allowed her believe that killing King Duncan was acceptable, since it would fulfill the witches’ prophecy. Her amount of ambition caused Lady Macbeth to not only have a troublesome introspection of her identity, but also let her conceive a heinous crime against her
In the beginning of the play, Shakespeare establishes Lady Macbeth as a woman who wants to take on stereotypical traits associated with men, such as acting cold - heartedly, manipulatively and being the dominant partner in her relationship. When Lady Macbeth realizes that her husband is not strong enough to kill King Duncan, Lady Macbeth tries to prove to herself and her husband that she can take on the dominant role in her relationship with Macbeth. This is best shown in one of Lady Macbeth’s soliloquies when she says, “... unsex me here, / And fill me from the crown to the toe top - full / of direst cruelty! Make thick my blood; / Stop up the access and passage to remorse…” (1.5.40-43). In this passage, the words “unsex me” refer to her desire to rid herself of all the qualities that make her a woman, which she believes impede her from performing acts of violence and cruelty. The word “blood” is used as a symbol for Lady Macbeth’s emotions, which she wants to ignore so that she does not feel any remorse. This request to erase all traces of femininity implies that men are more capable of malignity than women, which Lady Macbeth uses as her reason to take on masculine traits. Lady Macbeth is also expressed as being schemeful and dominant in her relationship with Macbeth, which are all features most commonly attributed to the typical man. Lady Macbeth acts connivingly when she mocks Macbeth’s mental and physical strength to carry out the killing of King Duncan, as she says that she would commit a crime against her own child if she were asked to do it. Lady Macbeth speaks cruelly and unladylike when she says, “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, / ...
Characters in Macbeth frequently dwell on issues of gender. Lady Macbeth manipulates her husband by questioning his manhood, wishes that she herself could be ?unsexed,? and does not contradict Macbeth when he says that a woman like her should give birth only to boys. In the same manner that Lady Macbeth goads her husband on to murder, Mac...
Among the greatest gifts that the renaissance produced was the eloquent and incredible Shakespearean plays. Written mostly in the 1590s these plays have been performed and admired countless times; entertaining mass audiences by providing interesting tales that explore the depth of human insights and the different universal themes. Among the many Shakespearean plays Macbeth, written in 1606, stands out with its short composition but multiple themes. This tragedy narrates the tale of Macbeth and Lady Macbeth’s quest to grasp ultimate power by ignoring their morals and succumbing to their dark desires, which ultimately leads to their downfall. This tragic play portrays the desires, needs, and temptations that accompany ambition in men and women. However the ambition in Macbeth is blind, it does not abide to the morals, but it allows space for dark actions as means necessary for accomplishment. Blind ambition serves as the main driving force that drives Macbeth to subdue to his dark desires, defy his noble behavior, and ultimately his downfall.
We see how a vigorous Lady Macbeth; initially in association with the witches’ predictions, at-tempts to mirror their disturbance of gender in psychological terms by desiring to "unsex" herself in order to carry out such a powerful action [murder], otherwise, being impossible for a woman to carry out (no offence or sexism is intended when I state this).
Perhaps the most fundamental theme of Shakespeare’s Macbeth is the inherent corruptibility of even a seemingly good man when ambition turns to greed, and Macbeth himself, as one would expect, exemplifies this concept throughout the play. While at the outset he is seen to be loyal to his king, generally considered trustworthy, and displaying numerous other laudable qualities, Macbeth ultimately succumbs to the influence of those around him and becomes unequivocally evil, setting aside all his previously held morals and coming to be driven only by his lust for power. This transition is brought about by a wide variety of factors and plays an integral role in the development of the plot. In his tragedy Macbeth, William Shakespeare employs multiple methods of characterization in order to highlight the protagonist’s transformation from hero to villain as a result of the influences of the people surrounding him, namely the Weïrd sisters, Lady Macbeth, and Macduff, including extensive foreshadowing, a general shift in tone corresponding with turning points in the plot, and the inclusion of long-winded soliloquies to mark a critical change in Macbeth’s character.
Initially, when her character is introduced, she displays her masculine traits with complete disregard for any form of femininity. She commands the heavens in these lines, ”Come, you spirits/That tend on mortal thoughts, unsex me here,/And fill me from the crown to the toe top-full/Of direst cruelty.”(1.5.30-33). In this, Lady Macbeth sheds any attachment she has to her natural embodiment as a woman, and asks the supernatural to help her in her quest to power. It is clearly shown that Lady Macbeth yearns to achieve ambitions that weren’t considered womanly in the time period that this play is set in. As a consequence, she pushes her husband to fulfill her horrendous dreams, because she knows that she will not be affected if Macbeth fails to execute his plans. If Macbeth gets caught, then she remains blameless, and if he doesn’t, she becomes a queen. Either way she doesn’t get hurt. Nonetheless, Lady Macbeth hides another aspiration, one which is evidenced from her humane actions. As a loyal companion to Macbeth, Lady Macbeth wants to ensure that her husband achieves his dream, to be king, at any cost, even if that means sacrificing her femininity and humanity. Generally speaking, this unique perspective on Lady Macbeth shows that her demeaning of Macbeth’s masculinity is actually a display of her true feminine traits; to always support her husband regardless of the price. Lady
As she drives her husband toward committing regicide, she demonstrates she must adopt masculine characteristics. Lady Macbeth seeks to permanently alter her physiological being in pursuit of a masculine presence capable of masculine acts. As Dr.Johnson said “The arguments by which Lay Macbeth persuades her husband to commit the murder afford a proof of Shakespeare’s knowledge of human nature. She urges the excellence and dignity and courage, a glittering idea which has dazzled mankind from age to age…Courage is the distinguishing virtue of a soldier and the reproach of cowardice cannot be borne by any man from a woman without great impatience” She must contend with the role given to her by society, in order for Lady Macbeth to carry out her plans, she feels she must pray to no longer be a woman "unsex me here." As her monologue unfolds the intensity of asking, almost begging, to be stripped of feminine weakness and establish masculine resolve is depicted. However it can also be interpreted that she requests to be genderless and not to have to tolerate the limitations of either gender. The Royal Shakespeare Company suggests that “Lady Macbeths desire to be unsexed as well as the pattern of her behaviour throughout the play
Another influential power of the Weird Sisters was their ability to create visions and apparitions. Early in the murder scene of Duncan, Macbeth sees a bloody dagger and in a phantasmagoric state, remarks, "Thou marshal'st me the way that I was going, / And such an instrument I was to use,"(II, i, 51). Macbeth also states, "Witchcraft celebrates Pale Hecate's offerings,"(II, i, 60). Both of these statements may suggest a supernatural force in the affair. The witches' powers also extend to the summoning of apparitions that foretell future events. The three apparitions tell Macbeth, "Beware the Thane of Fife,"(IV, i, 81), "none of woman born / Shall harm Macbeth," (IV, i, 91), and "Macbeth shall never be vanquished be until / Great Birnham Wood to high Dunsinane Hill / Shall come against him,"(IV, i, 106). These visions and apparitions, as seen later on, have a profound effect on Macbeth's actions.
Lady Macbeth is one of the most compelling characters who challenges the concept of gender roles. Her relationship with Macbeth is atypical, particularly due to the standards of its time. Lady Macbeth becomes the psychologically controlling force over her husband, essentially assuming a masculine role, in order to inspire the aggression needed to fulfil his ambitions. Through her powerful taunts and persuasion, Lady Macbeth convinces her husband to murder the king and to take his throne. She emasculates over her husband repeatedly, knowing that in his desperation to prove his manhood, he will perform the acts she wishes. In Act 1, Scene 5
In Macbeth, Shakespeare confronts audiences with universal and powerful themes of ambition and evil along with its consequences. Shakespeare explores the powerful theme of the human mind’s decent into madness, audiences find this theme most confronting because of its universal relevance. His use of dramatic devices includes soliloquies, animal imagery, clear characterisation and dramatic language. Themes of ambition and mental instability are evident in Lady Macbeth’s reaction to Macbeth’s letter detailing the prophecies, Macbeth’s hallucinations of Banquo’s ghost and finally in the scene where Lady Macbeth is found sleep walking, tortured by her involvement.
Shakespeare’s “Macbeth” explores a fundamental struggle of the human conscience. The reader is transported into the journey of a man who recognizes and acknowledges evil but still succumbs to its destructive powers. The character of Macbeth is shrouded in ambiguity that scholars have claimed as both being a tyrant and tragic hero. Macbeth’s inner turmoil and anxieties that burden him throughout the entire play evoke sympathy and pity in the reader. Though he has the characteristics of an irredeemable tyrant, Macbeth realizes his mistakes and knows there is no redemption for his sins. And that is indeed tragic.