In section 2.1 from lines 33-64 of Shakespeare’s play, Macbeth, the reader is thrust into the intrusive hallucinations and dubious thoughts invading Macbeth’s mind preceding the imminent murder of Duncan, the crowned King of Scotland. The external and internal implications of Macbeth’s predicament are clearly indicated in this scene, as the burden of the witches ominous prophecy mutilates Macbeth’s noble identity. Shakespeare, through Macbeth’s soliloquy, suggests that the massacre of one’s moral code consequently causes one to exhibit mental instability and commit atrocious crimes. This notion is not only made apparent through the manner and pace in which Macbeth speaks, but also his ominous thoughts, and metaphorical comparisons to the crime …show more content…
In regards to Macbeth’s contemplative thoughts, writing is short and to the point. While sentences are usually constructed with a surplus of thirty words to express a single idea, we find Macbeth using around twelve words per a line between lines 33-49. Through Shakespeare's purposeful restriction of words, Macbeth’s distraught and skirmish behaviour is clearly communicated, which is representative of his decaying mindset. Additionally Macbeth’s sentence structure, such as when he contemplates the tangible existence of the dagger in lines 33-47, further exemplifies the incoherently, scrambled thoughts which he is lost in. Furthermore, readers are exposed to Macbeth’s hesitation through the voice he takes in lines 36-49, an unusual characteristic he rarely experiences. However, once Macbeth becomes reaffirmed in his resolve, he steadily shifts back into controlled, complex and lengthy sentence structure; albeit he acquires a sinister tone and persona to accompany the bloody task in which he will partake in as demonstrated when he compares his “stealthy pace… [to] Tarquin’s ravishing strides[.]” (2.1.54-55) Similarly, the pace within the section varies as Macbeth analyzes the decision he is about to make. Shakespeare’s tasteful dispersion of commas and question marks throughout the beginning of the passage forces the reader to slow down, as they drink in Macbeth's introspective …show more content…
Through the murderous shift of Macbeth’s tone, he utilizes heinous symbols to express his actions and emotions as he approaches Duncan’s bedchamber, releasing any remaining shred of morality by completely sacrificing his morals. Macbeth references “[w]itchcraft celebrat[ing] [p]ale Hecate’s offerings[,]”(2.1.51-52) as he himself is resolute in sacrificing Duncan, and his values for the sake of power in which he will gain through the witches prophecy. Shakespeare then evokes an image of Macbeth offering, through the “...gouts of blood,”(2.1.46) on his blade, his own ingredient to the stew of fate that Hecate, the goddess of witchcraft, brews. The innocent blood which he offers to Hecate demonstrates the turn of his pure convictions for the sake of power. Moreover, Hecate’s added status as the ‘goddess of crossroads’ signifies the monumental impact Macbeth’s surrender to villainous deeds has, as he surrenders his will to her and cements the path which he has taken. Correspondingly, Shakespeare personifies murder, describing it as “...withered...”(2.1.52) representing the taste of death that has been reawakened within Macbeth as night falls upon him, and his senses fall to the darkness that lies within him. Through this, Shakespeare illustrates how Macbeth is becoming senseless due to the cloak of wickedness he has traded his once
You may think that MacBeth is one hundred percent guilty and should receive a heavy punishment for his actions. But, have you ever considered the possibility that he may not have been responsible for them? Because he should not be held responsible for something he had no control over. I would like to point out that it was the Weird Sisters who told him prophesies which he then believed. It was his wife, Lady MacBeth, who pressured and convinced him to go through with the killings. And tell me, would any sane person commit the amount of crimes that MacBeth has? He has a mental condition that makes him go insane and start seeing things that are not actually there. These hallucinations are just one of the many causes that contribute to his insanity and once somebody has reached that level, there is no stopping them from doing what they want.
In the third soliloquy Macbeth is still contemplating how he obtains the throne, but now he knows that murder is the only way, yet he fears ‘judgement’ and damnation. We see here that Macbeth has a conscience, and his mind cannot take the simple fact. He begins bringing up lots of excuses as to why he should not do it, but inevitably his ambition gets the better of him.
After Macbeth committed a dreadful crime at the start of the play, he realizes that by killing even more people he can get what he wants whenever he wants. Macbeth reaches a point where he is too busy fulfilling his own ambitions that he was not fulfilling his obligations as king. “Those he command move only in command, / Nothing in love…” (5.2.22-23). His obsession with power caused him to murder his good friend Banquo, and Banquo’s son. Macbeth’s out of control ambition has caused him to lose his emotion. He progressively sta...
Everyone has control over something, weather it be themselves, someone else, or a possession, they have control. Throughout the play “MacBeth”, by William Shakespeare, Macbeth is so called controlled by three witches and their fate. Macbeth is not a helpless victim of fate as he was completely in control, so he was responsible for his actions that he committed.
While in Hamlet and others of Shakespeare's plays we feel that Shakespeare refined upon and brooded over his thoughts, Macbeth seems as if struck out at a heat and imagined from first to last with rapidity and power, and a subtlety of workmanship which has become instructive. The theme of the drama is the gradual ruin through yielding to evil within and evil without, of a man, who, though from the first tainted by base and ambitious thoughts, yet possessed elements in his nature of possible honor and loyalty. (792)
After a long and hard battle, the Sergeant says to King Duncan, “For brave Macbeth,-well he deserves that name,- disdaining fortune, with his brandish’d steel, which smok’d with bloody execution , like valour’s minion carv’d out his passage till he fac’d the slave;” (1.2.16) . This quote shows that Macbeth is viewed as a valiant soldier and a capable leader. However, it does not take long for the real Macbeth to be revealed- a blindly ambitious man, easily manipulated by the prospect of a higher status. His quest for power is what drives his insanity, and after having been deemed the Thane of Cawdor, Macbeth’s ambition can immediately be seen. In a soliloquy, Macbeth says, “Present fears are less than horrible imaginings; my thought, whose murder yet is but fantastica, shakes so my single state of man that function is smother’d in surmise, and nothing is but what is not” (1.3.140). Macbeth has just gained more power, and his immediate thought is of how to gain an even higher status as king. He imagines how to kill Duncan, and then is troubled by his thoughts, telling himself it is wrong. This inner struggle between Macbeth’s ambition and his hesitation to kill Duncan is the first sure sign of his mental deterioration. Although Macbeth does kill Duncan, he questions whether or not he should to do so, which is far different from how Macbeth feels about murder later in the play. Macbeth becomes king, and this power leads
When Macbeth becomes king he controls almost everyone, from servants to assassins. He even attempts to order the three witches to do his bidding. However, Macbeth’s actions and demeanor later in the play are the result of Lady Macbeth, who holds sway over her husband. It is she who at first coaxes and controls Macbeth, resulting in the change in his personality. The supernatural, in particular the three witches, exert control over both Macbeth and his lady. In fact, it is their influences that initiate the sequence of events, and are therefore an integral part of the play.
The nature of both control and fate are explored in Macbeth, one of Shakespeare’s most horrific tragedies, in which the titular king is driven to murder in a quest to gain power. Under Macbeth’s kingship, more and more people die as both Macbeth and his kingdom are driven to chaos. Despite Macbeth’s apparent control over his own fate, other characters have an integral role in determining how the plot unfolds. The weïrd sisters give Macbeth the initial desire to murder King Duncan, while Lady Macbeth gives him the final push he needs to commit this act. Throughout this play, control appears as a fluid entity—constantly changing hands and shared unequally between the characters mentioned previously. Although all three appear to have influence
To begin, Macbeth experiences an internal downfall due to his ambition where he battle between his desires and moralistic values. Initially, the idea of attaining power over Scotland by killing King Duncan sparks a sense of fear and paranoia in Macbeth, however, his conscience struggles to take over his ambition: "that we but teach/ Bloody instructions, which being taught, return/ To plague the inventor. [...] I have no spur/ To prick the sides of my intent, but only/ Valuing ambition, which o'erleaps itself/ And falls on th' other-" (1.7.8-28). At this moment, Macbeth contemplates on killing King Duncan as he visualizes the long term consequences of committing the crime. The reader can grasp his moral judgement as he understands that by proceeding with the murder, he is only causing his own demise and punishing himself. With that b...
Key elements in the play substantiate the fact that Macbeth is a serious story, the first elements of Aristotle’s definition. From the first lines of the play, the mood is set featuring witches whom speak of witchcraft, potions and apparitions. Not only do the three witches aid in making this a serious story but also, they appealed to Elizabethans whom at the time believed in such supernatural phenomena. War for centuries has represented killing and feuding, thus, the war taking place between Scotland and Norway provided a dark component. The Thane of Cawdor’s rapidly approaching execution due to his deceiving the king also plays a role in this grim work. Murder throughout all of Macbeth is an essential aspect when dealing with the seriousness of the play. From the beginning, Lady Macbeth urges Macbeth to do anything to overthrow King Duncan, whom is the king of Scotland, the role Macbeth desperately yearns for. During the excursion to become king, Macbeth successfully murders King Duncan, Macduff’s wife and children, and with the help of a group of murderers Banquo; a brave general who will inherit the Scottish throne. Through the whole play, while such dank occurrences are used to create deep mood, Shakespeare also uses strong language and words. Such as when Lady Macbeth calls upon the gods to make her man-like so she will have the fortitude to kill King Duncan herself in this quote, “Come you spirits that tend on mortal thoughts, unsex me here… Make my blood thick… Come, thick night, and pall thee in the dunest smoke of hell, that my keen knife see not the wound it makes, nor heaven peep through the blanket of the dark.” This type of language provokes thoughts of death, blood and darkness though the imagery such dank words create. The play also follows through with its theme of blood by in the end of the play, having both of its lead characters die. Lady Macbeth, distraught by guilt over the bloodshed, commits suicide while Macbeth is murdered and beheaded by Macduff, a Scottish noblemen.
He “acts badly” (Bradley, 136) and loses his composure whenever his imagination triumphs over his practical side; however, Bradley also asserts that Macbeth’s imagination is “the best of him, something usually deeper and higher than his conscious thoughts” (133). Macbeth is therefore unable to make use of the “better” imagination with which he was endowed and instead only appears “firm, self-controlled and practical” when he is “hateful” (136). A product of these clashing sides, Macbeth’s murder of Duncan is borne of his inability to properly acknowledge the conclusions drawn by his imagination. In his soliloquies and in his visions, he recognizes that his planned act is immoral, but his “practical” side has other, higher priorities.... ...
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.
Macbeth’s story highlights the inherent goodness found in all of us, but also the evil that lurks within us, unnourished. Although there is no redemption for Macbeth’s evil sins, he finally comes to acknowledge his crimes and thus can provoke pity in the eyes of the audience. Macbeth’s psychological journey from a courageous general to a “ dead butcher” (5.9.41) is one that truly merits to be called a tragedy.
This specific action consequently resulted in Macbeth’s level of morality to continually decline as he is acutely aware of his own tyranny. Therefore Macbeth attempts to forget the horrific deed he has committed and be the figure that orders and disorders. Our perception of Macbeth being a wise and loyal soldier is now eroded, as we start to view Macbeth constantly questioning his own actions, and is also impelled to perpetrate further atrocities with the intention of covering up his previous wrong-doings.
The truculent imagery suggests a virtually inhuman, brutally masculine vigor. In Act 2 Scene 2, Shakespeare conveys Macbeth’s feelings of guilt not only in what he verbalizes, but in how he verbalizes it. Most striking in this scene is that his verbalizations keep turning in on themselves, perpetually returning to a word or a phrase, ‘Amen’, for instance (‘So be it’, the traditional terminus of a prayer, is never out of his noetic conceptions, though he cannot verbally express it and solemnly designate it). Lady Macbeth realises that they must not dwell on their actions, or they will go insane, and in a precursor to her later demise, there are many references to insanity: ‘mad’, ‘ In conclusion, William Shakespeare presents the characters more perturbed in comparison to the other two monologues.