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symbolism in Macbeth
macbeth imagery and symbolism
macbeth imagery and symbolism
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Symbols certainly exist in Shakespeare’s plays. Each symbol adds a certain value to the work and enriches the play considerably. The primary problem with an interpretation of symbols is the belief some people have that symbols almost or always represent a one to one relationship. For the purposes of this paper, the relationship would be represented as milk = nourishment. Infants = innocence, etc. I plan to examine the way in which the characters in The Tragedy of Macbeth use and change the meaning of the following symbols - breastfeeding, infants and milk. By examining the way in which the characters use and alter the aforementioned terms as symbols, (rather than the way these symbols are traditionally interpreted) I will show that standard interpretations of symbols are insufficient and often inaccurate, and the three symbols are used and perverted by Lady Macbeth in order to meet her own needs.
Upon receiving Macbeth’s letter, Lady Macbeth declares: “Glamis thou art and Cawdor, and shalt be / What though art promised” (I.v.14-5). However, Lady Macbeth automatically recognizes and articulates a problem. She utilizes the first milk metaphor in the play: “Yet I do fear thy nature / It is too full of the milk of human kindness” (I.v.15-6). Already, we encounter the symbol of milk in an original and therefore unfamiliar metaphor. Interestingly, Lady Macbeth doesn’t extend or explain the metaphor. The reader is left to interpret what “the milk of human kindness” (I.v.16) is and why Macbeth’s possession of it causes such perturbation in Lady Macbeth. Two interpretations suggest themselves as being problematic for Lady Macbeth. Either Macbeth is too full of a nourishing substance which endears him to be kind t...
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..., idea, or “visiting” (I.v.44) make her feel guilty enough that she won’t complete what she will in the next few lines vow to do. We can readily see then why Macbeth’s appeal to a natural image had no compunction of guilt on Lady Macbeth. Lady Macbeth, by “virtue” of the spirits, was incapable of being affected by appeals to natural archetypes. Lady Macbeth, through her invocation to the spirits, not only blurs but steadfastly rejects the supposedly “correct” interpretations of natural images such as infants, milk and breastfeeding. Lady Macbeth uses, corrupts and inverts these images in order to change Macbeth’s “milk of human kindness” (I.v.16) into a gall that justifies infanticide, regicide and effectively genocide.
Works Cited
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Lady Macbeth’s maternal agency is a threat to Macbeth’s lineage, which casts her and her anti-motherhood, as an antagonist. According to Stephanie Chamberlain, Lady Macbeth’s, “threat of maternal agency (Chamberlain 76),” is negatively depicted in the play because
As Oscar Wilde quotes, “Women have a much better time than men in this world: there are far more things forbidden to them.” This reference to the female stereotype contradicts to Shakespeare’s play, Macbeth, as some female characters strive for power and some go beyond of their expectations. In fact, they step out of society’s gender expectations, this disrupts the natural order of hierarchy. As well, it affects certain of female characters mentally to the point where they lose their lives and/or vilified. As a result, Shakespeare shows that the natural order of hierarchy needs to be established. This essay will therefore examine the female characters by comparing the representation of unstereotypical women-Lady Macbeth and the witches and how Lady Macbeth demonstrates a typical woman while acting as a foil.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Diane Mariechild, the author of ‘Mother Wit’ and ‘Inner Dance’ once said, “A woman is the full circle. Within her is the power to create, nurture and transform.” Shakespeare’s portrayal of Lady Macbeth stands in contrast with the typical imagery of women during Jacobean times. Though Lady Macbeth does not create, nurture, and transform, she is depicted as a duplicitous character as the play progresses. Initially, Shakespeare presents Lady Macbeth as manipulative and ambitious, but as the plot progresses, she is also portrayed as a weak lady unable to influence Macbeth.
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
The story of Lady Macbeth throughout Macbeth is one unlike those of its time in its unusually forward-thinking portrayal of a woman with thoughts and actions which would have been considered indecent. This is seen through the representation of her relationship with Macbeth and how they interact. It is also illustrated through Lady Macbeth’s morals and their effect on how she acts and reacts in situations which would weigh heavily on most peoples’ conscious. Her power-hungry attitude is one often reserved for men, especially in this era of literature. All of these factors create a character in Lady Macbeth which is dissimilar to the classic portrayal of women in the seventeenth century.
The main theme of Macbeth-the destruction wrought when ambition goes unchecked by moral constraints-finds its most powerful expression in the play's two main characters. Macbeth is a courageous Scottish general who is not naturally inclined to commit evil deeds, yet he deeply desires power and advancement. He kills Duncan against his better judgment and afterward stews in guilt and paranoia. Toward the end of the play he descends into a kind of frantic, boastful madness. Lady Macbeth, on the other hand, pursues her goals with greater determination, yet she is less capable of withstanding the repercussions of her immoral acts. One of Shakespeare's most forcefully drawn female characters, she spurs her husband mercilessly to kill Duncan and urges him to be strong in the murder's aftermath, but she is eventually driven to distraction by the effect of Macbeth's repeated bloodshed on her conscience. In each case, ambition helped, of course, by the malign prophecies of the witches is what drives the couple to ever more terrible atrocities. The problem, the play suggests, is that once one decides to use violence to further one?s quest for power, it is difficult to stop. There are always potential threats to the throne?Banquo, Fleance, Macduff?and it is always tempting to use violent means to dispose of them.
A.C. Bradley’s interpretation of Macbeth finds him human, conflicted, and comparable to his wife, Lady Macbeth, in many respects. They share a common ambition and a common conscience sensitive enough to feel the effects of their ambition. But the story, Bradley contends, is built upon the traits that set them apart. He focuses mainly on Macbeth. Macbeth is a character of two battling halves: his reason, or ambition, and his “imagination.” Bradley attributes the hysterical nature of Macbeth’s visions, the dagger, the specter of Banquo, and other ghosts, to his wild imagination. 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...
Shakespeare, William. The Tragedy of Macbeth. Boston: D.C. Heath and Company, 1915. Google Books. Web. 3 Sept. 2015.
Shakespeare, William. “Macbeth.” The Complete Works of Shakespeare. Ed. David Bevington. New York: Longman, 1997
Shakespeare, William. Tragedy of Macbeth . Ed. Barbara Mowat and Paul Warstine. New York: Washington Press, 2008.