macbeth essay response

Study Guides

Master Shakespeare's Macbeth using Absolute Shakespeare's Macbeth essay, plot summary, quotes and characters study guides.

Plot Summary : A quick review of the plot of Macbeth including every important action in the play. An ideal introduction before reading the original text.

Commentary : Detailed description of each act with translations and explanations for all important quotes. The next best thing to an modern English translation.

Characters : Review of each character's role in the play including defining quotes and character motivations for all major characters.

Characters Analysis : Critical essay by influential Shakespeare scholar and commentator William Hazlitt, discussing all you need to know on the characters of Macbeth.

Macbeth Essay : Samuel Taylor Coleridge's famous essay on Macbeth based on his legendary and influential lectures and notes on Shakespeare.

by William Shakespeare

Macbeth eNotes Reading Response Prompts

• Released October 08, 2019
• Language Arts and Literature subjects

Grade Levels

• As the play begins, three witches appear in a lonely, deserted place, accompanied by thunder and lightning. What are some words you would use to describe the atmosphere and mood of this first scene? What role do you think the witches might play in the story of Macbeth?
• During Scene 1, the three witches chant, “Fair is foul, and foul is fair.” How do you interpret the meaning of their pronouncement? Do you see it as a prediction of future events or as an indication that the witches are evil in nature? Could it be both? Discuss your thoughts about the witches’ chant.

These eNotes Reading Response Prompts are designed to encourage your students to read more effectively and with more pleasure by giving them interesting subjects to write about after they have read. Many of the prompts will take them directly into the text, while others will give them an opportunity to express their thoughts and feelings and to reflect on their own experiences.

A second purpose of the eNotes Reading Response Prompts is to facilitate instruction in ways that work for you in the classroom. The organization of the prompts makes them easy to use, and the content and construction of the prompts are designed to develop students’ knowledge and academic skills.

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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.

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David Schlachter

Macbeth—response.

Written as coursework for Grade 9 English course.

William Shakespeare’s “Macbeth,” is a play that is filled with action and suspense, but also with messages. Personally, I think that the main message that Shakespeare is trying to tell us is that when ambition goes unhindered by moral values, it will corrupt and destroy people and nations.

Shakespeare expressed this message particularly in his two main characters, Macbeth & Lady Macbeth. Both were very ambitious and in the end their ambition caused their demise. For instance, when Macbeth first received the prophecies from the witches he immediately thought of murdering Duncan, although his common sense told him that that was not a good idea. When Macbeth sent his wife a letter about the prophecies, she took a more direct approach to satisfy her ambition; she cleverly and relentlessly drove her husband to kill Duncan, and anyone else that was a threat to their staying in power, but in the end Lady Macbeth’s conscience caught up with her and had a negative impact on her health. Macbeth, on the other hand, dealt with the moral consequences of his murders much better than his wife, mostly by telling himself that life is pointless and whatever he does won’t really matter. Shakespeare shows us this in Act 5, Scene 5, when Macbeth says, “Life’s but a walking shadow,” and goes on with other examples of life’s futility. Because of this mentality, he became reckless, paranoid, and boastfully insane, making it easier for Malcolm to dispose of him and then claim the throne, and to restore peace and order to Scotland.

This pattern of an ambitious person who has no moral limits rising to power, and then falling because of their ambition seems to be a common theme in literature and in the world. For example, in Tolkien’s The Lord of the Rings, Sauron was an ambitious creature who wanted to rule Middle Earth. He created the one ring to give him power, and then started on a campaign of chaos and destruction. Because of his ambition though, he became suspicious and paranoid that everyone else in the world wanted to steal his power, therefore allowing Frodo to destroy the ring.

Just like Sauron, Macbeth also became paranoid and stopped trusting anyone. This is especially illustrated in Act 3, Scene 3, where the murderers were waiting to kill Banquo and Fleance. In the scene Macbeth had a third murderer join the two that he had already hired. As one of the original murderers stated, “He needs not our mistrust; since he delivers our offices, and what we have to do.” Macbeth’s paranoia never really got him anywhere, instead it developed into a sort of boastful madness. In Act 5, Scene 5, Macbeth was making plans to defend against Malcolm’s army. He said, “Our castle’s strength will laugh a siege to scorn.” Later though, a messenger informed him that Birnam Wood was moving towards the castle. Macbeth rapidly changed his mind, and said, “Arm, arm, and out… There is no flying hence nor tarrying here,” when he could have defended the castle and increased his chances of winning the war.

Macbeth’s rapidly degrading state of mind, his downfall, and the war in Scotland were all because of his, and his wife’s ambition. Without their ambition Duncan would not have been murdered, Lady Macbeth’s conscience wouldn’t have lead her to her death, and Macbeth might have been happily living in Scotland as thane of Glamis and Cawdor. Shakespeare is telling us that if our ambition goes unchecked, it will lead to our demise.

Another theme that I found was prominent throughout the book was that of masculinity. In the play, Macbeth and Lady Macbeth often related masculinity to cruelty. It seemed that whenever they talked about manhood, something about violence would soon be said. For example, Lady Macbeth often challenged Macbeth’s masculinity in order to manipulate him. In Act 1, Scene 7, Duncan arrived at Macbeth’s castle, and Lady Macbeth was trying to get Macbeth to murder Duncan. Lady Macbeth said, “When you durst do it, then you were a man; and, to be more than what you were you would be so much more the man.” Macbeth, with his rather violent concept of manhood, was convinced that by murdering Duncan and satisfying his ambition he would be a better man. Macbeth took a page from his wife’s book when he hired the murderers in Act 3, Scene 1. It would appear that the murderers in this scene were not hired assassins, since they had some concerns about the moral implications of murdering Banquo. When one of the murderers says, “We are men, my liege,” Macbeth insulted their masculinity, and eventually got them to murder Banquo. I think that Shakespeare was trying to tell people that masculinity is not necessarily related to cruelty. He shows us what happens to Macbeth, who lives by his definition of masculinity, and he also shows us a somewhat better definition of masculinity, beginning in Act 4, Scene 3. In the scene Macduff had just found out about his family’s murder, and Malcolm advised him to, “Dispute it like a man.” Macduff added that he must also, “Feel it like a man.” Later, in Act 5, Scene 9 Siward receives news of his son’s death. He takes the news quite well, commenting that he died a good death, and was a man in his father’s eyes. Malcolm responded, “He’s worth more sorrow, and that I’ll spend for him.” It seems that Shakespeare is telling us that masculinity is not entirely characterised by bumping off your enemies, but that emotions and morals are a part of masculinity too.

I think that the play Macbeth was mainly written to please King James 1. Looking at the material that Shakespeare would probably have had to find out about the Scottish civil war (mainly Holinshed’s Chronicles, by Raphael Holinshed), it seems that Shakespeare changed quite a few things around to suit his purposes. For instance, in Holinshed’s Chronicles, Banquo is portrayed as Macbeth’s active accomplice. Of course, for the play this just wouldn’t do, since James was supposedly Banquo’s descendant. So, in the spirit of political correctness Banquo became a good hearted, honest general. Also, I think that Shakespeare wrote Act 4, Scene 1 particularly with James in mind, since 8 kings enter the stage. The eighth king in the Stuart line was James, and so he would probably like to see himself on stage, especially having a mirror. As Macbeth said in the scene, “And yet the eighth appears, who bears a glass which shows me many more.” King James would have especially liked this part of the play, since it implied that his line of kings would be ruling for a long time. Clearly, the play was written to make Macbeth look worse, and James look better. Of course, Shakespeare did all this, while also making a play that would sell.

Of course, another reason that James would have liked the play would be that throughout the play it was suggested that the king was divinely appointed. For example, the first we hear of Macbeth is from a soldier reporting about when Macbeth was facing the King of Norway and he, “unseam’d him from nave to chaps, and fix’d his head upon our battlements.” Hardly disturbed, Duncan replied, “O valiant cousin, worthy gentlemen!” Faced with the though of killing Duncan though, Macbeth thought, “My thought, whose horrid murder is yet fantastical, shakes so my single state of man that function is smothered in surmise.” After the murder, Lady Macbeth and Macbeth both became insane, implying that regicide is much worse than homicide because the king is appointed by God. In Act 2, Scene 4, Ross and an old man are talking about events that happened on the night of Duncan’s murder. The night of Duncan’s murder the king’s horses ate each other, the earth was shaking, and owls (supposedly omens of death) were everywhere. This suggests that the king being murdered had disturbed the natural balance of nature. Also, in Act 2, Scene 3, Macduff discovered that Duncan was murdered and he said hysterically, “Confusion now hath made his master-piece. Most sacrilegious murder hath broke ope the Lord’s annointed temple, and stole hence the life o’ the building.” (Another interesting thing to note is that while Duncan and Malcolm were considered kings, Macbeth was soon know as “the tyrant.”) In short, Shakespeare’s use of the English language enabled him to make Macbeth very politically correct.

One of the main things that made it possible for Shakespeare to make his plays sell, while being politically correct and entertaining, was his masterful use of the English language. Shakespeare is accredited with creating many new words and phrases in English, and I found his literary techniques very clever.

For instance, Shakespeare uses a lot of imagery in Macbeth. It seems that he uses darkness as an image in the book often, for quite a few purposes. For example, Shakespeare started out his play with the witches in, “Thunder and lightning,” implying darkness. A little bit further on in the play (Act 1, Scene 3), Banquo talks a bit about the powers of darkness deceiving and betraying us (line 132). I think that Shakespeare used darkness in the play to represent evil; most of the major events in the play took place in the darkness, and those that did were definitely not ‘good.’ Actually, the only scenes that occur in the daylight are the very ironic scene where Duncan comments on what a nice day it is outside of the castle of death, and the last scene where peace and order are restored to Scotland. It seems that Shakespeare was using darkness and light to highlight all of the sinister events that occurred in the play. Perhaps another reason that Shakespeare used so much darkness in the play, especially near its beginning, was to set the mood for the play.

Shakespeare also used other images in Macbeth, such as blood and clothes, but if I described them here someone might be reading all night.

Another theme in Macbeth is that evil wears a pretty cloak, or as the witches said, “fair is foul, and foul is fair.” The most prominent example of this in the play would be that the idea of killing Duncan seemed good to Macbeth and Lady Macbeth, but it obviously didn’t turn out well. After the murder, Macbeth said in Act 3, Scene 2, “Better be with the dead.” By murdering Duncan Macbeth sacrificed a lot, as he mentioned in Act 3, Scene 1. As he said, “Upon my head they placed a fruitless crown,” and later on he stated, “For them the gracious Duncan have I murdered; put rancours in the vessel of my peace only for them; and mine eternal jewel given to the common enemy of man.” Banquo recognised this concept early on in the play when he said, “Oftentimes, to win us to our harm, the instruments of darkness tell us truths, win us with honest trifles, to betray us in deepest consequence.” This, as it turns out, is exactly what the witches did to Macbeth. Their cleverly woven ‘prophecies’ told Macbeth the truth, but only to tap into his ambition, therefore, as Banquo said, to betray him in “deepest consequence.”

This theme in Macbeth, that evil wears a pretty cloak, makes me think about quite a few problems in the world. One of these problems that affects too many teenagers though, could be drugs. To some, drugs seem good. They say that drugs make you feel good, and there could be cash to be gained from selling them, similar to how Macbeth thought that killing Duncan would be good for him. The truth though is much different. For example, Jade Bell, who recently came to D’Arcy, is an excellent example of what happens to many drug users, although a tomb stone could be more fitting. True, drugs make you feel good (“[they] tell us truths, win us with honest trifles”), but they tend to lead one to death, or living in ruin (“to betray us in deepest consequence”).

Another thing that I noticed in Macbeth was that Shakespeare used some interesting foreshadowing. For example, the opening scene with the witches set the (dark) mood for the play. The second scene also did some foreshadowing, suggesting that the rest of the play would be violent and full of carnage. In conclusion, Shakespeare’s “Macbeth” is an excellent play that is filled with messages, and connections to the world today.

First published: 2005-12-11

Mr Salles Teaches English

Kingship in Macbeth

(a grade 8 essay, improved to grade 9).

Hi again Mr Salles - I hope you are well,

Here is an essay I have written on the theme of kingship, tyranny and natural order.

If you have a spare few minutes, please let me know what mark this would get and how I can improve it to get full marks :)

Shakespeare cleverly crafts the themes of kingship/tyranny/natural order through the devolution of Macbeth. By contrasting morality and corruption within Macbeth and Banquo, Shakespeare cautions against ambition and associates it with the supernatural - a very disturbing idea for the contemporary audience, contributing to Shakespeare’s overall purpose of trying to flatter King James I and warn the nobility against rebellion.

Shakespeare constructs Banquo as a foil to Macbeth by illustrating their contrasting reactions to the same evil force - the supernatural and temptation. Banquo represents the route that Macbeth chose not to take: the path where ambition does not lead to betrayal and murder. Thus, it is Banquo’s ghost, rather than Duncan’s, that haunts Macbeth and conveys to the contemporary audience that restraint will lead to a fruition of power as Banquo’s lineage stays on the throne for the longest.

The witches’ equivocation: “ Lesser than Macbeth, and greater ” paradoxically suggests the drastic difference between Banquo and Macbeth, foreshadowing character development as the witches' prophecies come true. Banquo will never be king, but he does father a line of kings. Macbeth, on the other hand, will become the King of Scotland which is commendable in terms of the Divine Order; Macbeth’s reign of power will be one of selfishness and greed as he fulfils his cruel desire for power, eliminating all obstacles that stand in the way of his kingship.

As a result, Macbeth holds the shorter end of the stick in this paradox, facing paranoia, insomnia, guilt, and a tragic demise, therefore proving its accuracy. Here, Shakespeare is flattering King James I, as he was descendant of Banquo and Fleance, in order to gain his trust and potentially patronage for his theatre. This also helps Shakespeare later in the play when he subtly warns James I not to be repressive and tyrannical in his rule.

Shakespeare ensures Banquo isn’t perfect as he is tempted on some level by the Witches’ prophecy, but his ability to reject evil is what makes him a moral character and an antithesis to Macbeth. He is less able to resist temptation when he sleeps “ I dream’d of the three weird sisters last night ”, but instead of trying to hide this, he confesses to God and asks for help in remaining moral and virtuous.

This references the Bible as Jesus was tempted three times by the devil and resisted: perhaps Shakespeare is attempting to draw parallels between Banquo and Jesus which would have been largely impactful to a Christian contemporary audience, further warning about the devastating consequences of temptation and tyranny by contrasting this with the holy and biblical ideas associated with resistance to temptation and ambition.

Shakespeare demonstrates how the acquisition of power invokes an irreversible change in character, subverting the audience’s expectations as he implies that a person’s poor qualities are amplified by the crown and personal desire - Macbeth becomes paranoid.

In the beginning of the play, Macbeth is conveyed as the epitome of a loyal and quintessential Scottish soldier when the captain recalls Macbeth’s noble actions as he “ carv’d the passage ” of the traitor Macdonwald. Specifically, the emotive verb “ carv’d ” carries strong connotations of combative expertise and nobility. Alternatively, it could allude to him carving his name famously in the beginning of the play and eventually notoriously at the end of the play, foreshadowing his drastic moral decline. The stark contrast between Macbeth murdering an enemy of the king (which would be seen as an enemy to God due to the Divine Right of Kings believed by the contemporary audience) and when he commits regicide - the ultimate sin.

Shakespeare explores the consequences of usurpation - for the nation it is a nightmare; an illegitimate king can only become a tyrant, using ever greater acts of violence to maintain his rule. However, Shakespeare is careful to emphasise how the tyrant himself suffers at his own hands - violence traumatises the violent person as well as the victims. Macbeth ‘ fixed [Macdonwald’s] head upon our battlements ’. The head is symbolic as a motif of Macbeth’s declining heroism. First he is at his moral peak as he beheads the King’s enemy, effectively God’s enemy in the eyes of the contemporary audience, then after having his moral endurance tested in the form of ‘ supernatural soliciting ’ he goes out to commit regicide, losing all virtue. Finally, Shakespeare uses this motif to highlight the negative consequences to his audience as the ‘head’ foreshadows Macbeth’s later disgrace as his own head becomes described as ‘ the usurper’s cursed head’ that is reminiscent of his previous morality before he was corrupted by ambition and the witches’ prophecies.

Supernatural

Shakespeare forces his audience to question whether the unlawful act of treason has a supernatural urge, whether there are malign witches and demonic forces working against the moral bonds of mankind. Macbeth’s growing inclination towards ‘supernatural soliciting’ leaves him in a perplexed self-questioning state " why hath it given me earnestness of success/commencing in a truth ?” Linguistically, the sibilance of ‘ supernatural soliciting’ is deliberately used by Shakespeare to raise his audience’s alarm, given the satanic connotations and reference to devastating sorcery in the form of ‘soliciting’.

Likewise, Macbeth’s rhetorical question is used by Shakespeare to create a self-doubting, unstable and malevolent fallacy created by the engagement with the ‘agents of the dark’.

This repeated motif of the supernatural was especially significant to a contemporary Christian audience as witches were believed to be women who made a pact with the Devil, but it also would have especially attracted the interests of King James I - Macbeth was first performed to him and his courtiers. James I hated witchcraft and wrote Daemonologie - a book about the supernatural. Here, Shakespeare is flattering the king by incorporating his interests into his play and is also warning the nobility who were unhappy with James as king at the time by suggesting their desire to overthrow James I was manipulated into existence by the supernatural and witches.

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This is a very ambitious title – normally you would have just kingship or tyranny set as the question. And then you are going to make it even more ambitious by introducing the supernatural!

This has led to a very convoluted thesis – having at least 3 ideas is excellent, but it has to make sense. You could simplify this:

Shakespeare contrasts the characters of Macbeth and Banquo to caution against ambition. Unchecked ambition is associated with the supernatural, which allows Shakespeare characterise ambition as inherently evil. Macbeth becomes a tyrannical king because he welcomes “supernatural soliciting.” The focus on the supernatural also contributes to Shakespeare’s overall purpose of trying to flatter King James I and warn the nobility against rebellion.

Notice how I have structured this differently in order to make one point at a time.

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Shakespeare: Model Answers ( AQA GCSE English Literature )

Revision note.

• Model Answers

Below, you will find a full-mark, Level 6 model answer for a Shakespeare essay. The commentary below each section of the essay illustrates how and why it would be awarded Level 6. Despite the fact it is an answer to a Macbeth question, the commentary below is relevant to any Shakespeare question.

As the commentary is arranged by assessment objective, a student-friendly mark scheme has been included here:

Model Answer Breakdown

The commentary for the below model answer as arranged by assessment objective: each paragraph has a commentary for a different assessment objective, as follows:

• The introduction includes commentary on all the AOs
• Paragraph 1 includes commentary on AO1 (answering the question and selecting references)
• Paragraph 2 includes commentary on AO2 (analysing the writer’s methods)
• Paragraph 3 includes commentary on AO3 (exploring context)
• The conclusion includes commentary on all the AOs

The model answer answers the following question:

Level 6, Full-Mark Answer

Shakespeare presents Lady Macbeth as a female character who changes dramatically over the course of the play: she changes from a ruthless, remorseless woman who is able to manipulate her husband, to one that is sidelined by Macbeth and, ultimately, totally consumed by guilt. Shakespeare is perhaps suggesting that unchecked ambition and hubris, particularly for women, have fatal consequences.

Commentary:

• The introduction is in the form of a thesis statement
• It includes a central argument based on my own opinions
• "Shakespeare presents Lady Macbeth as a female character who changes dramatically over the course of the play"
• "she changes from a ruthless, remorseless woman who is able to manipulate her husband, to one that is sidelined by Macbeth and, ultimately, totally consumed by guilt."
• It acknowledges Shakespeare as an author making deliberate choices and conveying a message:
•   "Shakespeare is perhaps suggesting that ..."
• It includes modal language to show a conceptualised approach

Lady Macbeth’s strength – and ability to command and manipulate those around her – dramatically diminishes from the first time the audience sees her, in Act I, Scene V, to the last time, here in Act V, Scene I. The first time she is presented to the audience, Lady Macbeth is presented as a very untypical woman: far from being a dutiful and subservient wife, she is shown to be plotting on Macbeth’s behalf, speaks of him disparagingly (she worries he is too kind to carry out her plan), and is presented as having power over both Macbeth and her surroundings. This dominance can be seen in her use of imperatives, both when she is directing Macbeth to disguise his true intentions to Duncan (and be a “serpent underneath”), and later, more forcefully, when she orders Macbeth to “give” her the daggers. This shows that Lady Macbeth has almost assumed the dominant position in their relationship, and taken on the typically ‘male’ characteristics of authority and strength (whereas Macbeth’s “kindness” can here be seen as a sign of weakness). However, there is an irony in Shakespeare’s use of imperatives later in the play: in Act V, Scene I, Lady Macbeth is shown to have lost her power to command those things around her and her use of imperatives (“Out, damned spot! Out, I say”) speaks more of abject desperation than her authority. She has lost the power to command her husband, her surroundings and even her own mind. Shakespeare could be suggesting that the unusual power dynamic presented at the beginning of the play is unnatural, and that, as a woman, Lady Macbeth would never be able to maintain this type of authority without succumbing to madness.

• The paragraph begins with a topic sentence
• Topic sentence directly addresses the question (the “change” the character undergoes)
• Topic sentence has a narrower focus than the thesis statement
• The whole paragraph is related to the topic sentence
• The paragraph includes at least one reference to the extract
• The paragraph includes multiple references to the rest of the play
• All references are linked to the question and support the argument of my topic sentence

Shakespeare presents Lady Macbeth as a character whose self-control and authority over her own mind evaporates by Act V. We see this in the repetitious and fragmented language Shakespeare has her use in this scene. The repetition of several words and phrases (“to bed”; “come”; “O”) shows a character who is not in control of her own thought processes and has lost agency over her own mind. Shakespeare emphasises this by using contrasting verse forms for Lady Macbeth as the play progresses. Initially, she uses the order and authority of blank verse, which reflects her own power and control. However, in this scene, Lady Macbeth does not use the regular or ordered language of blank verse, but rather the disordered form of prose. This reflects both her loss of status and power (prose is often used by commoners in Shakespeare’s plays), but also her own mental illness. Indeed, the description of her having a “disease” in this scene is ironic, since earlier in the play she describes Macbeth as “brainsickly” and “infirm”: it is now she who is the weaker of the two. Perhaps Shakespeare uses this role reversal once again to suggest that women assuming positions of dominance is unnatural and may lead to mental decline.

• The analysis provides evidence for the points in the topic sentence (all evidence relates to Lady Macbeth’s mental state)
• Whole-text analysis of Shakespeare’s methods, not just focused on the extract
• Not just analysis of Shakespeare’s language, but also of form
• The analysis includes other wider choices made by Shakespeare: 
• Characterisation
• All analysis is explained fully in terms of the question and my own argument
• The analysis explained in terms of Shakespeare’s overall message

Shakespeare presents Lady Macbeth as a character who loses her resolve over the mortal sin of regicide as the play progresses. Initially, Lady Macbeth is presented as a character who believes that both she and her husband will be able to evade the typical consequences of committing a crime – the murder of a king – that would have been seen as truly heinous. Not only is it a crime punishable by death, but the religious consequences would be dire: eternal punishment in Hell. Shakespeare presents her as acknowledging the seriousness of the crime in Act I, Scene V where she references Heaven and Hell prior to the murder of Duncan, but she believes, arrogantly, that she is strong enough to evade capture, as well as cloak herself from feelings of guilt and remorse. Her hubris is also shown later in the play, after the regicide has been committed, when she tells Macbeth that “a little water clears us of this deed”, implying that it will be straightforward to escape the psychological impact of committing a mortal sin. However, by Act V, Scene I Lady Macbeth is shown to have completely lost her resolve, and is haunted by those psychological impacts: she sees blood, which symbolically represents guilt, on her hands, which she cannot wash off. Indeed, later she states that Duncan had “so much blood in him”, an admission that a little water could never have cleansed the guilt from her conscience (“what’s done cannot be undone”). This irony is highlighted again by Shakespeare when Lady Macbeth states that “all the perfumes of Arabia will not sweeten this little hand”, the hyperbole emphasising the enormity of her crime. Shakespeare could be suggesting that no one can escape the psychological and theological consequences of regicide. Indeed, the Doctor states that he has never seen anyone in Lady Macbeth’s state die “holily”, echoing Lady Macbeth’s own earlier reference to Hell.

• Does not include any irrelevant historical or biographical facts
• All context is linked to the topic sentence (“loses resolve over the mortal sin of regicide”) and the argument as a whole
• All context is integrated into analysis of Shakespeare’s methods
• Understanding contextual ideas and perspectives provides additional insight into my main argument
• Context is sometimes implied, rather than explicit. This still shows sophisticated awareness of ideas (here about religion and Hell)

In conclusion, Shakespeare presents Lady Macbeth as a female character who changes from a character who assumes dominance over her husband and her surroundings, to a woman who loses all agency. Moreover, initially, Shakespeare presents her as a character who seemingly has the mental fortitude to deal with the mortal sin of regicide with a clear conscience, but this mental strength also evaporates. Shakespeare could be issuing a warning to those people who believe they can escape the psychological and theological consequences of sin, especially if they are women who assume an atypical and unnatural position of power.

• The conclusion uses keywords from the question
• The conclusion links to the thesis
• The conclusion sums up more detailed arguments outlined in the topic sentences of all paragraphs
• It also gives a fuller understanding of Shakespeare’s intentions, based on ideas explored in the essay

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Author: Nick

Nick is a graduate of the University of Cambridge and King’s College London. He started his career in journalism and publishing, working as an editor on a political magazine and a number of books, before training as an English teacher. After nearly 10 years working in London schools, where he held leadership positions in English departments and within a Sixth Form, he moved on to become an examiner and education consultant. With more than a decade of experience as a tutor, Nick specialises in English, but has also taught Politics, Classical Civilisation and Religious Studies.

Cranston High School West Library: Perentin - Macbeth

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Essay Prompts

Preliminary Essay Assignment

Directions: Because writing a research paper involves utilizing both primary and secondary sources, it is important for you to develop a sound argument before attempting to incorporate other people’s opinions. For this assignment, you are to write a multi-paragraph essay utilizing only Macbeth to answer one of the following prompts. These are your research paper prompts and this essay is the first step in the research paper process.

1. Do the witches (or weird sisters) control the events in the play? Why or why not?

2. Does Shakespeare want us to believe that the witches are real, supernatural, and/or projections of Macbeth's imagination?

3. What is the function of (dramatic, situational, and/or verbal) irony in the play?

4. What kind of marriage do Macbeth and Lady Macbeth have? Do you think it is a good one? Why or why not?

5. How would you characterize Lady Macbeth? Does her appearance in the sleepwalking scene alter your perception of her from previous scenes? Why or why not?

6. One of the major themes in Macbeth is appearance vs. reality. What effect do the episodes or instances dealing with appearance vs. reality have on our understanding of the play?

7. What is the purpose of comedy and the comedic characters in Macbeth?

8. What is the importance of imbalances of nature in Macbeth?

9. Macbeth is the central character in the play who is described as both brave Macbeth and butcher Macbeth. Which of these descriptions fits Macbeth best?

10. Who is responsible for Macbeth’s downfall? (The witches, Lady Macbeth and/or Macbeth himself?)

11. How is the mood of evil developed in Macbeth? (Consider the setting, themes, actions of the characters, etc.)

12. What is the importance of the supernatural elements in Macbeth? How do they affect the action of the play?

13. The theme of sleeplessness is introduced early in the play and carried throughout. What causes these sleep disturbances? What ends them for each of the characters involved? Is sleep regarded as a soothing balm for a life well-lived? (Remember that sleep is often another metaphor for death.)

14. Some playgoers and readers say that Lady Macbeth is the reason that her husband murders King Duncan. Others claim that the killing was his responsibility alone. What do you think?

15. How is Macbeth an example of a Shakespearean tragic hero? What is his tragic flaw and how does it affect the events of the play?

16. Do gender roles actually have an impact upon the course of events in this play? (Consider, for example, the roles of Lady Macbeth and Lady Macduff—and even the witches)

17. The characters and actions of the play Macbeth suggest very strongly what qualities a good king needs to have. What are those qualities, and who, if anyone possesses them? (Consider comparing Duncan, Macbeth and/or Malcolm)

18. What is the purpose of soliloquies in Macbeth? How do they reveal the stages in the process of Macbeth’s and/or Lady Macbeth’s downfall or moral decline?

19. In what ways is Shakespeare significantly changing the original historic record of the real Macbeth in his play?

20. What would have been the attitude of Shakespeare’s audience toward the supernatural events in Macbeth? After all, three witches, a ghost, and extremely odd events in nature are included for a reason. Explore what those reasons are.

Research Assignment Requirements

* The paper you produce must have 3 secondary sources plus the primary one—Macbeth for a total of 4 sources minimum.

* All sources must be authoritative; that is, they MUST be scholarly. You may not use sources outside of the library databases or library books unless approved by the teacher in writing. Avoid using .com, .net, .org type websites outside the school databases. Sources that are a full-length chapter or article in a book or periodical pertaining to your topic will be more helpful.

* You may not use anything from Wikipedia or any encyclopedia. You may not use any material from Spark Notes, Cliff’s Notes, Pink Monkey, or any other commercially prepared study guide of that nature. Other unacceptable sources include plot summaries such as Bloom’s “Plot Summary,” Foster Masterplots, and Schmoop.com.

* Your final essay must be 3 full pages typed (5 pages max.), not including the Works Cited page which should be the last page of your paper.

* No paper will be considered for grading without submission to Turnitin.com.

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• The chapter on Macbeth begins on page 152.

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