In Macbeth, William Shakespeare creates a noble general as a protagonist, until power serves as an incentive to alter his goals. Unlike Prince Hamlet, who possesses a clear idea of his desires, Macbeth finds himself enticed by others’ offers and demands. For example, when the witches cry “All hail Macbeth, that shalt be king hereafter!” (1.iii.50), and Macbeth craves the power that may lie in his future, but fails to concoct a solid plan to achieve his goal. Lady Macbeth proves to possess more determination than her husband as she urges Macbeth to murder King Duncan and snatch his power. Determination plays a role in the lives of many male Shakespearean characters – Hamlet seeks revenge, Romeo strives to protect his love, Juliet – but in Macbeth, the protagonist’s female companion pushes for a change in power. Shakespeare’s craft remains unpredictable as he creates his own archetypes by shifting possession of power between different characters in his works.
Some of the most effective approaches to Shakespeare’s characterization include parallel characters. Parallel characters form juxtaposed bonds that show a contrast between personalities/beliefs/etc. For example, in Macbeth, parallel characters with Macbeth include Lady Macbeth and Macbeth, and Macbeth and Banquo, and Macbeth and Duncan. Paralleling personalities and traits with Macbeth allow the audience to understand the characteristics of Macbeth himself. King Duncan’s gentle and kind demeanor parallels that of Macbeth’s deceptive and power-hungry attitude. For example, Duncan exclaims about an ex-friend “He was a gentleman on whom I built/An absolute trust” (I.iii.14-15). Duncan’s trusting sense towards some people juxtaposes the deceptive acts of Macbeth. Macbeth and Banquo share a similar praise for fighting on the battlefield, but the two characters differ in their rewards. Macbeth receives a title and a fated title to king, whereas Banquo receives a remark that he is “a peerless kingsman” (I.iv.58). It is through the use of Duncan, Banquo, and through use of other foil characters that Shakespeare distinguishes traits and characteristics of Macbeth.
Shakespeare’s profound characterization directly correlates to his ability to craft a captivating tragedy. In his play, Macbeth, Shakespeare allows Lady Macbeth’s character to be overcome by her desire for power. When Macbeth has the opportunity to gain his reign as Thane of Cowdor, his ambition falls short due to a lack of reasoning for killing the current thane. However, Lady Macbeth believes her masculinity outshines that of her husband, as she plans to take over the control of the assassination. She speaks to spirits asking to “unsex me here,/ and fill me from the crown to the toe top-full/ of direst cruelty!” (I, V, 43-44), as she wants to veer away from sexist ideas and act like a man with deadly cruelty. Furthermore, her character shines through her ambition for power, as she insults her husband’s virility by questioning his aspirations to obtain his desires; “Art thou afeard/ To be the same in thine own act and valor/ As thou art in desire?” (I, VII, 39-41). Her character of power and greed becomes especially prominent when even Macbeth acknowledges her command, as he states she should “bring forth men-children only” (I, VII, 74) because her fearless spirit and persistence should only produce prominent male figures. Lady Macbeth’s cunning demeanor outshines that of Macbeths, creating a complex characterization of the Lady.
Thus far in the play, William Shakespeare most clearly characterizes Macbeth's wife, Lady Macbeth. While including various other characters within the first four scenes of Act 1 to set the stage, Lady Macbeth's entrance during the fifth scene is the first instance the reader (or viewer) gathers the true personality of a character; during the beginning, King Duncan, Malcom, Ross, etc. provide necessary background information and are not really characterized. Upon being confronted with Macbeth's letter, Lady Macbeth does not shy away from the task of murdering the King along with her husband- in fact, she embraces the goal. Unlike the typical woman of the times would have, Lady Macbeth exclaims, "unsex me here/ and fill me from the crown to the toe top full/ of direst cruelty!" (1,5,42-44) thus accepting the challenge and attempting to pluck up the courage to complete the murder. When Macbeth begins to second-guess himself about the matter, his wife will not tolerate his thoughts; she begins to question his masculinity in an attempt to spur courage and resolve. Shakespeare crafts Lady Macbeth into an assertive woman and the more dominant force between her and her husband.
Shakespeare depicts the selfish mentality of society in the play, Macbeth. The power struggle within the play becomes noticeable within the first few scenes where Macbeth is climbing in social status. The pettiness of social social status creates an abundance of conflict as Macbeth strives to become king. With the influence of Lady Macbeth, Macbeth focuses mainly on the victory of becoming king as he disregards the pain he will be causing another person. The sheer determination Lady Macbeth possesses to acclaim their social status proves that Shakespeare sees the problems in society and expresses his opinion openly. Shakespeare chooses to exaggerate the power struggle because he notices the effect power has on society. He also expresses his opinion of how selfish individuals are when they want to possess something such as greater social status. Lady Macbeth expresses her disapproval of Macbeth shying away from committing a crime as she tries to tear away at Macbeth's decision by saying, "What beast was't, then,/that made you break this enterprise to me?/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" (I, XII, 47-51). By promoting the murder, Lady Macbeth proves her selfish ways are dominant within her personality. Though Macbeth has more of a conscious than Lady Macbeth, eventually her mentality will become his mentality. Shakespeare is essentially saying that negative attitudes and personalities rub off on the more innocent minds because they are vulnerable to becoming tainted. The characterization within the first act of the play foreshadows the tragic aspect to Shakespeare's work as evil hues becoming the undertone for the play itself.
Shakespeare’s approach to characterization in the play comes from the utilization of setting, and the perceived gender roles of the time period. The story takes place in 11th century England, a time period where men stood as the symbol of power, strength, courage, and leadership. With little legal rights and power in society, the inequality between men and women presented itself everywhere. The introduction of Lady Macbeth into the play in scene V contradicts the accepted roles of society, showcasing an obvious contrast. After a messenger delivers news about the upcoming king’s arrival, Lady Macbeth concludes that her husband does not possess the power to do everything necessary to attain the crown. Lady Macbeth exclaims “unsex me here” (I.V.42) to demonstrate she possesses the will to go against the norms of society and to do anything it takes to attain the crown. The theme of power again reemerges in the first act, foreshadowing the wife’s dark and sinister influence she controls over her husband.
Thus far in Macbeth, Shakespeare has used ultimate contrast to characterize characters such as Macbeth and Lady Macbeth as well as Duncan. To begin Macbeth is contrasted against the many layers of his own character. Described as an honorary general of war, Macbeth's first layer revealed is his nobility. Soon after he is denounced to a deceptive character. "The rest is labor which is not used for you:/ I'll be myself the harbinger and make joyful" (I.iv.45-46). Although Macbeth is telling King Duncan directly that he would never want to do anything other than work for him, he is almost simultaneously scheming a assassination of King Duncan with his wife. Continuing with the many layers of Macbeth, he is also shown as a weak, indecisive, unsure man when in the presence of his wife, Lady Macbeth. Lady Macbeth shows the switch in stereotypical gender roles when she asserts an undeniable power over Macbeth. Convinced to perform any means, Lady Macbeth convinces her husband the importance of being king surpasses King Duncan's life. Shakespeare clearly has achieved characterization perfection which can be greatly attributed to his use of juxtaposing characters with themselves and other characters which generally are affected by the given setting.
In their lack of conformity to society’s gender roles, Shakespeare’s characters comprise a complex web of power. Macbeth, as a male in a patriarchal society and a celebrated warrior, possesses power external of his relationship with Lady Macbeth. However, Lady Macbeth possesses the power within their relationship. In her desire to elevate her own social standing and become Queen, Lady Macbeth attempts to de-feminize herself, appealing to the spirits of evil to give her the ability to commit murder, a masculine trait. In an apostrophe addressed to these spirits, Lady MacBeth pleads “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” (I.v.41-44)! By unsexing herself and stripping away the docile moral code associated with the woman, Lady Macbeth seizes power. However, she still finds herself under the control of her feminist traits and remorse, as she must plead to the spirits to help free herself; she is not innately malicious. Macbeth, on the other hand, initially rejects the implied masculine tendency for violence, only persuaded to murder the King when his wife questions his masculinity.
Shakespeare most effectively crafts his characters and their traits through contrast and dialogue within Act I of Macbeth. Thus far in the play, Macbeth and Lady Macbeth are the most developed characters with their switched gender roles shown through their interactions and conversations. Macbeth, an honored warrior for his bravery, is portrayed as an indecisive man enamored with the prospect of power but lacks ambition. His lack of drive is best shown through his conversation with Lady Macbeth about the murder of Duncan in which he says, "We will proceed no further in this business/He hath honored me of late, and I have bought/Golden opinions from all sorts of people" (1,7,31-33). Although he initially refuses to kill the king, he is later persuaded by his wife in the same, who has the dominant personality. In his portrayal of Lady Macbeth, Shakespeare crafts her to be cunning, ambitious, and masculine. Although Macbeth appears to be the head figure in the public eye, it is revealed to the audience that Lady Macbeth holds all the power in their relationship through their intimate conversation plotting Duncan's death. Lady Macbeth strips her husband of his masculinity by insulting his drive and ambition. Furthermore her relentless thirst for power is shown when she says, "Have plucked my nipple from his boneless gums/And dashed the brains out, had I so sworn as you/Have done to this" (1,7,58-60). In this passage, she states she would kill a newborn baby she nursed if she had promised to do so in the same way Macbeth promised to kill Duncan. As mothers and wives, women are seen as nurturing figures. Lady Macbeth's statement ultimately makes her a masculine character without traditional feminine traits. Instead, Macbeth is perhaps the more feminine character in the relationship while Lady Macbeth displays more masculine traits.
In Macbeth, Shakespeare communicates the narcissism conjured by a struggle for a position of power. Shakespeare juxtaposes characters in order to demonstrate their hunger for power- so far, the contrasts between Macbeth and Lady Macbeth are most striking. Despite Macbeth being an honorary general of war, depicting his strength and nobility in a patriarchal society, Lady Macbeth possesses all power in their relationship and proves herself to be the antithesis of an ideal wife and does not hesitate to manipulate her husband in order to acquire a position in power and act on the witches' prophecy. The first challenging of gender roles occurs in her first soliloquy, when she lashes out against her femininity saying "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!" (I.v.41-44). Lady Macbeth's demanding and assertive personality eclipses that of her husband, when he falters in regards to their plan to murder Duncan. Infuriated, Lady Macbeth challenges his masculinity uttering "What beast was't then/ that made you break this enterprise to me?/ When you durst do it, you were a man" (I. vii. 57-59). Lady Macbeth threatens his strength as a man as means to motivate him in order to pursue the crown, making her a unique female character considering the time period. Her personality rails against the typical depictions of females in literature as the damsels in distress, meanwhile, her husband seems to possess traits considered feminine in his indecisiveness and trepidation. Developing characters by switching their gender roles heightens the degree of intensity power possesses over them because traits of each sex become more recognizable when they are portrayed through opposite bodies; typical masculine traits of determination and aggression may be overlooked when they are expected of men, but by portraying them through a woman, the power struggle becomes more prominent.
One of Shakespeare's most powerful elements in his work is his characters. As his work is in the form of plays, the characters portrayal in the script is essential, as the traits will have to come across onstage to create interesting, multifaceted individuals. Not only does Shakespeare use events to reveal characterization, but uses characterization to elaborate upon events and develop themes. Macbeth initially is presented to readers as pure of heart and clear of mind, an impressive and likable figure. the witches prophecy, however, quickly begins to warp his character. The witches seem to catalyze his change, as he fixates on the prophecy and its suggestion of power. While the witches are the direct link, they are simply the medium through which one of Shakespeare's themes works, regarding the relationship between power, ambition, and life. Quick change in Macbeth's attitude occur. He initially decides, although fascinated, to bide his time and patiently await the prophecy's fulfillment. By the end of the act, however, Lady Macbeth has expressed her conniving desires (to force the prophecies fulfillment) (I.v.40-50) without mercy, and Macbeth is complicit. This shows the theme of ambition's corruption, especially on the pure. Macbeth's characterization by Shakespeare is a simple introduction of a theme that will likely recur throughout the play.Macbeth (the character) provides a compelling example of Shakespeare's utilization of characterization.
Even before they physically felt the blood of the Thane of Cawdor against their hands in Act II, Macbeth and Lady Macbeth formerly experienced blood-stains on their consciouses upon the creation of the plan to rid the king and claim their throne. Shakespeare showed traits of each character’s personality through the contrast of Macbeth and Lady Macbeth’s objectives. However, with the crown at their fingertips, both characters became figuratively and literally blood stained and overcome by their greed. In the case of Macbeth, his conscious was stained after his encounter with the three witches as he was coerced into their prophecies. Similarly, Lady Macbeth receives a figurative stain by her eager desire to assassinate Duncan. The behavior of the two characters identities becomes apparent specifically on the night of Duncan’s murder. After the killing, rather than rejoicing his success, Macbeth proclaims “I am afraid to think what I have done;/ Look on ‘t again I dare not” (II, II, 51-52) as he is in denial that his psychological being contains a brutal nature. In total contrast, Lady Macbeth admits that she is just as guilty, but would be embarrassed to be as weak and pathetic as Macbeth is proving to be; “My hands are of your color, but I shame/ To wear a heart so white” (II, II, 64-65). The characterization of each personality cannot be interpreted without considering the development of the other. While Lady Macbeth feverishly approaches her desires with passion and ferocity, Macbeth maintains his strong will so as not to conflict with his morals. Shakespeare contrasts the two characters of Macbeth and Lady Macbeth, which ultimately establishes their progression throughout the rest of the play.
Thus far in the play, Shakespeare’s unique craft continues to shape the readers perception of Macbeth. Utilizing man versus himself literary conflict, the reader first witnesses in Act I the internal struggle Macbeth faces after hearing the prophecy of the three witches. In the early part of Act II, Macbeth is again struggling with himself after visualizing a bloody dagger, representing the act of killing the king and the disastrous consequences that come with it. Ambition eventually leads Macbeth to kill the king, but the immediate guilt surrounds the protagonist, saying “I am afraid to think what I have done” (I.ii.64). This immediate guilt foreshadows detrimental events to unfold in the future, not only for Macbeth, but for his wife as well who aided in killing Duncan. Macbeth’s last part in Act II involves him going to be crowned as the new king. For the time being, Macbeth is at peace with himself and how the events unfolded in his favor.
Continuing with his masterful characterization, I believe Shakespeare reveals the most about Macbeth and Lady Macbeth in this act. Via indirect characterization viewers can decipher what kind of people Macbeth and Lady Macbeth are more clearly. In this act Macbeth becomes the Holden Caulfield of the play. Macbeth's internal conflict is the ultimate vision of a persons conscious, the devil on one shoulder as the angel on the other. Lady Macbeth becomes Macbeth's devil when she manipulates Macbeth into killing Duncan. In the prior act Macbeth stands up for himself a little more, but in this act he is totally compliment which not only reveals his inner conflict, but also the pliability of his character. As well as the dominance of Lady Macbeth's character. This aspect of Shakespeare characterization is so important because of it's unorthodox quality. In the 16th and 17th century, women's equality was not even a thought and men were the dominant sex. The fact that Shakespeare utilized the role of a dominant women character exemplifies his forward-thinking as a writer. While Macbeth's character becomes multi-layered, Lady Macbeth appears as a flatter character. This far she has only exhibited aspects of a vengeful and selfish character, putting her own wants above everything else. She also is shown as extremely ruthless and the prime organizer in Duncan's death.
Shakespeare is able to characterize each character very simply through the use of dialogue. The monologues spoken by the major characters of the play provide to the audience the inner workings and desires they possess. Understanding what makes each character motivated to commit the actions the commit is essential to understand the development of the play and the corruption which Macbeth eventually falls victim too. Lady Macbeth in scene fiver displays her true feelings of ambition and ruthless goal of becoming queen. "They met me in the day of success: and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire." (I,V,1-4) Through the use of a single monologue Shakespeare reveals his lady to all and the foreshadowing begins as Macbeth appears to fall under the influence of his wife who in turn has been blinded by the three witches. This characterization is both essential to the development of the play and one of the many reasons for the legend that embodies Shakespeare and his works.
Up until the beginning of Act II, through Lady Macbeth, the reader gained a basic understanding of Macbeth's grappling with good and evil. However, through the dialogue in the second act, Shakespeare clearly characterizes his main character. During this portion of the play the reader observes Macbeth hallucinate, murder (multiple times) and lie to save himself (and his crazy wife, for that matter). Shakespeare calls Macbeth's sanity into question to reveal his true nature. As we discussed in class, Shakespeare forces the reader to question whether or not his character in innately good or has a bit of bad laying dormant within him. One can assume both the former and latter reign true, for he exclaims "art thou not, fatal vision, sensible to feeling as to sight? Or art thou but a dagger of the mind" (II,I,37-38). The dagger Macbeth may or may not truly be seeing causes him to question his own sanity, thus characterizing him as both good and evil- a concept which presumably will further flush itself out as the play progresses.
Act 1 Shakespeare approaches his characterizations through their dialog and monologues. In the very first scene of Act 1, the witches vaguely mention Macbeth's name but show he is of importance if they want to meet him after the battle's lost and won. It isn't until Scene 3 that Macbeth enters the play with Banquo and discovers the witches. They tell him he will become "Thane of Cawdor" and king. After this, the dialog between Banquo and Macbeth reveal more of their character. Banquo contrasts from Macbeth in this scene because he's skeptical of the witches' predictions whereas Macbeth is fascinated by the predictions. Macbeth quickly plans to make the predictions into a reality and begins this inner turmoil. He thinks " If chance will have me king, why, chance/ may crown me/Without my stir" (I.III.147-49) which starts his inner thoughts and shows doubt that he must kill Duncan to become king. Macbeth's torn between being leaving it up to fate and taking matters into his own hands. He is a reflective character because his "asides" reveal that he is aware of the consequences of killing the king and that he has no reason to do so and acknowledges the guilt that he will feel.
Macbeth, revered and noble to those around him, battles an inner struggle for dominance and control. In Act 1, when the reader first hears of Macbeth, he is described as a brave and valiant soldier who has rightfully earned his new rank as thane of Cawdor. Throughout the First Act, though, following Macbeth’s encounter with the three Witches and eventual persuasion from his wife, the reader recognizes another side of Macbeth, thirsty for power and control. Upon the Second Act, Macbeth succumbs to temptation of Kingship promised by the Witches, without real proof, and seals his tragic fate when he kills the current King, Duncan with selfish and malicious intentions. Prior to the actual murder, the reader witnesses a first glimpse into Macbeth’s crazy side, when he imagines a dagger which he acknowledges as a hallucination but rather than experiencing fear, questions “Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?” (II.i.37-40). In this sentence, which sums up the soliloquy as a whole, Macbeth realizes he is losing his mind, imagining objects which are not actually there, but in the end decides the way to end the madness is to kill Duncan, while in fact the opposite is most likely true. Later in the Act, after Macbeth goes through with the murder, he reveals to Lady Macbeth another hallucination, in which he thought he heard someone shout ‘“Sleep no more! Macbeth does murder sleep”’ (I.ii.36-37). The reader begins to observe how Macbeth, who originally seemed such a admirable war hero is in reality a power crazed madman. In the end of the scene, upon the arrival of Macduff, summoned by the King to wake him up, Macbeth allows Macduff to discover the dead King and, denying any accusations against himself, place the suspicion on the King’s sons, who fled Macbeth’s castle the same night as the murder. In truth, the King’s sons presumably left the castle in fear of their own lives, as whoever killed their father might kill them next in order to eliminate the next in line for King. Shakespeare affirms Macbeth’s true character through his action of murdering Duncan as well as his interactions with others following the murder.
With a third person omniscient perspective of the events in Macbeth, readers can discern the characterization of the male protagonist. Initially appearing as a heroic and courageous general, Macbeth's true nature soon appears after his wife convinces him to claim King Duncan's throne, despite his self-doubt. With an irrefutable argument, Lady Macbeth provides the force that propels Macbeth into a series of murders. With each successive murder, first King Duncan, then Banquo, Macbeth gains self-confidence, even falsely convincing Banquo’s murders to, "Know Banquo was your enemy" (III.i.14). Macbeth gradually takes on the role of Lady Macbeth in Act I, and proves his own ability to use words to convince others to commit crimes, ultimately showing his real, overly-ambitious nature form in his struggle for power. Shakespeare's manner of crafting Macbeth's character to develop over time demonstrates Macbeth's desire for power overcoming his self-doubt, thus turning the man into a power-crazed monster, and illustrates Shakespeare's writing ability.
A further characterization of Lady Macbeth and Macbeth extends well beyond the first and second acts as both characters continue to reveal more traits about themselves as the play progresses. Shakespeare utilizes a chiasmus between Lady Macbeth and Macbeth to display a swap in character between the two. Initially, Lady Macbeth is the one responsible for persuading Macbeth into murdering Duncan and she comes across as the manipulative partner who is able to toy with Macbeth’s emotions. An example of this is when Lady Macbeth questions her husband’s manhood stating, “When you do it, then you are a man; and, to be more than what you were, you would be so much more the man” (I.vii.39). Lady Macbeth even tells Macbeth that she would commit the crime but it wouldn’t be fitting of her gender to do so as she says “unsex me”. Macbeth is skeptical and afraid to commit such a crime to a man who treated Macbeth with great respect.
Once Macbeth follows through with murdering Duncan and receives his title as “King Macbeth”, he becomes blood and power thirsty as he constructs an elusive plan to eliminate all of those who may betray him or who serve as a threat to his position as King. Macbeth mentions, “blood hath been shed ere now,” (III.iv.69) displaying the change in mindset he has now that he has been given power. Meanwhile, Lady Macbeth argues that he Macbeth has a lot on his mind and needs rest. That is a bold contradiction in characterization as compared to the first act where Lady Macbeth was the character who was most concerned about power and the ruthless acts that must be conducted in order to obtain that power.
Act III Act II is home to more extensive character shifts. Shakespeare uses continued dynamicism in his characters to express to readers the way individuals reconcile guilt and ambition. In act I, Lady Macbeth is portrayed as the the driving character in the treachery of her and Macbeth. In her tirade directed at Macbeth, she invokes insults to Macbeth's manhood and manipulates him into acting on the prophecy (I, vii), as it promises her great power as well. Banquo in this section also is not ambitious or belligerent. He in fact expresses the opposite behavior, as he refuses to sleep for fear of dreaming evil dreams, even as Macbeth remains awake contemplating the deed he is planning (II, ii, 1-10) In act three, these roles shift. Macbeth has become highly controlling and a force entirely focused on maintaining his new position as king. This shift is notable, and evidenced in his contacting of murderers to kill Banquo and Fleance. Macbeth therefore indicates his new found ruthlessness in the pursuit of power. Interestingly enough, Macbeth insults the murderer's manhood in order to convince them to kill Banquo, just as Lady Macbeth did to him. Ironically, Lady Macbeth has transgressed from her intense take on pursuing the prophecy, and no longer pursues further action at all. Through these changes, Shakespeare indicates he different ways individuals react to guilt and ambition. While Lady Macbeth originally advocated force to purse their goals, now that the deed has been done she wishes to avoid any more evil. Macbeth, initially reluctant, essentially falls into a binge of vice, continuing to kill anyone who could possibly interfere with the plot. Since Lady Macbeth is not directly implicated in the original crime, she does not feel the same paranoia Macbeth has developed from the pressure of murdering the king.
Banquo also undergoes critical changes in act III. Despite his apparent resistance to temptation in act II, he is beginning to give in to his darker ambition before his death, specifically indicated in the first scene (III, i, 5-10). Macbeth's success so far in pursuing the prophecy so far has also affected Banquo, more evidence of Shakespeare's commentary on the effects of ambition and temptation.
Macbeth has become so entrenched in blood and clouded in ambitious desire, neither he nor his wife can be content. He tells the murderers he would have been “Whole as the marble, founded as the rock,/ As broad and general as the casing air” (III.iv.23-24) had both Banquo and Fleance been killed, yet his inner turmoil expressed throughout Act III demonstrates otherwise. He admits his insecurity to his wife, saying “full of scorpions is my mind, dear wife” (III.ii.37); his repeated reference to scorpion and serpent-like creatures, symbols of evil and deceit, highlight the extent of Macbeth’s tyranny. The brooding evil in Macbeth’s mind also reveals the extent to which his character has changed; from the onset of the play he appeared to be a man of good conscience, capable of good or bad. However, he allowed the scorpions invade his mind and evil to prevail. Shakespeare does not provide evidence of the witches directly influencing Macbeth’s actions; he possesses free will, and his actions have prevented him from happiness. As Lady Macbeth comments, “Naught’s had, all’s spent” (III.ii.6).
As much as Shakespeare has done to characterize Macbeth, as well as many of his characters, he (or they) are vastly different as the play progresses. The idea of power coupled with the stress of his guilt being revealed leaves Macbeth a greatly changed person. "O, full of scorpions is my mind, dear wife!/ Thou know'st that Banquo, and his Fleance, lives." (III, II, 36-37) Macbeth has become consumed by his actions and his feared consequences leading to his more ruthless persona leading to the murders of both Banquo and Fleance. Again it is in the dialogues and monologues in which to discern the greatest knowledge of characterization from Shakespeare regarding is characters. "Blood hath been shed ere now, i' the olden time.../Ay, and since too, murders have been perform'd/ Too terrible for the ear: the times have been,/ That, when the brains were out, the man would die,/With twenty mortal murders on their crowns,/And push us from our stools: this is more strange Than such a murder is." (III, IV, 75, 77-83) As apparent in Machbeth's conversation with his co-conspirator he is now c old man who seems to no longer question the actions he commits, merely his ease in which he may ascend to the throne he so desires.
In Act II, scene II of "Macbeth", Shakespeare exemplifies his unique characterization through the plot and murder of Duncan. In this scene both Macbeth expresses a dark, warped persona. Shakespeare uniquely defines Macbeth as a hesitant, insecure being. Macbeth is dark in thought but has remorse. This remorse and darkness contrast each other to the point of murder. Although Macbeth allows his insanity to display actions of immorality, he surprisingly shows a deep remorse and heavy conscience to coexist with his demons. After Macbeth fulfils the murder of Duncan, he displays immediate remorse and guilt as he states, "I am afraid to think what I have done;" (Act 2, Scene II). It is as if Shakespeare uses Macbeth to display an exaggeration of the human struggle of moral and immoral actions. Macbeth allows is psychopathic thoughts to get the best of him, yet he struggles to accept his evil actions causing further insanity that leaves the audience unaware of his future. It is this balance of good and evil the uniquely characterizes Macbeth. It is a rare case of sanity and insanity in which Macbeth lacks control.
An admirable part of Shakespeare's craft is his ability to create powerful, defined characters through mere dialogue and character interactions. Throughout Act II, Shakespeare develops Lady Macbeth's character as a conniving, power thirsty woman through her conversation with Macbeth and her actions following Duncan's murder. After Macbeth killed Duncan, he discusses his guilt with his wife. Lady Macbeth replies,
My hands are of your color, but I shame To wear a heart so white. (II.ii.64-65)
While she admits she is just as guilty as her husband, she does not share his feeling of guilt after Duncan's murder. Instead, she insults her husband for being cowardly and states she would be shamed if her heart was as pale as his. Following the discovery of Duncan's body, Lady Macbeth takes upon the role of damsel in distress to distract the men from her husband. She laments over Duncan's death and pretends to faint from horror when in actuality, she is the main reason he is dead. Through her actions and speech, Lady Macbeth proves to be a manipulative character in this play.
Shakespeare's ability to develop his characters to emulate human nature and the way which power alters a person is remarkable. Act III exemplifies how a hunger for control devours his moral being as he converses with the murderers about Banquo. Macbeth admits to the murders that "There is no but he/ Whose being I do fear" (III. i. 55-56) and continues on stating that Banquo is to blame for all their ailments, and for the murder of Duncan, and that if Banquo is not murdered a "fruitless crown" (III. i. 61) has been placed upon Macbeth's head. Although Macbeth is metamorphosing into a harsher, greedier, more apathetic man, guilt manifests itself once more when he spies the ghost of Banquo sitting in a chair at the dinner table. Lady Macbeth recognizes that "this is a painting of [his] fear" (III. iv. 61), However, Lady Macbeth's scolding causes he to quickly recompose himself as he raises a toast to "our dear friend Banquo; whom we miss" (III. iv. 90). Macbeth's momentary lapse of guilt at the dinner table is one of the last he will have, as he later murders Fleance as well, demonstrating his transgression from a loyal, humble, and indecisive man, into a greedy King who has been corrupted by the selfish ambition of Lady Macbeth.
In Macbeth, William Shakespeare creates a noble general as a protagonist, until power serves as an incentive to alter his goals. Unlike Prince Hamlet, who possesses a clear idea of his desires, Macbeth finds himself enticed by others’ offers and demands. For example, when the witches cry “All hail Macbeth, that shalt be king hereafter!” (1.iii.50), and Macbeth craves the power that may lie in his future, but fails to concoct a solid plan to achieve his goal. Lady Macbeth proves to possess more determination than her husband as she urges Macbeth to murder King Duncan and snatch his power. Determination plays a role in the lives of many male Shakespearean characters – Hamlet seeks revenge, Romeo strives to protect his love, Juliet – but in Macbeth, the protagonist’s female companion pushes for a change in power. Shakespeare’s craft remains unpredictable as he creates his own archetypes by shifting possession of power between different characters in his works.
ReplyDeleteCharacterization in Macbeth
ReplyDeleteSome of the most effective approaches to Shakespeare’s characterization include parallel characters. Parallel characters form juxtaposed bonds that show a contrast between personalities/beliefs/etc. For example, in Macbeth, parallel characters with Macbeth include Lady Macbeth and Macbeth, and Macbeth and Banquo, and Macbeth and Duncan. Paralleling personalities and traits with Macbeth allow the audience to understand the characteristics of Macbeth himself. King Duncan’s gentle and kind demeanor parallels that of Macbeth’s deceptive and power-hungry attitude. For example, Duncan exclaims about an ex-friend “He was a gentleman on whom I built/An absolute trust” (I.iii.14-15). Duncan’s trusting sense towards some people juxtaposes the deceptive acts of Macbeth. Macbeth and Banquo share a similar praise for fighting on the battlefield, but the two characters differ in their rewards. Macbeth receives a title and a fated title to king, whereas Banquo receives a remark that he is “a peerless kingsman” (I.iv.58). It is through the use of Duncan, Banquo, and through use of other foil characters that Shakespeare distinguishes traits and characteristics of Macbeth.
Shakespeare’s profound characterization directly correlates to his ability to craft a captivating tragedy. In his play, Macbeth, Shakespeare allows Lady Macbeth’s character to be overcome by her desire for power. When Macbeth has the opportunity to gain his reign as Thane of Cowdor, his ambition falls short due to a lack of reasoning for killing the current thane. However, Lady Macbeth believes her masculinity outshines that of her husband, as she plans to take over the control of the assassination. She speaks to spirits asking to “unsex me here,/ and fill me from the crown to the toe top-full/ of direst cruelty!” (I, V, 43-44), as she wants to veer away from sexist ideas and act like a man with deadly cruelty. Furthermore, her character shines through her ambition for power, as she insults her husband’s virility by questioning his aspirations to obtain his desires; “Art thou afeard/ To be the same in thine own act and valor/ As thou art in desire?” (I, VII, 39-41). Her character of power and greed becomes especially prominent when even Macbeth acknowledges her command, as he states she should “bring forth men-children only” (I, VII, 74) because her fearless spirit and persistence should only produce prominent male figures. Lady Macbeth’s cunning demeanor outshines that of Macbeths, creating a complex characterization of the Lady.
ReplyDeleteThus far in the play, William Shakespeare most clearly characterizes Macbeth's wife, Lady Macbeth. While including various other characters within the first four scenes of Act 1 to set the stage, Lady Macbeth's entrance during the fifth scene is the first instance the reader (or viewer) gathers the true personality of a character; during the beginning, King Duncan, Malcom, Ross, etc. provide necessary background information and are not really characterized. Upon being confronted with Macbeth's letter, Lady Macbeth does not shy away from the task of murdering the King along with her husband- in fact, she embraces the goal. Unlike the typical woman of the times would have, Lady Macbeth exclaims, "unsex me here/ and fill me from the crown to the toe top full/ of direst cruelty!" (1,5,42-44) thus accepting the challenge and attempting to pluck up the courage to complete the murder. When Macbeth begins to second-guess himself about the matter, his wife will not tolerate his thoughts; she begins to question his masculinity in an attempt to spur courage and resolve. Shakespeare crafts Lady Macbeth into an assertive woman and the more dominant force between her and her husband.
ReplyDeleteShakespeare depicts the selfish mentality of society in the play, Macbeth. The power struggle within the play becomes noticeable within the first few scenes where Macbeth is climbing in social status. The pettiness of social social status creates an abundance of conflict as Macbeth strives to become king. With the influence of Lady Macbeth, Macbeth focuses mainly on the victory of becoming king as he disregards the pain he will be causing another person. The sheer determination Lady Macbeth possesses to acclaim their social status proves that Shakespeare sees the problems in society and expresses his opinion openly. Shakespeare chooses to exaggerate the power struggle because he notices the effect power has on society. He also expresses his opinion of how selfish individuals are when they want to possess something such as greater social status. Lady Macbeth expresses her disapproval of Macbeth shying away from committing a crime as she tries to tear away at Macbeth's decision by saying, "What beast was't, then,/that made you break this enterprise to me?/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" (I, XII, 47-51). By promoting the murder, Lady Macbeth proves her selfish ways are dominant within her personality. Though Macbeth has more of a conscious than Lady Macbeth, eventually her mentality will become his mentality. Shakespeare is essentially saying that negative attitudes and personalities rub off on the more innocent minds because they are vulnerable to becoming tainted. The characterization within the first act of the play foreshadows the tragic aspect to Shakespeare's work as evil hues becoming the undertone for the play itself.
ReplyDeleteShakespeare’s approach to characterization in the play comes from the utilization of setting, and the perceived gender roles of the time period. The story takes place in 11th century England, a time period where men stood as the symbol of power, strength, courage, and leadership. With little legal rights and power in society, the inequality between men and women presented itself everywhere. The introduction of Lady Macbeth into the play in scene V contradicts the accepted roles of society, showcasing an obvious contrast. After a messenger delivers news about the upcoming king’s arrival, Lady Macbeth concludes that her husband does not possess the power to do everything necessary to attain the crown. Lady Macbeth exclaims “unsex me here” (I.V.42) to demonstrate she possesses the will to go against the norms of society and to do anything it takes to attain the crown. The theme of power again reemerges in the first act, foreshadowing the wife’s dark and sinister influence she controls over her husband.
ReplyDeleteThus far in Macbeth, Shakespeare has used ultimate contrast to characterize characters such as Macbeth and Lady Macbeth as well as Duncan. To begin Macbeth is contrasted against the many layers of his own character. Described as an honorary general of war, Macbeth's first layer revealed is his nobility. Soon after he is denounced to a deceptive character. "The rest is labor which is not used for you:/ I'll be myself the harbinger and make joyful" (I.iv.45-46). Although Macbeth is telling King Duncan directly that he would never want to do anything other than work for him, he is almost simultaneously scheming a assassination of King Duncan with his wife. Continuing with the many layers of Macbeth, he is also shown as a weak, indecisive, unsure man when in the presence of his wife, Lady Macbeth. Lady Macbeth shows the switch in stereotypical gender roles when she asserts an undeniable power over Macbeth. Convinced to perform any means, Lady Macbeth convinces her husband the importance of being king surpasses King Duncan's life. Shakespeare clearly has achieved characterization perfection which can be greatly attributed to his use of juxtaposing characters with themselves and other characters which generally are affected by the given setting.
ReplyDeleteIn their lack of conformity to society’s gender roles, Shakespeare’s characters comprise a complex web of power. Macbeth, as a male in a patriarchal society and a celebrated warrior, possesses power external of his relationship with Lady Macbeth. However, Lady Macbeth possesses the power within their relationship. In her desire to elevate her own social standing and become Queen, Lady Macbeth attempts to de-feminize herself, appealing to the spirits of evil to give her the ability to commit murder, a masculine trait. In an apostrophe addressed to these spirits, Lady MacBeth pleads “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” (I.v.41-44)! By unsexing herself and stripping away the docile moral code associated with the woman, Lady Macbeth seizes power. However, she still finds herself under the control of her feminist traits and remorse, as she must plead to the spirits to help free herself; she is not innately malicious. Macbeth, on the other hand, initially rejects the implied masculine tendency for violence, only persuaded to murder the King when his wife questions his masculinity.
ReplyDeleteShakespeare most effectively crafts his characters and their traits through contrast and dialogue within Act I of Macbeth. Thus far in the play, Macbeth and Lady Macbeth are the most developed characters with their switched gender roles shown through their interactions and conversations. Macbeth, an honored warrior for his bravery, is portrayed as an indecisive man enamored with the prospect of power but lacks ambition. His lack of drive is best shown through his conversation with Lady Macbeth about the murder of Duncan in which he says, "We will proceed no further in this business/He hath honored me of late, and I have bought/Golden opinions from all sorts of people" (1,7,31-33). Although he initially refuses to kill the king, he is later persuaded by his wife in the same, who has the dominant personality. In his portrayal of Lady Macbeth, Shakespeare crafts her to be cunning, ambitious, and masculine. Although Macbeth appears to be the head figure in the public eye, it is revealed to the audience that Lady Macbeth holds all the power in their relationship through their intimate conversation plotting Duncan's death. Lady Macbeth strips her husband of his masculinity by insulting his drive and ambition. Furthermore her relentless thirst for power is shown when she says, "Have plucked my nipple from his boneless gums/And dashed the brains out, had I so sworn as you/Have done to this" (1,7,58-60). In this passage, she states she would kill a newborn baby she nursed if she had promised to do so in the same way Macbeth promised to kill Duncan. As mothers and wives, women are seen as nurturing figures. Lady Macbeth's statement ultimately makes her a masculine character without traditional feminine traits. Instead, Macbeth is perhaps the more feminine character in the relationship while Lady Macbeth displays more masculine traits.
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ReplyDeleteIn Macbeth, Shakespeare communicates the narcissism conjured by a struggle for a position of power. Shakespeare juxtaposes characters in order to demonstrate their hunger for power- so far, the contrasts between Macbeth and Lady Macbeth are most striking. Despite Macbeth being an honorary general of war, depicting his strength and nobility in a patriarchal society, Lady Macbeth possesses all power in their relationship and proves herself to be the antithesis of an ideal wife and does not hesitate to manipulate her husband in order to acquire a position in power and act on the witches' prophecy. The first challenging of gender roles occurs in her first soliloquy, when she lashes out against her femininity saying "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!" (I.v.41-44). Lady Macbeth's demanding and assertive personality eclipses that of her husband, when he falters in regards to their plan to murder Duncan. Infuriated, Lady Macbeth challenges his masculinity uttering "What beast was't then/ that made you break this enterprise to me?/ When you durst do it, you were a man" (I. vii. 57-59). Lady Macbeth threatens his strength as a man as means to motivate him in order to pursue the crown, making her a unique female character considering the time period. Her personality rails against the typical depictions of females in literature as the damsels in distress, meanwhile, her husband seems to possess traits considered feminine in his indecisiveness and trepidation. Developing characters by switching their gender roles heightens the degree of intensity power possesses over them because traits of each sex become more recognizable when they are portrayed through opposite bodies; typical masculine traits of determination and aggression may be overlooked when they are expected of men, but by portraying them through a woman, the power struggle becomes more prominent.
ReplyDeleteOne of Shakespeare's most powerful elements in his work is his characters. As his work is in the form of plays, the characters portrayal in the script is essential, as the traits will have to come across onstage to create interesting, multifaceted individuals. Not only does Shakespeare use events to reveal characterization, but uses characterization to elaborate upon events and develop themes.
ReplyDeleteMacbeth initially is presented to readers as pure of heart and clear of mind, an impressive and likable figure. the witches prophecy, however, quickly begins to warp his character. The witches seem to catalyze his change, as he fixates on the prophecy and its suggestion of power. While the witches are the direct link, they are simply the medium through which one of Shakespeare's themes works, regarding the relationship between power, ambition, and life. Quick change in Macbeth's attitude occur. He initially decides, although fascinated, to bide his time and patiently await the prophecy's fulfillment. By the end of the act, however, Lady Macbeth has expressed her conniving desires (to force the prophecies fulfillment) (I.v.40-50) without mercy, and Macbeth is complicit. This shows the theme of ambition's corruption, especially on the pure.
Macbeth's characterization by Shakespeare is a simple introduction of a theme that will likely recur throughout the play.Macbeth (the character) provides a compelling example of Shakespeare's utilization of characterization.
Even before they physically felt the blood of the Thane of Cawdor against their hands in Act II, Macbeth and Lady Macbeth formerly experienced blood-stains on their consciouses upon the creation of the plan to rid the king and claim their throne. Shakespeare showed traits of each character’s personality through the contrast of Macbeth and Lady Macbeth’s objectives. However, with the crown at their fingertips, both characters became figuratively and literally blood stained and overcome by their greed. In the case of Macbeth, his conscious was stained after his encounter with the three witches as he was coerced into their prophecies. Similarly, Lady Macbeth receives a figurative stain by her eager desire to assassinate Duncan. The behavior of the two characters identities becomes apparent specifically on the night of Duncan’s murder. After the killing, rather than rejoicing his success, Macbeth proclaims “I am afraid to think what I have done;/ Look on ‘t again I dare not” (II, II, 51-52) as he is in denial that his psychological being contains a brutal nature. In total contrast, Lady Macbeth admits that she is just as guilty, but would be embarrassed to be as weak and pathetic as Macbeth is proving to be; “My hands are of your color, but I shame/ To wear a heart so white” (II, II, 64-65). The characterization of each personality cannot be interpreted without considering the development of the other. While Lady Macbeth feverishly approaches her desires with passion and ferocity, Macbeth maintains his strong will so as not to conflict with his morals. Shakespeare contrasts the two characters of Macbeth and Lady Macbeth, which ultimately establishes their progression throughout the rest of the play.
ReplyDeleteThus far in the play, Shakespeare’s unique craft continues to shape the readers perception of Macbeth. Utilizing man versus himself literary conflict, the reader first witnesses in Act I the internal struggle Macbeth faces after hearing the prophecy of the three witches. In the early part of Act II, Macbeth is again struggling with himself after visualizing a bloody dagger, representing the act of killing the king and the disastrous consequences that come with it. Ambition eventually leads Macbeth to kill the king, but the immediate guilt surrounds the protagonist, saying “I am afraid to think what I have done” (I.ii.64). This immediate guilt foreshadows detrimental events to unfold in the future, not only for Macbeth, but for his wife as well who aided in killing Duncan. Macbeth’s last part in Act II involves him going to be crowned as the new king. For the time being, Macbeth is at peace with himself and how the events unfolded in his favor.
ReplyDeleteContinuing with his masterful characterization, I believe Shakespeare reveals the most about Macbeth and Lady Macbeth in this act. Via indirect characterization viewers can decipher what kind of people Macbeth and Lady Macbeth are more clearly. In this act Macbeth becomes the Holden Caulfield of the play. Macbeth's internal conflict is the ultimate vision of a persons conscious, the devil on one shoulder as the angel on the other. Lady Macbeth becomes Macbeth's devil when she manipulates Macbeth into killing Duncan. In the prior act Macbeth stands up for himself a little more, but in this act he is totally compliment which not only reveals his inner conflict, but also the pliability of his character. As well as the dominance of Lady Macbeth's character. This aspect of Shakespeare characterization is so important because of it's unorthodox quality. In the 16th and 17th century, women's equality was not even a thought and men were the dominant sex. The fact that Shakespeare utilized the role of a dominant women character exemplifies his forward-thinking as a writer. While Macbeth's character becomes multi-layered, Lady Macbeth appears as a flatter character. This far she has only exhibited aspects of a vengeful and selfish character, putting her own wants above everything else. She also is shown as extremely ruthless and the prime organizer in Duncan's death.
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ReplyDeleteShakespeare is able to characterize each character very simply through the use of dialogue. The monologues spoken by the major characters of the play provide to the audience the inner workings and desires they possess. Understanding what makes each character motivated to commit the actions the commit is essential to understand the development of the play and the corruption which Macbeth eventually falls victim too. Lady Macbeth in scene fiver displays her true feelings of ambition and ruthless goal of becoming queen. "They met me in the day of success: and I have learned by the perfectest report, they have more in them than mortal knowledge. When I burned in desire." (I,V,1-4) Through the use of a single monologue Shakespeare reveals his lady to all and the foreshadowing begins as Macbeth appears to fall under the influence of his wife who in turn has been blinded by the three witches. This characterization is both essential to the development of the play and one of the many reasons for the legend that embodies Shakespeare and his works.
ReplyDeleteUp until the beginning of Act II, through Lady Macbeth, the reader gained a basic understanding of Macbeth's grappling with good and evil. However, through the dialogue in the second act, Shakespeare clearly characterizes his main character. During this portion of the play the reader observes Macbeth hallucinate, murder (multiple times) and lie to save himself (and his crazy wife, for that matter). Shakespeare calls Macbeth's sanity into question to reveal his true nature. As we discussed in class, Shakespeare forces the reader to question whether or not his character in innately good or has a bit of bad laying dormant within him. One can assume both the former and latter reign true, for he exclaims "art thou not, fatal vision, sensible to feeling as to sight? Or art thou but a dagger of the mind" (II,I,37-38). The dagger Macbeth may or may not truly be seeing causes him to question his own sanity, thus characterizing him as both good and evil- a concept which presumably will further flush itself out as the play progresses.
ReplyDeleteAct 1
ReplyDeleteShakespeare approaches his characterizations through their dialog and monologues. In the very first scene of Act 1, the witches vaguely mention Macbeth's name but show he is of importance if they want to meet him after the battle's lost and won. It isn't until Scene 3 that Macbeth enters the play with Banquo and discovers the witches. They tell him he will become "Thane of Cawdor" and king.
After this, the dialog between Banquo and Macbeth reveal more of their character. Banquo contrasts from Macbeth in this scene because he's skeptical of the witches' predictions whereas Macbeth is fascinated by the predictions. Macbeth quickly plans to make the predictions into a reality and begins this inner turmoil. He thinks " If chance will have me king, why, chance/ may crown me/Without my stir" (I.III.147-49) which starts his inner thoughts and shows doubt that he must kill Duncan to become king. Macbeth's torn between being leaving it up to fate and taking matters into his own hands. He is a reflective character because his "asides" reveal that he is aware of the consequences of killing the king and that he has no reason to do so and acknowledges the guilt that he will feel.
Macbeth, revered and noble to those around him, battles an inner struggle for dominance and control. In Act 1, when the reader first hears of Macbeth, he is described as a brave and valiant soldier who has rightfully earned his new rank as thane of Cawdor. Throughout the First Act, though, following Macbeth’s encounter with the three Witches and eventual persuasion from his wife, the reader recognizes another side of Macbeth, thirsty for power and control. Upon the Second Act, Macbeth succumbs to temptation of Kingship promised by the Witches, without real proof, and seals his tragic fate when he kills the current King, Duncan with selfish and malicious intentions. Prior to the actual murder, the reader witnesses a first glimpse into Macbeth’s crazy side, when he imagines a dagger which he acknowledges as a hallucination but rather than experiencing fear, questions “Or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain?” (II.i.37-40). In this sentence, which sums up the soliloquy as a whole, Macbeth realizes he is losing his mind, imagining objects which are not actually there, but in the end decides the way to end the madness is to kill Duncan, while in fact the opposite is most likely true.
ReplyDeleteLater in the Act, after Macbeth goes through with the murder, he reveals to Lady Macbeth another hallucination, in which he thought he heard someone shout ‘“Sleep no more! Macbeth does murder sleep”’ (I.ii.36-37). The reader begins to observe how Macbeth, who originally seemed such a admirable war hero is in reality a power crazed madman. In the end of the scene, upon the arrival of Macduff, summoned by the King to wake him up, Macbeth allows Macduff to discover the dead King and, denying any accusations against himself, place the suspicion on the King’s sons, who fled Macbeth’s castle the same night as the murder. In truth, the King’s sons presumably left the castle in fear of their own lives, as whoever killed their father might kill them next in order to eliminate the next in line for King. Shakespeare affirms Macbeth’s true character through his action of murdering Duncan as well as his interactions with others following the murder.
With a third person omniscient perspective of the events in Macbeth, readers can discern the characterization of the male protagonist. Initially appearing as a heroic and courageous general, Macbeth's true nature soon appears after his wife convinces him to claim King Duncan's throne, despite his self-doubt. With an irrefutable argument, Lady Macbeth provides the force that propels Macbeth into a series of murders. With each successive murder, first King Duncan, then Banquo, Macbeth gains self-confidence, even falsely convincing Banquo’s murders to, "Know Banquo was your enemy" (III.i.14). Macbeth gradually takes on the role of Lady Macbeth in Act I, and proves his own ability to use words to convince others to commit crimes, ultimately showing his real, overly-ambitious nature form in his struggle for power. Shakespeare's manner of crafting Macbeth's character to develop over time demonstrates Macbeth's desire for power overcoming his self-doubt, thus turning the man into a power-crazed monster, and illustrates Shakespeare's writing ability.
ReplyDeleteA further characterization of Lady Macbeth and Macbeth extends well beyond the first and second acts as both characters continue to reveal more traits about themselves as the play progresses. Shakespeare utilizes a chiasmus between Lady Macbeth and Macbeth to display a swap in character between the two. Initially, Lady Macbeth is the one responsible for persuading Macbeth into murdering Duncan and she comes across as the manipulative partner who is able to toy with Macbeth’s emotions. An example of this is when Lady Macbeth questions her husband’s manhood stating, “When you do it, then you are a man; and, to be more than what you were, you would be so much more the man” (I.vii.39). Lady Macbeth even tells Macbeth that she would commit the crime but it wouldn’t be fitting of her gender to do so as she says “unsex me”. Macbeth is skeptical and afraid to commit such a crime to a man who treated Macbeth with great respect.
ReplyDeleteOnce Macbeth follows through with murdering Duncan and receives his title as “King Macbeth”, he becomes blood and power thirsty as he constructs an elusive plan to eliminate all of those who may betray him or who serve as a threat to his position as King. Macbeth mentions, “blood hath been shed ere now,” (III.iv.69) displaying the change in mindset he has now that he has been given power. Meanwhile, Lady Macbeth argues that he Macbeth has a lot on his mind and needs rest. That is a bold contradiction in characterization as compared to the first act where Lady Macbeth was the character who was most concerned about power and the ruthless acts that must be conducted in order to obtain that power.
Act III
ReplyDeleteAct II is home to more extensive character shifts. Shakespeare uses continued dynamicism in his characters to express to readers the way individuals reconcile guilt and ambition.
In act I, Lady Macbeth is portrayed as the the driving character in the treachery of her and Macbeth. In her tirade directed at Macbeth, she invokes insults to Macbeth's manhood and manipulates him into acting on the prophecy (I, vii), as it promises her great power as well. Banquo in this section also is not ambitious or belligerent. He in fact expresses the opposite behavior, as he refuses to sleep for fear of dreaming evil dreams, even as Macbeth remains awake contemplating the deed he is planning (II, ii, 1-10)
In act three, these roles shift. Macbeth has become highly controlling and a force entirely focused on maintaining his new position as king. This shift is notable, and evidenced in his contacting of murderers to kill Banquo and Fleance. Macbeth therefore indicates his new found ruthlessness in the pursuit of power. Interestingly enough, Macbeth insults the murderer's manhood in order to convince them to kill Banquo, just as Lady Macbeth did to him. Ironically, Lady Macbeth has transgressed from her intense take on pursuing the prophecy, and no longer pursues further action at all. Through these changes, Shakespeare indicates he different ways individuals react to guilt and ambition. While Lady Macbeth originally advocated force to purse their goals, now that the deed has been done she wishes to avoid any more evil. Macbeth, initially reluctant, essentially falls into a binge of vice, continuing to kill anyone who could possibly interfere with the plot. Since Lady Macbeth is not directly implicated in the original crime, she does not feel the same paranoia Macbeth has developed from the pressure of murdering the king.
Banquo also undergoes critical changes in act III. Despite his apparent resistance to temptation in act II, he is beginning to give in to his darker ambition before his death, specifically indicated in the first scene (III, i, 5-10). Macbeth's success so far in pursuing the prophecy so far has also affected Banquo, more evidence of Shakespeare's commentary on the effects of ambition and temptation.
DeleteMacbeth has become so entrenched in blood and clouded in ambitious desire, neither he nor his wife can be content. He tells the murderers he would have been “Whole as the marble, founded as the rock,/ As broad and general as the casing air” (III.iv.23-24) had both Banquo and Fleance been killed, yet his inner turmoil expressed throughout Act III demonstrates otherwise. He admits his insecurity to his wife, saying “full of scorpions is my mind, dear wife” (III.ii.37); his repeated reference to scorpion and serpent-like creatures, symbols of evil and deceit, highlight the extent of Macbeth’s tyranny. The brooding evil in Macbeth’s mind also reveals the extent to which his character has changed; from the onset of the play he appeared to be a man of good conscience, capable of good or bad. However, he allowed the scorpions invade his mind and evil to prevail. Shakespeare does not provide evidence of the witches directly influencing Macbeth’s actions; he possesses free will, and his actions have prevented him from happiness. As Lady Macbeth comments, “Naught’s had, all’s spent” (III.ii.6).
ReplyDeleteAct III
ReplyDeleteAs much as Shakespeare has done to characterize Macbeth, as well as many of his characters, he (or they) are vastly different as the play progresses. The idea of power coupled with the stress of his guilt being revealed leaves Macbeth a greatly changed person. "O, full of scorpions is my mind, dear wife!/ Thou know'st that Banquo, and his Fleance, lives." (III, II, 36-37) Macbeth has become consumed by his actions and his feared consequences leading to his more ruthless persona leading to the murders of both Banquo and Fleance. Again it is in the dialogues and monologues in which to discern the greatest knowledge of characterization from Shakespeare regarding is characters. "Blood hath been shed ere now, i' the olden time.../Ay, and since too, murders have been perform'd/ Too terrible for the ear: the times have been,/ That, when the brains were out, the man would die,/With twenty mortal murders on their crowns,/And push us from our stools: this is more strange
Than such a murder is." (III, IV, 75, 77-83) As apparent in Machbeth's conversation with his co-conspirator he is now c old man who seems to no longer question the actions he commits, merely his ease in which he may ascend to the throne he so desires.
In Act II, scene II of "Macbeth", Shakespeare exemplifies his unique characterization through the plot and murder of Duncan. In this scene both Macbeth expresses a dark, warped persona. Shakespeare uniquely defines Macbeth as a hesitant, insecure being. Macbeth is dark in thought but has remorse. This remorse and darkness contrast each other to the point of murder. Although Macbeth allows his insanity to display actions of immorality, he surprisingly shows a deep remorse and heavy conscience to coexist with his demons. After Macbeth fulfils the murder of Duncan, he displays immediate remorse and guilt as he states, "I am afraid to think what I have done;" (Act 2, Scene II). It is as if Shakespeare uses Macbeth to display an exaggeration of the human struggle of moral and immoral actions. Macbeth allows is psychopathic thoughts to get the best of him, yet he struggles to accept his evil actions causing further insanity that leaves the audience unaware of his future. It is this balance of good and evil the uniquely characterizes Macbeth. It is a rare case of sanity and insanity in which Macbeth lacks control.
ReplyDeleteScratch both in line 2, i need to proof read before i post haha
DeleteAn admirable part of Shakespeare's craft is his ability to create powerful, defined characters through mere dialogue and character interactions. Throughout Act II, Shakespeare develops Lady Macbeth's character as a conniving, power thirsty woman through her conversation with Macbeth and her actions following Duncan's murder. After Macbeth killed Duncan, he discusses his guilt with his wife. Lady Macbeth replies,
ReplyDeleteMy hands are of your color, but I shame
To wear a heart so white.
(II.ii.64-65)
While she admits she is just as guilty as her husband, she does not share his feeling of guilt after Duncan's murder. Instead, she insults her husband for being cowardly and states she would be shamed if her heart was as pale as his. Following the discovery of Duncan's body, Lady Macbeth takes upon the role of damsel in distress to distract the men from her husband. She laments over Duncan's death and pretends to faint from horror when in actuality, she is the main reason he is dead. Through her actions and speech, Lady Macbeth proves to be a manipulative character in this play.
Shakespeare's ability to develop his characters to emulate human nature and the way which power alters a person is remarkable. Act III exemplifies how a hunger for control devours his moral being as he converses with the murderers about Banquo. Macbeth admits to the murders that "There is no but he/ Whose being I do fear" (III. i. 55-56) and continues on stating that Banquo is to blame for all their ailments, and for the murder of Duncan, and that if Banquo is not murdered a "fruitless crown" (III. i. 61) has been placed upon Macbeth's head. Although Macbeth is metamorphosing into a harsher, greedier, more apathetic man, guilt manifests itself once more when he spies the ghost of Banquo sitting in a chair at the dinner table. Lady Macbeth recognizes that "this is a painting of [his] fear" (III. iv. 61), However, Lady Macbeth's scolding causes he to quickly recompose himself as he raises a toast to "our dear friend Banquo; whom we miss" (III. iv. 90). Macbeth's momentary lapse of guilt at the dinner table is one of the last he will have, as he later murders Fleance as well, demonstrating his transgression from a loyal, humble, and indecisive man, into a greedy King who has been corrupted by the selfish ambition of Lady Macbeth.
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