In what ways does Shakespeare use tension in his work? Consider contrast in diction, between characters, in tone, in contrasting settings, in narrative structure, in dialogue, in other literary techniques?
Without the use of an epilogue, Shakespeare had to uniquely capture his audience while simultaneously indulging them into the background knowledge. He does this seamlessly as he introduces an abundance of tension within his dramatic opening. In the midst of eerie thunder and lightning, Macbeth introduces three unnatural and peculiar witches in a disturbing environment which completely contrasts the other settings in the play. Their immediate introduction provides the reader with an unsettling tone as they begin to chant, “Fair is foul and foul is fair” (I, I, 13) ultimately creating a foreshadowing of tension. While the witches themselves may be foul in all respects, with this they touch upon the discrepancy between appearance and reality throughout the play. They predict that evil will deceive Macbeth's judgment, as shown in scene three when Macbeth begins to fall into the tactics of the witches. Macbeth outwardly shows his interest in the witches chants even though they clearly cannot be taken as truth, as the noble general, Banquo, asks Macbeth “Are ye fantastical, or that indeed/ Which outwardly ye show?” (I, III, 55-56). Further discussing the implications of deception of appearance and reality, the reader begins to question the veracity. As Macbeth becomes tempted by the ministers of darkness, tension builds as temptation leads to a tragic downfall. The tension that is created also sets the tone for the rest of the play that keeps the audience intrigued for the fate of Macbeth, which presumably is the dramatic downward spiral of a once noble man.
A crucial aspect of the overall craft of a successful tragedy, which Shakespeare is widely acclaimed for, is the tension of certain pivotal situations as well as between characters. In the case of Macbeth, the most notable hostility occurs between Macbeth himself and his wife, Lady Macbeth. Following Macbeth’s visit from the three Witches in which he learns he will eventually become King, when he relays the message to Lady Macbeth in a letter, Lady Macbeth is overcome with emotion at the thought of becoming the Queen. In order to become King, though, Macbeth must kill the current King, Duncan, a gracious and kind nobleman who recently named Macbeth the thane of Cawdor. Although tempted by the power which would come along with being King, Macbeth begins to question his decision, and tells Lady Macbeth, “We will proceed no further in this business: He hath honored me of late” (I.vii.31) to which Lady Macbeth replies in anguish “When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more than a man” (I.vii.49). In order to persuade Macbeth to consent to her devious plan, Lady Macbeth questions Macbeth’s manhood, saying if he does not go through with this malicious action he should not be considered a real man. When Macbeth questions the possible ramifications of murdering the King, asking “If we should fail?” (I.vii.58), Lady Macbeth comes back with “We fail! But screw your courage to the sticking-place, And we’ll not fail” (I.vii.59). Lady Macbeth allures Macbeth with the enticement of glory, saying courage will help Macbeth to complete this action, when in reality real courage would come from Macbeth denying his wife’s corrupt scheme. The tension between Macbeth and Lady Macbeth, which comes from comparing their dialogue in regard to their diction, shows their true motives. Macbeth attempts to be firm in his decision, but when Lady Macbeth uses words such as man and courage, Macbeth again falls into the tantalization of power and dominance.
Shakespeare speeds up the pace of the actions and dialogue of the characters in his work to create tension between them. After Duncan dies, the stage directions increase in both frequency and magnitude. For example, after Macduff declares the king’s death, “Macbeth and Lennox run into Duncan’s room” (II.iii.77). The alarm bells subsequently sound and the cacophonous murmur of dialogue, sounds, and despair create tension and accelerate the actions in the scene. During this scene, a multitude of characters run around and their presence creates a garbled cloud of characters producing actions such as “running” and “rushing.” After all of the characters comply with the stage action that “everyone goes except Malcolm and Donalbain” (II.iv.141), the tension releases itself from the play, as the commotion eventually subsides.
The use of verbal irony in the dialogue during this scene also creates tension, as the reader understands, unlike conventional murder mystery’s, that the true perpetrator are Macbeth and Lady Macbeth. Both appear as though they grieve for the death of the man they murdered. Macbeth exclaims “the murderers/ Steeped in the colors of their trade, their daggers/Unmannerly breeched with gore” (II.iii.120-122). As the murderer accuses others, there is verbal irony within his zealous attempt to find the guilty, when he himself carries the guilt along with his wife, Lady Macbeth. Lady Macbeth’s actions towards the death of the king unmatch those of Macbeth because out of horror, she faints and needs to be carried from the scene even though she is the true cause of the horror. An example of situational irony, Lady Macbeth’s reaction to her own crime shows a deal of tension not between the character’s in the book but rather between the character’s and the reader.
Tension arises after the murder of King Duncan as the characters try to understand what happened, while readers look on omnisciently. Unbeknownst to the other characters, Macbeth and his wife actually planned and carried out King Duncan's murder, yet through dramatic irony, Shakespeare creates a contrast which elevates the tension for the reader. In Act I, readers saw how Macbeth and his wife conspired to murder the king so they could take his throne, which allows readers to see through Macbeth's convincing act of grief upon the discovery of King Duncan’s body. Macbeth feigns innocence when he praises King Duncan as, "wise, amazed, temperate and furious/ Loyal and neutral, in a moment" (II.iii.114-115), which fools the characters around him. For readers, Macbeth and his wife's guilt is obvious, yet the other characters do not realize that the assassins of their beloved king are none other than Macbeth and his wife. Readers must instead watch in nervous anticipation for the moment when someone discovers the perpetrators of the crime.
ACT II Tension Shakespeare creates tension in Act III through the use of soliloquies and dialogue. At the commencement of Act III, Banquo’s soliloquy pronounces his desire for his fate to come true; that is, that his sons and daughters will be the prospective kings and queens of England. Although Banquo hopes that his descendants resume the throne, Macbeth reveals that his “fears in Banquo/ stick deep and in his royalty of nature” (III.i.51-52). Macbeth’s and Banquo’s tension augments on account of the witches’ prophecy. Macbeth's hubris, one of his tragic flaws, also creates the need for him to control his fate, as if he were God by expressing "And with thy bloody and invisibly hand/Cancel and tear to pieces that great bond" (III.ii.47-48). Macbeth creates tension between himself by continuously combatting his fate--a futile act. In order to control his fate, Macbeth attempts to murder Fleance and Banquo, a result of the growing tension between Macbeth, Banquo, and their fates. This tension is revealed through their individual soliloquies, but it is not present during their dialogue. Both men express their bold, individual thoughts but refrain from expressing them to each other. By using soliloquies, the audience understands the tension between Banquo and Macbeth, even when they do not reveal their tension around each other.
Lady Macbeth acts as the receptor of Macbeth's growing tension between himself and his distrust towards Banquo. Although Lady Macbeth conspired with Macbeth to murder Duncan, she reveals her desire for the tension between their past and present to terminate by insisting "Sleek o'er your rugged looks; Be bright and jovial among your guests tonight" (III.ii.26-27). Lady Macbeth wishes to enjoy her knew place of authority rather than to be reminded of any lingering consequences of past actions. After Macbeth proclaims his distrust towards Banquo, he hires men to murder Banquo in order to scratch the itch that is his proclaimed fate. By becoming obsessed with changing his fate, Macbeth creates tension between him and his wife. His wife, first craving the power and control of queen, now stands amongst an obsessive husband. She expresses this by saying “‘Tis safer to be that which we destroy, Than, by destruction, dwell in doubtful joy” (III.ii.5-6). By this quote, she appears unsatisfied with her life, and when Macbeth finally views the apparition of Banquo’s ghost at the dinner table, Lady Macbeth acts to excuse her husbands wild outcries. She is the voice of reason in her husband’s frenzy of obsession and desire. By contrasting the desires and the relationship between these two characters, tension can be seen augmenting between Macbeth and his wife.
Shakespeare builds tension through contrast in characters’ interaction and dialogue. For example, as Macbeth begins to enact the plan to kill the King Duncan, he utters, “Hear [the bell] not, Duncan; for it is a knell that summons thee to heaven or to hell” (II.i.64-65). Though Macbeth ventures to commit a murder as he speaks the phrase, he questions the king’s ability to enter heaven, establishing situational irony and intriguing the reader with the true character of Macbeth. After King Duncan’s murder, tension continues to rise between Macbeth and Lady Macbeth, as Lady Macbeth considers Macbeth a coward for resisting another glance at his crime. She scolds, “My hands are of your color; but I shame to wear a heart so white” (II.iii.62-63), explaining that she is as guilty of murder as her husband, but is strong enough to carry the guilt they now hold. Macbeth did take the king’s life, yet Lady Macbeth continues to doubt her husband’s strength and resolve, adding to the tension in the play.
The obvious source of tension in Act II becomes the homicide of King Duncan. Through direct dialogue, actions and the thoughts of characters Shakespeare keeps viewers on the edges of their seats. Anticipation grows as Macbeth performs the killing of Duncan. When Duncan's attendants partially wake from their slumber hearts start beating faster thinking that Macbeth will get caught. Furthermore, the conflict within Macbeth creates more tension in the air. Even as Macbeth is slaughtering the King he experiences a seesaw of emotions; he's naturally a decent man who is forced by his wife to kill to accomplish the ultimate means of success, Kingship. When Macbeth hears voices in his head "Macbeth does murder sleep!" (II.ii. 35) his inner struggle between good and bad becomes even more prominent to the point were it's impossible for him to escape his actions which also juxtaposed Lady Macbeth's ideal of "These deeds must not be thought" (II.ii.34). In addition to creating tension in dialogue and relationships the contrast that the setting creates also reveals some unorthodox tension. A persons home is their most intimate place of peace and comfort. The fact that Macbeth committed a murder in his own home creates a contrast between what a home should be and what he turned it into. By doing so Shakespeare makes the setting of Macbeth's home a place of tension from herein out. The overall act is one of anxiety and suspicion for viewers, but Shakespeare does so in an inviting way which also adds suspense to the play.
Shakespeare, especially in his tragedies, is notorious for his utilization of tension. Ripe with tension, Act II excites the reader and intensifies the root causes of conflict and tension presented in Act I. He does this using interpersonal relationships as well as setting to express tension to readers. Interpersonal relations are stressed in this chapter more than the first, as Macbeth's internal conflict becomes external as he finally kills the King. One highly notable point of contrast and tension is the interactions between Banquo and Macbeth. This is set up initially in Act I as the two both hear the prophecy, establishing Banquo as a foil for Macbeth. In their conversation in Act II Scene i, Banquo speaks of avoiding sleep as he dreams of immoral things, even as Macbeth stays awake contemplating the evil deeds he plans to commit. The two react oppositely to the prophecy, and their conversation highlights this as Banquo states that Macbeth has seen "some truth" in it (II,i,21). In this same way, Macbeth wonders if Banquo could assist him in his plot, and it becomes clear Banquo will be a great help or hindrance to Macbeth, increasing the tension in their relationship. The tension mounts within Macbeth's castle, a dark and foreboding setting, goes over the top and kills not only Duncan but his servants and Banquo as well. The tension manifested so far took its toll on Macbeth, as the tension placed on him by Lady Macbeth drives him the killing, paranoia as he believes he hears the servants, and then more killing. He takes out the tension between himself and Banquo by killing him as well. The tension remains inside the castle, however, and Macbeth eventually seeks an escape from the atmosphere by leaving the confined environment.
Shakespeare employs dramatic irony in the dialogue of Macduff to further the tension surrounding the murder of Duncan. When Lady Macbeth requests to know the source of the chaos, an example of verbal irony on her part, Macduff responds O gentle lady,/ 'Tis not for you to hear what I can speak:/ The repetition, in a woman’s ear,/ Would murder as it fell” (II.iii.58-61). This response exhibits sexism, in the assumption that women are too delicate and unable to handle such tragedy as death, and it is therefore ironic of Macduff to apply this sexist attitude to Lady Macbeth, who formerly shed her womanhood in her plea to the evil spirits to be “unsex’d”. In fact, she exhibits feminism in her denial of the sensitivity and compassion associated with womanhood. Macduff’s speech demonstrates dramatic irony because the audience is fully aware but Macduff has no knowledge of Lady Macbeth’s role in Duncan’s murder, thus building tension around the pursuit to discover the murderer. Macduff’s role in the murder scene thus far also renders his response ironic on yet another level, because while has the most suspicion of Macbeth and has the best grasp on the situation, but simultaneously appears most oblivious of Lady Macbeth’s role. Once her duty reaches its completion, the focus and responsibility shifts to Macbeth who physically carried out the act of murder. In the projection of a murder spurred on by Lady Macbeth onto Macbeth and Macduff's suspicion of Macbeth's rather than Lady Macbeth's actions, Macbeth assumes the throne on a basis of deceit, immorality, and tension amongst noblemen.
After Macbeth murders Duncan, Shakespeare utilizes tension through the tone of Macbeth and Lady Macbeth. Both characters play along with Macduff, Banquo, and Donalbain by acting devastated by the loss of the King Duncan. As Macduff explains to Lady Macbeth about the murder of Duncan, she responds by acting completely surprised stating, “What, in our house?” (II.iii.51-52) and shortly after falls into Macduff’s arms as she pretends to faint. Meanwhile, Macbeth expresses his sorrow mentioning that Duncan “had a heart to love, and in that heart courage to make’s love known” (II.iii.52). Since the readers are aware that Macbeth committed the crime and that Lady Macbeth is an accomplice, tension is built up because we also know that characters such as Macduff and Banquo are unaware of this at the moment. Irony is also implemented into this scene as Macduff feels that Lady Macbeth is much too delicate and innocent to bear the news of Duncan’s death saying “Tis not for you to hear what I can speak: The repetition, in a woman’s ear” (II.iii.51). The overreaction to the news of Duncan’s death by Lady Macbeth only reinforces the irony and tension in this passage.
Proceeding Duncan's murder, the level of tension rises between the characters, most noticeably through the veil of devastation Macbeth and Lady Macbeth wear to conceal themselves as the culprits. When frantically called by Macduff to hurry up to Duncan's chamber, Lady Macbeth pretends to be completely unaware and acts aggravated "That such a hideous trumpet calls to parley/ The sleepers of the house?" (II. ii. 87-88). Macbeth exclaims to Macduff and that in his fury he killed the chamberlains, and once again Lady Macbeth distracts the attention from Macbeth with her melodramatic fainting. Macbeth and his wife's actions cause the tension to escalate because the reader is aware of their guilt, meanwhile the other characters are not, causing the reader to wonder whether or not their little performance will keep the others ill informed of what actually occurred. Skeptical of their father's murder, Malcom and Donalbain become frightened and decide to flee from the scene, which in turn, causes them to become the new suspects of this heinous crime, further pulling the attention away from Macbeth and his wife. Lady Macbeth and her husband's plan was not entirely fool-proof, and by Shakespeare implementing Malcom and Donalbain's escape, he causes the tension to boil over.
Set against a dinner party, Shakespeare wrote Act III with shifts in tone to create tension. Initially, before his party, Macbeth appears confident, and tells the murderers he hired to, "Know Banquo was your enemy" (III.i.114), thus convincing them of Banquo's guilt and deserved death. Certain the murderers will succeed, Macbeth joins his joyful party and the murderers partially carry out their plan to kill both Banquo and his son Fleance. Failing to kill Fleance, while successfully taking care of Banquo, the murderers return to tell Macbeth. This failure instigates the beginning of the tension, which Macbeth amplifies upon hearing what happened. Macbeth exclaims, “I had else been perfect.../ But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears” (III.iv.21-25), revealing his self-doubt from earlier acts and fear of losing his power. With only Banquo dead, the main threat no longer exists, but Fleance still poses a future threat and may be foreshadowing events to come. The tension escalates when Macbeth sees Banquo’s ghost at his dinner party and cannot cope, eventually sending his guests home and ruining his dinner’s celebratory atmosphere. These shifts serve to emphasize the accumulating tension and demonstrate Shakespeare’s method of weaving the tension into the work through shifts.
Act 3: Tension Macbeth uses the tension between Banquo and the "murderers" to provide reasons for the tragedy that will occur in the following act. The murderers are angry with the "vile blows and buffets of the world" (III.I.111) and the poverty they have been condemned with that their anger will lead them into seeking revenge. Macbeth blames their hardship solely on Banquo to create hatred between the two characters for his personal benefit. By allowing the murderers to murder Banquo, Macbeth believes he will not have anyone in his way anymore. He cannot fathom the anguish he will feel once he murders another, therefore he insists on the two men to commit the crime. By manipulating the situation and using tension between the characters, Macbeth satisfies his own needs. Shakespeare uses the tension between social classes where the murderers do not have power and they are angered by the lack of power, therefore they are expressing their anger in a dangerous way. Macbeth manipulates the relationship between Banquo and the murderers by saying "both of you know Banquo was your enemy" (III.I.116-117) filling their minds with hateful thoughts and creating more anger. Macbeth creates tension to manipulate the events occurring around him.
Although several of my blogs center around the dynamic between Macbeth and his wife, the dinner party in scene four of act three demonstrates a growing tension between man and wife. As shown through previous characterization, Lady Macbeth largely believes her husband has failed to prove himself masculine in the past; she thinks Macbeth thus far has acted cowardly. During scene, Macbeth once again hallucinates- seeing the ghost of Banquo in his seat at the table. This naturally frightens Macbeth, causing him to call out to the ghost (much to the bewilderment of his guests). In true Lady Macbeth fashion she exclaims "Are you a man....why do you make such faces? When all's done, you look but on a stool" (3,4,57-67) to his husband, for he is embarrassing her. While attempting to quell the suspicion of the banquet-goers, she devises a lie that Macbeth feels ill and suffers from a childhood disease. However, she eventually requests the other dignitaries simply leave the residence. Tension manifests itself through the heated exchanges between Macbeth and Lady Macbeth and reveals itself through her outward display towards the guests (I imagine her delivering the lines directed at her guests through a gritted, obscenely fake smile).
William Shakespeare creates tension in Act II through rhyme and contradictions. For example Macbeth says in his soliloquy, “I go and it is done. The bell invites me. Hear it not Duncan, for it is knell, that summons thee to heaven or hell.” (II.I.) When Macbeth hears the bell, the witches’ vision of murdering Duncan turns into reality. Macbeth then tells Duncan to not listen to this bell because it will determine if he goes to heaven or hell; almost as a warning sign. Already the topic of killing Duncan suspenseful but the rhyme and the word play add to the element. It’s decided now, through the rhyme, that Duncan will die. Shakespeare also used contradictions. For example, Act 2, Scene 2 when Lady Macbeth says, “My hands are of your colour; but I shame to wear a heart so white." She says this after she has to replace the murder weapon back with Duncan's guards. Originally, this was a part of the murder scheme, but Macbeth was still in a daze from killing Duncan that he ended up bringing the daggers back with him. When Lady Macbeth returns from placing the daggers with the guards, she nags Macbeth by telling him that her hands are of his color meaning she had blood on her hands now from carrying the daggers. As for the "shame to wear a white heart" part, she manipulates him by questioning his manhood. She wants him to be brave and own up to his crime rather than hide behind his guilt. Through his rhyme (diction) and his contradictions, the word play sets up tension for the reader and draws them in even further. These elements aid in the plot, thickening it and driving Macbeth to his decisions. By contradictions, Lady Macbeth manipulates her husband to stop being guilty due to blood is on both of their hands.
In Act 1, Scene 2 of Macbeth, Shakespeare uses various devices in order to create tension. The scene itself conveys tension through its several moments of action. Shakespeare represents this action through a battle that takes place and reports of Macbeth's and Banquo success to King Duncan from the wounded leader. Besides the action represented by Shakespeare, diction and tone are used to create tension. Through the anticipation and conversing of King Duncan, the wounded leader, and his other men, the reader is placed in a tense environment due to the fact that the Kingdom is facing a time of war. King Duncan faces different levels of stress in short time intervals as well as excitement in hearing of Macbeth's victory. For example, on the wake of the news from the battle King Duncan rises at the wounded soilders appearance as he states, "What bloody man is that? He can report, as seemeth by his plight, of the revolt the newest state." (Act 1, Scene 2). Showing concern of the soldier's state, King Duncan shows doubt and fear of the news he has anticipated. Shakespeare also creates tension, through masterful stagecraft in placing opening the act with the scene of the Witches also creating suspense in the waiting the reader faces between scenes.
In Macbeth, as with any great tragedy, tension and deceit fuel the severe actions of the character’s in order to protect themselves (or so they think). In regards to Macbeth and Lady Macbeth in Act III, a shift in tension takes place. Whereas in Acts I and II, in which Lady Macbeth’s unquenchable thirst for power incites Macbeth’s loss of innocence and subsequent murder of Duncan, in Act III, Macbeth becomes more vengeful and malicious than Lady Macbeth could have imagined. Macbeth, whose just judgment is blinded by intense rage, decides in order to again take fate into his own hands he must now kill both Banquo and his son, Fleance, as the three Witches prophesized Banquo’s son would eventually take Macbeth’s place as King. In an exchange between Macbeth and Lady Macbeth in which the switch in tension first clearly becomes evident, Lady Macbeth first worries, “Tis safer to be that which we destroy Than by destruction dwell in doubtful joy” (III.ii.5) in which she explains how the torment of anxiety upon committing heinous crimes such as murder outweigh whatever selfish benefits which were thought to have come with the act. When Macbeth enters, he attempts to rationalize his killing of Duncan, which already took place, and furthermore justify his new scheme to murder Banquo and his son Fleance. In an eloquent metaphor, Macbeth offers, “Present him eminence, both with eye and tongue: Unsafe the while, that we Must lave our honors in these flattering streams, And make our faces vizards to our hearts, Disguising what they are” (III.ii.30-35), asking Lady Macbeth to play along with Macbeth’s façade of virtue, remaining publicly kind to Banquo while Macbeth plots his murder. Frightened by her husband’s delusional mutterings, Lady Macbeth insists to Macbeth, “You must leave this” (III.ii.36) and upon determining she cannot stop her husband from his wicked intentions asks what in fact Macbeth is planning to do about Banquo and Fleance. Macbeth extends no specific details, but Lady Macbeth presumably knows by Macbeth’s tone and demeanor his plans are bitter and cruel. This scene juxtaposes the scene in Act I when, unsure about whether or not he should kill Duncan, Macbeth confides in his wife and she convinces him power and control is more important than righteousness. Lady Macbeth and Macbeth most definitely switch roles in this scene, though, when Lady Macbeth realizes the monster she has created of her once fair-minded and good husband.
The murder of King Duncan, after Macbeth struggles with himself, makes an unthinkable act reality and setting an air of tension over the entire play. This new found tension is immediately built up through the dialogue and actions of those in the house. News of the murder spreads extremely quickly throughout and suddenly Macbeth and Lady Macbeth assume the most important acting roles possible; that of innocence. The high paced emotions passing through Macbeth make the viewer suddenly feel his plight, that of a man with remorse or possibly one purely of nerves in his dark secret. "To know my deed twere best not know myself./ Wake Duncan with my knocking! I would thou couldst!" (II, II, 90-92) The hot blooded emotions continue to build tension as Banquo and Macduff become suspicious of the two conspirators as they try to figure out who slew their King Duncan. Donablin frightened so thoroughly suggests a move to Ireland to escape the treachery that now festers throughout the plot. "There's daggers in men's smiles: the near in blood, The nearer bloody." (II, III, 145-146)
A build of tension gradually increases from the use of dramatic irony. Scene one of the third act demonstrates Shakespeare’s continual use of this irony to build up the tension. Shakespeare does so by incorporating a conversation between Macbeth and a hired murderer directly following the previous scene in which Banquo expressed his feelings regarding the death of Duncan and questions Macbeth’s involvement in this act to Macduff. Banquo displays his growing suspicion that Macbeth is to blame for the murder when stating, “let us meet, and question this most bloody piece of work, to know it further. Fears and scruples shake us: in the great hand of God I stand; and thence against the undivulged pretence I fight of treasonous malic.” (II.iv.53). In the opening scene for act three, Macbeth meets with the “first murderer” to discuss killing Banquo just moments after having a friendly conversation with Banquo himself. Macbeth says to the first murderer, “our fears in Banquo stick deep; and in his royalty of nature reigns that which would be feared: tis much he dares” (III.i.58). Afraid that Banquo knows too much information about Macbeth’s plot to obtain complete supremacy, Macbeth betrays his loyal friend in order to protect his reputation and his label as king.
In order to build gradual tension throughout the play Macbeth, Shakespeare instills insecurity within a relationship between the protagonist and Banquo. After leaving the battlefield as equal Generals of the King's army, Macbeth is told by the witches of his upcoming fortune and power. After the witches state, "All hail Macbeth! the king thereafter" (I.III.51), the reaction of Banquo sparks tension building up between the two characters who suddenly change in position and status. This tension becomes more obvious as Shakespeare instills this presence after the witches choose to add Banquo's name to their wisdom stating "All hail Macbeth and Banquo" (I.III.69). The original perception as Banquo as a less powerful yet equally aware of Macbeth's future presents a threat to Macbeth's power, causing eventual hostility between the two soldiers.
MS B MY BLOG DIDNT PUBLISH ITSELF FOR ACT 2. Im sorry, here it is. Following the murder of Duncan, tension rises between Lady Macbeth and Macbeth. While Lady Macbeth is at ease with the murder her husband committed, Macbeth is the opposite. Directly after he murders the king Macbeth is frantic and it is apparent that he is fearful of the consequences of his actions. Lady Macbeth, being the leader of the murder idea, finds peace knowing that herself and her husband will rise in society. Lady Macbeth reprimands her husband for acting foolishly by saying to him "Why, worthy thane, you do unbend your noble strength to think so brainsickly of things" (II.ii.44-46). With these words Lady Macbeth expresses her disdain for her husband's insecurity about the murder. The tension between the husband and wife stems from Macbeth being unsure about his actions while his wife is pleased with the outcome. Fear becomes instilled into Macbeth and remains apart of his character for the majority of the play leading him to an increase in his insanity.
The difference between the knowledge of the reader versus the knowledge of the characters creates tension in Act IV of Shakespeare’s Macbeth. At the beginning of the act, the witches create three apparitions which dictate the future of Macbeth. Macbeth dismisses these apparitions, but the reader knows, from the last Act, that these apparitions are indicators of Macbeth’s fate yet manipulative, equivocal indicators, to which Macbeth will use hope to decipher to his benefit over “wisdom, grace, and fear” (III.v.31). Tension is also created in scene 2 and 3 when Ross, a relative of Macduff and his wife, discusses Macduff’s actions with Macduff’s wife in their castle. Ross assures her that “Things at the worst will cease, or else climb upward/To what they were before” (IV.ii.25-27). This line proves ironic as after Ross ventures towards Macbeth, three murderers enter the castle of Macduff, demand to speak with him, and kill Macduff’s son. Ross was just a few minutes late, and as in Romeo and Juliet, timing creates tension between the characters and the reader. The reader now understands the complex events that transpired between Macduff’s wife, her son, and the murderers, but when Ross enters Macduff’s hideaway, he professes that Macduff’s wife and children “were well at peace when I did leave ‘em” (IV.iii.179). None of the characters know the fate of Macduff’s son except the reader. By leaving out information to some of the members in the plot, the relationship between the reader and the characters grows in tension.
Tension arises during Scene I of Act IV, when Macbeth demands additional prophecies from the witches. Despite the accuracy of the witches' first prophecies concerning Macbeth, Act IV's prophecies do not seem to matter to Macbeth and he disregards the warnings, confident they will never come to pass. Macbeth even asks rhetorically, "Who can impress the forest, bid the tree/ Unfix his earth-bound roots" (IV.i.93-94), in a joyful manner, certain of the security and duration of his reign. Although Macbeth exudes self-assurance, the readers with knowledge of the witches' ability to accurately predict the future, as they did in Act I, begin to feel tension build in anticipation of the latest predicted events. Macbeth's inattention to the witches' prophecies creates a shift in his character, from his initial Act I behavior, in which he heeded what the witches told him, to a nonchalant manner in Act IV. This shift creates anxiety in the reader as he or she recognizes Macbeth's arrogance and ultimate downfall.
Shakespeare uses tension in Act 2 scene 2 through the internal struggle that Macbeth faces. In this scene, a true man vs. self scenario is apparent with the confusion of voices from the audience. Shakespeare starts to build this tension through the first signs of Macbeth's insanity. This reference to the audience opens the door for immediate interpretation that Macbeth has started to lose his mind, as he believes he hears voices that lack presence. This internal tension that Macbeth faces is presented to the audience when, Macbeth asks, "Who's there?" (Act II, scene II, line 7) indicating a presence out of sight from the audience. Macbeth believes someone lurking in his whereabouts when in reality his wife is the only being present. This inner tension increases as Macbeth questions Lady Macbeth about the presence of artificial noise he imagines. Lady Macbeth shows concern in that she is unaware of the voices presence. Shakespeare uses Lady Macbeth's reaction as a technique to solidify Macbeth's insanity. As Macbeth articulates his hearings of the word "Murder" (Act II, scene II, line 14), he further states that he heard, "Sleep no more! Macbeth does murder sleep." (Act II, scene II, line 16). Shakespeare progressively uses this voice in the formation of the maniac known as Macbeth, to represent the internal struggle of man vs. his thoughts/conscious. Due to the fact that Macbeth had murdered Duncan, the tension build up creates a character unseen in earlier stages of the play, a character deformed by conscious and immoral actions.
Without the use of an epilogue, Shakespeare had to uniquely capture his audience while simultaneously indulging them into the background knowledge. He does this seamlessly as he introduces an abundance of tension within his dramatic opening. In the midst of eerie thunder and lightning, Macbeth introduces three unnatural and peculiar witches in a disturbing environment which completely contrasts the other settings in the play. Their immediate introduction provides the reader with an unsettling tone as they begin to chant, “Fair is foul and foul is fair” (I, I, 13) ultimately creating a foreshadowing of tension. While the witches themselves may be foul in all respects, with this they touch upon the discrepancy between appearance and reality throughout the play. They predict that evil will deceive Macbeth's judgment, as shown in scene three when Macbeth begins to fall into the tactics of the witches. Macbeth outwardly shows his interest in the witches chants even though they clearly cannot be taken as truth, as the noble general, Banquo, asks Macbeth “Are ye fantastical, or that indeed/ Which outwardly ye show?” (I, III, 55-56). Further discussing the implications of deception of appearance and reality, the reader begins to question the veracity. As Macbeth becomes tempted by the ministers of darkness, tension builds as temptation leads to a tragic downfall. The tension that is created also sets the tone for the rest of the play that keeps the audience intrigued for the fate of Macbeth, which presumably is the dramatic downward spiral of a once noble man.
ReplyDeleteA crucial aspect of the overall craft of a successful tragedy, which Shakespeare is widely acclaimed for, is the tension of certain pivotal situations as well as between characters. In the case of Macbeth, the most notable hostility occurs between Macbeth himself and his wife, Lady Macbeth. Following Macbeth’s visit from the three Witches in which he learns he will eventually become King, when he relays the message to Lady Macbeth in a letter, Lady Macbeth is overcome with emotion at the thought of becoming the Queen. In order to become King, though, Macbeth must kill the current King, Duncan, a gracious and kind nobleman who recently named Macbeth the thane of Cawdor. Although tempted by the power which would come along with being King, Macbeth begins to question his decision, and tells Lady Macbeth, “We will proceed no further in this business: He hath honored me of late” (I.vii.31) to which Lady Macbeth replies in anguish “When you durst do it, then you were a man; And, to be more than what you were, you would Be so much more than a man” (I.vii.49). In order to persuade Macbeth to consent to her devious plan, Lady Macbeth questions Macbeth’s manhood, saying if he does not go through with this malicious action he should not be considered a real man. When Macbeth questions the possible ramifications of murdering the King, asking “If we should fail?” (I.vii.58), Lady Macbeth comes back with “We fail! But screw your courage to the sticking-place, And we’ll not fail” (I.vii.59). Lady Macbeth allures Macbeth with the enticement of glory, saying courage will help Macbeth to complete this action, when in reality real courage would come from Macbeth denying his wife’s corrupt scheme. The tension between Macbeth and Lady Macbeth, which comes from comparing their dialogue in regard to their diction, shows their true motives. Macbeth attempts to be firm in his decision, but when Lady Macbeth uses words such as man and courage, Macbeth again falls into the tantalization of power and dominance.
ReplyDeleteAct II: Irony and Action
ReplyDeleteShakespeare speeds up the pace of the actions and dialogue of the characters in his work to create tension between them. After Duncan dies, the stage directions increase in both frequency and magnitude. For example, after Macduff declares the king’s death, “Macbeth and Lennox run into Duncan’s room” (II.iii.77). The alarm bells subsequently sound and the cacophonous murmur of dialogue, sounds, and despair create tension and accelerate the actions in the scene. During this scene, a multitude of characters run around and their presence creates a garbled cloud of characters producing actions such as “running” and “rushing.” After all of the characters comply with the stage action that “everyone goes except Malcolm and Donalbain” (II.iv.141), the tension releases itself from the play, as the commotion eventually subsides.
The use of verbal irony in the dialogue during this scene also creates tension, as the reader understands, unlike conventional murder mystery’s, that the true perpetrator are Macbeth and Lady Macbeth. Both appear as though they grieve for the death of the man they murdered. Macbeth exclaims “the murderers/ Steeped in the colors of their trade, their daggers/Unmannerly breeched with gore” (II.iii.120-122). As the murderer accuses others, there is verbal irony within his zealous attempt to find the guilty, when he himself carries the guilt along with his wife, Lady Macbeth. Lady Macbeth’s actions towards the death of the king unmatch those of Macbeth because out of horror, she faints and needs to be carried from the scene even though she is the true cause of the horror. An example of situational irony, Lady Macbeth’s reaction to her own crime shows a deal of tension not between the character’s in the book but rather between the character’s and the reader.
Tension arises after the murder of King Duncan as the characters try to understand what happened, while readers look on omnisciently. Unbeknownst to the other characters, Macbeth and his wife actually planned and carried out King Duncan's murder, yet through dramatic irony, Shakespeare creates a contrast which elevates the tension for the reader. In Act I, readers saw how Macbeth and his wife conspired to murder the king so they could take his throne, which allows readers to see through Macbeth's convincing act of grief upon the discovery of King Duncan’s body. Macbeth feigns innocence when he praises King Duncan as, "wise, amazed, temperate and furious/ Loyal and neutral, in a moment" (II.iii.114-115), which fools the characters around him. For readers, Macbeth and his wife's guilt is obvious, yet the other characters do not realize that the assassins of their beloved king are none other than Macbeth and his wife. Readers must instead watch in nervous anticipation for the moment when someone discovers the perpetrators of the crime.
ReplyDeleteACT II Tension
ReplyDeleteShakespeare creates tension in Act III through the use of soliloquies and dialogue. At the commencement of Act III, Banquo’s soliloquy pronounces his desire for his fate to come true; that is, that his sons and daughters will be the prospective kings and queens of England. Although Banquo hopes that his descendants resume the throne, Macbeth reveals that his “fears in Banquo/ stick deep and in his royalty of nature” (III.i.51-52). Macbeth’s and Banquo’s tension augments on account of the witches’ prophecy. Macbeth's hubris, one of his tragic flaws, also creates the need for him to control his fate, as if he were God by expressing "And with thy bloody and invisibly hand/Cancel and tear to pieces that great bond" (III.ii.47-48). Macbeth creates tension between himself by continuously combatting his fate--a futile act. In order to control his fate, Macbeth attempts to murder Fleance and Banquo, a result of the growing tension between Macbeth, Banquo, and their fates. This tension is revealed through their individual soliloquies, but it is not present during their dialogue. Both men express their bold, individual thoughts but refrain from expressing them to each other. By using soliloquies, the audience understands the tension between Banquo and Macbeth, even when they do not reveal their tension around each other.
Lady Macbeth acts as the receptor of Macbeth's growing tension between himself and his distrust towards Banquo. Although Lady Macbeth conspired with Macbeth to murder Duncan, she reveals her desire for the tension between their past and present to terminate by insisting "Sleek o'er your rugged looks; Be bright and jovial among your guests tonight" (III.ii.26-27). Lady Macbeth wishes to enjoy her knew place of authority rather than to be reminded of any lingering consequences of past actions. After Macbeth proclaims his distrust towards Banquo, he hires men to murder Banquo in order to scratch the itch that is his proclaimed fate. By becoming obsessed with changing his fate, Macbeth creates tension between him and his wife. His wife, first craving the power and control of queen, now stands amongst an obsessive husband. She expresses this by saying “‘Tis safer to be that which we destroy, Than, by destruction, dwell in doubtful joy” (III.ii.5-6). By this quote, she appears unsatisfied with her life, and when Macbeth finally views the apparition of Banquo’s ghost at the dinner table, Lady Macbeth acts to excuse her husbands wild outcries. She is the voice of reason in her husband’s frenzy of obsession and desire. By contrasting the desires and the relationship between these two characters, tension can be seen augmenting between Macbeth and his wife.
ReplyDeleteShakespeare builds tension through contrast in characters’ interaction and dialogue. For example, as Macbeth begins to enact the plan to kill the King Duncan, he utters, “Hear [the bell] not, Duncan; for it is a knell that summons thee to heaven or to hell” (II.i.64-65). Though Macbeth ventures to commit a murder as he speaks the phrase, he questions the king’s ability to enter heaven, establishing situational irony and intriguing the reader with the true character of Macbeth. After King Duncan’s murder, tension continues to rise between Macbeth and Lady Macbeth, as Lady Macbeth considers Macbeth a coward for resisting another glance at his crime. She scolds, “My hands are of your color; but I shame to wear a heart so white” (II.iii.62-63), explaining that she is as guilty of murder as her husband, but is strong enough to carry the guilt they now hold. Macbeth did take the king’s life, yet Lady Macbeth continues to doubt her husband’s strength and resolve, adding to the tension in the play.
ReplyDeleteThe obvious source of tension in Act II becomes the homicide of King Duncan. Through direct dialogue, actions and the thoughts of characters Shakespeare keeps viewers on the edges of their seats. Anticipation grows as Macbeth performs the killing of Duncan. When Duncan's attendants partially wake from their slumber hearts start beating faster thinking that Macbeth will get caught. Furthermore, the conflict within Macbeth creates more tension in the air. Even as Macbeth is slaughtering the King he experiences a seesaw of emotions; he's naturally a decent man who is forced by his wife to kill to accomplish the ultimate means of success, Kingship. When Macbeth hears voices in his head "Macbeth does murder sleep!" (II.ii. 35) his inner struggle between good and bad becomes even more prominent to the point were it's impossible for him to escape his actions which also juxtaposed Lady Macbeth's ideal of "These deeds must not be thought" (II.ii.34). In addition to creating tension in dialogue and relationships the contrast that the setting creates also reveals some unorthodox tension. A persons home is their most intimate place of peace and comfort. The fact that Macbeth committed a murder in his own home creates a contrast between what a home should be and what he turned it into. By doing so Shakespeare makes the setting of Macbeth's home a place of tension from herein out. The overall act is one of anxiety and suspicion for viewers, but Shakespeare does so in an inviting way which also adds suspense to the play.
ReplyDeleteShakespeare, especially in his tragedies, is notorious for his utilization of tension. Ripe with tension, Act II excites the reader and intensifies the root causes of conflict and tension presented in Act I. He does this using interpersonal relationships as well as setting to express tension to readers.
ReplyDeleteInterpersonal relations are stressed in this chapter more than the first, as Macbeth's internal conflict becomes external as he finally kills the King. One highly notable point of contrast and tension is the interactions between Banquo and Macbeth. This is set up initially in Act I as the two both hear the prophecy, establishing Banquo as a foil for Macbeth. In their conversation in Act II Scene i, Banquo speaks of avoiding sleep as he dreams of immoral things, even as Macbeth stays awake contemplating the evil deeds he plans to commit. The two react oppositely to the prophecy, and their conversation highlights this as Banquo states that Macbeth has seen "some truth" in it (II,i,21). In this same way, Macbeth wonders if Banquo could assist him in his plot, and it becomes clear Banquo will be a great help or hindrance to Macbeth, increasing the tension in their relationship.
The tension mounts within Macbeth's castle, a dark and foreboding setting, goes over the top and kills not only Duncan but his servants and Banquo as well. The tension manifested so far took its toll on Macbeth, as the tension placed on him by Lady Macbeth drives him the killing, paranoia as he believes he hears the servants, and then more killing. He takes out the tension between himself and Banquo by killing him as well. The tension remains inside the castle, however, and Macbeth eventually seeks an escape from the atmosphere by leaving the confined environment.
Shakespeare employs dramatic irony in the dialogue of Macduff to further the tension surrounding the murder of Duncan. When Lady Macbeth requests to know the source of the chaos, an example of verbal irony on her part, Macduff responds O gentle lady,/ 'Tis not for you to hear what I can speak:/ The repetition, in a woman’s ear,/ Would murder as it fell” (II.iii.58-61). This response exhibits sexism, in the assumption that women are too delicate and unable to handle such tragedy as death, and it is therefore ironic of Macduff to apply this sexist attitude to Lady Macbeth, who formerly shed her womanhood in her plea to the evil spirits to be “unsex’d”. In fact, she exhibits feminism in her denial of the sensitivity and compassion associated with womanhood. Macduff’s speech demonstrates dramatic irony because the audience is fully aware but Macduff has no knowledge of Lady Macbeth’s role in Duncan’s murder, thus building tension around the pursuit to discover the murderer. Macduff’s role in the murder scene thus far also renders his response ironic on yet another level, because while has the most suspicion of Macbeth and has the best grasp on the situation, but simultaneously appears most oblivious of Lady Macbeth’s role. Once her duty reaches its completion, the focus and responsibility shifts to Macbeth who physically carried out the act of murder. In the projection of a murder spurred on by Lady Macbeth onto Macbeth and Macduff's suspicion of Macbeth's rather than Lady Macbeth's actions, Macbeth assumes the throne on a basis of deceit, immorality, and tension amongst noblemen.
ReplyDeleteAfter Macbeth murders Duncan, Shakespeare utilizes tension through the tone of Macbeth and Lady Macbeth. Both characters play along with Macduff, Banquo, and Donalbain by acting devastated by the loss of the King Duncan. As Macduff explains to Lady Macbeth about the murder of Duncan, she responds by acting completely surprised stating, “What, in our house?” (II.iii.51-52) and shortly after falls into Macduff’s arms as she pretends to faint. Meanwhile, Macbeth expresses his sorrow mentioning that Duncan “had a heart to love, and in that heart courage to make’s love known” (II.iii.52). Since the readers are aware that Macbeth committed the crime and that Lady Macbeth is an accomplice, tension is built up because we also know that characters such as Macduff and Banquo are unaware of this at the moment. Irony is also implemented into this scene as Macduff feels that Lady Macbeth is much too delicate and innocent to bear the news of Duncan’s death saying “Tis not for you to hear what I can speak: The repetition, in a woman’s ear” (II.iii.51). The overreaction to the news of Duncan’s death by Lady Macbeth only reinforces the irony and tension in this passage.
ReplyDeleteProceeding Duncan's murder, the level of tension rises between the characters, most noticeably through the veil of devastation Macbeth and Lady Macbeth wear to conceal themselves as the culprits. When frantically called by Macduff to hurry up to Duncan's chamber, Lady Macbeth pretends to be completely unaware and acts aggravated "That such a hideous trumpet calls to parley/ The sleepers of the house?" (II. ii. 87-88). Macbeth exclaims to Macduff and that in his fury he killed the chamberlains, and once again Lady Macbeth distracts the attention from Macbeth with her melodramatic fainting. Macbeth and his wife's actions cause the tension to escalate because the reader is aware of their guilt, meanwhile the other characters are not, causing the reader to wonder whether or not their little performance will keep the others ill informed of what actually occurred. Skeptical of their father's murder, Malcom and Donalbain become frightened and decide to flee from the scene, which in turn, causes them to become the new suspects of this heinous crime, further pulling the attention away from Macbeth and his wife. Lady Macbeth and her husband's plan was not entirely fool-proof, and by Shakespeare implementing Malcom and Donalbain's escape, he causes the tension to boil over.
ReplyDeleteSet against a dinner party, Shakespeare wrote Act III with shifts in tone to create tension. Initially, before his party, Macbeth appears confident, and tells the murderers he hired to, "Know Banquo was your enemy" (III.i.114), thus convincing them of Banquo's guilt and deserved death. Certain the murderers will succeed, Macbeth joins his joyful party and the murderers partially carry out their plan to kill both Banquo and his son Fleance. Failing to kill Fleance, while successfully taking care of Banquo, the murderers return to tell Macbeth. This failure instigates the beginning of the tension, which Macbeth amplifies upon hearing what happened. Macbeth exclaims, “I had else been perfect.../ But now I am cabined, cribbed, confined, bound in/ To saucy doubts and fears” (III.iv.21-25), revealing his self-doubt from earlier acts and fear of losing his power. With only Banquo dead, the main threat no longer exists, but Fleance still poses a future threat and may be foreshadowing events to come. The tension escalates when Macbeth sees Banquo’s ghost at his dinner party and cannot cope, eventually sending his guests home and ruining his dinner’s celebratory atmosphere. These shifts serve to emphasize the accumulating tension and demonstrate Shakespeare’s method of weaving the tension into the work through shifts.
ReplyDeleteAct 3: Tension
ReplyDeleteMacbeth uses the tension between Banquo and the "murderers" to provide reasons for the tragedy that will occur in the following act. The murderers are angry with the "vile blows and buffets of the world" (III.I.111) and the poverty they have been condemned with that their anger will lead them into seeking revenge. Macbeth blames their hardship solely on Banquo to create hatred between the two characters for his personal benefit. By allowing the murderers to murder Banquo, Macbeth believes he will not have anyone in his way anymore. He cannot fathom the anguish he will feel once he murders another, therefore he insists on the two men to commit the crime. By manipulating the situation and using tension between the characters, Macbeth satisfies his own needs. Shakespeare uses the tension between social classes where the murderers do not have power and they are angered by the lack of power, therefore they are expressing their anger in a dangerous way. Macbeth manipulates the relationship between Banquo and the murderers by saying "both of you know Banquo was your enemy" (III.I.116-117) filling their minds with hateful thoughts and creating more anger. Macbeth creates tension to manipulate the events occurring around him.
Although several of my blogs center around the dynamic between Macbeth and his wife, the dinner party in scene four of act three demonstrates a growing tension between man and wife. As shown through previous characterization, Lady Macbeth largely believes her husband has failed to prove himself masculine in the past; she thinks Macbeth thus far has acted cowardly. During scene, Macbeth once again hallucinates- seeing the ghost of Banquo in his seat at the table. This naturally frightens Macbeth, causing him to call out to the ghost (much to the bewilderment of his guests). In true Lady Macbeth fashion she exclaims "Are you a man....why do you make such faces? When all's done, you look but on a stool" (3,4,57-67) to his husband, for he is embarrassing her. While attempting to quell the suspicion of the banquet-goers, she devises a lie that Macbeth feels ill and suffers from a childhood disease. However, she eventually requests the other dignitaries simply leave the residence. Tension manifests itself through the heated exchanges between Macbeth and Lady Macbeth and reveals itself through her outward display towards the guests (I imagine her delivering the lines directed at her guests through a gritted, obscenely fake smile).
ReplyDeleteACT II
ReplyDeleteWilliam Shakespeare creates tension in Act II through rhyme and contradictions. For example Macbeth says in his soliloquy, “I go and it is done. The bell invites me. Hear it not Duncan, for it is knell, that summons thee to heaven or hell.” (II.I.) When Macbeth hears the bell, the witches’ vision of murdering Duncan turns into reality. Macbeth then tells Duncan to not listen to this bell because it will determine if he goes to heaven or hell; almost as a warning sign. Already the topic of killing Duncan suspenseful but the rhyme and the word play add to the element. It’s decided now, through the rhyme, that Duncan will die.
Shakespeare also used contradictions. For example, Act 2, Scene 2 when Lady Macbeth says, “My hands are of your colour; but I shame to wear a heart so white." She says this after she has to replace the murder weapon back with Duncan's guards. Originally, this was a part of the murder scheme, but Macbeth was still in a daze from killing Duncan that he ended up bringing the daggers back with him. When Lady Macbeth returns from placing the daggers with the guards, she nags Macbeth by telling him that her hands are of his color meaning she had blood on her hands now from carrying the daggers. As for the "shame to wear a white heart" part, she manipulates him by questioning his manhood. She wants him to be brave and own up to his crime rather than hide behind his guilt.
Through his rhyme (diction) and his contradictions, the word play sets up tension for the reader and draws them in even further. These elements aid in the plot, thickening it and driving Macbeth to his decisions. By contradictions, Lady Macbeth manipulates her husband to stop being guilty due to blood is on both of their hands.
In Act 1, Scene 2 of Macbeth, Shakespeare uses various devices in order to create tension. The scene itself conveys tension through its several moments of action. Shakespeare represents this action through a battle that takes place and reports of Macbeth's and Banquo success to King Duncan from the wounded leader. Besides the action represented by Shakespeare, diction and tone are used to create tension. Through the anticipation and conversing of King Duncan, the wounded leader, and his other men, the reader is placed in a tense environment due to the fact that the Kingdom is facing a time of war. King Duncan faces different levels of stress in short time intervals as well as excitement in hearing of Macbeth's victory. For example, on the wake of the news from the battle King Duncan rises at the wounded soilders appearance as he states, "What bloody man is that? He can report, as seemeth by his plight, of the revolt the newest state." (Act 1, Scene 2). Showing concern of the soldier's state, King Duncan shows doubt and fear of the news he has anticipated. Shakespeare also creates tension, through masterful stagecraft in placing opening the act with the scene of the Witches also creating suspense in the waiting the reader faces between scenes.
ReplyDeleteIn Macbeth, as with any great tragedy, tension and deceit fuel the severe actions of the character’s in order to protect themselves (or so they think). In regards to Macbeth and Lady Macbeth in Act III, a shift in tension takes place. Whereas in Acts I and II, in which Lady Macbeth’s unquenchable thirst for power incites Macbeth’s loss of innocence and subsequent murder of Duncan, in Act III, Macbeth becomes more vengeful and malicious than Lady Macbeth could have imagined. Macbeth, whose just judgment is blinded by intense rage, decides in order to again take fate into his own hands he must now kill both Banquo and his son, Fleance, as the three Witches prophesized Banquo’s son would eventually take Macbeth’s place as King.
ReplyDeleteIn an exchange between Macbeth and Lady Macbeth in which the switch in tension first clearly becomes evident, Lady Macbeth first worries, “Tis safer to be that which we destroy
Than by destruction dwell in doubtful joy” (III.ii.5) in which she explains how the torment of anxiety upon committing heinous crimes such as murder outweigh whatever selfish benefits which were thought to have come with the act. When Macbeth enters, he attempts to rationalize his killing of Duncan, which already took place, and furthermore justify his new scheme to murder Banquo and his son Fleance. In an eloquent metaphor, Macbeth offers, “Present him eminence, both with eye and tongue: Unsafe the while, that we Must lave our honors in these flattering streams, And make our faces vizards to our hearts, Disguising what they are” (III.ii.30-35), asking Lady Macbeth to play along with Macbeth’s façade of virtue, remaining publicly kind to Banquo while Macbeth plots his murder. Frightened by her husband’s delusional mutterings, Lady Macbeth insists to Macbeth, “You must leave this” (III.ii.36) and upon determining she cannot stop her husband from his wicked intentions asks what in fact Macbeth is planning to do about Banquo and Fleance. Macbeth extends no specific details, but Lady Macbeth presumably knows by Macbeth’s tone and demeanor his plans are bitter and cruel.
This scene juxtaposes the scene in Act I when, unsure about whether or not he should kill Duncan, Macbeth confides in his wife and she convinces him power and control is more important than righteousness. Lady Macbeth and Macbeth most definitely switch roles in this scene, though, when Lady Macbeth realizes the monster she has created of her once fair-minded and good husband.
Act II
ReplyDeleteThe murder of King Duncan, after Macbeth struggles with himself, makes an unthinkable act reality and setting an air of tension over the entire play. This new found tension is immediately built up through the dialogue and actions of those in the house. News of the murder spreads extremely quickly throughout and suddenly Macbeth and Lady Macbeth assume the most important acting roles possible; that of innocence. The high paced emotions passing through Macbeth make the viewer suddenly feel his plight, that of a man with remorse or possibly one purely of nerves in his dark secret. "To know my deed twere best not know myself./ Wake Duncan with my knocking! I would thou couldst!" (II, II, 90-92) The hot blooded emotions continue to build tension as Banquo and Macduff become suspicious of the two conspirators as they try to figure out who slew their King Duncan. Donablin frightened so thoroughly suggests a move to Ireland to escape the treachery that now festers throughout the plot. "There's daggers in men's smiles: the near in blood, The nearer bloody." (II, III, 145-146)
A build of tension gradually increases from the use of dramatic irony. Scene one of the third act demonstrates Shakespeare’s continual use of this irony to build up the tension. Shakespeare does so by incorporating a conversation between Macbeth and a hired murderer directly following the previous scene in which Banquo expressed his feelings regarding the death of Duncan and questions Macbeth’s involvement in this act to Macduff. Banquo displays his growing suspicion that Macbeth is to blame for the murder when stating, “let us meet, and question this most bloody piece of work, to know it further. Fears and scruples shake us: in the great hand of God I stand; and thence against the undivulged pretence I fight of treasonous malic.” (II.iv.53). In the opening scene for act three, Macbeth meets with the “first murderer” to discuss killing Banquo just moments after having a friendly conversation with Banquo himself. Macbeth says to the first murderer, “our fears in Banquo stick deep; and in his royalty of nature reigns that which would be feared: tis much he dares” (III.i.58). Afraid that Banquo knows too much information about Macbeth’s plot to obtain complete supremacy, Macbeth betrays his loyal friend in order to protect his reputation and his label as king.
ReplyDeleteIn order to build gradual tension throughout the play Macbeth, Shakespeare instills insecurity within a relationship between the protagonist and Banquo. After leaving the battlefield as equal Generals of the King's army, Macbeth is told by the witches of his upcoming fortune and power. After the witches state, "All hail Macbeth! the king thereafter" (I.III.51), the reaction of Banquo sparks tension building up between the two characters who suddenly change in position and status. This tension becomes more obvious as Shakespeare instills this presence after the witches choose to add Banquo's name to their wisdom stating "All hail Macbeth and Banquo" (I.III.69). The original perception as Banquo as a less powerful yet equally aware of Macbeth's future presents a threat to Macbeth's power, causing eventual hostility between the two soldiers.
ReplyDeleteMS B MY BLOG DIDNT PUBLISH ITSELF FOR ACT 2.
ReplyDeleteIm sorry, here it is.
Following the murder of Duncan, tension rises between Lady Macbeth and Macbeth. While Lady Macbeth is at ease with the murder her husband committed, Macbeth is the opposite. Directly after he murders the king Macbeth is frantic and it is apparent that he is fearful of the consequences of his actions. Lady Macbeth, being the leader of the murder idea, finds peace knowing that herself and her husband will rise in society. Lady Macbeth reprimands her husband for acting foolishly by saying to him "Why, worthy thane, you do unbend your noble strength to think so brainsickly of things" (II.ii.44-46). With these words Lady Macbeth expresses her disdain for her husband's insecurity about the murder. The tension between the husband and wife stems from Macbeth being unsure about his actions while his wife is pleased with the outcome. Fear becomes instilled into Macbeth and remains apart of his character for the majority of the play leading him to an increase in his insanity.
Toying with Tension:
ReplyDeleteThe difference between the knowledge of the reader versus the knowledge of the characters creates tension in Act IV of Shakespeare’s Macbeth. At the beginning of the act, the witches create three apparitions which dictate the future of Macbeth. Macbeth dismisses these apparitions, but the reader knows, from the last Act, that these apparitions are indicators of Macbeth’s fate yet manipulative, equivocal indicators, to which Macbeth will use hope to decipher to his benefit over “wisdom, grace, and fear” (III.v.31). Tension is also created in scene 2 and 3 when Ross, a relative of Macduff and his wife, discusses Macduff’s actions with Macduff’s wife in their castle. Ross assures her that “Things at the worst will cease, or else climb upward/To what they were before” (IV.ii.25-27). This line proves ironic as after Ross ventures towards Macbeth, three murderers enter the castle of Macduff, demand to speak with him, and kill Macduff’s son. Ross was just a few minutes late, and as in Romeo and Juliet, timing creates tension between the characters and the reader. The reader now understands the complex events that transpired between Macduff’s wife, her son, and the murderers, but when Ross enters Macduff’s hideaway, he professes that Macduff’s wife and children “were well at peace when I did leave ‘em” (IV.iii.179). None of the characters know the fate of Macduff’s son except the reader. By leaving out information to some of the members in the plot, the relationship between the reader and the characters grows in tension.
Tension arises during Scene I of Act IV, when Macbeth demands additional prophecies from the witches. Despite the accuracy of the witches' first prophecies concerning Macbeth, Act IV's prophecies do not seem to matter to Macbeth and he disregards the warnings, confident they will never come to pass. Macbeth even asks rhetorically, "Who can impress the forest, bid the tree/ Unfix his earth-bound roots" (IV.i.93-94), in a joyful manner, certain of the security and duration of his reign. Although Macbeth exudes self-assurance, the readers with knowledge of the witches' ability to accurately predict the future, as they did in Act I, begin to feel tension build in anticipation of the latest predicted events. Macbeth's inattention to the witches' prophecies creates a shift in his character, from his initial Act I behavior, in which he heeded what the witches told him, to a nonchalant manner in Act IV. This shift creates anxiety in the reader as he or she recognizes Macbeth's arrogance and ultimate downfall.
ReplyDeleteShakespeare uses tension in Act 2 scene 2 through the internal struggle that Macbeth faces. In this scene, a true man vs. self scenario is apparent with the confusion of voices from the audience. Shakespeare starts to build this tension through the first signs of Macbeth's insanity. This reference to the audience opens the door for immediate interpretation that Macbeth has started to lose his mind, as he believes he hears voices that lack presence. This internal tension that Macbeth faces is presented to the audience when, Macbeth asks, "Who's there?" (Act II, scene II, line 7) indicating a presence out of sight from the audience. Macbeth believes someone lurking in his whereabouts when in reality his wife is the only being present. This inner tension increases as Macbeth questions Lady Macbeth about the presence of artificial noise he imagines. Lady Macbeth shows concern in that she is unaware of the voices presence. Shakespeare uses Lady Macbeth's reaction as a technique to solidify Macbeth's insanity. As Macbeth articulates his hearings of the word "Murder" (Act II, scene II, line 14), he further states that he heard, "Sleep no more! Macbeth does murder sleep." (Act II, scene II, line 16). Shakespeare progressively uses this voice in the formation of the maniac known as Macbeth, to represent the internal struggle of man vs. his thoughts/conscious. Due to the fact that Macbeth had murdered Duncan, the tension build up creates a character unseen in earlier stages of the play, a character deformed by conscious and immoral actions.
ReplyDelete*(line 9) someone IS lurking in his whereabouts- sorry!
ReplyDelete* and one more error - last lines, should be his conscious not conscious alone.
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