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Analysis of William Shakespeare’s Macbeth

By NASRULLAH MAMBROL on July 25, 2020 • ( 0 )

Macbeth . . . is done upon a stronger and more systematic principle of contrast than any other of Shakespeare’s plays. It moves upon the verge of an abyss, and is a constant struggle between life and death. The action is desperate and the reaction is dreadful. It is a huddling together of fierce extremes, a war of opposite natures which of them shall destroy the other. There is nothing but what has a violent end or violent beginnings. The lights and shades are laid on with a determined hand; the transitions from triumph to despair, from the height of terror to the repose of death, are sudden and startling; every passion brings in its fellow-contrary, and the thoughts pitch and jostle against each other as in the dark. The whole play is an unruly chaos of strange and forbidden things, where the ground rocks under our feet. Shakespear’s genius here took its full swing, and trod upon the farthest bounds of nature and passion.

—William Hazlitt, Characters of Shakespeare’s Plays

Macbeth completes William Shakespeare’s great tragic quartet while expanding, echoing, and altering key elements of Hamlet, Othello, and King Lear into one of the most terrifying stage experiences. Like Hamlet, Macbeth treats the  consequences  of  regicide,  but  from  the  perspective  of  the  usurpers,  not  the  dispossessed.  Like  Othello,  Macbeth   centers  its  intrigue  on  the  intimate  relations  of  husband  and  wife.  Like  Lear,  Macbeth   explores  female  villainy,  creating in Lady Macbeth one of Shakespeare’s most complex, powerful, and frightening woman characters. Different from Hamlet and Othello, in which the tragic action is reserved for their climaxes and an emphasis on cause over effect, Macbeth, like Lear, locates the tragic tipping point at the play’s outset to concentrate on inexorable consequences. Like Othello, Macbeth, Shakespeare’s shortest tragedy, achieves an almost unbearable intensity by eliminating subplots, inessential characters, and tonal shifts to focus almost exclusively on the crime’s devastating impact on husband and wife.

What is singular about Macbeth, compared to the other three great Shakespearean tragedies, is its villain-hero. If Hamlet mainly executes rather than murders,  if  Othello  is  “more  sinned  against  than  sinning,”  and  if  Lear  is  “a  very foolish fond old man” buffeted by surrounding evil, Macbeth knowingly chooses  evil  and  becomes  the  bloodiest  and  most  dehumanized  of  Shakespeare’s tragic protagonists. Macbeth treats coldblooded, premeditated murder from the killer’s perspective, anticipating the psychological dissection and guilt-ridden expressionism that Feodor Dostoevsky will employ in Crime and Punishment . Critic Harold Bloom groups the protagonist as “the culminating figure  in  the  sequence  of  what  might  be  called  Shakespeare’s  Grand  Negations: Richard III, Iago, Edmund, Macbeth.” With Macbeth, however, Shakespeare takes us further inside a villain’s mind and imagination, while daringly engaging  our  sympathy  and  identification  with  a  murderer.  “The  problem  Shakespeare  gave  himself  in  Macbeth  was  a  tremendous  one,”  Critic  Wayne  C. Booth has stated.

Take a good man, a noble man, a man admired by all who know him—and  destroy  him,  not  only  physically  and  emotionally,  as  the  Greeks  destroyed their heroes, but also morally and intellectually. As if this were not difficult enough as a dramatic hurdle, while transforming him into one of the most despicable mortals conceivable, maintain him as a tragic hero—that is, keep him so sympathetic that, when he comes to his death, the audience will pity rather than detest him and will be relieved to see him out of his misery rather than pleased to see him destroyed.

Unlike Richard III, Iago, or Edmund, Macbeth is less a virtuoso of villainy or an amoral nihilist than a man with a conscience who succumbs to evil and obliterates the humanity that he is compelled to suppress. Macbeth is Shakespeare’s  greatest  psychological  portrait  of  self-destruction  and  the  human  capacity for evil seen from inside with an intimacy that horrifies because of our forced identification with Macbeth.

Although  there  is  no  certainty  in  dating  the  composition  or  the  first performance  of  Macbeth,   allusions  in  the  play  to  contemporary  events  fix the  likely  date  of  both  as  1606,  shortly  after  the  completion  and  debut  of  King Lear. Scholars have suggested that Macbeth was acted before James I at Hampton  Court  on  August  7,  1606,  during  the  royal  visit  of  King  Christian IV of Denmark and that it may have been especially written for a royal performance. Its subject, as well as its version of Scottish history, suggest an effort both to flatter and to avoid offending the Scottish king James. Macbeth is a chronicle play in which Shakespeare took his major plot elements from Raphael  Holinshed’s  Chronicles  of  England,  Scotland  and  Ireland  (1587),  but  with  significant  modifications.  The  usurping  Macbeth’s  decade-long  (and  largely  successful)  reign  is  abbreviated  with  an  emphasis  on  the  internal  and external destruction caused by Macbeth’s seizing the throne and trying to hold onto it. For the details of King Duncan’s death, Shakespeare used Holinshed’s  account  of  the  murder  of  an  earlier  king  Duff  by  Donwald,  who cast suspicion on drunken servants and whose ambitious wife played a significant role in the crime. Shakespeare also eliminated Banquo as the historical Macbeth’s co-conspirator in the murder to promote Banquo’s innocence and nobility in originating a kingly line from which James traced his legitimacy. Additional prominence is also given to the Weird Sisters, whom Holinshed only mentions in their initial meeting of Macbeth on the heath. The prophetic warning “beware Macduff” is attributed to “certain wizards in whose words Macbeth put great confidence.” The importance of the witches and  the  occult  in  Macbeth   must  have  been  meant  to  appeal  to  a  king  who  produced a treatise, Daemonologie (1597), on witch-craft.

The uncanny sets the tone of moral ambiguity from the play’s outset as the three witches gather to encounter Macbeth “When the battle’s lost and won” in an inverted world in which “Fair is foul, and foul is fair.” Nothing in the play will be what it seems, and the tragedy results from the confusion and  conflict  between  the  fair—honor,  nobility,  duty—and  the  foul—rank  ambition and bloody murder. Throughout the play nature reflects the disorder and violence of the action. Opening with thunder and lightning, the drama is set in a Scotland contending with the rebellion of the thane (feudal lord) of Cawdor, whom the fearless and courageous Macbeth has vanquished on the battlefield. The play, therefore, initially establishes Macbeth as a dutiful and trusted vassal of the king, Duncan of Scotland, deserving to be rewarded with the rebel’s title for restoring peace and order in the realm. “What he hath lost,” Duncan declares, “noble Macbeth hath won.” News of this honor reaches Macbeth through the witches, who greet him both as the thane of Cawdor and “king hereafter” and his comrade-in-arms Banquo as one who “shalt get kings, though thou be none.” Like the ghost in Hamlet , the  Weird  Sisters  are  left  purposefully  ambiguous  and  problematic.  Are  they  agents  of  fate  that  determine  Macbeth’s  doom,  predicting  and  even  dictating  the  inevitable,  or  do  they  merely  signal  a  latency  in  Macbeth’s  ambitious character?

When he is greeted by the king’s emissaries as thane of Cawdor, Macbeth begins to wonder if the first predictions of the witches came true and what will come of the second of “king hereafter”:

This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs, Against the use of nature? Present fears Are less than horrible imaginings: My thought, whose murder yet is but fantastical, Shakes so my single state of man that function Is smother’d in surmise, and nothing is But what is not.

Macbeth  will  be  defined  by  his  “horrible  imaginings,”  by  his  considerable  intellectual and imaginative capacity both to understand what he knows to be true and right and his opposed desires and their frightful consequences. Only Hamlet has as fully a developed interior life and dramatized mental processes as  Macbeth  in  Shakespeare’s  plays.  Macbeth’s  ambition  is  initially  checked  by his conscience and by his fear of the unforeseen consequence of violating moral  laws.  Shakespeare  brilliantly  dramatizes  Macbeth’s  mental  conflict in near stream of consciousness, associational fashion:

If it were done when ’tis done, then ’twere well It were done quickly. If th’assassination Could trammel up the consequence, and catch With his surcease, success: that but this blow Might be the be all and the end all, here, But here, upon this bank and shoal of time, We’d jump the life to come. But in these cases We still have judgement here, that we but teach Bloody instructions which, being taught, return To plague th’inventor. This even-handed justice Commends th’ingredients of our poison’d chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels trumpet-tongued against The deep damnation of his taking-off, And pity, like a naked new-born babe, Striding the blast, or heaven’s cherubin, horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition which o’erleaps itself And falls on the other.

Macbeth’s “spur” comes in the form of Lady Macbeth, who plays on her husband’s selfimage of courage and virility to commit to the murder. She also reveals her own shocking cancellation of gender imperatives in shaming her husband into action, in one of the most shocking passages of the play:

. . . I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn As you have done to this.

Horrified  at  his  wife’s  resolve  and  cold-blooded  calculation  in  devising  the  plot,  Macbeth  urges  his  wife  to  “Bring  forth  menchildren  only,  /  For  thy  undaunted mettle should compose / Nothing but males,” but commits “Each corporal agent to this terrible feat.”

With the decision to kill the king taken, the play accelerates unrelentingly through a succession of powerful scenes: Duncan’s and Banquo’s murders, the banquet scene in which Banquo’s ghost appears, Lady Macbeth’s sleepwalking, and Macbeth’s final battle with Macduff, Thane of Fife. Duncan’s offstage murder  contrasts  Macbeth’s  “horrible  imaginings”  concerning  the  implications and Lady Macbeth’s chilling practicality. Macbeth’s question, “Will all great Neptune’s ocean wash this blood / Clean from my hand?” is answered by his wife: “A little water clears us of this deed; / How easy is it then!” The knocking at the door of the castle, ominously signaling the revelation of the crime, prompts the play’s one comic respite in the Porter’s drunken foolery that he is at the door of “Hell’s Gate” controlling the entrance of the damned. With the fl ight of Duncan’s sons, who fear for their lives, causing them to be suspected as murderers, Macbeth is named king, and the play’s focus shifts to Macbeth’s keeping and consolidating the power he has seized. Having gained what the witches prophesied, Macbeth next tries to prevent their prediction that Banquo’s descendants will reign by setting assassins to kill Banquo and his son, Fleance. The plan goes awry, and Fleance escapes, leaving Macbeth again at the mercy of the witches’ prophecy. His psychic breakdown is dramatized by his seeing Banquo’s ghost occupying Macbeth’s place at the banquet. Pushed to  the  edge  of  mental  collapse,  Macbeth  steels  himself  to  meet  the  witches  again to learn what is in store for him: “Iam in blood,” he declares, “Stepp’d in so far that, should Iwade no more, / Returning were as tedious as go o’er.”

The witches reassure him that “none of woman born / Shall harm Macbeth” and that he will never be vanquished until “Great Birnam wood to high Dunsinane hill / Shall come against him.” Confident that he is invulnerable, Macbeth  responds  to  the  rebellion  mounted  by  Duncan’s  son  Malcolm  and  Macduff, who has joined him in England, by ordering the slaughter of Lady Macduff and her children. Macbeth has progressed from a murderer in fulfillment of the witches predictions to a murderer (of Banquo) in order to subvert their predictions and then to pointless butchery that serves no other purpose than as an exercise in willful destruction. Ironically, Macbeth, whom his wife feared  was  “too  full  o’  the  milk  of  human  kindness  /  To  catch  the  nearest  way” to serve his ambition, displays the same cold calculation that frightened him  about  his  wife,  while  Lady  Macbeth  succumbs  psychically  to  her  own  “horrible  imaginings.”  Lady  Macbeth  relives  the  murder  as  she  sleepwalks,  Shakespeare’s version of the workings of the unconscious. The blood in her tormented  conscience  that  formerly  could  be  removed  with  a  little  water  is  now a permanent noxious stain in which “All the perfumes of Arabia will not sweeten.” Women’s cries announcing her offstage death are greeted by Macbeth with detached indifference:

I have almost forgot the taste of fears: The time has been, my senses would have cool’d To hear a nightshriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. Ihave supp’d full with horrors; Direness, familiar to my slaughterous thoughts, Cannot once start me.

Macbeth reveals himself here as an emotional and moral void. Confirmation that “The Queen, my lord, is dead” prompts only the bitter comment, “She should have died hereafter.” For Macbeth, life has lost all meaning, refl ected in the bleakest lines Shakespeare ever composed:

Tomorrow, and tomorrow, and tomorrow Creeps in this petty pace from day to day To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life’s but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing.

Time and the world that Macbeth had sought to rule are revealed to him as empty and futile, embodied in a metaphor from the theater with life as a histrionic, talentless actor in a tedious, pointless play.

Macbeth’s final testing comes when Malcolm orders his troops to camoufl  age  their  movement  by  carrying  boughs  from  Birnam  Woods  in  their march toward Dunsinane and from Macduff, whom he faces in combat and reveals that he was “from his mother’s womb / Untimely ripp’d,” that is, born by cesarean section and therefore not “of woman born.” This revelation, the final fulfillment of the witches’ prophecies, causes Macbeth to fl ee, but he is prompted  by  Macduff’s  taunt  of  cowardice  and  order  to  surrender  to  meet  Macduff’s challenge, despite knowing the deadly outcome:

Yet I will try the last. Before my body I throw my warlike shield. Lay on, Macduff, And damn’d be him that first cries, “Hold, enough!”

Macbeth  returns  to  the  world  of  combat  where  his  initial  distinctions  were  honorably earned and tragically lost.

The play concludes with order restored to Scotland, as Macduff presents Macbeth’s severed head to Malcolm, who is hailed as king. Malcolm may assert his control and diminish Macbeth and Lady Macbeth as “this dead butcher and his fiendlike queen,” but the audience knows more than that. We know what  Malcolm  does  not,  that  it  will  not  be  his  royal  line  but  Banquo’s  that  will eventually rule Scotland, and inevitably another round of rebellion and murder is to come. We also know in horrifying human terms the making of a butcher and a fiend who refuse to be so easily dismissed as aberrations.

Macbeth Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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William Shakespeare

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Welcome to the LitCharts study guide on William Shakespeare's Macbeth . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Macbeth: Introduction

Macbeth: plot summary, macbeth: detailed summary & analysis, macbeth: themes, macbeth: quotes, macbeth: characters, macbeth: symbols, macbeth: literary devices, macbeth: quizzes, macbeth: theme wheel, brief biography of william shakespeare.

Historical Context of Macbeth

Other books related to macbeth.

• Full Title: The Tragedy of Macbeth
• When Written: 1606
• Where Written: England
• When Published: 1623
• Literary Period: The Renaissance (1500 - 1660)
• Genre: Tragic drama
• Setting: Scotland and, briefly, England during the eleventh century
• Climax: Some argue that the murder of Banquo is the play's climax, based on the logic that it is at this point that Macbeth reaches the height of his power and things begin to fall apart from there. However, it is probably more accurate to say that the climax of the play is Macbeth's fight with Macduff, as it is at this moment that the threads of the play come together, the secret behind the prophecy becomes evident, and Macbeth's doom is sealed.

Extra Credit for Macbeth

Shakespeare or Not? There are some who believe Shakespeare wasn't educated enough to write the plays attributed to him. The most common anti-Shakespeare theory is that Edward de Vere, the Earl of Oxford, wrote the plays and used Shakespeare as a front man because aristocrats were not supposed to write plays. Yet the evidence supporting Shakespeare's authorship far outweighs any evidence against. So until further notice, Shakespeare is still the most influential writer in the English language.

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Macbeth: Analysis and Themes

By Dr Oliver Tearle (Loughborough University)

Macbeth is, along with the character of Iago in Othello and his earlier portrayal of Richard III, William Shakespeare’s most powerful exploration and analysis of evil.

Although we can find precursors to Macbeth in the murderer-turned-conscience-stricken-men of Shakespeare’s earlier plays – notably the conspirator Brutus in Julius Caesar and Claudius in Hamlet – Macbeth provides us with a closer and more complex examination of how a brave man with everything going for him might be corrupted by ambition and goading into committing an act of murder.

It’s worth examining how Shakespeare creates such a powerful depiction of one man persuaded to do evil and then wracked by his conscience for doing so. What follows is a short analysis, but one which attempts to address some of the key – not to mention the most interesting – aspects of Macbeth . You can read our summary of  Macbeth  here .

The sources for Shakespeare’s Macbeth

Macbeth was a real Scottish king, although he was somewhat different from the ambitious, murderous creation of William Shakespeare. His wife was real too, but Lady Macbeth’s real name was Gruoch and Macbeth’s real name was Mac Bethad mac Findlaích.

The real Macbeth killed Duncan in battle in 1040 and Macbeth (or Mac Bethad) actually went on to rule for 17 years, until he was killed and Macbeth’s stepson, known as Lulach the Idiot, became king (though he only ruled for less than a year – then Malcolm, as Malcolm III, took the crown). Where did Shakespeare get the story from, then, and what did he change?

The plot of Shakespeare’s Macbeth is a combination of two stories: the story of Macbeth and the story of the murder of King Duffe by Donwald and his wife, which Shakespeare read about in Raphael Holinshed’s Chronicles . The Three Witches appear in Holinshed, but as ‘nymphs or fairies’, suggesting beautiful young women rather than old, ugly hags.

Holinshed’s King Duncan is a weak and feeble ruler, who has unfairly named his own son Prince of Cumberland (and thus heir to the throne), thwarting Macbeth’s own (just) claim to the throne, through his wife’s previous marriage and her son by her first husband.

In Holinshed, then, Macbeth has every reason to have a grievance against Duncan, rather than being motivated solely by ‘vaulting ambition’. When Duncan proclaims Malcolm his heir and Prince of Cumberland, Macbeth does not see it as a slight on him and his claim to the throne – for he appears to have no genuine claim. Instead, he sees it as the turning point: if he is to become King then he must take the crown by force.

What’s more, in Holinshed’s chronicle, Banquo actually helps Macbeth to murder Duncan. Shakespeare altered the character of Banquo because his King, James I of England (James VI of Scotland, of course) claimed descent from Banquo. This explains the scene in Macbeth with the mirrors displaying Banquo’s descendants – eventually culminating in King James himself. Banquo will certainly ‘get’ (i.e. beget) kings, all right.’

This is what led the critic William Empson to regard Shakespeare’s version of Macbeth as a ‘Just-So Story’, like ‘How the Elephant Got Its Trunk’: it explains how James came to be King, over half a millennium after the events of Macbeth .

The other story from Holinshed, detailing the murder of King Duffe, is much closer to the plot of Shakespeare’s play. In the tenth century, a century before the real Macbeth lived, Donwald, egged on by his wife, murders King Duffe (although in this version Donwald gets the servants to commit the murder rather than bearing the knife himself). Donwald and his wife get Duffe’s personal attendants drunk, and then to divert suspicion Donwalde blames them for their master’s murder, killing them in pretend rage.

Themes of Macbeth

Macbeth is a play that begins with the Weird Sisters discussing their future meeting, and ends with Macduff and the other survivors preparing to go and see Malcolm crowned King.

Even the soliloquies in Macbeth seem unusually focused on not just the contemplation of a future course of action (for that’s a common feature of many soliloquies in many other plays) but on the displacement of time that the play is preoccupied with: ‘If it were done, when ’tis done’, begins one of Macbeth’s most famous speeches, while he greets the news of Lady Macbeth with his celebrated meditation on ‘tomorrow’:

Tomorrow, and tomorrow, and tomorrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death.

The first words Lady Macbeth speaks to her husband in the play show how her ambitions for her and her husband are already making her mind leap from the present into the future:

Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant.

But the glue that keeps all of these future meditations in place, and acts as the main device in Macbeth linking present to future, is the role of prophecy.

It’s worth stopping to consider and analyse the role of prophecy in Macbeth . It’s true that the Witches are clearly meant to be supernatural, and their prophecies are supposedly founded on – well, on their witchcraft. One of the reasons Shakespeare may have been drawn to the story of Macbeth is that, as well as speaking to King James I’s Scottish blood, it also played to his interest in witchcraft, black magic, and the supernatural.

Indeed, the King even wrote a book about it, Daemonologie , which had been published in 1597, six years before he came to the English throne. But the clever thing about the prophecies is that we are left to decide how much what happens in the play was foretold in the Witches’ prophecy and how much was a result of the course of action Macbeth decided on, once he had knowledge of the prophecy.

We talk of ‘self-fulfilling prophecies’, and Macbeth as a piece of drama leaves us in some doubt as to the relationship between Fate and free agency. If Macbeth had never been told by the Witches that he would be Thane of Cawdor, he would still have been made Thane of Cawdor. But would he still have become King?

For Macbeth to become King, he needed to know that it was ordained that he would one day sit on the throne, so he could then murderously take it from the current incumbent. If Macbeth had not acted upon the prophecy, it may not have come true.

A similar ambiguity surrounding the role of fate and the role of individual agency governs the plot of Sophocles’ Oedipus Rex ; although Shakespeare’s tragic model was more Senecan than ancient Greek, Macbeth is perhaps the play in his oeuvre which comes the closest to following the model for a good tragedy set out in Aristotle’s Poetics .

Similarly, Banquo starts to take his prophecy seriously once he sees Macbeth’s coming true. Nevertheless, the idea that no man of woman born being able to harm Macbeth isn’t ever tested to the full: Macbeth may simply be unusually lucky in combat, and Macduff, regardless of his caesarean section, may just have proved lucky; at the same time, believing that having been ‘from his mother’s womb / Untimely ripped’ made him invincible against the tyrannical Macbeth may have given him the self-belief that he could bring the usurper down. The stories we tell ourselves about our own lives, and our destinies, shape what we do.

Ambition – or ‘vaulting ambition’ as Macbeth himself puts it – is another central theme of the play. Hearing the prophecy from the Witches convinces Macbeth that he could be King. Indeed, more than that, the prophecy suggests that he is meant to be King. Although Duncan has ‘honour’d [him] of late’, and Macbeth knows that to kill the king who had raised him to the title of Thane of Cawdor would be, among other things, an act of supreme ingratitude, Macbeth is driven to commit murder so he can seize the crown.

Everything that happens afterwards – his dispatching of the hired killers to murder Banquo, the attempted murder of Fleance, the killing of Macduff’s wife and children, and the final battle at Dunsinane – is a result of this one act, an act that was inspired by both Macbeth’s private ambition and his wife’s lust for power.

It’s worth remembering that Macbeth was almost certainly written shortly after the thwarting of the Gunpowder Plot in November 1605. (There are a number of local allusions to this recent attempt at politically and religiously motivated terrorism: the numerous instances of the word ‘equivocation’ in the play refer to the Jesuit Father Garnet, who knew of the Plot and consorted with the conspirators.)

The ‘moral’ of Macbeth , if we can run the risk of reducing the play to an ethical message in this way, is that to usurp the ruler of a kingdom is usually a Bad Idea, at least if the ruler is generally thought to be a good one and your motivation for wanting to kill and replace them is your own grasping ambition to be monarch yourself. Which brings us to the last major theme of Macbeth worth mentioning in this short analysis (before the analysis becomes somewhat less than short)…

It would be inaccurate to say Macbeth feels remorse for the murder of Duncan. Even Claudius, the ‘smiling villain’ of Hamlet who killed a king so he could take the throne for himself, expresses something approaching a pricking of conscience for murdering his own brother, acknowledging that he cannot very well appear penitent before God if he doesn’t relinquish everything he’s gained by his murderous deed.

But Macbeth’s guilt over the murders of Banquo and Duncan is less remorse than it is fear of being discovered, and one bad deed gives birth to another, each of which has to be carried out to make Macbeth and his wife ‘safe’, to use the word that recurs throughout the play (a dozen times, including ‘safely’, ‘safety’, and other variants).

Even when Banquo’s ghost appears to Macbeth at the banquet, and appears to him alone, suggesting it is a manifestation of his own guilty conscience, he is terrified that the ghost’s presence will betray his secret, rather than wracked with remorse for killing his friend. Angus’ wonderfully vivid image of Macbeth’s guilt (‘Now does he feel / His secret murders sticking on his hands’) reminds us that ‘hands’ and ‘eyes’ and other body parts are often somewhat disembodied in this play, as numerous critics have acknowledged.

From Macbeth’s bloody hand (‘Will all great Neptune’s ocean wash this blood / Clean from my hand?’) to Lady Macbeth’s feverish somnambulistic hand-washing, to Macbeth’s early words in an aside, signalling his deadly ambition (‘The eye wink at the hand; yet let that be, / Which the eye fears, when it is done, to see’), eyes and hands are at odds in this play, as if the eye countenances the evil carried out by the hand, with the wielder of the dagger turning a blind eye.

But as Angus’ words and Lady Macbeth’s night-time mimed ablutions demonstrate, one cannot so easily remove one’s mind from the hand that does a terrible deed.

One final piece of Macbeth trivia…

Macbeth is supposed to be cursed. The idea of the ‘curse’ of  Macbeth  has a complicated origin, though it was certainly given a leg up in 1898 when the novelist and wit Max Beerbohm put about the idea that the play was unlucky.

That said, it has had its fair share of tragedies and disasters: in a 1942 production starring John Gielgud, four people involved in the production died, including two of the Witches and the man playing Duncan. If you say ‘Macbeth’ in a theatre, you are meant to walk three times in a circle anti-clockwise, then either spit or say a rude word.

In 1849,  Macbeth even   caused a riot in New York . The Astor Place Riot was caused by two rival actors arguing about whose portrayal of Macbeth  was better. American actor Edwin Forrest and English thespian William Charles Macready were both playing the role of Macbeth in different productions at different theatres on the same night, and a longstanding rivalry erupted.

Another notable nineteenth-century production of the play (featuring acting rivalry) involves the so-called ‘worst poet in the English language’, who once played Macbeth on stage – and refused to die at the end.

As we revealed in our selection of  interesting facts about Scottish poet William McGonagall , when McGonagall – who has a reputation for being the worst poet in English – played the role of Macbeth in a stage production, he was so annoyed at being upstaged by his co-star, who was playing Macduff, that when Macduff went to kill Macbeth at the end of the play, he found his foe mysteriously unvanquishable.

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6 thoughts on “Macbeth: Analysis and Themes”

Eqivocation: Shakespeare (whose father was a friend of William Catesby, the father of Robert Catesby, one of the leaders in the alleged Gunpowder Plot) may well have been drawing attention to his own loyalist credentials when he shows the Porter admitting ‘an equivator’ to Hell. On the other hand he may have been doing a bit of equivocating himself. It depends how you say the line “who committed treason enough for God’s sake” it can simply be an exclamation “for God’s sake!” or mean “he committed treason enough for God’s sake…” he was one of ‘God’s traitors’ as John Shakespeare almost certainly, and William very probably were.

To create a breach of time hundreds of years in each direction: The Scotland that the historical Macbeth occupied was a tough, violent place demanding that a monarch be capable of meeting all challenges. If a monarch could be bested, deposed, all the better for the kingdom. Duncan’s nobility, a soft virtue, requires Bellona’s bridegroom succeed on the battlefield, and he doesn’t realize how dangerous such a warrior can be, especially with an ambitious woman goading him on. Now rocket forward hundreds of years to see the philosophical realization predicted in the tomorrow and tomorrow and tomorrow speech Macbeth ruminates upon hearing of Lady Macbeth’s death. (N.B. She dies off stage like most of the deaths in the play which conform to Aristotle’s Poetics which holds that violence on stage “but teaches bloody instruction.”) What does life signify? Nothing. Macbeth’s speech anticipates the 20th C. philosophy of existentialism. We come from nothing and we go to nothing. Any performance of the Scottish play in which the Three Sisters are performed exceedingly well enters the dreamscape of all the audience. The play is bloody, yes, and eerie too, as it travels in time.

I will refrain from the kind of lofty comments already given on here and just say your last story made me snort out loud :D

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Introduction to Macbeth

Summary of macbeth.

When Macbeth and Banquo discuss these prophecies, King Duncan’s representatives, Ross and Angus, arrive with the news. They tell that Macbeth is given the title of the Thane of Cawdor as a reward for winning the battle. Banquo and Macbeth are stunned as they see the witches’ first prophecy come true and wonder about the rest.

King Duncan arrives with his sons, Banquo, Macduff, Lennox, and few more envoys. Banquo senses the ‘ moral decay’ at Macbeth’s place. Lady Macbeth greets the king and everyone else, and they hear King Duncan praise Macbeth once more. When Macbeth’s alone , he worries about his afterlife, wondering what kind of punishment he would receive for killing the king, who is a good man. At that moment, Lady Macbeth manipulates him emotionally and convinces him to murder King Duncan.

After the coronation, Macbeth still lingers to the witches’ prophecies. He remembers that Banquo’s sons or descendants were meant to be the future kings. So, Macbeth hires assassins to kill Banquo and his son Fleance.   Now , Macbeth has completely become evil by nature and willing to do anything to secure the throne. On the other hand, Lady Macbeth is overcome with guilt over the murders. When the assassins return, they inform him that Banquo is killed when but his son had escaped.

The witches summon Macbeth and show him the future again. At first, they warn him about Macduff returning to Scotland. Next, they tell him that only a child not born from a woman can kill him. Finally, they show him a child wearing a crown and holding a tree. They tell him that unless the Great Birnam wood (forest) moves, Macbeth will not be killed. Though Macbeth’s confidence is restored, he asks the witches about the prophecy on Banquo’s descendants. During his confrontation with the witches, Banquo’s ghost is present, and the witches leave without giving him the answer. Lennox meets Macbeth at the cave and informs the alliance between Malcolm and Macduff with the English. Macbeth, in the fit of rage, decides to kill Macduff himself. Though the messenger tries to save Macduff’s family, at Macduff’s castle, Lady Macduff is killed, and his son tries to escape. Ross, one of the noblemen, informs Macduff about his family’s murder. As Macduff grieves over the death of his family, Malcolm, King Duncan’s son, asks Macduff to turn his sorrow into revenge.

Major Themes in Macbeth

Major characters in macbeth, writing style of macbeth, analysis of literary devices in macbeth, related posts:, post navigation.

Macbeth William Shakespeare

Macbeth essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Macbeth by William Shakespeare.

Macbeth Material

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Macbeth Essays

Serpentine imagery in shakespeare's macbeth sarah downey.

The snake has long been used as a symbol of sly subtlety. A serpent's presence has been characterized by cunning cynicism dating as far back as biblical times, when the snake persuaded Eve to eat the forbidden fruit of Eden's garden. Even the...

Macbeth's Evolution David Sauvage

In Shakespeare's Macbeth, Macbeth undergoes a profound and gradual evolution throughout the play. He regresses from a logical, compassionate, caring, and conscientious man, to an entirely apathetic, amoral paradigm of cynical numbness. Macbeth's...

Jumping the Life to Come Alex Hoffer

A central theme of William Shakespeare's Macbeth is the title character's willingness to accept his fate. Macbeth's attitude toward the prophecies of the witches varies depending on how much he likes the prediction. At first, he follows along with...

Deceptive Appearances in Macbeth Sonia Jain

There is truth to Duncan's line "There's no art to find the mind's construction in the face," for throughout Shakespeare's play Macbeth, both Macbeth and Lady Macbeth are not what they most often appear to be. Even Macbeth does not know the extent...

Unity in Shakespeare's Tragedies Chris Hadfield

Separating qualities common to one 'set' or 'type' of Shakespeare's plays which are not common to the plays as a whole is a difficult task: it would no doubt be possible to find evidence of any feature uniting 'the Tragedies' within any of...

Inevitability and the Nature of Shakespeare's Tragedies Chris Hadfield

In Greek tragedy, inevitability plays an important role, portraying the protagonists as pawns of the fates, whose roles in the tragedy are distributed arbitrarily and without justice. The outcomes of these roles are decided before the play even...

Sleep and Nature Shira Traison

In Shakespeare's, Macbeth, there seems to be an uncanny connection between the images of sleep and nature. The play refers to the results of nature being thwarted, and since sleep is the primarily natural function of every human being, its seems...

The Elizabethan Chain of Being in Shakespeare's Macbeth Julianna Castaneda

The collective minds of people in England during the time of Shakespeare struggled to explain the unexplainable; they struggled to understand randomness and human nature. They believed that from the beginning of time a certain cosmic order had...

Gender Transition in Macbeth Anonymous

Come you spirit,

That tend on mortal thoughts, unsex me here.

--Lady Macbeth

More so than any other Shakespearean play, Macbeth functions the most vividly as a psychoanalysis of the state of humanity's development of a sense of sexual self. Now, in a...

The Appearance of Fairness Michael Wainwright

Starting with the witches' assertion that âfair is foul, and foul is fair,â? it is clear that Macbeth is a play in which appearances will be deceiving and morality will be muddled. From the dialogue between King Duncan, Malcolm, and the wounded...

Macbeth's Moral Quandary Michael Wainwright

In Scene 2 of Act 2, Lady Macbethâs master plan to promote her husband to the throne finally comes to fruition. For the first time in the play, however, Lady Macbeth reveals some degree of weakness in her inability to actually murder Duncan with...

Mocking Time With Fairest Show: Tragic Macbeth Makes Time His Foe Christina Gulas

Time plays a crucial role in Shakespeare's tragedy Macbeth. Like all Shakespearian tragedies, the main character is necessarily at odds with time. By its very nature, a tragedy must end with the death of the hero. The hero, therefore, must bide...

Re-Creation and Immortal Fame: The Search for Eternal Life in Macbeth and Coriolanus Christina Gulas

In Shakespeare's time, having children was, arguably, even more important than it is today. In a society dominated by rules of inheritance and birthright, children were important, not only as the means of carrying on a name and genetic material,...

Ambiguity Leads the Way Jean-Francois Carrier

Dramatic tragedies are by definition plays that enact the struggle and downfall of their main character or characters. "The Tragedy of Macbeth", by William Shakespeare, is a perfect example of this; the entire play portrays the fatalistic...

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest Barret Buchholz

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest

by, Barret Buchholz

April 15, 2005

The mothers presented in Shakespeare's plays encompass a broad range of social positions, personalities,...

Responsibility for Tragedy in Othello and Macbeth Anonymous

The tragedy in both Othello and Macbeth is found not so much in the scattering of bodies covering the stage at the end of each play, but instead in the degeneration of the plays' respective protagonists. Men championed by Shakespeare at the...

Character Juxtaposition: The Twoness of Macbeth Anonymous

Character Juxtaposition: The Twoness of Macbeth

Shakespeare's Macbeth relays the tale of a Scottish general, at first presenting a seemingly brave and noble warrior. Macbeth is eventually prompted by ambition to seek the throne upon hearing a...

Madness in Hamlet and Macbeth Kelly Crossley

Hamlet and Macbeth are two of William Shakespeare's most famous plays. Each share not only fame, however, but format: Both feature main characters with tragic flaws that become their demise. In the cases of Hamlet and Macbeth, this flaw is...

An Analysis of Lady Macbeth's Gender Role throughout Macbeth Aline Tran

Shakespeare's Macbeth is a male dominated play. Most of the noticeable characters in Macbeth are male, including Macbeth, Macduff, Banquo, King Duncan, and Malcolm. Despite the lack of female power by numbers, Lady Macbeth proves to be a...

Macbeth's Tragic Flaw: The Collapse of Emotion August Trevor Sutton

Shakespeare frequently makes use of the adjective ‘weird’ in his tragedy Macbeth. Along with bringing to mind the supernatural and unearthly, the word also forces one to consider the nature of the word’s antonym – what is normal? Macbeth’s...

Fair is Foul, Foul is Fair: Paradox and Equivocation in Macbeth James R. Silvester

In the play Macbeth, some of the most significant characters rely upon their ability to equivocate, in order to hide their treacherously covetous, or purely malicious intentions. Most characters take part in these acts of subterfuge, but the three...

The Role of Intimacy in the Macbeths’ Marriage Anonymous College

The bulk of the drama in William Shakespeare’s Macbeth is based in murder. Throughout the play, much of the dialogue and action have to do with plotting a homicide, carrying out the terrible deed, or being haunted by the guilt of taking another...

The Use of Contrast in Macbeth Lucy McCracken 12th Grade

‘Macbeth’ by William Shakespeare is a play in which great contrasts lie between its main characters. ‘Macbeth’ is a tragic play, set in eleventh century Scotland, which explores the psychological and political effects of the eponymous character,...

Regicide in Macbeth Anonymous 12th Grade

In 'Macbeth,' the eponymous character fulfils his own overwhelming thirst for power by committing what was viewed to be worst possible crime: regicide. This initial murder of King Duncan acts as a starting point for Macbeth's reign of terror, and...

Macbeth Essays

There are loads of ways you can approach writing an essay, but the two i favour are detailed below., the key thing to remember is that an essay should focus on the three aos:, ao1: plot and character development; ao2: language and technique; ao3: context, strategy 1 : extract / rest of play, the first strategy basically splits the essay into 3 paragraphs., the first paragraph focuses on the extract, the second focuses on the rest of the play, the third focuses on context. essentially, it's one ao per paragraph, for a really neatly organised essay., strategy 2 : a structured essay with an argument, this strategy allows you to get a much higher marks as it's structured to form an argument about the whole text. although you might think that's harder - and it's probably going to score more highly - i'd argue that it's actually easier to master. mainly because you do most of the work before the day of the exam., to see some examples of these, click on the links below:, lady macbeth as a powerful woman, macbeth as a heroic character, the key to this style is remembering this: you're going to get a question about a theme, and the extract will definitely relate to the theme., the strategy here is planning out your essays before the exam, knowing that the extract will fit into them somehow., below are some structured essays i've put together., macbeth and gender.

Macbeth Summary and Analysis

Home » Literature Explained – Literary Synopses and Book Summaries » Macbeth – William Shakespeare » Macbeth Summary and Analysis

Introduction to Macbeth

Macbeth is a play by William Shakespeare. One of Shakespeare’s most famous tragedies, Macbeth tells a tale of greed and lust for power and how the pursuit of such things inevitably leads one to their ultimate downfall. Macbeth is a Scottish general who has managed to lead his army to defeat invaders. Near the beginning of the play, a chorus of witches prophesize that Macbeth will eventually be made king of Scotland. Intrigued by the prophecy, Macbeth writes to his wife to tell her about it. She becomes consumed with thoughts of power and control and pushes Macbeth to commit unthinkable crimes in order to make the prophecy come true.

Literary Elements of Macbeth

Type of Work: Drama

Genres : Tragedy

Published Date: First performed in 1606

Setting: 11th century Scotland

Main Characters: Macbeth, Lady Macbeth. See full characters list .

Protagonist/Antagonist: Protagonist – Macbeth (he is considered a tragic hero); Antagonist – every other character acts to threaten Macbeth and therefore almost every other character can be considered the antagonist. Macbeth vs. the world. See character descriptions .

Major Thematic Elements: Corruption and unchecked ambition, cruelty and masculine authority, guilt, the loss of children. See major themes .

Motifs: Hallucinations, acts of violence, prophecy

Exposition: Macbeth is a military general who has recently seen significant success in battle. As he returns home, he encounters three witches who deliver a prophecy.

Conflict: Lady Macbeth urges Macbeth to resort to murder to make the prophecy come true. Once Macbeth has been made king, political mistrust adds another layer of conflict.

Plot: Linear; chronological

Major Symbols: Blood, dark/gloomy/stormy weather. See major symbols .

Climax: The assassination of King Duncan

Literary Significance of Macbeth

Macbeth is Shakespeare’s shortest and most violent play that speaks to Scottish bravery. It is a complex and emotionally intense play that gained wide popularity when it was first performed. To this day, Macbeth remains a wildly popular drama. Macbeth differs from Shakespeare’s other tragedies which explore intellectually complicated dilemmas by exploring the rapid descent into madness that results from greed and power. Because it is so jarring and fascinating, it has shocked audiences for centuries and is likely not going out of rotation any time soon.

Summary of Macbeth

Macbeth Act 1 Summary

As Macbeth and Banquo make their way back to the king’s palace in a storm, they encounter the three witches who reveal that Macbeth is about to discover that he has been appointed thane of Cawdor. Macbeth asks for more information and they declare that he will also one day be king of Scotland. As for Banquo, they say that he is “lesser than Macbeth, and greater” and although he will never hold the throne, a long line of his descendants will. The witches vanish, leaving Macbeth and Banquo stunned.

Back at the palace, King Duncan announces the changes and reveals that he intends to make his son, Malcom, heir to the throne. Macbeth notes that Malcom stands between himself and the throne. Learning her husband’s prophecy, Lady Macbeth is wild with lust for her husband to become king and resolves that murder is the best course of action. She informs her husband of her intentions and begins planning. When Macbeth later reveals that he does not wish to murder King Duncan, Lady Macbeth verbally berates him until he complies. Lady Macbeth devises a plan to frame King Duncan’s chamberlains by smearing the king’s blood all over them as they drunkenly sleep.

Macbeth Act 2 Summary

After briefly running into Banquo and his son, Macbeth has a vision of a dagger floating before him in the air. The tip of the dagger is aimed towards King Duncan. Macbeth tries in vain to grasp the dagger and he has trouble discerning if it is real or imagined. He gazes at the dagger in wonder and realizes that there is blood on the blade. He decides it is a figment of his imagination and Macbeth resolves to follow through with his wife’s plan.

Lady Macbeth ponders about the event that is about to take place, feeling bold. Soon after, Macbeth returns, covered in blood, and informs her that the deed is done. He is badly shaken.

In the early morning hours, a knocking comes at the door of the Macbeth castle. It is fellow military men Macduff and Lennox who request to speak with the king. Macbeth says that the king is still asleep but agrees to take them to him. Macduff discovers the king’s murdered body. Macbeth says that the chamberlains must have done it. However, Macduff grows suspicious. King Duncan’s sons become concerned for their own safety and flee the castle. This causes suspicion to fall on the sons.

Macbeth Act 3 Summary

Macbeth is preparing for his coronation as king. Banquo is pondering the witches’ prophecy and thinks that since everything else has come true, his descendants will probably wind up as heirs to the throne. He feels ambitious but makes no plans of action. Macbeth and Lady Macbeth invite Banquo to attend the feast they will be throwing later that night.

Once alone, a servant informs Macbeth that some men have come to meet with him. The servant leaves to get the visitors and while alone, Macbeth delivers a soliloquy about Banquo and how his friend has turned into someone he fears. He worries that if the witches’ prophecy is true, he will not have any heirs to whom he will be able to leave the crown. The murder of King Duncan weighs heavily on his conscious and his suspects that may be his undoing. The men who were waiting to meet with Macbeth are two murderers who he has hired to murder Banquo and his son. Later, the murderers ambush Banquo and his son on their way to the feast and manage to kill Banquo, but his son escapes.

At the feast, Macbeth is outraged to learn that Banquo’s son escaped. He returns from speaking with the reporting murderer and sees the ghost of Banquo seated in his chair at the table. Macbeth begins speaking to him, but none of the other guests understand what he was doing. Lady Macbeth makes an excuse, and everyone decides to ignore Macbeth. Concerned, Macbeth plans to try and meet with the witches once more.

Elsewhere in Scotland, Lennox is meeting with other lords and it is revealed that Macbeth is starting to be seen as a usurper and is believed to be responsible for the murders of King Duncan and Banquo. Macbeth is preparing to fight to defend his role as king and Lennox and the lord hope that the King Duncan’s son, Malcolm, and Macduff can successfully save Scotland.

Macbeth Act 4 Summary

Macbeth finds the witches and asks them to reveal more information to clarify their prophecies for him. The witches provide confusing visions for him. Later, Lennox informs Macbeth that Macduff has left for England. Macbeth decides to have Macduff’s family murdered to prevent any meddling. In her home, Lady Macduff and her son are assaulted by a group of murderers. Her son is stabbed, and Lady Macduff flees with the killers chasing after her. Elsewhere, Malcom and Macduff worry about the future of Scotland.

Macbeth Act 5 Summary

Lady Macbeth is descending into madness, seeing visions of blood all over herself that can never be washed off. The English army approaches the Macbeth castle and Macbeth prepares by donning his armor. Macbeth soon learns that Lady Macbeth has died but he refuses to believe the news. Macbeth goes into battle to defend his castle and court. Macbeth and Macduff engage in battle, until Macbeth is slain by Macduff who carries Macbeth’s head back to the castle to announce victory in overthrowing the tyrant. Malcom is declared King of Scotland

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Macbeth Key Theme: Ambition ( AQA GCSE English Literature )

Revision note.

English Senior Content Creator

Ambition in Macbeth

Although it is important to stress that Shakespeare explores many other themes in Macbeth, and that you should aim to revise those other themes in some detail, it can be argued that, at heart, Macbeth as a play is an exploration of ambition and its consequences. On this page you will find a summary of how Shakespeare explores ambition in Macbeth, and also tips on how to answer an exam question on the theme of ambition.

How does Shakespeare present ambition in Macbeth? When we talk about “ambition” in Macbeth, we are not talking about a desire to do something or determination to succeed towards a set goal. Instead, we should understand ambition in the play as a negative character trait: not just a desire to achieve something, but an unnatural desire to achieve something at any cost.  Indeed, Shakespeare has Macbeth speak the lines “vaulting ambition, which o’erleaps itself” in Act I, Scene VII. “Vaulting” means jumping over, suggesting that Macbeth, in order to achieve his ambition (to become king), knows that he must overcome an obstacle that stands in his way. This obstacle is King Duncan, and the only way to remove this obstacle is to murder him. To murder a king was a shocking, unnatural act in Jacobean  England (for more on Jacobean society and its beliefs, see our Macbeth: Context page), but Macbeth is prepared to commit regicide  to realise his ambition. Ultimately, the cost he will pay for his ambition is his own life.

Below you will find a summary of the ways in which Shakespeare explores the theme of ambition in Macbeth. For more detailed revision notes on ambition, please see the Macbeth: Themes page.

Ambition is Macbeth’s fatal character flaw, his hamartia:

In tragedy , a tragic hero  must have a tragic flaw

In Macbeth, as in most tragedy, the tragic hero’s hamartia is the cause of their own downfall:

Macbeth’s ambition to gain, and retain, the throne leads to him committing more and more evil acts

Other characters seek revenge for these acts of murder

Macbeth’s own conscience also begins to terrorise him

Ultimately, a combination of his own mental disintegration and avenging heroes sees him killed by the hand of Macduff

At heart, Shakespeare is presenting a morality play to the audience:

Allow yourself to be consumed by ambition, or hubris , and prepare to suffer dire consequences

It can also be seen as a warning against those who seek to undermine – or overthrow – the rule of a rightful king:

Shakespeare may also be suggesting that those unaccustomed and undeserving of power will be destroyed by it

Shakespeare is suggesting that kings are legitimate rulers, but tyrants  are not

Answering an exam question on ambition in Macbeth

In order to get top marks for your essay, it is very important that you know the format and requirements of the exam paper, and the nature of the exam question. It is also vital that you know how to plan an answer in the Shakespeare exam, and are aware of what you need to include to get the highest grade. In this section you will find:

an overview of the exam

a plan for a question on ambition

an ambition essay model paragraph

Overview of the Shakespeare Exam

Your Shakespeare question would be part of Section A of Paper 1 of your GCSE

The essay is worth 34 marks: 30 for the quality of your essay, and 4 for the level of your spelling, punctuation and grammar

In your question paper, you will find an extract from the text of Macbeth and only one question

You must answer the question that is set and refer to the extract, but also the rest of the play

This is challenging because the exam is what’s called “closed-book”, meaning that you will not have access to a copy of the text (other than the printed extract) in your exam

Therefore, in order to refer to the play as a whole, it is important to:

revise the plot of the play 

revise some selected quotations from different parts of the play

For a much more detailed guide on answering the Macbeth question, please see our revision notes on How to Answer the Shakespeare Essay Question .

Plan for a question on ambition in Macbeth

Below you will find a template for a plan for the following exemplar question on ambition. It is always worthwhile spending a good deal of time planning an answer at GCSE, with examiners repeatedly reporting that the highest marks are awarded to those students who have clearly set aside time to plan their essays. For more information on planning a response, and approaching the Shakespeare question in general, see our comprehensive revision notes here .

Exemplar question

‘Macbeth’s ambition proves to be his downfall’

Starting with this moment in the play, explore how far you agree with this view.

Write about:

How Shakespeare presents Macbeth’s ambition in this extract

How far Shakespeare presents Macbeth’s ambition as the reason for his downfall in the play as a whole

AO4 [4 marks]

Act I, Scene VII

Macbeth is contemplating whether or not to go through with the plan to murder King Duncan

   If it were done when 'tis done, then 'twere well

   It were done quickly: if the assassination

   Could trammel up the consequence, and catch

   With his surcease success; that but this blow

   Might be the be-all and the end-all here,

   But here, upon this bank and shoal of time,

   We'd jump the life to come. But in these cases

   We still have judgment here; that we but teach

   Bloody instructions, which, being taught, return

   To plague the inventor: this even-handed justice

   Commends the ingredients of our poison'd chalice

   To our own lips. He's here in double trust;

   First, as I am his kinsman and his subject,

   Strong both against the deed; then, as his host,

   Who should against his murderer shut the door,

   Not bear the knife myself. Besides, this Duncan

   Hath borne his faculties so meek, hath been

   So clear in his great office, that his virtues

   Will plead like angels, trumpet-tongued, against

   The deep damnation of his taking-off;

   And pity, like a naked new-born babe,

   Striding the blast, or heaven's cherubim, horsed

   Upon the sightless couriers of the air,

   Shall blow the horrid deed in every eye,

   That tears shall drown the wind. I have no spur

   To prick the sides of my intent, but only

   Vaulting ambition, which o'erleaps itself

   And falls on the other.

Ambition in Macbeth Essay Model Paragraph

Despite the fact that Macbeth is clearly aware of the dire religious consequences of regicide, his ambition means he proceeds with the murder of King Duncan anyway, indicating that his ambition overrides all other sensibilities. In this scene, Shakespeare uses the semantic fields of religion throughout Macbeth’s soliloquy: he refers to “Heaven”, “cherubin” and “angels”, as well as “damnation”. Ostensibly, this language is being used because Macbeth is discussing King Duncan’s prospective life after death. However, it could also be argued that this language betrays Macbeth’s own acknowledgement that committing the planned act of regicide (a mortal sin in the Jacobean era) will instead send him to eternal “damnation”. Indeed, later on in the play, Shakespeare has Macbeth speak the lines: “That summons thee to Heaven, or to Hell”, again, on the face of it referring to Duncan’s passage to the afterlife, but in reality speaking about his own fate. Indeed, both Macbeth and Lady Macbeth use the language of Heaven and Hell throughout Act I and the beginning of Act II, suggesting that they are both – on a subconscious level at least – mortally concerned for their future should they commit the sacrilegious act of murdering a sitting monarch. It can be argued that the regicide of King Duncan is the catalyst for Macbeth’s ultimate downfall. In terms of tragedy, this is the inciting incident, after which a tragic hero’s fate is sealed. Therefore, the language that Shakespeare has Macbeth use prior to the murder is very illuminating. Before the murder, Macbeth admits in this soliloquy that – despite the acknowledgement of his own eternal punishment – that it is “only vaulting ambition” which is tempting him to overthrow the king. This is indeed Macbeth himself identifying that his ambition is the “only” reason that he himself identifies to commit the murder, and by extension, it is his ambition that sets the wheels in motion for his ultimate demise.

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Macbeth Essay Structure Revision

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

3 September 2024

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These are three lessons created to cover the AQA Literature Paper 1 question for Macbeth. The lessons cover how to structure an essay when provided with an extract.

The extracts used in the lessons are:

• A1, Sc 2 - The Sergeant’s Report
• A3, Sc 4 - Banquo’s Ghost
• A5, Sc 3 - Macbeth and the Servant’s Report

The Power Points are fully editable. There are opportunities to discuss the themes, language, and context connected with the extract, as well as tips on how to plan the essay.

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This guide provides an introduction to doing research on the topic of creative writing using American Folklife Center collections, and serves as a companion piece to an existing guide on Narrative and Verbal Arts in AFC collections. While the American Folklife Center archive contains primarily unpublished materials, in some cases a collection may include a manuscript or drafts of poems, essays or memoirs that were later published.

The Center's Collection Policy Statement lists nine areas of distinction for its collections, including "Narrative and Verbal Arts." The policy statement has this to say about this area of distinction:

Narrative and Verbal Arts encompass a wide range of genres including stories, myths, legends, jokes, fan literature, memes, proverbs, folk poetry, and cowboy poetry, as well as premier collections of American English regional dialects, plus collections of Gullah (Sea Islands Creole), Caribbean, and French-based Creole dialects.

For the purposes of this guide, "creative writing" encompasses examples of the written word found in AFC archival collections. This may refer to collections of materials written about AFC archival collections, or it may refer to a manuscript item that forms part of a donated collection. The items featured here often cross genres, including poetry, memoirs, and manuscripts for novels, essays and other non-fiction writing. To aid in navigation, collections have been grouped according to the following genres:

• Autobiography and Memoir
• Non-Fiction and Essays

Some collections may feature one creative writing style, while still others contain examples of multiple genres. In the latter case, the collection has been grouped according to the genre which best describes its contents.

In addition to these genre collections, the AFC archive also has items which pertain to the act of writing itself. These include interviews with notable authors which include descriptions of their writing process, as well as an exploration of writing for archival cataloguing.

Some of the collections and resources featured in this guide are available online. Others, including many non-digitized collections of note, require a visit to the American Folklife Center reading room. This guide is not intended to serve as a comprehensive record of all AFC archival collections relevant to this subject.

Writers Found in AFC Collections

• Maya Angelou
• Allen Ginsberg
• Stetson Kennedy
• Arthur Miller
• Toni Morrison
• Zora Neale Hurston

There is a digital presentation of this collection.

Creative Writing in the American Folklife Center

Richard Joseph Heh, author. "My Last Mission" poem written by Richard Joseph Heh. Richard Joseph Heh Collection (AFC 2001/001/87986), Veterans History Project, American Folklife Center, Library of Congress.

Lyntha Scott Eiler, photographer. John Russell, of Montcoal, reading a poem entitled "Keeper of the Forest" at the University of Charleston in Charleston, West Virginia. March 15, 1996. Coal River Folklife Collection (AFC 1999/008), American Folk

Alan Lomax, writer. Draft of unpublished scene from a play about the embodied characters Mind and Matter. Alan Lomax Collection (AFC 2004/004), American Folklife Center, Library of Congress.

Unrealeased outtake footage of an interview with poet Allen Ginsberg . Bruce Jackson and Diane Christian Collection (AFC 2011/009), American Folklife Center, Library of Congress.

Bess Lomax Hawes, writer. Bess's early writing, from 1930. Bess Lomax Hawes Collection (AFC 2014/008), American Folklife Center, Library of Congress

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• Last Updated: Aug 23, 2024 3:22 PM
• URL: https://guides.loc.gov/folklife-creative-writing