AQA English Literature GCSE

Macbeth: Character Profiles

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Macbeth
SYMBOLISES THE PERILS OF AMBITION

INTRODUCTION

Macbeth is the eponymous character of this

Shakespearean tragedy. He is a tragic hero,
meaning he starts out in a position of glory and
success, but falls from grace due to an error in
judgement of his own making. Every tragic hero
has a fatal flaw, or hamartia: Macbeth’s is his
unchecked ambition. He can’t restrain himself
from going after what he wants, regardless of
moral consequence.

When we are introduced to Macbeth, he is presented as the stereotypical hero, the ideal
warrior. He fulfils the expectations of masculinity and proves his manhood. Shakespeare uses
his noble status to give him a place to fall from. All tragic heroes have to start at the top, so
that they can fall. Macbeth’s journey from hero to villain, from brave warrior to coward, allows
for an exploration of gender, power, and morality.

Macbeth’s tense, passionate relationship with his wife also allows Shakespeare to examine
gender roles, marital relations, and power in his own society. Because Macbeth allows
himself to be overpowered by his wife, you could say that he takes a more feminine role in their
marriage. He descends from a brave, masculine warrior to a passive feminine coward. Could
this change in gender expression be linked to his villainy? If so, Shakespeare is suggesting that
breaking the norms and order of society makes you vulnerable to corruption and temptation.

Macbeth’s character is significant in terms of philosophy, religion, and morality. His personality
is defined by both his ambition and his guilt. On the one hand he is fixated on the future he
desires. On the other, he is constantly looking over his shoulder, haunted by his crimes. A
question Shakespeare explores through Macbeth is one of predestination; Macbeth’s life
seems to be controlled by fate, but how much of Macbeth’s story was foretold, and how much
was of his own making? Was he destined to become a hellish villain, or was there anything he
could have done to keep his place in Heaven?
CHARACTER IN CONTEXT

Gender
It would be easy if Macbeth was only used by Shakespeare to explore masculinity, but in
practice, the gender performance associated with his character is much more ambiguous.
➔ Overwhelmingly, Shakespeare writes Macbeth to be a symbol for toxic and repressive
masculinity, ultimately associating manhood with violence.
➔ At the same time, though, Macbeth’s fear of being emasculated, and the ‘feminine’
traits he inherits at certain points in the play, means Shakespeare uses his character to
explore femininity.

Initially, it seems like Macbeth has no reason to worry about his manhood. He is successful in
battle, has a loyal wife, and is destined to work his way up the social ladder. But it quickly
becomes apparent that this isn’t enough for him. For Macbeth, the ideals of valour, power, and
violence become synonymous with masculinity. He is convinced that if he doesn’t pursue
kingship as much as possible, he will be exposed as effeminate.

Also note how his relationship with Lady Macbeth

influences his decisions, and how the power
dynamics change as the play progresses.
➔ Macbeth, for most of the play, treats Lady
Macbeth as his equal, or even his superior.
He allows himself to be manipulated by
her, because she has the power to strip him
of his masculinity.

Ambition is his fatal flaw, but his disputed

masculinity is his weakness. Any challenge to his
manhood is enough to convince Macbeth of any
crime. You could argue that what Macbeth’s
ambition strives for, more than to be king, is to be
indisputably ‘manly’.

Religion
As Jacobean England was so deeply religious, it’s
no surprise that faith is mentioned in the play which is full of sinners and treachery. Macbeth
rarely mentions God by name, but the idea of Heaven and Hell plays heavily on his mind. This
suggests he is worried about the destination of his immortal soul.
➔ He mentions jumping “the life to come”, implying he is sacrificing an eternal life in
Heaven so that he can enjoy power and status during his finite life on Earth.

A significant part of Macbeth’s character arc is how he copes (or tries to cope) with turning his
back on God. While contemplating Duncan’s murder, he acknowledges that Heaven will object
to his plans. He frets that Duncan’s virtues as a good king will somehow cry out against the
murder. This could refer to how his subjects will literally mourn his death, or it could be
metaphorical: Macbeth may be worried that Heaven and Earth will react negatively to the
murder.

Killing Duncan is a landmark decision in his moral path, as it is a conscious choice to put an
end to his good ways and embrace corrupt temptation. Straight after the murder, Macbeth
has a moral crisis and an identity crisis.
➔ One of the signs of his inability to cope is how he will “sleep no more”.
➔ The other is that he could not “say Amen”.
These affect Macbeth so deeply because
they both demonstrate that life as he knows
it is over. He will no longer live like the rest
of humanity. He has strayed from God’s
path, and so has lost God’s protection.

Setting - Scotland
Shakespeare constructs Scotland after the
murder as a godless, Hellish land to match
its king. Crops fail, strange cries fill the air,
and the country lives in eternal darkness.
Macbeth’s mental state mirrors the state of
his kingdom. Shakespeare suggests that
living without God is the worst fate a man
can have.

Homosociality & Male Friendship

Male friendships were a huge part of Jacobean culture. It was a patriarchal society where
women were expected to stay at home, so the public domain was exclusively male. Men were
business partners, colleagues, and school peers. Most of the time, a man’s only company was
other men. This meant men were emotionally and psychologically attuned to each other, and
became very close.

The influence of military standards on society also meant that male solidarity and loyalty
were important values. In battle, soldiers relied on each other, and desertion was unthinkable.
The same rules applied to life outside of war.

Part of Macbeth’s moral crisis comes from the ideal of male friendship. Killing Duncan means
betraying a friend, relative, and his king. This goes against everything Macbeth has been
taught to value and uphold. Similarly, killing Banquo is such a shocking act - particularly for a
Jacobean audience - because Macbeth is supposed to be his closest friend. No one can
suspect Macbeth at first because the idea of a man betraying another was preposterous.
Tragic Hero
The concept of the tragic hero was popular in Shakespeare’s plays and in Renaissance theatre
as a whole. There are several stages to a tragic hero’s journey:
➔ The hamartia, or tragic flaw that causes their downfall.
➔ The hubris, or excessive pride and disrespect for the natural order
➔ Peripeteia, or reversal of fate
➔ Anagnorisis, or discovery
➔ Nemesis, or unavoidable punishment
➔ and finally catharsis, where the audience feels pity and fear for the protagonist in their
undoing.

For Macbeth, his hamartia is his unchecked ambition. Shakespeare uses the idea of the
tragic hero to teach his audience the importance of morality, and of respecting God’s will.
Having a tragic hero means the audience feels sympathy for them despite their failings.

Shakespeare ensures we root for Macbeth, wanting him to succeed and avoid detection, even
though we know what he’s doing is wrong. This creates a big moral crisis for the audience,
guaranteeing they will be more engaged with the topic and debate it. Our investment in
Macbeth also makes his turn towards pure villainy more painful to bear. Even though we relate
with his desires and are, to a certain extent, on his side, we are forced to admit that he is wrong,
and that his tragic death is deserved and just.

KEY CHARACTERISTICS

Ambitious
Unchecked ambition is Macbeth’s undoing in the play. If
he had been patient, and waited for the title of king to
come to him, he would have improved his position in
society and kept his soul fit for Heaven. Under the
forceful hand of Lady Macbeth, though, Macbeth gives
into temptation. As a result, he ends the play in a much
lower position than when he started. He loses grace,
favour, and respect - from his peers and from the
audience.

The issue, Shakespeare argues, isn’t ambition itself, but

the way Macbeth allows himself to be controlled by it.
We know this because other characters, like Banquo and
Malcolm, show ambition, but know how to restrain
themselves. They can judge the situation, and recognise
when it’s best not to listen to their desires for the good of themselves, their loved ones, and the
country they serve. Macbeth, on the other hand, is oblivious to morality and natural order.
Shakespeare shows his audience that ambition is a sin when it goes against God’s will for the
way things are meant to be. By killing Duncan to become king, Macbeth fights his way up the
Chain of Being. Think of it like swimming in a river: Macbeth goes against the current, led by his
ambition, and this is what is so dangerous and shocking. Shakespeare seems to want to teach
his audience the importance of self-awareness, conscience, and self-restraint. You should
be content with God’s plans for you. You should control your ambition, and not let your ambition
control you. At a time when people were plotting to kill the king and fear of espionage (spying)
was rife, these were very relevant and important messages.

Guilty
Immediately after the murder, Macbeth becomes a man who is guilt-ridden and tragically
remorseful. He has to live with what he’s done, and with the knowledge that there is no
undoing it. His guilt makes him a nihilistic figure, a character tormented by his own
conscience. He is surrounded by blood, darkness, and death. Although unchecked ambition is
what causes Macbeth’s downfall, his guilt makes
his undoing unbearable for him and the audience.

What might have been a historical or political play

that follows the righteous uprising against a
tyrannical king becomes a psychological tragedy
because of how Shakespeare follows Macbeth’s
mental state. Macbeth’s ambition propels him into
unescapable regret, suggesting that the real
punishment for regicide isn’t execution, but guilt.
Even when no one suspects him of foul play,
Macbeth is troubled and cannot enjoy the life he
sacrificed his immortal soul (what Christians
believed lived on after death and went to Heaven
or Hell) for. Shakespeare suggests that the
conscience, or inner voice of God, that we all have
ensures that no crime or sin can go unpunished.
He proposes that no one can cope with the guilt
our conscience creates, nor can we live with the
knowledge of our own evil.

Violent
The play of ‘Macbeth’ is filled with violence and conflict, both internal and external. No one
suffers more from this than Macbeth himself. The smallest scale of conflict he endures is his
internal conflict, and the largest is the conflict between free will and fate that takes over the
whole universe. Similarly, the conflicts between good and evil, between the supernatural and
the natural, and between appearances and reality, go beyond Macbeth and rage across
Scotland.
Violence is largely associated with manhood and masculinity, particularly by Macbeth.
Whenever his manliness is challenged, Macbeth responds by committing a violent, ruthless act.
He represses any feelings of fear or doubt, viewing them as signs of weakness and
femininity. Furthermore, cruelty and violence are linked with masculine ideals of honour and
bravery.
Men are supposed to be noble and strong leaders, and Macbeth interprets this as bloodlust.
Shakespeare could be implying that ideals such as bravery and honour are used to disguise
injustice. Warfare and violence are presented as necessary and respectable measures, allowing
men to follow selfish emotion rather than selfless logic.

Importantly, Shakespeare demonstrates how violence and bloodshed are used to maintain
tyranny and corruption. They are tools for bad kings. Unlike Duncan’s reign, which is
portrayed as a nurturing, fruitful harvest, Macbeth’s is plagued by disease and murder. If he was
an effective ruler who obtained his power through fair means, he wouldn’t need to use violence
to protect himself. As it is, his power is wrongly gained, and his reign is corrupt.
➔ He declares that “blood will have blood”. Shakespeare argues that violence breeds
more violence. Macbeth is trapped in a cycle of bloodshed and conflict.

Macbeth, furthermore, is at the centrepoint of the power plays. In many ways, what matters
more in the play is the fight for power, rather than the power itself. There is a constant push
and pull between the main players, as each tries to keep hold of power. Shakespeare portrays
power as being elusive and tricky - its possession can’t be guaranteed. This is what drives men
insane: they crave power, but what they have is never enough, and they live with the constant
threat of losing it all. Macbeth is an example of this. He kills for more and more power, finding
that what he already has isn’t enough to satisfy himself. Again, he is trapped in a cycle of his
own making.

KEY MOMENTS

Beginning (1.1 - 2.2)

We never really get to see what Macbeth is like at the very beginning of the play. The first time
he’s on stage, he meets the Witches, and their prophecies are the catalyst (cause) for his
change in character.

From what we hear of him, Macbeth sounds like an impressive man. The determined way he
fights for Scotland in battle suggests bravery, skill, and loyalty to his country. However, for the
opening scenes Macbeth’s character is plagued with inconsistencies and contradictions. We
get the impression we are watching two different personalities fighting it out in front of us, each
corresponding to a different destiny.
➔ The idea of murdering Duncan surprises and shocks him, as if the suggestion came from
a different person altogether.
 ➔ With each scene that passes, he seems to have made the opposite choice to the
scene before. His main soliloquies are full of debate, deliberation, and anxiety.
Already, we see a glimpse of the guilt that will haunt him after the murder takes place. We see
his moral compass and conscience have a voice, but there are also moments where he
seems heartless and dead set on being king regardless of consequence. Right up until he kills
Duncan, it’s not impossible that he could back out.

Another key trait that defines Macbeth’s character in the opening scenes is his weak will. He
takes the opinions and suggestions of others to heart and can’t avoid being manipulated by
them. Lady Macbeth, in particular, holds a lot of power over him. Linked to this is his fragile
sense of masculinity. It’s clear that Macbeth will do whatever it takes to prove himself and his
manliness. You could argue that his weak will is entwined with his ambition, which is typically
named as his fatal flaw. His ambition for power ties in with his deflated ego. The power he
craves isn’t supernatural or physical. What he wants is the title of king and the recognition it
brings. Being king means his peers - and his wife - will have to respect him. It will be a
testament to his masculinity, the ultimate proof of manly strength.

Middle (2.3 - 3.4)

Macbeth’s crisis of character is at its most extreme during the middle of the play. The
attributes and skills he possessed at the start don’t make an appearance: he is cowardly,
indecisive, paranoid. Most significantly, he is consumed by guilt.
➔ The conflict between ambition and conscience has evolved into a conflict between
ambition and guilt.
➔ He deeply regrets what he’s done and cannot bear to face it, yet another part of him
isn’t satisfied.
➔ His ambition drives him further and further into bloodshed and betrayal.

Macbeth’s seemingly inexorable (unstoppable) descent into violence could also be attributed to
his paranoia. As we discovered before, Macbeth’s public image is very important to him,
because it helps him believe he’s still a good man. Though he kills people in cold blood, he
doesn’t do it without a reason. At least, in his eyes, he has a good reason. And that reason is
always protection. Anyone who could defeat him or expose him is killed.

Part of what makes his guilt so difficult to bear is his revelation that power doesn’t come with a
guarantee. Murdering Duncan has taken a great toll on him, and he knows it, so he is frustrated
that he put himself through so much for nothing. He believes he has to keep fighting to keep
hold of his power.

As Act 3 comes to a close, Macbeth comes to a resolution. He decides to embrace his new life
of violence, believing he has to see it through to the end. It’s clear Macbeth thinks he has paid
the price of murder by sacrificing his innocence and peace of mind, and he needs to make it
worth the cost. This perspective marks the third and final part of his character development as
we enter the final scenes of the play.
Ending (3.5 - 5.9)
As with the rest of the play, in the final acts it seems like two different Macbeths walk the stage.
One is violent and ruthless, hellbent on furthering his own power and status, no matter the
cost. The other is dejected, dispirited, and nihilistic, someone who knows his power is
meaningless and is haunted by his own mortality, but can’t do anything about either. He is
friendless, loveless, and hopeless, as Shakespeare shows that killing your king and going
against God will bring nothing but misery and suffering.

Undoubtedly, Macbeth has become a tyrant. To repress all feelings of guilt and regret, he
embraces violence and greed. He wants to feel
invincible and unstoppable - like God.
➔ We hear from his subjects and from Malcolm
and Macduff that Scotland is in ruins
because of Macbeth's brutal ruling style.
➔ We also know that, eventually, all of his
followers and men betray him.
➔ Because he’s not an authentic king,
Shakespeare demonstrates that he can’t
inspire any authentic feelings of loyalty or
love.
Macbeth’s behaviour and actions give the
impression that he doesn’t care what anyone thinks
of him. He believes he’s above criticism or
condemnation because he’s king, and fortune is on
his side.

Similarly, Macbeth’s hubris peaks in Act 4, as he

believes he is immune to fate and higher powers.
Hecate tells us as such when she addresses the Witches. Macbeth has lost sight of his
humanity and weaknesses, so that he’s possessed by arrogance, confidence, and pride.
➔ His slaughtering of Macduff’s innocent family implies he believes he shouldn’t be limited
by moral or social rules, and exploits his power as king to kill whenever he pleases.
➔ The way he immediately resorts to murder suggests he has an exaggerated view of
his own importance, because he acts as if his slight discomfort warrants bloodshed.

The battle that closes the play gives us an opportunity to directly compare how Macbeth
behaves at the beginning and end. Some of the same qualities of bravery, righteous violence,
and determination have resurfaced by Act 5, but he’s a different, broken man. He has lost
everything and everyone: an army of one, fighting for himself rather than for his king and
country.
RELATIONSHIPS

Lady Macbeth | Both Macbeth and Lady Macbeth are incredibly ambitious and power-
hungry. Most of what we see of their marriage is their plotting and conspiring. Both are
weakened by guilt and paranoia as the plot develops, and by the end have isolated
themselves from each other. The main difference between them is their confidence: Lady
Macbeth is determined,
ruthless, strong-willed, and self-assured, whereas
Macbeth is uncertain, weak-willed, and hesitant.

The power dynamic between them switches. Initially,

Lady Macbeth holds the power in their relationship, despite
being in an inferior position according to society. She relies
on Macbeth for power and status, but controls Macbeth like
he’s her own puppet. Eventually, Macbeth breaks away
from her, plotting without her and keeping secrets.

Duncan | Both Duncan and Macbeth are kings of Scotland,

but one is the rightful king, while the other is a detested tyrant. Duncan is renowned for his
fatherly love and attention for his subjects, whereas Macbeth’s reign is associated with Hell and
the Devil.

At first, they appear to be on the same side. Macbeth is Duncan’s loyal Thane, someone
Duncan relies on for guidance and protection, and Macbeth is proud to serve his king and
country. Duncan’s trust in Macbeth is misplaced, as Macbeth’s loyalty is weak.

Malcom | Just like Macbeth, Malcolm wants to be king. Unlike Macbeth, Malcolm is the rightful
heir to the throne, and has been chased away from what’s his by Macbeth’s actions. Macbeth
is associated with disorder, chaos, and sin, while Malcolm is a symbol for peace, purity, and
order.

Macduff | Macduff is Macbeth’s foil in the play, meaning he highlights the flaws Macbeth
has. Both start out as Duncan’s Thanes and are highly respected in the courts and in battle, but
when Macbeth takes the throne, Macduff suspects him. Macduff chooses allegiance to his
country, unlike Macbeth, and runs to England to join Malcolm. He is a symbol for honour,
nobility, and selflessness.

Banquo | Banquo is Macbeth’s best friend, another highly respected soldier. He, too, hears the
Witches’ prophecies, but chooses honour and loyalty over power. He resists his greed and
temptations. He is physical proof of Macbeth’s corruption and paranoia. He shows it’s possible
to hear such promising prophecies and not turn to murder, and his inside knowledge of
Macbeth means he can expose him.
Macbeth’s decision to murder Banquo, someone who meant a great deal to him, shows how
overwhelmed he is by ambition and paranoia. The memory of the murder is something he
can’t live with, as shown by the appearance of Banquo’s accusatory, blood-stained ghost.

Another difference between Banquo and Macbeth is highlighted in the Witches’ prophecies.
Though he won’t be king himself, his sons will be kings. The Witches say he will be happier and
greater than Macbeth. Therefore, Banquo is a symbol for honour, loyalty, and prosperity: his
legacy is much better than Macbeth’s.

KEY QUOTES

“I have no spur / To prick the sides of my intent, but only / Vaulting ambition
which o’erleaps itself / And falls on th’other.” - Macbeth, (A1S7)

● Macbeth knows that the only argument for killing Duncan is to satisfy his
ambition. He also knows that blindly obeying ambition will end in disaster. The
phrase “o’erleaps itself / And falls on th’other” suggests ambition makes
people think illogically, so that they overestimate their own abilities and get
ahead of themselves. Additionally, it portrays ambition as self-destructive. It
“o’erleaps itself” rather than having someone or something else make it
“o’erleap”.

● The metaphor of horse-racing continues throughout this whole line of thought,

mimicking the way people treat life as a race or competition. The motif evokes
the sense of a rush to the finish, with everyone panicked as they chase down
power and success.

● In the metaphor, Macbeth sees himself as both jockey and horse. Shakespeare
could be implying that Macbeth is trying to control his ambition, but feels like his
ambition will end up controlling him. As he is reduced from the jockey to the
horse, he becomes more animalistic.

● This reflects the way the Jacobeans believed the only thing that separated
humans from animals was reason or logic. If a man lost his reason and acted
irrationally, he was a beast. Macbeth is aware that ambition can make him act
mindlessly, in the same way an animal would.
“For brave Macbeth - well he deserves that name - / Disdaining Fortune, with his
brandished steel, / Which smoked with bloody execution, / Like Valour’s minion
carved out his passage / Till he faced the slave, / Which ne’er shook hands, nor
bade farewell to him, / Till he unseamed him from the nave to th’chaps / And
fixed his head upon our battlements.” - Captain, (A1S2)

● This recount of the battle against Norway and the rebels portrays Macbeth as the
hero Scotland needs. He is “brave” and highly skilled with his sword - both traits
typically associated with heroism. Shakespeare shows how violence and
bloodshed are romanticised in the context of war, with impressive imagery such
as “disdaining Fortune” and “smoked with bloody execution”. Because
Macbeth is fighting for his country, his actions are righteous and honourable. It’s
interesting to note how, when he behaves in the same ruthless way later in the
play, he’s viewed as tyrannical and horrific. Shakespeare could be criticising the
culture of aggressive masculinity and honourable warfare.

● The metaphor “smoked with bloody execution” implies violence is a

destructive force, like fire. Shakespeare combines smoke and blood, two
motifs that recur throughout the play and are linked to Macbeth’s guilt. The
imagery could be an allusion to the flaming swords featured in the Bible.

● Angels and other representatives of God were granted flaming swords - for
example to guard the Garden of Eden after Adam and Eve were thrown out. This
link portrays Macbeth as a soldier of God, suggesting he fights on the side of
good and has God’s blessing. Shakespeare shows how highly respected and
admired Macbeth was by his peers.

● Macbeth is referred to with the simile “like Valour’s minion”, portraying him
as the epitome of courage and chivalry. “Valour” refers to a demonstration
of courage in the face of danger, especially in battle, while “minion” suggests a
loyal follower. This implies Macbeth can be trusted because he will always show
courage in battle, and is dedicated to victory in the face of defeat. He is a saving
grace for Scotland. Alternatively, “minion” connotes a slave or an unimportant
servant. This would mean Macbeth is the inferior servant of a greater power, in
this case Valour. This implies he will blindly turn to violence and conflict, and
foreshadows his vicious and brutal ambition.

● Another interesting aspect of this quote is how it perfectly summarises the

events of the play. Describing how Macbeth is “disdaining Fortune” alludes to
his later hubris and defiance as he tries to dodge destiny. The description of how
he
 ruthlessly and mercilessly slaughters his opposition, “unseam[ing] him from the
nave to th’chaps”, predicts his tyrannical behaviour as he chooses to murder
any possible threat to his power. Lastly, the traitorous Macdonald has “his head
fixed upon [the] battlements”. The same fate meets Macbeth in the final scene
of the play. This implies that Macbeth had the ability to be evil within him all
along. Alternatively, Shakespeare may be demonstrating how evil will always be
punished. The balance between good and evil is maintained, so the same paths
are followed again and again as God keeps order.

“Stars, hide your fires; / Let not light see my black and deep desires: / The eye
wink at the hand; yet let that be, / Which the eye fears, when it is done, to see.” -
Macbeth (A1S4)

● This quote exemplifies the contradictory, fragmented nature of Macbeth’s

character. The duality between light and dark, such as “stars” and “black and
deep desires”, is a symbol for the conflict between Macbeth’s conscience, or
moral compass, and his ambition. Here, he finally admits to himself that he wants
to become king no matter what, but isn’t prepared to face the reality of what that
means. The metaphor “the eye wink at the hand” is a synecdoche, which is a
literary technique where a part is used to represent the whole. In this case, the
“eye” represents Macbeth’s consciousness or awareness - his mind - while the
“hand” represents his actions and reality. He wants to turn a blind eye to his own
murderous deeds. Despite it being what “the eye fears”, he wants it to be
“done”. This paradox causes a lot of tension and tragedy for Macbeth. It’s
impossible to be unaware of your own actions, but he is torn apart in his attempts
to do just that.

● The phrase “stars, hide your fires” could refer to several things. Firstly, the
“stars” might represent the gods or the heavens. In this case, Macbeth doesn’t
want them to see his sins, in the hopes that he will still be blessed by them and
have salvation. Equally, he fears their judgement and disappointment. Similarly,
“stars” could be previous heros. It was common in mythology for heros to be
immortalised in the stars, like with constellations. Macbeth still wants his chance
at being a hero to his country. Alternatively, asking the “stars” to “hide [their]
fires” could show how Macbeth wants to operate in darkness. This means he
can avoid detection from others, but more importantly, doesn’t have to witness
his own corruption and villainy.
“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.” - Macbeth (A5S5)

● Macbeth knows his end is near at this point in the play. The change in tone and
the pathos (feeling of pity and sadness) this whole soliloquy evokes gives the
impression that Macbeth has suddenly awakened from his stupor. His wife is
dead, his kingdom is falling apart, and he is truly alone. All his ambition and
sacrifice has been for nothing.
● The imagery and metaphors used in this excerpt emphasise how life is a
facade, with no purpose or meaning to it. The nouns “candle”, “shadow”,
“player”, and “tale” all connote imitation and emptiness. Also, they are all
temporary or delicate. Shakespeare suggests that everyone is insignificant,
a mere candle flame compared to the light of the whole universe. The
semantic
field of facade could show how people, particularly Macbeth, focus on the
wrong things in life, so that they are looking at “shadow[s]” or “tale[s]” rather
than the reality.

● Macbeth has been so fixated on his ambition and power that he has missed what
really matters - or, in a more nihilistic interpretation, he never realised that
nothing really matters. His ambition can’t live on past his death, and nor can his
power. His crisis is caused by the undeniable truth of his own mortality, which
nothing can contend with. For all his “sound and fury” - his violence and painful
guilt - he has accomplished nothing everlasting: it signifies “nothing”.

● The extended metaphor of theatre is a meta (self-aware) technique by

Shakespeare, almost breaking the fourth wall. He suggests that everything is
playing a part rather than being their authentic selves, so that appearances don't
match reality. For Macbeth, he was playing the part of a moral and righteous
servant, when really he was a murderer. You could also argue he was playing the
part of being the chosen king. Another implication of this motif links to the
influence of fate and fortune. No one is in charge of their own lives: like
Macbeth, their lives are dictated by external forces.
Lady Macbeth
SYMBOLISES APPEARANCES VS REALITY

INTRODUCTION

Lady Macbeth can be viewed as an antagonist because of how

she drives her husband, Macbeth, towards murder and
bloodshed despite his protests. Alternatively, she can be viewed
as a tragic heroine, meaning she starts out in a position of glory
and success but falls from grace due to an error in judgement of
her own making.

Lady Macbeth is the wife of a Thane, so her husband owns land

given to him by the king. She can’t possess any land herself, but
she lives in luxury and has a good reputation. It’s possible that
she had children at one point, but at the time of the play she’s
childless and we don’t see any of her family.

After receiving a letter from Macbeth that informs her of the

Witches’ prophecies, she is determined for Macbeth to become king. She worries that Macbeth
is too tame and hesitant to do it himself, so commits to mocking and tempting him until he gives
in. After Duncan’s murder, she grows more anxious and blunt, but is kept out of most of her
husband’s actions and plots. Ultimately, she is broken by grief and guilt and takes her own life.

There is a lot of debate about what motivates Lady Macbeth in ensuring her husband becomes
King. One argument is that, traditionally, wives had to be supportive of their husbands’
careers and aspirations. By pushing Macbeth to be king, Lady Macbeth could be fulfilling
her role as the devoted, helpful wife. It’s also a demonstration of her love for Macbeth, as
she wants him to succeed. Alternatively, her motivation is her own ambitions and goals. Her
position as a woman in society means her own career prospects are limited, so the only way to
move up the social ladder is for Macbeth to. She wants to be queen and reap the benefits of
Macbeth’s successes. Furthermore, becoming queen could be compensation for her lost
children. If we do conclude that she had children but they died in infancy, then Lady Macbeth
has lost her ‘purpose’ as a woman.

APPEARANCE

One of Shakespeare’s resounding messages in the play of ‘Macbeth’ is that nothing is as it

seems. Appearances cannot be trusted as they rarely match up with reality. One of the
most significant, and destructive, examples of this is the character of Lady Macbeth.
Lady Macbeth’s main role in the play is to shake things up and cause havoc, meaning her aim is
to fool and manipulate as many people as possible with her deceitful ways. She benefits hugely
from the divide between appearances and reality. Furthermore, she relies on people’s
prejudices and assumptions to get away with her actions. For example, the male characters see
she is a woman so assume she would not get involved with violence, these miscalculations of
her character allow her to get away with a lot.

Some would argue she uses her feminine wiles to persuade Macbeth to kill for her: either way,
the social conventions surrounding gender come to her advantage. Something she tells
Macbeth over and over is to make sure he puts on
a facade for other people. She believes that as
long as they can maintain their deceitful masks,
they will get away with murder and so much more.
Of course, she underestimates the power of her
own remorse.

Another way Lady Macbeth exploits appearances is

by transferring her desires and plans into
Macbeth. She is the villain kept behind the scenes.
Though Macbeth is the one acting and killing, he is
fulfilling Lady Macbeth’s wishes. It is as if she has
possessed him, or transformed herself into him
through persuasion. It looks like Macbeth is the
murderer, but in reality she is.

Lady Macbeth’s manipulation of appearances is

the connection between her and the Witches. In
fact, like the Witches, her gender identity is
ambiguous. On the outside, she looks feminine,
but if her spells were successful, then she is wombless and full of gall on the inside.

Lady Macbeth isn’t even fully honest to her husband. Only we, the audience, know the extent of
her plots and motivations. By allowing us to hear her soliloquies, Shakespeare emphasises
the divide between appearances and reality and how extreme her deceit really is. Other
characters on stage are oblivious of who she really is, but we know the dark truth. Moreover, as
the plot develops, Lady Macbeth’s own sense of self deteriorates. Her suffering, torment, and
hallucinations could all be side effects of her fragmented self. She has manipulated her
identity so much that she is no one at all.
CHARACTER IN CONTEXT

Femme Fatales
Otherwise known as the maneater or vamp, this is a common archetype for female characters
in literature and art. The term refers to a woman who is mysterious and seductive, using her
charm to ensnare men and lead them into dangerous or deadly situations. Typically, femme
fatales are villains and create a sense of unease for other characters and the audience.

Common traits include heightened sexuality and a rejection of motherhood. This was
seen as particularly threatening because by rejecting motherhood, a femme fatale is denying
a man his immortality and ability to leave a legacy, ultimately leading to the destruction of all
men.

Overall, the key aspect of a femme fatale is her use of feminine wiles (e.g. beauty or sexual
allure) to exploit men and accomplish her own goals. Shakespeare uses these aspects of the
femme fatale archetype in the character of Lady Macbeth. She threatens to emasculate
Macbeth, and uses her power over him as his wife to get her own way. Some productions of
‘Macbeth’ even show Lady Macbeth using sexuality and seduction to explicitly manipulate her
husband. All of this is for her own ulterior motives, and clearly she drives Macbeth to his own
death. More so than warning of the dangers of unrestrained female sexuality, though,
Shakespeare seems to be demonstrating the dangers of unrestrained female ambition and
power.

Eve and the Fall of Man

The theme of ‘The Fall’, particularly of man, is used a lot in literature, and is linked to the
concept of the tragic hero. The Fall is an archetype where a character descends from a higher
to a lower state, often because something happens to them that means they lose their
innocence and happiness. Typically, the character is kicked out of their ‘paradise’ as a
punishment for their actions. Commonly, a woman is responsible for the fall of an honourable
man.
➔ The most famous example of this is Eve, in the story of the Garden of Eden. The story
given in the Bible goes that, when the world was first created by God, Adam and Eve
lived with Him in the Garden of Eden. They were told not to eat from the Tree of
Knowledge, and for a while they obeyed and lived in harmony. However, Satan came to
the Garden disguised in the form of a serpent: he tempted Eve into eating the Forbidden
Fruit. After she ate it, she convinced her husband, Adam, to do the same. They lost their
innocence, and when God found out, he expelled them from the Garden.
◆ There are many parallels between Lady Macbeth’s story, the archetype of ‘The
Fall’, and the Biblical tale of the Garden of Eden. You could even say there are
parallels between how Eve was historically viewed as the cause of mankind’s
Fall, and the way Lady Macbeth’s character has been interpreted as being the
root of Macbeth’s evil.
Arthurian Legend
Arthurian Legend refers to the legends of King Arthur and his Knights of the Round Table.
These stories were incredibly popular, and were seen as examples for ideal kingship and
chivalry. King Arthur was brave, noble, kind, and loving. His knights, too, were chivalrous,
adventurous, and determined to protect their kingdom. Lady Macbeth takes a similar role to
Morgan le Fay: she is the lover of the story’s main hero, but she is also his downfall.

Marriage and Motherhood

In the Jacobean Era, women had no legal rights in society, and this meant that when they
married, they became the property of their husbands. Their role was to have children and run
the household. Domestic abuse, and even domestic murder, was extremely common. Maternal
mortality (how common it was for a woman to die from pregnancy, childbirth, or the period after
birth) was also extremely high. A woman’s destiny was to get married and have children. Any
education she was offered was geared towards these two occupations: women were taught to
cook and clean, and for the upper classes, they might be taught to dance or embroider, all in
the hopes of attracting a man. Men were entitled to divorce or disown their wives at any time if
they felt she had dishonoured them, disobeyed them, or brought shame to their reputation.

In ‘Macbeth’, Shakespeare allows us to see how Lady Macbeth copes with these aspects of life
for women in the Middle Ages. Within her marriage, she is a dominant figure with her own
clear identity and purpose. Outside of her marriage, she is viewed only as Macbeth’s wife and a
good host. Her relationship with motherhood is much more complicated. It seems like, at some
point, she had children, but they must have died, as there are no signs of children when the play
unfolds. She tries to banish all her reproductive organs from her body, rejecting the role of
mother altogether.

Gender
Whether Shakespeare intends to show the perils of femininity or of androgyny through Lady
Macbeth depends on how successful you think her prayers to the spirits were. If we are to
believe she was successful in unsexing herself, then her villainy and disturbing personality
suggest that gender nonconformity is dangerous. By losing her femininine identity, she loses
her humanity. Alternatively, if we still view her as a female character, her acts of manipulation
and seduction portray women as deceitful, wicked beings.

She also plays a pivotal role in Macbeth’s perception of his own gender. Her highly
critical attacks on his manhood, and her perception of masculinity as violent, drives
Macbeth to murder and tyranny. This adds to Shakespeare’s exploration of manliness.
Lady Macbeth is a very unconventional female character by traditional and Jacobean
standards. She is given multiple soliloquies - something that usually only male characters
were allowed. When Shakespeare first introduces her to us, she has the dominant role in her
marriage, which would have been unheard of. Rather than appearing weak or idiotic, she is
smart, cunning, and bloodthirsty, and embraces the occult and villainy in order to achieve her
goal. She is so powerful that a Jacobean audience would view her as unnatural, possibly even
supernatural.

Shakespeare suggests through her character that giving women power is dangerous and
unnatural. It also appears that the only way for a woman to be so brutal and strong is to be evil
and supernatural, which is why she prays to
evil spirits. Her character allows Shakespeare
to examine gender roles, marital relations,
and the division of power in his society.

KEY CHARACTERISTICS

● Ambitious: Lady Macbeth’s ambition

is much more intense and violent than
Macbeth’s. She doesn’t hesitate or
deliberate: immediately she decides to
pursue the promise of Macbeth’s
kingship. She craves power and, later, protection. She has been a ‘weak’ woman all her
life, and now is her chance to answer her desires and reach her full potential. Her
ambition is infectious. How authentic or committed Lady Macbeth’s ambition is
appears unclear. She speaks in a very violent, brutal fashion, but never acts on these
impulses. Her words aren’t supported by her actions. Plus, she admits that she can’t
bear looking at Duncan’s corpse because he resembles her father.

● How successful her wish to be “unsex[ed]” and made cruel was is questionable. After
Duncan’s murder, she loses a lot of her confidence. Her ambition disappears, and she
is fixated on her paranoia. It seems her ambition was all bravado. Lady Macbeth is
quite a frightening character because of how she commits herself entirely to her
ambition. Ambition for her is an act of sacrifice: she abandons all hopes of virtue or
salvation by calling upon evil spirits. Like with Macbeth, Shakespeare argues that
ambition itself isn’t the issue, but the way Lady Macbeth embraces its control. On the
other hand, Lady Macbeth doesn’t care for morality and natural order. She doesn’t care
for other people: they’re just obstacles to her goal.

● Supernatural: There’s a lot of evidence for Lady Macbeth being the fourth Witch
(excluding Hecate), but unlike the three Macbeth meets on the heath, Lady Macbeth is
instrumental in planting the idea of murder in his head. She speaks in rhyming
couplets while persuading Macbeth to agree to her plan, and her command of rhetoric
and manipulation imitates the Witches’ spells and trickery. Equally, her plan rests on
her
ability to use facade to manipulate reality, meaning her relationship with appearance vs.
reality is similar to the Witches’.
● Her subversion of femininity was, in Jacobean times, more than enough evidence
that she was a witch. Shakespeare implies her unnatural power as a woman is due to
her supernatural links. Lady Macbeth could be called the ‘creator of evil’ in Macbeth.
She is the main conspirator out of the Macbeths, and plants the idea of evil in Macbeth’s
mind. The methods she uses to manipulate him hold explicit links to the supernatural.
She wants to “pour [her] spirits in [his] ear”, an allusion to demonic possession.
○ This quote also connotes the story of the Garden of Eden, where the serpent
tempted Eve to sin, and Eve then whispered in Adam’s ear so that he might join
her. Lady Macbeth can be viewed as an imitation of Pandora from Roman
mythology: Pandora opened the box that brought all evil and sin into the world.
Shakespeare associates the Fall of Man with seduction, femininity, and the
supernatural.

● Guilty: Guilt and remorse are the undoing of Lady Macbeth, leading her to her death.
Unlike Macbeth, she isn’t killed after an uprising: she kills herself. Her mind is her
enemy. Her ambition took her down violent paths that she couldn’t cope with, and
Shakespeare suggests guilt and regret are the most destructive consequences of that.
Everyone underestimates the power of their own conscience. The insanity and
torment she feels at the hand of her guilt is punishment for her villainy.

● At first, Lady Macbeth shows no signs of guilt or remorse. In fact, she’s the one telling
Macbeth off for worrying and panicking. She is convinced that washing the blood off
their hands will free them from their deeds altogether, assuming that there will be no
lasting impacts. This might also suggest that she is incapable of seeing how murder has
psychological consequences. To her, the only link to the murder is the literal blood on
her hands. She fails to anticipate that the murder will live with her beyond that night.
This shows how she views herself to be cruel and ruthless. She represses any morality
she has. Alternatively, this may reveal how desperate she is to put the murder behind
her and continue with her life as normal.
● The act of washing your hands of blood becomes symbolic in the play. Shakespeare
uses it to show how guilt persists beyond physical evidence. Lady Macbeth’s bold
words “a little water clears us of this deed” come back to bite her, as in her final
scene, we watch her repeatedly try to wash invisible blood off her hands. However,
there are signs early on that Lady Macbeth isn’t as tough and cold-hearted as she
wants to appear. She never refers explicitly to the murder or to blood: she uses
euphemisms, such as “deed” and “great business”. This implies she can’t confront
reality, and can’t face the grotesque or macabre. Shakespeare argues that guilt is the
direct opposite of ambition. One focuses on the future, the other on the past. Ambition
longs for power regardless of consequence, whereas guilt forces us to face the reality of
our deeds.
CHARACTER DEVELOPMENT

Beginning (1.1 - 2.1)

Lady Macbeth’s most striking and significant performances happen at the beginning of the
play. From them, we get a clear idea of who she is - or, arguably, who she wants to be. Her
first lines are a soliloquy, demonstrating her importance and strength of will. Though she
doesn’t
appear on stage until the 5th scene, she has a large impact on the direction the plot takes,
and it is her plots and wishes that get fulfilled in the first two acts.

Lady Macbeth’s speech at the beginning of the play is littered

with deceit, treachery, and omens of death. The prospect of
being queen and controlling the fate of another empowers her,
and she doesn’t want anything to come between her and the
crown. Violence and cruelty are a means to an end for her
because they bring her closer to getting what she wants and
allow her to prove herself. Alternatively, you could argue that
there are signs Lady Macbeth enjoys gratuitous violence -
violence for the sake of violence. She knows that Macbeth will
become king regardless of her own actions, but opts for the
murderous route to the throne. She vows to smash a baby’s
head open for Macbeth as a sign of loyalty, despite him never
asking for her to do such a thing. Both interpretations explain
why Lady Macbeth doesn’t care about moral consequence: her
bloodlust and her selfish persistence leave no room for others
and their feelings.

Shakespeare most wants to convey that Lady Macbeth’s character is her ability to manipulate,
tempt, and seduce. She is the root of Macbeth’s evil, and this comes hand in hand with her
supernatural contacts. It isn’t just significant that she has soliloquies in her first scenes: the
allusions to witchcraft and the diabolical portray her as a villain, and it’s as if she’s casting
her own spells. She wants the power of the occult to achieve her aim, suggesting she is willing
to sacrifice everything to be queen.

She bullies Macbeth with cruel and cutting insults, but also entices him with promises of power
and success. The way she greets him, calling him a soon-to-be king, mimics the Witches’ own.
After Macbeth’s soliloquy where he concludes that he has “no spur to prick the sides of [his]
intent, but only / Vaulting ambition”, Lady Macbeth appears on stage, suggesting that she is
that very “spur”, “vaulting ambition” personified. This all means she knows his weaknesses
and temptations, and exploits them for her own gain. He has no hope of beating her. She is the
Serpent and Eve combined, the call of the Sirens luring sailors to their graves.
Middle (2.2 - 3.4)
In the climax of the murder in Act 2 Scene 2, we see how Lady
Macbeth takes charge and remains calm while Macbeth has a
personal crisis. This elaborates on what we saw in the first act:
Lady Macbeth is in control and is the dominant planner out of the
two Macbeths. Except for one moment of honesty when she
admits she couldn’t kill Duncan because he looks like her father,
she is cold and unruffled, completely remorseless and ruthless.

She is frustrated with Macbeth because of his guilt, hysteria, and

fear - something that happens continually for the rest of the
middle section - portraying her as unempathetic and closed-off.
It’s as if her spells were successful and she is an invincible,
amoral villain, presenting her as a Witch. To her, guilt goes as
far as the blood on her hands, and can be disposed of just as
easily. The contrast between her and Macbeth’s reactions - her
coldness against his panic - makes her appear far-removed from
humanity and its worries. On the other hand, her one display of
emotional vulnerability could foreshadow her guilt and torment later.

In Act 2 Scene 3, Lady Macbeth gets a chance to demonstrate her acting skills. So far, her plan
is chillingly successful. The way she feigns grief and manages to fool everyone in the vicinity
with her performance suggests she has an uncanny ability to imitate and replicate human
emotion. As an audience, we learn that she is an unreliable character: we don’t know how
much of what she says and does is genuine.

As we enter Act 3, we see cracks starting to appear in Lady Macbeth’s calm. She’s still
unaffected by guilt, but she’s paranoid. Moreover, she’s anxious about how Macbeth is
faring. His own paranoia and guilt are causes of great concern for her, and she doesn’t want his
incompetence to ruin her plan. This tension and frustration comes to a head when Banquo’s
ghost appears. She can’t understand why Macbeth is behaving the way he is, and is angry that
he would be so terrified by something so foolish, putting her in danger by doing so. She mocks
and chastises him (tells him off) for displaying weakness, implying she’s very passionate about
keeping in control.

Despite her best efforts, we see Macbeth spinning out of control and away from Lady Macbeth’s
grasp. She can’t stop him from seeing ghosts. She knows they need to be wary of Banquo, but
Macbeth won’t tell her what he has planned. By the end of the banquet scene, we know that the
two are on separate paths, each isolated in their paranoia despite having the same fears. The
Lady Macbeth we saw in Act 1, the wife who had an unbreakable hold over her husband, is
nowhere to be seen.
Ending (3.5 - 5.9)
We next see Lady Macbeth on stage in Act 5 Scene 1. This is also the last time she ever
appears before her death. The person we see is even further away from the person who plotted
the death of a king in Act 1: she is entirely absorbed in her fear, talking to herself while
oblivious to her surroundings. Her last line in
the banquet scene was “you lack the
season of all natures, sleep”, so it’s fitting
that now she paces at night, sleepwalking
but unable to rest. Finally, her sins have
caught up to her.

Shakespeare uses the characters of the

doctor and Lady Macbeth’s Lady in Waiting
to emphasise how insane and alien Lady
Macbeth has become. She never speaks to
anyone, and it’s only through the exchange
between these two minor characters that we
know what’s going on. Along with the doctor,
the audience observes, studies, and
diagnoses her, like she’s a specimen for a
scientist. Any strength or influence she had
is gone. Furthermore, she’s speaking in
prose rather than blank verse, so that her
speech lacks sophistication and control.
Shakespeare used prose for characters who
were lower class or insane. Hence, Lady
Macbeth isn’t as impressive or intimidating as she once was.

Lady Macbeth’s speech is incoherent, frantic, and continuous, as her internal monologue is
said aloud. She alternates between worrying about her growing guilt and telling an imagined
Macbeth off for jeopardising their plot. For example, in one long string of monologue, she says,
“The Thane of Fife had a wife. Where is she now? What, will these hands ne’er be clean?
No more o’that, my lord, no more o’that. You mar all with this starting,” going from
panicking about their growing body-count to scolding Macbeth for being jumpy in an instant. The
random, disjointed structure of her speech reflects how she’s torn between her ambition and
her guilt. Part of her is holding onto the woman she was before, someone who was fearless and
unsympathetic of Macbeth’s fear, while the rest of her is descending into remorse and grief.
Therefore, there is a level of hypocrisy in her character. A case of situational irony is the way
she worries about being unable to wash the blood from her hands: earlier, she thought a
“little water” would clear her of guilt, but now she learns this isn’t true.

Lady Macbeth is hardly mentioned by the other characters for the rest of the play. Only upon
her death does Macbeth think of her, highlighting how separate the two of them have become.
She
drifted away from the outside world, caged inside the castle. Before the murder, Lady Macbeth
could never have imagined fading into such insignificance.

Lady Macbeth is forgotten until the last scene of the play, where she is referred to not by name,
but by the epithet “fiend-like queen”. On the one hand, this summarises who Lady Macbeth
wanted to be at the start, suggesting she will be remembered for her villainy and cruelty. On the
other, the use of “queen” presents her as Macbeth’s sidekick and wife, reducing her to the back
bench as all women were in Jacobean society. She has no individual identity, and is known only
by her relation to Macbeth. Little do they know that she was the one who put the whole plan into
motion.

RELATIONSHIPS

Macbeth | Both Macbeth and Lady Macbeth are incredibly ambitious and power-hungry. Most
of what we see of their marriage is their plotting and conspiring. Both are weakened by guilt and
paranoia as the plot develops, and by the end have isolated themselves from each other. The
main difference between them is their confidence: Lady Macbeth is determined, ruthless,
strong-willed, and self-assured, whereas Macbeth is uncertain, weak-willed, and hesitant. The
power dynamic between them switches. Initially, Lady Macbeth holds the power in their
relationship, despite being in an inferior position according to society. She relies on Macbeth for
power and status, but controls Macbeth like he’s her own puppet. Eventually, Macbeth breaks
away from her, plotting without her and keeping secrets.
KEY QUOTES

“Glamis thou art, and Cawdor, and shalt be / What thou art promised; yet do I
fear thy nature, / It is too full o’th’milk of human kindness / To catch the nearest
way.” (A1S5)

● Follow the same structure as the Witches’ prophecies, implying she has her
own psychic abilities and associating her with the supernatural.
● Lady Macbeth “fear[s]” Macbeth’s kind nature; fear is typically associated
with evil or the supernatural, but in this statement, Lady Macbeth reverses this
thought. By fearing Macbeth’s kindness, she implies that morality is a
frightening, threatening thing. Alternatively, “fear” reveals how desperately
Lady Macbeth wants to become queen. The noun “nature” alludes to
Macbeth’s mortal soul and shows that she is referring to Macbeth’s true identity,
the parts of himself that he can’t change. Therefore, she is presenting Macbeth
as a person whose moral compass and compassion are inherent or permanent.
○ Moreover, by calling it “human kindness”, she implies Macbeth’s
personality is universally recognised to be kind. Shakespeare implies
kindness is exclusive to “human[s]”, and is an objective thing, meaning
it can’t be disputed or interpreted differently. Macbeth shares his
goodness with the rest of the human race, but Lady Macbeth wants to
rid herself of it, and take him with her.
● Lady Macbeth continues to portray Macbeth’s “human kindness” as an
unfavourable trait for him to have. The phrase “too full” again suggests his
nature will be an obstacle to her plans, and might also be interpreted as a sign
of corruption.
○ In ancient medicine, people believed that your health depended on
having a balance of four different fluids, or ‘humours’. By suggesting
Macbeth is “too full” of “milk”, Lady Macbeth might be implying he is ill
or mentally unbalanced. The metaphor “milk of human kindness”
presents kindness as a fluid, changeable thing. Milk can expire, go
rotten, or be poisoned, so Shakespeare may be hinting that though Lady
Macbeth is worried about Macbeth at the moment, she believes she can
corrupt him. Alternatively, “milk” connotes breastfeeding, and so
associates “human kindness” with femininity. This presents
compassion as a weakness, something that emasculates Macbeth
and stops him from being the strong, brave king she wants him to be.
The use of the “milk” metaphor, as well as applying a ‘feminine’ trait to
Macbeth, suggests gender is fluid.
“Hie thee hither, / That I may pour my spirits in thine ear / And chastise with the
valour of my tongue / All that impedes thee from the golden round.” - Lady
Macbeth, (A1S5)

● Lady Macbeth summons Macbeth with a “hie thee hither” in the same way
that the Witches summoned their familiars (animal companions) in the opening
scene. This suggests she views him as a means to an end, or a tool to help her
get her way.
● The imagery of “pour my spirits in thine ear” evokes demonic
possession, showing how Lady Macbeth wants to overpower Macbeth with
her own villainy.
● This whole extract might seem sexual, and one interpretation is that sex is used
in the subtext to illustrate the power dynamics Lady Macbeth is manipulating.
Typically, to “pour [your] spirits” would be a masculine action, while the one
receiving those “spirits” would be seen as the female. However, in this case,
Lady Macbeth wants to take the masculine role, reflecting how she
consistently strips Macbeth of his manliness. In keeping with the theme of
gender that Lady Macbeth uses in her first soliloquies, she wants to subvert
traditional gender roles as a way of getting what she wants.

“Come, you spirits / That tend on mortal thoughts, unsex me here / And fill me
from the crown to the toe topfull / Of direst cruelty; make thick my blood, / Stop
up th’access and passage to remorse / That no compunctious visitings of nature
/ Shake my fell purpose nor keep peace between / Th’effect and it. Come to my
woman’s breasts / And take my milk for gall, you murd’ring ministers.” (A1S5)

● This is a pivotal moment in her character development. She is dedicating

herself entirely to her conspiracy, even willing to sacrifice her own mind and
body to whatever evil “spirits” will help her reach her goal. She views herself as
a harbinger of death for Duncan, and so it’s fitting that what follows is, for all
extents and purposes, a witch’s spell.
● The use of anatomy, such as “the crown to the toe” and “breasts”,
makes her speech feel very invasive and uncomfortable, as well as
illustrating how Lady Macbeth is trying to mutate into something else.
Furthermore, the reference to “blood” and “milk” shows how her soul and
mind will also be affected. Because of the theory of the four humours in
medieval medicine, a person’s bodily fluids (such as Lady Macbeth’s
“blood”) would have determined their true nature. By asking the spirits to
tamper with her insides, Lady Macbeth is asking for a complete makeover.
Alternatively, the
 combination of “blood” and “gall” could be an allusion to Jesus’ crucifixion.
Jesus’ side was pierced to prove he was dead, and blood came gushing out;
before he died, the Roman soldiers offered him a wine laced with gall, or
poison. Lady Macbeth is welcoming these substances, suggesting she is on the
side of the Roman soldiers.
● The other key aspect of this quote is the theme of gender, summarised in
Lady Macbeth’s use of the verb “unsex”. Though the attributes Lady Macbeth
desires, including cruelty, are typically associated with masculinity, Lady
Macbeth isn’t asking to be made into a man: she is asking to be rid of the parts
that make her a woman. “Unsex” conveys androgyny and ambiguity. Lady
Macbeth seems to associate goodness with humanity (“human kindness”),
and Shakespeare implies that gender is a sign of humanity (“single state of
man”). By being “unsex[ed]”, Lady Macbeth would escape the gender binary
altogether, and so would be removed from humanity. This would free her from
the burdens and weaknesses of morality and conscience.

“To beguile the time, / Look like the time, bear welcome in your eye, / Your hand,
your tongue; look like th’innocent flower, / But be the serpent under’t.” (A1S5)

● This quote is an explicit nod to the theme of appearance vs. reality, as Lady
Macbeth instructs her husband on how to fool everyone around them.
Shakespeare shows how she intends to exploit the differences between
appearance and reality, as well as exploit how gullible our senses are, to
achieve her goal. Once again, Shakespeare uses anatomical imagery, such
as “eye”, “hand”, and “tongue”, as well as a semantic field of sight, “look”
and “eye”, in Lady Macbeth’s descriptions of emotion. She tells Macbeth to
make sure that any “welcome” or kindness he shows others is purely surface
level. This suggests that their public personas are superficial and hollow,
with no genuine meaning behind them. The body parts she lists implies that
emotion can be replicated and imitated, as if it is a physical product rather than
an abstract feeling. The theme of sight conveys how our senses can be
tricked: we are taken in by appearances and performances.
● The parallel structure in “to beguile the time, / Look like the time”
emphasises the idea of mirroring. Lady Macbeth tells Macbeth that the best
way to trick people is by reflecting back at them what they want to see. Again,
their identities are surface level, with no substance behind the reflective glass.
The verb “beguile” conveys menace and manipulation. Also, it connotes
 enchantment and witchcraft, continuing to present Lady Macbeth as an
enchantress.

“Nought’s had, all’s spent / Where our desire is got without content. ‘Tis safer to
be that which we destroy / Than by destruction dwell in doubtful joy.” (A3S2)

● Something significant about this quote is that Lady Macbeth says it when she’s
alone on stage. This implies we can trust it more than other things she says,
because she isn’t performing for an audience: as far as we can tell, she is being
her genuine self. We see that she is admitting she is worried, something she
would never want to confess to her husband. Both of the Macbeths are
suffering from the same case of paranoia, but neither will confide in the other.
The parallel phrases “nought’s had, all’s spent” shows how Lady Macbeth’s
thinking is black-and-white. She goes from one extreme to the other: from
“nought” to “all”. Shakespeare implies that she sees no value in what they did
unless they succeed fully - in other words, unless they never face
consequences, and can enjoy life to the fullest. This portrays her as a selfish,
unsatisfied character, and implies that currently, Duncan died for nothing.
Shakespeare hints that the Macbeths will never be satisfied, and so will always
have “nought”. Fulfilling your “desire” isn’t enough, because you need to be
“content”, too. The list keeps growing.
● We can also detect fear in Lady Macbeth’s character. The use of the
comparative adjective “safer” suggests Lady Macbeth is aware of their
dangerous position, and wishes she could feel more at ease. Shakespeare
suggests to his audience that this is a just punishment for her actions. The
phrase “dwell in doubtful joy” is full of uncertainty and hesitancy, reflecting
the unstable environment of the play. Shakespeare shows how nothing can be
guaranteed, and this eats away at a person. The consonance of “d'' could
mimic the chattering of teeth or stuttering, reflecting how Lady Macbeth is
struggling to adapt to her new life.
The Witches
SYMBOLISES PURE EVIL & DARKNESS

INTRODUCTION

The Witches are commonly referred to as the

“weird sisters” or the “Wayward sisters”,
depending on the version of the text that you read
(due to discrepancies between Shakespearean
English and the modern form). Shakespeare
portrays these Witches as supernatural beings,
who give Macbeth many cryptic prophecies;
they predict that he will become “Thane of
Cawdor”, then that he will “get kings” and finally
that he
shall not be “vanquished” until “Great Birnam
Wood to high Dunsinane Hill / Shall come
against him.”

Shakespeare introduces the Witches in the first

scene of the play, thus giving special emphasis to their importance. Shakespeare’s use of
parallelism in the paradoxical phrase “Fair is foul, and foul is fair” foreshadows the rest of
the play.

Shakespeare refers to the Witches as the Weird Sisters (depending on the version that you
read), which bears connotations of "wired" meaning fate in Old English and therefore
associating their speech with prophecy. The witches could represent the three fates from
classical mythology, as the three fates represent the past, present and future. This reflects the
three predictions they give to Macbeth, as they claim to “spin the threads of life”. The three
Witches have differing roles as one spins, one measures, one cuts. This relates to their roles in
the future, present and past, respectively. Shakespeare suggests they are in control of events,
as they decide on the fates and destinies of men - or perhaps they lead them to their fate.

SYMBOLISM

● Supernatural: The inclusion of ‘magical’ creatures is contextually significant as the

contemporary audience was interested in, believed in and was fearful of witches. The
monarch at the time of writing in the early 17th Century was James I, who wrote the
book ‘Daemonologie’ which explained how to identify a witch and how to tourture
them. These witches would be seen as a very real and genuine threat to the
contemporary audience, who actually believed that witches lived amongst them and
are more than a fictional fantasy.
CHARACTER IN CONTEXT

Appealing to James I
Shakespeare uses the character of the Witches in order to appeal to the current monarch
James I, who had a passion for the history of witchcraft. It is important to understand how
Shakespeare portrays the Witches in an appealing fashion.

James I’s passion for witches is evident as he was involved in many witch trials (e.g. North
Berwick Witch Trials), where he took part in interrogating a witch. He also believed they had
tried to kill him on the way to the trials and therefore
the portrayal of the Witches as inherently evil and
agents of Satan appeals to James I. He wrote a
book about witches – ‘Daemonologie’. Through
connecting witches to regicide Shakespeare is
clearly demonstrating that witchcraft is infernal and
thus Shakespeare is evidencing his allegiance to
the king and gaining his favour through this play.

Shakespeare also has the motive of wanting to

make the play interesting to James so that he will
financially support the theatre and ensure
patronage (ascending from the Lord Chamberlain’s
men to The King’s Men, under James I).
Shakespeare had been very reliant on Elizabeth’s
patronage previously in protection from puritans
trying to ban the theatre. Perhaps this could be why
there are so many religious references. In order to
prove that theatre is not sinful and can actually
serve to accompany the messages of the bible and
even reinforce them. This is shown through Macbeth’s fall from grace as he succumbs to the
temptation of the Witches.

Regicide
Shakespeare condemns regicide through his portrayal of Macbeth and the mental torment it
causes him. You can consider why Shakespeare wanted to exhibit the evil nature of regicide in
the contemporary context. Through presenting regicide as inspired or even controlled by the
Witches, Shakespeare implies it is related to the devil and hence regicide will have severe
religious consequences. This act is directly contradicting the will of God as the divine right
of kings is subverted through regicide.

Furthermore, Macbeth is aligned with forces of supernatural evil within the play. He is
evidence that association with the supernatural will always result in suffering and severe
consequences. This is also evident through Shakespeare’s portrayal of Lady Macbeth, who is
driven insane.
The Witches’ direct influence upon the Macbeths is evidenced through the link between
Macbeth and Lady Macbeth’s lack of sleep and also the Witches’ proclamation that “sleep
shall neither night nor day, hang upon his penthouse lid”. This could be the Witches
preventing sleep, as this lack of sleep will cause Macbeth to waste away and deteriorate as a
result of this curse.

Bible
The Bible forms a great deal of references made in Macbeth, as the Witches subvert the
holiness of Christianity (Catholicism and Protestantism were the mainstream contemporary
religions). It is important to consider why Shakespeare portrays the Witches as symbolising the
perceived evil within the Bible.

The audience perceives the Witches as agents of the devil, as stated in King James I’s
‘Daemonologie’, which theorised that the witches carried out the work of the devil and were
controlled by him. Therefore they are the
devil’s influence on earth, carrying out the
work that is beyond his capability. Hence,
regicide is the work of the devil.

They act as part of the fall of man, in causing

him to succumb to temptation – like the
serpent in the Garden of Eden. The Witches
form an anti-trinity - as they always appear in
a three they form a trinity of evil. This
opposes and contradicts the trinity of the
Father, the Sun and the Holy Ghost, who
according to the Bible, comprise “one God in
three Divine persons”. Thus it could be contended that the three Witches comprise the Devil
in three infernal persons. Macbeth turns to them in times of need (when worried after
Banquo’s death) for advice and comfort instead of to God. He has transitioned from good to evil
– from "fair to foul".

KEY CHARACTERISTICS

Supernatural
The structure of the Witches’ speech emphasises their supernatural characteristics. The
rhythmic and chant-like nature of the Witches’ rhetoric implies that their words have real
extraordinary power. Shakespeare, through linguistic techniques, uses this as symbolic of
the supernatural and to connect other characters to the supernatural. This is evident as
Macbeth and Lady Macbeth also speak in rhyming couplets at times when they are
expressing evil or when they are controlled by the supernatural. For example, Macbeth says:
"stars hide
your fires // let not light see my black and deep desires" and "fairest show // false face
must hide what false heart doth know".

Trochaic Tetrameter
Shakespeare uses trochaic tetrameter when the Witches’ speak. The audience will notice
this shift in meter between the characters and place importance on what is being said. This
causes the witches to stand out as different and other-worldly, as this is a difficult and
unnatural way to speak, causing them to be perceived as supernatural and dangerous.
➔ This meter is also used for the fairies in ‘A Midsummer’s Night Dream’.

Rhyming Couplets
Shakespeare’s use of rhyming couplets gives the Witches’ speech a spell-like sound as is
symbolic of spell casting and bringing things into existence through their utterances. This sets
up the debate as to whether the Witches are really controlling events or if they are in actuality
leading Macbeth into his own demise.

KEY MOMENTS

SC OCCURRENCE SIGNIFICANCE

1.1 The Witches are introduced. By opening the entire play with a scene revolving around
the Witches, in “thunder and lighting” (pathetic fallacy),
Shakespeare is being explicit in setting one of the major
themes of the play as the supernatural. This also works
to intrigue the reader - and suggests that the tension in
the play will be caused by the presence of the Witches.

1.3 The Witches meet with This scene and the Witches’ inclusion in it reaffirms the
Macbeth (and Banquo). audience that a key theme of the play is the
Supernatural. They state their predictions for Macbeth:
“hail to thee, thane of Glamis [...] hail to thee, thane
of Cawdor [...] hail Macbeth, thou shalt be king
hereafter.” By the end of the scene, Ross has joined the
characters and pronounces Macbeth thane of Cawdor,
which solidifies Macbeth’s belief in their prophecies. They
also predict for Banquo: “Thou shalt get kings, though
thou be none” suggesting his descendants will be
Kings, even if Banquo himself will not become one.

3.5 The Witches meet with Hecate. It’s argued that this scene has not been written by
Shakespeare, and is not crucial to understanding the
 play. However, here Hecate (Goddess of Witchcraft)
meets with the Witches to explain that she wishes to play
a direct role in Macbeth’s downfall. This leads to the
question, is Macbeth entirely responsible for his
downfall?

4.1 The second meeting with The Witches make further predictions, through the forms
Macbeth and the introduction of apparitions which appear before Macbeth: “beware
of apparitions. Macduff”, “none of woman born / Shall harm
Macbeth” and “Macbeth shall never vanquish'd be
until / Great Birnam wood to high Dunsinane hill /
Shall come against him”. This scene demonstrates the
immense power that the Witches and their prophecies
hold over Macbeth.

RELATIONSHIPS

Macbeth | The Witches are dependent on Macbeth to

fulfill their prophecies. It was believed that witches were
unable to directly kill man so instead they had to control
others to create the disorder and chaos they wished to
impart on mankind.
➔ The Witches refer to a story about a sailor. The
rhyming couplet “Though his bark cannot be
lost, / Yet it shall be tempest-tossed,” shows the
audience the limited power they have over man.
They cannot directly destroy his ship, but instead
they can cause a storm to occur.

The Witches can’t kill Duncan themselves but instead they

have the power to influence the men around him. It could
therefore be argued that Macbeth becomes their puppet
and vehicle for evil. Their prophecies cause Macbeth to
realise his own entrenched ambitions and then inspire
him to act upon it. It is their suggestion and temptation
that triggers his fall.
➔ Perhaps Macbeth is a greater force of evil than the Witches as he is the one who
physically carries out the act of regicide. Indeed, they recognise "something wicked
this way comes".
However, you could argue that the Witches are simply a catalyst for Macbeth’s actions, it is his
desire to fulfill his ambition for power which provides the momentum within the play. Perhaps,
Macbeth had the potential to sin, but needed the suggestion in order to persuade him into
acting. Therefore it can be said that Macbeth had the intent all along, but needed the Witches to
enlighten him of it. The Witches sparked confidence within him so that he could do it and
succeed.

The notion of regicide already existed within Macbeth’s mind and he sustains it himself, rather
than the Witches planting this entirely new concept in Macbeth’s head. Therefore,
Shakespeare’s play is more of an exploration of the psychological state of Macbeth, rather
than an exploration of the supernatural. This prompts the interpretation that the Witches only
predicted events rather than causing them and deciding fate. Duncan had already decided that
Macbeth would be Thane of Cawdor, before they told Macbeth

Duncan | Though they never meet, King Duncan linguistically echoes the witches in speech
(unwittingly) as he exclaims “when the battle’s lost and won”, which is Shakespeare using
parallelism (repeated grammatical structure) to echo the Witches, who state “what he hath
lost, noble Macbeth hath won”. This shows how the witches exert control over all aspects of
the world – even the king.

Furthermore, this alleviates responsibility from Macbeth as suspicions of King Duncan’s

divineness is not necessarily only due to innate evil that the Witches have encouraged within
him. Duncan is presented as the pinnacle of virtue as he is “so clear in his great office”, yet
he is still susceptible to the witches control as shown by this use of parallelism.

Banquo | Banquo is also affected by the Witches, as he admits to dreaming of the witches: "I
dreamed last night of the three weird sisters". However, this occurs on the same day that
Banquo met the Witches, prompting the question - had he been thinking of them before they
met? Were Macbeth and Banquo already connected to the supernatural?

This dream shows that they have influenced Banquo too, however he serves as evidence that
the witches can be resisted and they do not have complete control as they give him a
prophecy too, which he ignores. This response from Banquo is necessary for his character as
he serves as the foil to Macbeth and to embrace the Witches would go against the purpose of
his character.

Lady Macbeth | Lady Macbeth can be interpreted as a fourth witch, of perhaps an even greater
evil. It is important to understand why Shakespeare portrays Lady Macbeth as similar to the
Witches. She lapses into rhyming couplets when trying to persuade Macbeth to commit
regicide and evil deeds. This linguistic mimic of the Witches’ form of speech connects her to
their inherent evil. Lady Macbeth uses paradoxical rhyming couplets which bear connotations
of both evil and the Witches, including: “only look up clear; to alter favour ever is to fear”,
“alls spent” “without content”, and “that which we destroy” “doubtful joy”
Lady Macbeth defies gender roles as she is dominant in her relationship with Macbeth,
which was often all the justification needed to convict a woman of witchcraft. She becomes the
proxy of the witches to maintain their evil influence over Macbeth.
➔ This is shown as she greets him in the same way as the witches did which implies a form
of connection:
◆ Lady Macbeth - "Great Glamis, worthy Cawdor, greater than both by the all
hail hereafter".
◆ The Witches "hail Macbeth thane of Glamis/Cawdor/thou shalt be
king hereafter"

Lady Macbeth’s ongoing influence on Macbeth could be why, unlike Banquo, he is unable to
resist the Witches’ influence. Macbeth has many moments when he is decided to resist evil and
not murder Duncan. But this reluctance causes him to be emasculated by Lady Macbeth - she
is outraged, calls him a coward and questions his manhood: “When you durst do it,” she says,
“then you were a man”. This tempts Macbeth back into murder as he does not want to be seen
as feminine.

KEY QUOTES

“your face my thane is like a book”.

● The Witches capitalise on the obvious intentions and ambitions of Macbeth,

as demonstrated through this simile. The Witches can be argued to simply be
a
catalyst to Macbeth’s inevitable fulfillment of his ambition for power: his demise.

The Witches are described as: "imperfect speakers"

● However, Macbeth listens to them and their prophecies anyway because he wants
what they say to be true.
○ They speak in riddles that are meant to be misunderstood and Macbeth
chooses to ignore this as his greed for power overcomes him.
○ Therefore, it could be argued that they are not controlling fate, rather they
are allowing Macbeth to gain validation of the desires he already has.
● Their words are vague and ambiguous because they are not a source of control
but a source of temptation.
 ○ Macbeth interprets their speech to suit his pre-existing desires and
therefore it could be argued that Macbeth twists their prophecies in
order to further his own agenda of power.

"lost and won" & "lesser than Macbeth and greater".

● Shakespeare establishes the Witches as a source of chaos and disorder.

○ This is evident as their interference causes the reversal of order.
○ Things that shouldn’t be able to coexist begin to occur as the complex
riddles of the Witches come to fruition.
● Paradoxical phrases are often used by Shakespare, when the Witches are
speaking to demonstrate the ostensibly (seemingly true but not necessarily true)
nature of their positive prophecies made to Macbeth.

“valour of my tongue”.
● Their use of language to tempt and control bears connotations of satanic imagery
and the snake in the Garden of Eden.
○ They are female and so this is the only way women can have power
○ The serpent used untrustworthy language to tempt Eve, in the Garden of
Eden, through twisting what God had said and claiming he didn’t want
them to become like him; the fruit wasn’t really forbidden.

“fair and foul”

● The oxymoronic language used by Shakespeare reflects Macbeth’s confusion in

the audience, who would be similarly ambivalent towards the actual meaning of
the prophecies, as they too cannot understand the oxymorons.
○ This works to cultivate intrigue and build tension.
● Things that are accepted as foul seem fair to Macbeth, like regicide (killing the
King).
● Macbeth who was fair becomes foul, himself.

"look not like the inhabitants of the earth, / And yet are on it"

● This juxtaposing comment further works to reassure the confusing and illogical
nature of the Witches, and the theme of the Supernatural in general. This
suggests
 their introduction to the characters, especially Banquo and Macbeth, will be
chaotic.
● Links to Banquo’s later comment: “you should be women, / And yet your
beards forbid me to interpret / That you are so.” - The Witches clearly work
beyond the natural laws of physics and biology.
LORD BANQUO
REPRESENTS MACBETH’S ANTITHESIS

INTRODUCTION

Banquo is a brave noble. At the

beginning of the play we learn from the
Witches’ prophecy that his children
will inherit the Scotish throne.

Banquo is similar to Macbeth in that

they both have ambitious thoughts,
however Banquo demonstrates
restraint as he doesn’t act upon these
desires. The character of Banquo is
the opposite to Macbeth, as he
represents the route that Macbeth
chose not to take. The path where
ambition doesn’t lead to betrayal and
murder. Thus it is Banquo’s ghost,
rather than Duncan’s, that haunts Macbeth.

SYMBOLISM

Shakespeare uses the constructs of Macbeth and Banquo to show how men can react when
shown temptation. Banquo is portrayed as Macbeth’s foil and is therefore symbolic of man’s
ability to resist temptation.

The Witches’ prophecies

We can see the differences between the two men when we observe their reactions to the
witches’ prophecies. Macbeth is "rapt withal” which bears
connotations of being entranced and absorbed by the
Witches. However, Banquo will "neither beg nor fear your
favours nor your hate" as he is indifferent to their
prophecies. He takes the witches for what they physically
appear to be - ragged old women. He doesn’t trust them so he
perceives their prophecies with scepticism.

Banquo’s role as foil emphasised by the juxtaposition of his

prophecies with Macbeth’s "lesser" and "greater", with
"happier" and "not so happy". Here, Shakespeare’s use of
antithesis in his phrasing hints that Banquo serves as
Macbeth’s antithesis. This suggests Banquo is a morally strong and virtuous character
who resists evil, providing a contrast to Macbeth, who is a morally weak, innately flawed
and evil character who gives into temptation.

Temptation
Shakespeare’s exposure of both Banquo and Macbeth to temptation is necessary for the
audience to view the contrasting responses to temptation. This allows them to decide which
man is the morally righteous one.

Shakespeare portrays temptation as the crux of the play. It is vital for Banquo to be faced
with temptation and ambition as it proves that Banquo is morally strong; his strength doesn’t
come from an easy path, but from resisting temptation. Macbeth’s hamartia (a fatal flaw) is
that he is too weak to resist the influence of the Witches and Lady Macbeth.

Arguably this is a message from Shakespeare to the audience that everyone is capable of evil
and they must resist it. Banquo doesn’t speak out against injustice and corruption, despite
being tempted by the promise of being "the root and father of many kings". He won’t reveal
the evil prophecy that promises him attractive things; perhaps this is because he wants it to
come true too and has the flaw of ambition. However, his flaw is not his hamartia; he can
resist it.

EXAM TIP!
Using terminology, which you may
be unfamiliar with can be scary at
first but once you get the hang of
it, this can greatly benefit AO2 for
subject terminology.

CHARACTER IN CONTEXT

● Response to the Supernatural: Banquo resists the temptations of evil offered by the
Supernatural (in the form of the Witches) throughout the play. This would have
appeased a contemporary audience, which widely believed that the devil existed on
earth and walked amongst humans trying to tempt them. Thus, the Witches can be seen
as a symbol of temptation to sin that Banquo, as a moral superior, is able to resist.
○ When Banquo finds that the prophecy is coming true he responds with
"what, can the devil speak true". This implies that he views them as agents
of the devil and sees them for what they are. This supports James I’s view in
Daemonologie that witches are controlled by the devil.

● Church: Banquo would have been perceived by a contemporary audience as a

moralistic character as his values were in line with those of the Christian Church. He
 calls upon God for help in resisting temptation: "merciful powers, restrain in me the
cursed thoughts that nature gives way to in repose". Shakespeare uses the theme
of temptation, which has Biblical connotations, in reference to Banquo.

KEY CHARACTERISTICS

● Noble: Shakespeare demonstrates the noble qualities and Banquo’s "royalty of

nature" as he is literally royal in nature - it was prophesied that "thou shalt get
kings". Also, royal in terms of virtue – he is honourable and virtuous. Thus he will
disapprove of the murder, fight for justice and remain loyal to the king (Duncan) - as
warned by
"keep my bosom franchised".

● Strategic: The honour of Banquo is debatable as it could be argued that his response to
the Witches’ prophecy is actually strategic. It is important to consider why
Shakespeare allows for this debate to be had, through his ambivalent portrayal of
Banquo. Banquo is repeatedly referred to as being noble and honourable, throughout
the play: "noble Banquo", "worthy Banquo", "no less deserv’d", "wisdom that doth
guide his valour" and a "royalty of nature". Banquo states that he must “keep my
allegiance clear” – is this allegiance to the past king (Duncan) which would make him
a threat to Macbeth, or allegiance to any king (which could make him an ally). He
speaks in terms of business: “my allegiance” – loyalty and commitment – “my” – almost
like he’s selling it and “augment” – make something greater / increase. This gives the
sense of him playing strategically – carefully chosen and non-committal language.
Allowing him to reserve his judgement so he can choose to support whichever side will
best benefit him.

● Resistive to evil: Banquo’s response to evil

separates him from Macbeth. They are exposed to
the same influences – witches and promises of
greatness - however, Banquo turns to God, asking
for help in resisting evil and ultimately doesn’t act on
his ambitions as he recognises they are a force of
evil.
○ This is evident as he is suspicious from the
start, as he questions "are you aught that
man may question?". Here, he is
recognising the Witches supernatural and
therefore untrustworthy.
○ When he finds that the prophecy is coming true he responds with "what, can
the devil speak true" and this implies that he views them as agents of the
devil – sees them for what they are; Banquo knows that the witches are a route
of
temptation to sin so he is able to resist them.
● Aligned with Jesus: Banquo could be used by Shakespeare to give a moral
message to the audience about rejecting evil thoughts and the importance of turning to
God in times of temptation. Banquo isn’t perfect, and is tempted on some level by the
Witches’ prophecy, however his ability to reject evil is what makes him a moral
character.
○ He is less able to resist ambition when he sleeps, shown by the comment:
"I dream’d of the three weird sisters last night" (showing he
subconsciously thinks about the Witches’ prophecy). But instead of trying to
hide this, he confesses to God and asks for help in remaining moral and
virtuous. This has Biblical connotations as Jesus was tempted three times
by the devil and resisted; perhaps Shakespeare is attempting to draw parallels
between the Banquo and Jesus.

EXAM TIP!
When analysing language
techniques, ensure you refer to
“Shakespeare” explicitly. This
shows the examiner that you are
considering his methods directly.
 KEY MOMENTS

CH OCCURRENCE SIGNIFICANCE

1.3 Banquo meets the Here, Banquo and Macbeth meet the three Witches and are told the
Witches prophecy. For Banquo, whilst they say he won’t be King, they say his
descendants will be. As Macbeth has just been told that he will be
King, this sets up a tension between Banquo and Macbeth despite
their long standing friendship. Banquo’s reaction to the Witches is one
of suspicion, whilst Macbeth immediately believes the prophecies.

3.1 Macbeth plots Death at the peripeteia (sudden reversal of fortune)

Banquo’s murder Shakespeare has an ulterior motive to portray Banquo’s death as a
noble one. It is important to understand why Shakespeare
deliberately decides for Banquo to be killed by Macbeth’s assassins
and die while saving his child. This death would have been more
compelling to James I than the death of Duncan, due to James’
personal connection and interest in Banquo and will, therefore, care
about his death at the hands of Macbeth.

This plotline is significant as Shakespeare made a change from the

original version of Macbeth: His original source material of Macbeth
(called the Holinshed Chronicles) has been changed by
Shakespeare for this very reason. Originally, Banquo was portrayed
as the
co-conspirator of Macbeth and was involved in the murder.
Shakespeare changed this story line to flatter Banquo and thus
James I, who believed he was the descendant of Banquo. By
presenting Banquo favorably, Shakespeare is showing support and
praise for James. He needed to make the play enjoyable to the king
and thereby win him as a patron – support his play company and win
his political support against Puritans trying to ban theatre.

Shakespeare also needed to demonstrate his belief in James’ claim to

the throne and the ‘Divine Right of Kings’, and show he is not a
threat to James' post-gunpowder plot. He was initially connected to
the plotters – William Catesby (father of main plotter Robert Catesby)
close friends with Shakespeare’s father and people had been
executed for lesser connections. Actors / playwrights were naturally
suspected of crimes – moved around a lot and no fixed home or
workplace – so were not accountable for.

Banquo serves as a dramatic device – to act as Macbeth’s foil and

highlight his moral weakness through juxtaposition – but also as a
 political device to simultaneously entertain the king and demonstrate
Shakespeare’s loyalty and support.

3.3 Banquo is Banquo’s death marks the breakdown in Macbeth’s marriage, and
murdered Lady Macbeth’s mental deterioration increases. They start to
distance from one another after this point as Lady Macbeth
disapproves of Banquo’s murder “you must leave this” and thus
Macbeth stops involving her in his plans.

Macbeth starts acting independently of his wife, as she is no longer

necessary and is redundant. Lady Macbeth has lost her reason to be
evil and powerful – she can’t support her husband. She gives in to
her guilt as her conscience starts to take over and she goes insane.

Macbeth and Lady Macbeth develop in reverse directions. Macbeth

becomes more like how Lady Macbeth was formerly, while Lady
Macbeth becomes more like Macbeth was. This is therefore a
reversal of gender roles and the point at which Macbeth cannot
return to virtue, which is evidenced through the extended metaphor:
"I am in blood stepp’d in so far that should I wade no further,
returning were as tedious as to go o’er" - here the metaphor of
wading through “blood” is symbolic of guilt. Macbeth was a
reluctant killer, tempted by Lady Macbeth and the witches. He felt
regret and recognised the injustice of Duncan’s death - "wake
Duncan with thy knocking, I would thou couldst". Before, he was
killing only to speed up the prophecy. However, now he is killing
despite it. He is attempting to change it. Shakespeare does this to
portray his greed – what he has will never be enough, he will never
feel secure. Thus he will keep doing evil because "things bad
begun make strong themselves by ill".

3.4 Banquo’s ghost After being killed by Macbeth in the scene before, Banquo reappears
as a ghost at a Banquet held by Macbeth and his wife; however, he is
only visible to Macbeth. This, along with the floating dagger, enables
Macbeth’s paranoid mind even more. Banquo’s ghost appears and
disappears three times, increasing the chaotic state of Macbeth’s
thinking.
RELATIONSHIPS

Macbeth | Initially, Macbeth and Banquo are portrayed as having a very strong and loyal
friendship due to their many years serving beside each other in battle. However, this
relationship is tested when the two characters meet the Witches. From then on, Banquo is
skeptical of their prophecies whereas Macbeth is not, causing a division and setting up Banquo
as Macbeth’s foil for the rest of the play. Banquo has always been overshadowed by Macbeth’s
victories. In Act Three, murderers were instructed by Macbeth to kill Banquo, and Banquo’s
ghost then appears to haunt Macbeth.

EXAM TIP!
You will develop your AO2 for
characterisation, if you are able to
include a direct comparison
between the characters of
Macbeth and Banquo.

The Witches | Banquo is suspicious of the Witches and their prophecies from when he and
Macbeth first meet them in Act One Scene Three. They create friction between Banquo and
Macbeth by telling them that whilst Macbeth will become King, Banquo’s children will also
become kings which in turn makes Macbeth suspicious of Banquo.

Fleance | (Banquo’s son) Banquo appears to have a very protective and affectionate attitude
towards his son, instructing him to “fly, good Fleance, fly, fly, fly” (A3S3) when it is apparent
he is under attack from Macbeth (who thinks Fleance will become king eventually, due to the
Witches’ prophecies, and therefore is a threat). He manages to escape, but comes back at the
end of the play to avenge his father and take the throne of Scotland, with the help of MacDuff.
KEY QUOTES

Shakespeare uses metaphorical language and supernatural imagery as

Banquo proclaims "the earth hath bubbles" and questions "have we eaten on
the insane root?".

● This quote demonstrates how Banquo works to distance himself from the witches
whilst Macbeth aligns himself with them.
○ The contemporary audience would recognise the witches as a force of
evil and thus favour Banquo.
○ While a modern audience would perhaps view the Witches as humorous,
due to the lack of a belief in witches' existence.

“Our fears in Banquo / Stick deep, and in his royalty of nature / Reigns that which
would be feared.”

● Macbeth is shown to fear Banquo’s "royalty of nature"

○ Banquo has had the same experience as Macbeth, yet Banquo has
responded as Macbeth should have. This means Banquo serves as a
constant reflection of how Macbeth should have acted. He also serves as a
constant reminder of the morality Macbeth started with and is losing.

The two character’s contrasting responses to the prophecies could be explained as

Macbeth’s name was first mentioned by the Witches, who were "there to meet with
Macbeth".
○ Therefore Macbeth knows he is the focus of their intent and thus allows
them to control him as he is aligned and connected to the Witches.
whereas Banquo could be less susceptible as the prophecies are not
directly aimed at him, even though they concern his children.

Banquo asks the witches to "speak then to me" as he wants to know what the "seeds of
time" have in store for him.

● This demonstrates that though Banquo is interested by the prophecy and does
show his own ambition, the ambition he possesses is not as strong as Macbeth’s
(or he tries to disguise it).
 ● In this situation, he remains composed and in control as he states "neither
beg nor fear your favours nor your hate".
○ This reveals that Banquo is a very moralistic and responsible character
who is not easily led astray.
○ This juxtaposes Macbeth’s response, who commands the Witches to
"stay, you imperfect speakers", revealing his desperation.

Both Macbeth, who describes the witches as “imperfect”, and Banquo have recognised
the witches as unnatural and evil, yet Macbeth chooses to ignore this because he wants to
believe their prophecies.
● However, the Witches’ prophecy prompts the question: why does Banquo save
his son? He tells Fleance to “fly” – but also “thou mayst avenge”. Therefore, it is
clear that he wants Fleance to avenge his death and perhaps kill Macbeth or to
take the crown and therefore fulfill the prophecy.
● Earlier in the play, the father-son relationship is not depicted as being close or
loving, as Shakespeare employs the formal language of “boy” and “sir”, rather
than ‘father’ or ‘son’. Here, he makes the audience question whether his sacrifice
is out of love, or out of ambition.

"I dream’d last night of the three weird sisters"

● This suggests that Banquo had been thinking of the witches before they met, as
when he admits this is still the same night as they met the witches.
○ This point could just be an oversight on behalf of Shakespeare – which
wouldn’t be the first (for example, the thane of Cawdor had been
killed…then executed?!?).
○ Or, arguably, it could be evidence that Banquo is not entirely
unconnected to the supernatural either, like Macbeth supposedly is.

Banquo suspects Macbeth but doesn’t speak out as he states "I fear thou played’st
most foully for’t".

● He suspects Macbeth because he can identify evil as a moral person.

● Or, perhaps, he suspects Macbeth because it’s what Banquo would have done in
Macbeth’s position, as he had "cursed thoughts" himself.
"noble Banquo", "worthy Banquo", "no less deserv’d", "wisdom that doth guide his
valour" and a "royalty of nature".

● Banquo is repeatedly referred to as being noble and honourable throughout the

play.
● Shakespeare thus makes it clear that he is widely regarded as such and there
should be no doubt to his loyalty. Yet, in Shakespeare’s play ‘Othello’ the
antagonist Iago is similarly known to be honest and honourable - yet is anything
but these qualities.

The Witches predict Banquo being "lesser than Macbeth and greater".

● This becomes true: In status, he is lesser (sir) but he is morally superior, with
a stronger will. He remained loyal to the kind and obedient to God and the
‘Great Chain of Being’ and therefore he will have a greater afterlife.

Banquo frequently speaks in terms of business:

● “my allegiance” – loyalty and commitment – “my” – almost like he’s selling it.
● “augment” – make something greater / increase.
● “franchised” – a privilege or authorisation granted by a governing power.

This gives the sense of him playing strategically – carefully chosen and non-committal
language. Allowing him to reserve his judgement so he can choose to support whichever
side will best benefit him.

"the instruments of darkness tell us truths; win us with honest trifles to betray’s in
deepest consequence".

● Here, Banquo is referring to the Witches as being “the instruments of

darkness”. Unlike Macbeth, who is refusing to see the potential consequences
of believing in the prophecies, Banquo is aware that there is likely a trap involved
in the predictions.

Whereas Macbeth asks Banquo to "cleave to my consent", Banquo vows to "keep my

allegiance clear".

● This demonstrates he will not go against the king even if it benefits him.
"I shall be counselled"

● He is willing to be advised and tempted by Macbeth, which shows he’s franchised

– wants to retain the privileges he has gained from loyalty to the king and this may
change to new king.
○ States that "my duties" are "forever knit" to Macbeth
○ He has shifted his loyalties and allegiance to Macbeth rapidly.
● Therefore, it is clear that his loyalty is not fixed – to any king, but rather, he
is loyal only to serve himself.

The contemporary audience widely believed that the devil existed on earth and walked
amongst humans trying to tempt them. Thus, the witches can be seen as a symbol of
temptation to sin that Banquo, as a moral superior, is able to resist. Macbeth being
crowned as the Thane of Cawdor gives credibility to the Witches’ prophecy and makes it
seem like they will come true.

● Macbeth responds with additional ambition: "yield to that suggestion", while

Banquo recognises it is a trick as he states "the instruments of darkness tell us
truths; win us with honest trifles to betray’s in deepest consequence".
○ Banquo recognises that this is temptation, and giving into it will have
severe (religious) consequences.
● His suspicion doesn’t protect him from death, but it protects him from
moral and religious disgrace.
○ Will still die in God’s favour as he resisted sin.
Macduff
SYMBOLISES ULTIMATE LOYALTY

INTRODUCTION

Macduff is, essentially, a minor character. However, he is,

arguably, the most prominent minor character in the play.
Macduff is a static character, in that his loyalty to King
Duncan, and righteous heirs to the throne, is unwavering. He
immediately distrusts Macbeth and refuses to attend his
coronation. Ultimately, Macduff becomes a focal point for
Macbeth’s rage and desire to protect his throne. Macduff’s
family is murdered by Macbeth’s assassins, after Macduff
flees to England to seek help from the king. Revenge drives
Macbeth to eventually kill Macbeth and instill Malcolm, the
rightful heir to the throne.

SYMBOLISM

Macduff is, in every way, the opposite to the character of Macbeth and therefore they are the
foil of each other. It is important to consider why Shakespeare portrays Macduff as in stark
contrast to that of the character of Macbeth. These two characters extend to the symbols of
the fight between good and evil. Arguably, these characters may also have a Biblical
symbolism – a representation of sin being defeated and order restored.
➔ Defeating Macbeth is Macbeth’s destiny, as Macduff suspected him from the start and
the Witches prophesied that a “man of woman born” would defeat him.
➔ He has the opposite definition of manhood to Macbeth, as Macduff doesn’t
resist emotion but embraces it.
➔ His bravery is selfless and out of a love for his country; violence is for a justified cause
(not murder) and it is only proportional to what is needed. He is confident in facing
Macbeth, as he calls to him “turn hell hound, turn”, demonstrating that he is not
afraid to fight Macbeth, as Macduff has righteousness on his side. His true bravery
exposes Macbeth’s cowardice.
➔ Macbeth’s confidence and bravery comes from hubris (excessive pride), due to the
witches’ prophecies that state only a “man of woman born” could defeat him. Thus, it is
clear that Macbeth has been a coward since Act 1: he killed Duncan in his sleep, he
killed Banquo with murderers. Macduff’s bravery is pure and honourable and therefore
succeeds in killing Macbeth in battle.
 EXAM TIP!
Using terminology, which you may be unfamiliar with can be scary at first but once
you get the hang of it, this can greatly benefit AO2 for subject terminology.

CHARACTER IN CONTEXT

Religious Context
Macduff’s reaction to Duncan’s death is a long hyperbolic
speech, where he uses religious language to show his belief
in the ‘Divine Right of Kings’. This shows Macduff to be
adhering to the religious, moralistic thoughts of the historical
period.

Macduff uses metaphorical language to describe Duncan’s

death: “most sacrilegious murder hath broke ope the lord’s
anointed temple”. His body is referred to as a “temple” in
order to reinforce the holiness of Duncan’s reign. He
recognises Duncan as the true, divinely ordained, king; the
“Lord’s temple” and thus God’s earthly deputy. Kings are
anointed with holy oil at their coronation to signify this.
➔ Hence the murder is not just a crime (murder), it is an
unforgivable sin against God, which is “sacrilegious”
and unholy - tantamount (equivalent) to the murder of
God himself.

In the Jacobean era it was believed that God picked who was to be king, therefore to try and
change who was king was a sin as you were going directly against God’s will. This is similar to
the Biblical fall of man in the Garden of Eden, as Adam disobeyed God’s orders. Macduff
emphasises this belief that the king is divinely ordained and is therefore loyal to him. He
associated Duncan with piety and virtue as he is aligned with God.
➔ He also recognises that the murder will have greater consequences for Scotland as he
states “see the great doom’s image”, which is a reference to judgment day. This
suggests that he sees the death of the king as comparable to the end of the world –
complete loyalty and devotion, or that perhaps, ending a divine bloodline’s right to the
throne would enrage God. The natural order has been disturbed and thus chaos will
ensue, like at the end of the world.

KEY CHARACTERISTICS

● Sensitive: Macduff differs from the other male characters in the play; he publically
exhibits emotional behaviour, something which was considered a femenine trait at
the
 time. Macduff’s violence is not dangerous like Macbeth’s as it comes from love for his
country and family; it is “grief convert to anger”. This is demonstrated through the very
emotional reaction to the death of his family.
○ Macduff believes that Macbeth must have “no children” to explain how he can
live with a guilty conscience of killing Macduff’s children. This also means
that there is no way for Macbeth to receive retribution, as Maduff has no way
to
deliver a pain equal to having his own children killed. Nothing Macduff can do will
truly pay for this pain – not even killing Macbeth; losing family is a greater pain
than death.
○ Macduff’s disbelief is evidenced through Shakespeare’s use of many rhetorical
questions and the repetition of questions he has already asked: “all my
pretty ones?” “my children too?” “my wife kill’d too?”. These reveal his
flabbergasted state as he cannot imagine that someone could even do that.
This contrasts to Macbeth, as his selfish ambition is put before all else,
including
emotional sensitivity and morals.

● Patriotic: Shakespeare portrays Macbeth as a man who adores Scotland and feels as
though he must save it from the tyranny of Macbeth’s rule. He is the one to recognise
that Macbeth’s reign brings chaos to Scotland and sets about creating an opposition
to Macbeth.
○ Macduff uses the motif of personifying Scotland, as Macbeth is causing
Scotland to “bleed bleed poor country”. Shakespeare uses this technique in
order to symbolise how Scotland is dying because the ‘Great Chain of
Being’ has been subverted.
■ The ‘Great Chain of Being’ is a
hierarchical social structure,
which dictated who had authority
over who (the King was at the top of
the hierarchy, just under God).
○ Shakespeare evidences Macduff’s care for
all of Scotland through the use of
parallelism as “new widows howl, new
orphans cry” demonstrates that Macduff is
considering the detrimental effects of
Macbeth’s reign, holistically (as a whole).
Hence he left his own wife and children to
try and save the women and children of the
whole country. This contrasts Macbeth, as
Macduff acts for the good of others, not the
good of himself. While Macbeth’s allegiance
is to himself and his wife, Macduff’s is to
Scotland.
KEY MOMENTS

SC OCCURRENCE SIGNIFICANCE

1.6 Macduff is Macduff is introduced to the audience amongst a series of other

introduced to the characters, and doesn’t speak in this scene. By introducing him in
audience. a scene where he has no lines, the audience do not suspect that
by the end of the play, he will be a character which enacts revenge
on Macbeth and a character which will hold a great deal of power.

2.3 Macduff discovers Macduff’s complete loyalty to Duncan and adherence to the
Duncan’s death. ‘Divine Right of Kings’ is demonstrated through a very
emotional reaction to the death and Shakespeare’s use of the
group of three “O horror, horror, horror” revealing Macduff’s
distress and also his honour. Shakespeare employs repetition to
emphasise the strength of this emotion. Macduff adopts the role of
the judge in this play – he knows Macbeth is in the wrong. He will
act on God’s behalf (in the absence of Duncan) to bring justice
upon Macbeth. Judgment day for Macbeth – his actions will
result in eternal damnation.

4.1 Macbeth receives Though Macduff doesn’t appear in this scene, the Witches conjure
warning from an an apparition which warns Macbeth that he should “beware
apparition (conjured Macduff, beware the Thane of Fife”. This works to set Macduff up
by the Witches) that as Macbeth’s foil, as he becomes suspicious of what Macduff could
he should be wary of do to him.
Macduff.

4.2 Macduff’s family is This is the ultimate ‘trigger’ for Macduff: he has left his family in the
killed by Macbeth country he loves in order to help rid his country of Macbeth - this
shows the choice he has made between his family and his country,
which causes the death of his loved ones. This provides Macduff
with even more rationale to enact his revenge on Macbeth.

4.3 Malcom suspects Malcom’s test involves talking to Macduff about why he wouldn’t be
that Macduff may be fit to be the King of Scotland, and though Macduff initially disagrees
working for Macbeth politely, he eventually agrees, proving his allegiance to Scotland
so tests him to see if and as an ally to Malcolm. This shows him as both a truthful and
he is trustworthy. He loyal character.
also finds out that
his family has been
killed in this scene,
and promises
 revenge on Macbeth
for this.

5.8 Macduff kills In this scene, Shakespeare utilises the character of Macduff to
Macbeth restore order to the play, by ensuring that it is Macduff who brings
an end to the tyrannous reign of Macbeth, rather than Malcolm.
Arguably, Shakespeare does this so that Malcolm’s reign isn’t
tainted by violence and he is able to maintain his own purity.
Macduff has the strongest reason to kill Macbeth: revenge.
Therefore, this killing from emotion is perceived as more
acceptable by the audience. This reveals the ambivalence and
double sense of the witches’ prophecies and forces Macbeth to
realise his mistake in trusting them. He was warned of Macduff all
along but chose to interpret the prophecies to suit his own
ambitions. It is only then that Macbeth realises the witches were
“juggling fiends” and recognise the truth in a classical moment of
anagnorisis (the point in a play, where a principal character
recognises or discovers another character's true identity). Macduff,
therefore, is symbolic of a bringer of truth and he calls Macbeth
what he is – “tyrant” “hellhound” “bloodier villain”. He brings
truth to the deception that has been Macbeth's reign, exposing
him for what he is and purges Scotland of its illness: “bleed bleed
poor country”; the blood that must be bled is Macbeth’s.

RELATIONSHIPS

Malcolm | Both Malcom and Macduff hold an immense amount of loyalty and patriotism
towards their country, and this is crucial as it leads to Macbeth’s removal from the throne.
Malcom tests Macduff’s loyalty in the play, which Macduff succeeds in and hence proves to the
audience that Macduff is a character to be trusted.

Macbeth | Macduff is eventually the character who kills Macbeth in the play.

EXAM TIP!
You will develop your AO2 for characterisation, if you are able to
include a direct comparison between the characters of Macbeth
and Macduff.

Ross | Ross is part of the army which eventually overthrows Macbeth, and is a Thane. He is the
one who tells Macduff that Macbeth has murdered his family. He serves as a character who
delivers news both to the characters and audience in the play, and Macduff is part of this
deliverance.

King Duncan | Macduff shows great loyalty to King Duncan, and is the character who finds him
dead after Macbeth murders him.

KEY QUOTES

“lest our old robes sit easier than our new”

● Here, Shakespeare reveals Macduff’s bleak perception of a future Scotland
under Macbeth as he uses the extended metaphor of predicting Scotland will
change for the worse.
○ He suggests there will be chaos and a divergence from the peace
of the past

Macduff opposes Macbeth’s rule: “fit to govern? No not to live!”

● Through Shakespeare’s use of rhetorical question and hypophora (a
question is raised and immediately answered) emphasise Macduff’s strong
hatred of tyranny and complete loyalty to Scotland.
○ He resents tyranny and this is clear through his immediate attempts to
oppose Macbeth with an army from England. In the scene 4.3, Malcolm
tests Macduff to see if he is in fact a man of principal. It is when
Malcolm changes from character flaws (like greed and lust) to the
disruption of Scotland’s order that Macduff rejects him. This is evident
as Malcolm suggests that “I should pour the sweet milk of concord
into hell”.

“thy hope ends here”

● This demonstrates Macduff’s pessimistic outlook – he would not be able to live
in happiness if Scotland was ruled by a tyrant.
● Malcolm also tests Macduff and proves him not to be naïve; he will not
accept something that wouldn’t be good for the country as he shows great
emotion towards the well-being of the country.
“he is noble, wise, judicious”.
● Here, Ross is defending Macduff, and the audience are provided with an initial
view of Macduff as a trustworthy and calculating leader.

“Cruel are the times when we are traitor and do not know ourselves”
● Macduff is only doing what he thinks is best for Scotland in not being a traitor to
Scotland, but he is a traitor to his family as he could only save one.
○ In doing this, Macduff becomes the complete foil to Macbeth,
who conversely obeys his wife and is a traitor to his country.

“Most sacrilegious murder hath broke ope the lord’s anointed temple”
● Shakespeare uses this metaphorical language, in stating that Duncan’s body
was a “temple”, in order to reinforce the holiness of Duncan’s reign.
○ He recognises Duncan as the true, divinely ordained, king.
○ This demonstrates Macduff’s loyalty to Scotland, in addition to
his intensely patriotic nature.

"new widows howl new orphans cry".

● Macduff kills Macbeth after the murder of his wife and children, as he is fighting
for his family, but also for all the women and children in Scotland, which is
evidenced through the Shakespeare’s use of zoomorphism.
○ The verb “howl” cultivates a greater sense of sympathy for these
orphans - like abandoned puppies.

EXAM TIP!
When analysing language techniques, ensure you refer to “Shakespeare” explicitly.
This shows the examiner that you are considering his methods directly.