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In a fatalistic universe, the length and outcome of one's life destiny is predetermined by external forces. In Macbeth, the Witches represent this influence.

The play makes an important distinction: Fate may dictate what will be, but how that destiny comes about is a matter of chance and, in a Christian world such as Macbeth's of man's own choice or free will. Although Macbeth is told he will become king, he is not told how to achieve the position of king: We cannot blame him for becoming king it is his Destiny , but we can blame him for the way in which he chooses to get there by his own free will.

Macbeth is set in a society in which the notion of honor to one's word and loyalty to one's superiors is absolute. At the top of this hierarchy is the king, God's representative on Earth. Other relationships also depend on loyalty: In this play, all these basic societal relationships are perverted or broken. Lady Macbeth's domination over her husband, Macbeth's treacherous act of regicide, and his destruction of comradely and family bonds, all go against the natural order of things.

The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm , and order on the larger scale of the universe, or macrocosm. Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe — tempests, earthquakes, darkness at noon, and so on — these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world.

Violent disruptions in nature — tempests, earthquakes, darkness at noon, and so on — parallel the unnatural and disruptive death of the monarch Duncan. The medieval and renaissance view of the world saw a relationship between order on earth, the so-called microcosm, and order on the larger scale of the universe, or macrocosm.

Thus, when Lennox and the Old Man talk of the terrifying alteration in the natural order of the universe nature , these are all reflections of the breakage of the natural order that Macbeth has brought about in his own microcosmic world society. Many critics see the parallel between Duncan's death and disorder in nature as an affirmation of the divine right theory of kingship. As we witness in the play, Macbeth's murder of Duncan and his continued tyranny extends the disorder of the entire country.

Lady Macbeth is the focus of much of the exploration of gender roles in the play. As Lady Macbeth propels her husband toward committing Duncan's murder, she indicates that she must take on masculine characteristics.

Her most famous speech — located in Act I, Scene 5 — addresses this issue. Clearly, gender is out of its traditional order. This disruption of gender roles is also presented through Lady Macbeth's usurpation of the dominate role in the Macbeth's marriage; on many occasions, she rules her husband and dictates his actions. During their debates over which course of action to take, Macbeth and Lady Macbeth use different persuasive strategies.

Their differences can easily be seen as part of a thematic study of gender roles. However, in truth, the difference in ways Macbeth and Lady Macbeth rationalize their actions is essential to understanding the subtle nuances of the play as a whole. Macbeth is very rational, contemplating the consequences and implications of his actions.

He recognizes the political, ethical, and religious reason why he should not commit regicide. In addition to jeopardizing his afterlife, Macbeth notes that regicide is a violation of Duncan's "double trust" that stems from Macbeth's bonds as a kinsman and as a subject.

On the other hand, Lady Macbeth has a more passionate way of examining the pros and cons of killing Duncan. She is motivated by her feelings and uses emotional arguments to persuade her husband to commit the evil act.

Previous William Shakespeare Biography. Next Major Symbols and Motifs. Removing book from your Reading List will also remove any bookmarked pages associated with this title. Are you sure you want to remove bookConfirmation and any corresponding bookmarks? Scene 1 Act I: Scene 2 Act I: Scene 3 Act I: In the next few lines it becomes apparent that Macbeth not only has thought about being king, but he also believes what the witches tell him is true:.

Shakespeare's handling of the three witches or "weird sisters" of Macbeth is in itself equivocal. He assigns them the first dozen lines of the play their proclamation that "fair is foul, and foul is fair" I, i. When their prediction of Act I, scene iii that Macbeth will become Thane of Cawdor comes true almost instantaneously, the broad contours of the play's plot are set; Macbeth will become king of Scotland and this will require the elimination of Duncan and his sons.

While the witches perform seminal and salient functions in the play, their appearance on stage is nonetheless limited. Assuming that Act III, scene v. We see very little of the witches and this, in turn, contributes to our uncertainty about who or what they are.

They clearly possess supernatural powers, including the capacity to foretell the future and to read the minds of the mortals with whom they come in contact, and this suggests that they are real but supernatural. On the other hand, even after their final manifestation at the start of Act IV, Shakespeare undercuts the reality of the witches, again raising the possibility that the weird sisters are an hallucination, an emanation from the human psyche.

The key characteristic of Macbeth's witches is that while they can influence Macbeth's actions, they cannot compel him to commit the evil deeds that he undertakes in the course of the Scottish tragedy. This limitation on the power of the weird sisters, their dependency upon human will to work their black arts, is highlighted by the difference between Banquo's reaction to their initial predictions and that of Macbeth. After their encounter with the witches in Act I, scene iii, Banquo wonders aloud about whether they were real or whether he and Macbeth are suffering from some type of hallucination: It is not Macbeth, but Banquo, who first notices the witches on the heath, asking Macbeth: Banquo then asks the witches directly whether they "live or are "aught" and Macbeth demands further, "Speak, if you can, what are you?

They do not respond to these questions, but simply hail Macbeth, first as Thane of Glamis, then as Thane of Cawdor, and finally as "King hereafter.

Given the witches' prediction that he will become Scotland's king, we have ample reason to believe that Macbeth and his partner in regicide, Lady Macbeth, will succeed in their enterprise of murdering Duncan. What is most remarkable is that just fifty lines earlier, Macbeth has flatly told his wife that they shall proceed no further in the bloody business at hand; in the midst of Lady Macbeth's subsequent argument against such "unmanly" inaction, he commands her to hold her peace.

Lady Macbeth defies him, and the spurs embedded in her reply tap deeply into Macbeth's psyche. Most interpreters have focused on Lady Macbeth's skillful manipulation of gender identities and the strong innuendo of sexual tension between the two in their explanations of why Macbeth changes his mind and decides to kill the king. But Macbeth is not merely a susceptible puppet of his wife's finely-honed goading, for while she is the prime mover in the assassination of Duncan, the other murders in the play of Banquo and MacDuff's family are exclusively Macbeth's doing and this shows that he retains the capacity for independent action.

Lady Macbeth's influence is a catalyst, but Macbeth is a willing object of her persuasions, but the seeds of his decision are sown well before the end of Act I. The witches' promised intention to meet Macbeth aside, the first we hear of him is in Act I, scene ii, as a wounded sergeant reports that "brave Macbeth" swathed in the blood of the rebels, "unseam'd" the old Thane of Cawdor "from the nave to th' chops" I, ii.

The loyal officer Rosse then says that Macbeth is "Bellona's bridegroom" I, ii. Even before he arrives on stage, we know that Macbeth is capable of bloody deeds in a good cause , while the figurative reference to Bellona will soon materialize in the character of Lady Macbeth. It is after this, in Act I, scene iii, the Macbeth and Banquo encounter the witches with their intriguing prediction that Macbeth will become Scotland's monarch.

Macbeth leaves open the normative question of whether this prediction is good or ill, but when he becomes Thane of Cawdor by "chance," he speculates that it may be possible for him to become king "without my stir" I, iii, l. Macbeth's hopes for a passive and legitimate route to the throne are dashed in the very next scene of the play. In Act I, scene iv, the good King Duncan tells Macbeth that he owes more to his loyal general than he can pay l.

This is somewhat illogical, but for a brief moment it appears that Macbeth might becoming king without "stirring," that Duncan might name him as his successor. But after Duncan names his son Malcolm as heir apparent, Macbeth realizes that the prophecy that he will become Scotland's monarch will not unfold without action on his part.

He acknowledges that this will entail Duncan's murder and that his ambitions have caused him to develop a still notional murder plan. Toward the end of the scene, Macbeth withdraws and, in a stage aside, he tells us the naming of Malcolm is a step that bars his ascent With the possible exception of King Lear, no character in any of Shakespeare's plays undergoes such a radical devolution as that which transforms Lady Macbeth from a nearly superhuman character in the first act of Macbeth into a sleep-walking zombie at the start of Act V.

When we first see Lady Macbeth on stage, she is plainly in command of her faculties and, in fact, she has deliberately intensified her capacity to realize her royal ambitions for power.

We learn of her again at the start of Act V when a doctor The complexity of the character of Macbeth and the 'curse' that attends its performance in the theatre would seem to make it a poor choice for performance. It is these very qualities, however, that make it one of the most popular plays in the canon. The role of Macbeth has the ability to provoke sympathy and ire occuring in the text simultaneously, but these qualities only become clearer when an actor brings the play to life on the stage, in a film, or in a television programme.

Which element is emphasised is the choice of the director, and this choice affects the play's balance and overall impact. Unlike many of Shakespeare's plays, there is an eye-witness account of a performance at Shakespeare's Globe Theatre in The Tragedy of Macbeth is undoubtedly one of the darkest portraits of a villain that Shakespeare could have written. Macbeth is without any redeeming qualities whatsoever, as he and his venomous Queen murder their way to the throne of Scotland, before revenge and insanity take their toll.

Is it possible that the people of Scotland would have tolerated such an ignoble pair? As experience has taught, trying to understand British history from Shakespeare's history plays is a wasted effort, since the playwright was in the business of filling his playhouse with plays that people would pay to see.

Naturally, he would take an incident and turn it into a spell-binding yarn to satisfy the patrons. If this is so, then it is necessary Through the experiences of Macbeth and Lady Macbeth, Shakespeare demonstrates that self-destructive guilt cannot be assuaged by recourse to action nor by even the most determined effort to expunge the pangs of conscience by active engagement in denial and transference. In the course of the Scottish tragedy, Macbeth repeatedly misinterprets the guilt that he suffers as being simply a specimen of fear.

Consequently, his characteristic way of dealing with his guilt is to face it directly by committing still more misdeeds, and this, of course, only generates further shame. Lady Macbeth, on the other hand, is fully cognizant of the basic difference between fear and guilt, and she attempts to preclude the onset of the latter by first If we define a "liberated woman" as one who has found her own strength, one who is able to function independently of the traditional subservient roles, Lady Macbeth clearly does not fit.

She defines herself, and is defined by others, as a wife to Macbeth. Her ambitions are for him, and she willingly places herself in a secondary position in their relationship. She acknowledges his primary social position and his superior physical strength, and does not attempt to compete with him.

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Free Macbeth papers, essays, and research papers. The Negative Portrayal of Lady Macbeth in Shakespeare's Play, Macbeth - ‘Macbeth’ is a play in which a Lord and his Lady come into supreme power through acts of injustice and despicable inhumanities.

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Get free homework help on William Shakespeare's Macbeth: play summary, scene summary and analysis and original text, quotes, essays, character analysis, and filmography courtesy of CliffsNotes. In Macbeth, William Shakespeare's tragedy about power, ambition, deceit, and murder, the Three Witches foretell Macbeth's rise to King of Scotland but also prophesy that future kings will descend .

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“Macbeth” a tragedy written by William Shakespeare, portrays, how the main character Macbeth, transforms from a war hero, to a murdering villain. Macbeth starts out as the thane of Glamis and steadily rises to become King of Scotland. The higher Macbeth rose on his road of power the more corrupt. Free Free Essays on William Shakespeare's Macbeth papers, essays, and research papers.