A2 Macbeth: Disruption of Natural Order

This is an essay focusing specifically on the disruption of natural order in Act One & Act Two of 'Macbeth' - this essay received an A grade, and the points of improvement were to focus more on making my topic sentences really defined and easy to understand in relation to the question.

“Gothic Literature demonstrates the consequences of disrupting the natural order.”

Consider Act One and Act Two of Shakespeare’s ‘Macbeth’ in light of this comment.

Throughout ‘Macbeth’, Shakespeare consistently presents the archetypal gothic notion of ‘dangerous consequence’, when the natural order is brutally violated or disturbed in any way. Shakespeare utilizes the gothic concepts of evil and death as distinct consequences, in order to form a strong warning for the reader, advising and educating them to refrain from transgressing beyond the affirmed natural boundaries - such as life and death in Macbeth’s case. Essentially, through his use of metaphor, symbolism and imagery, Shakespeare composes a grotesque warning for the reader; exposing the consequences of not only disrupting the order of nature, but also the natural order of gender expectations and the life cycle through the brutal act of murder.

One of the vital ways in which Shakespeare demonstrates the consequences of disrupting the natural order in Act Two, Scene Two of ‘Macbeth’ is through his use of metaphor, repetition and juxtaposition, to expose both Macbeth’s descent into all-consuming insanity - depriving him not only of sleep, but of the ability to even utter ‘Amen’. Instantly within this scene, Shakespeare composes a sense of inescapable chaos for not only his focal protagonist, but also for the audience, as he illustrates a strong juxtaposition between “death and nature” and “live and die”. Arguably, it could be interpreted that Shakespeare wants to evoke a sense of confusion for the audience, in order to expose Lady Macbeth’s bewildered state of mind as she awaits her husband’s return from the violent murder of King Duncan. However, although this displays a valid argument, it could be more strongly argued that Shakespeare intends to expose the unsettled, disorientated state of the natural order of things after the murder is committed by Macbeth. Shakespeare’s juxtaposition of life and death exposes the gothic notion of transgression, as he indicates to the audience that Macbeth’s completion of the deed has entirely shattered the affirmed natural boundaries of the life cycle, meaning that “nature” now obtains no control over the transgression between the act of living or dying - due to Macbeth’s attempts to manipulate the natural course of events to achieve personal ambition and tyrannic power. However, Shakespeare exposes that this defiant act of transgression between affirmed natural boundaries will undoubtedly result in dark, unavoidable consequences, as he continues to repeat the motif of guiltless “sleep” to form a reminder of that which Macbeth must consequently be deprived of as punishment for his sins. Shakespeare’s use of protective lexis within the line: “sleep that knits up the ravelled sleeve of care”, exposes that sleep may only be granted to those whom remain innocent, forming the “balm of hurt minds”. However, Macbeth is forbidden from this, he no longer is able to take advantage of this simply natural act, as he progressively descends into guilt-ridden insanity - even referring to himself in the third person as he cries “Macbeth shall sleep no more.” Upon further evaluation, it could even be argued that Shakespeare is exploring the natural cycle of cause and effect, as Macbeth murdered Duncan whilst he was asleep, and thus consequently is deprived of this. The symbol of sleep, therefore, not only forms a distinct symbol within Act Two, Scene Two for the consequences of disrupting the natural cycle of life and death; but also within the play as a whole, as sleep becomes a forbidden comfort for many of the characters burdened with a restlessly guilty mind.

Furthermore, it could be even argued that Lady Macbeth’s similar descent into engulfing insanity could be a direct consequence of her subversion of the ‘natural order’ of gender expectations, as Shakespeare deviates strongly from her affirmed patriarchal gender role, proving how unnatural it is for a female to be involved in an act of brutal murder. In Act One, Scene 5, Shakespeare reveals Lady Macbeth’s unnatural feminine desires to transgress into a liminal, dehumanise state, as she expresses her ruthless craving to be filled “from the crown to the toe, top-full of direst cruelty”, making “thick [her] blood” as she calls for the “spirits” to “unsex” her and fulfill these unnatural transgressive desires. Instantly, Shakespeare deviates from the ‘natural order’ of gender expectations, exposing Lady Macbeth’s capabilities to manipulate and intelligently understand the passive restriction of the female within the domestic sphere. Shakespeare presents to the audience that she is completely aware of her dual, evil potential; as she appears to show no attempt at repressing her cravings for corruption and vicious desires to be rid of all purity and conscience in her body. Furthermore, the fact that she exclaims her disgust and fear of Macbeth’s weak nature, expressing that “it is too full o’th’ milk of human kindness”, exposes that the determination and strength to commit the assassination must come from her, presenting her entirely as an ‘unnatural female’. However, Lady Macbeth’s deviation of her ‘natural’ gender role does catalyse repercussions, as like her husband, she becomes burdened with a restlessly guilt conscience, depriving her too of sleep and sanity. Despite her calm, content belief that “a little water clears [them] of this deed”, Shakespeare affirms strong consequences in the long term for Lady Macbeth for her adoption of brutal villainous traits, as later in the play she becomes gripped by insanity, unable to rid of “the smell of blood still.”

Within Act 2, Scene 4 of ‘Macbeth’, Shakespeare illustrates the gross violation of nature caused by Macbeth through his use of metaphor, consequently exposing the severity of chaos caused within the natural world. Notably, within this scene Shakespeare deviates from the natural order of the play so far, as he abruptly removes the attentions of the audience to the lower social class, in order to provide an insight into the enormity of the crime Macbeth has committed against King Duncan. Shakespeare’s characterisation of the ‘Old Man’ could arguably be similar to a chorus in an Aristotelian tragedy, forming a symbolic representation of common man as a whole; and thus, proving to the audience that the effect of Macbeth’s murderous crime has inflicted consequences on everyone - not just those of a higher social status behind the castle walls. Within this extract, Shakespeare once again consolidates the recurring motif of darkness, as Ross expresses that despite the clock saying “tis day...dark night [still] strangles the travelling lamp...emtomb[ing]...living light.” On the surface, Shakespeare presents that in the literal sense the rare occurrence of an eclipse has removed any form of radiating sunlight, casting a shadow over the entire “face of earth”. However, a more analytical reading of Shakespeare’s use of metaphor would suggest that Shakespeare is illustrating the gruesome consequences of Macbeth’s transgressive abuse of the boundaries of life and death, which has caused severe disruption to the natural cycle of day and night. Furthermore, it could even be argued that Shakespeare is composing connections to Macbeth’s earlier desire for “stars, hide your fires; let not light see my black and deep desires”, which could suggest that Macbeth has become unnatural and corrupted, as his cravings for darkness to hide his true intentions appears to have been answered by unnatural or even supernatural forces - exposing that Macbeth is no longer in mental conflict between good and evil anymore, he is perfectly in tune now with the dark forces of the supernatural. However, Shakespeare exposes the consequences of Macbeth’s shift between good and evil, as he exposes the sheer disruption of the natural world as “Duncan’s horses...turned wild in nature…[and] ate each other.” Shakespeare’s use of this macabre, gruesome imagery could be seen as a symbol for the deteriorating state of patriarchy within the kingdom, as the King’s horses - associated with prestige and loyalty - become cannibalistic in their nature, proving that all that was once good is progressively transgressing to become evil. Notably, this shift in the natural order of things becomes a consequence in itself for Macbeth, slowly drawing attention to him in connection with the murder in the eyes of those such as Ross, who vitally states “lest our old robes sit easier than our new.”

However, Shakespeare’s use of the supernatural witches in Act One of ‘Macbeth’ compose the conflicting argument that there never was a defined ‘natural order of things’ to disrupt, with their synchronised chant “fair is foul, and foul is fair” exposing no sense of stability and solidity to the natural order even at the very start of the play. Shakespeare uses antithesis here to contrast two juxtaposing words, such as “fair” and “foul”, could be interpreted as a transgressive paradox which blurs the boundaries between the two words, thus one could see that there is no such thing as a ‘natural order of things’. Arguably, the witches opening chant could be seen as a tool to foreshadow how all that initially held a “fair” nature will progressively become “foul” due to greed and hunger for power. However, alternatively it could be implied that Shakespeare is directly informing the audience that the play does not, and never will throughout the plot, maintain a sense of ‘natural order’ or stability. Notably, the fact that ‘Macbeth’ opens with the synchronised chant of the witches not only foreshadows how significant this phrase is throughout the remainder of the plot, but also forms a strong hint that this play will continually take a corrupted and unnatural path - as the reader is instantly thrown into a detached world of supernatural evil. Therefore, conflicting the argument that Shakespeare distinctly illustrates the consequences of Macbeth’s gruesome violation of the natural order, as arguably he suggests that there was no defiant sense of ‘natural order’ established to begin with.

To conclude, Gothic literature certainly does demonstrate the consequences of disrupting the natural order of things, as within ‘Macbeth’ Shakespeare dominantly illustrates that when intentional disruption is inflicted on affirmed boundaries, consequences of insanity, evil and death will certainly follow. Throughout the play, Shakespeare not only presents the disruption of the natural order of nature itself, but additionally the disruption to the life cycle as Macbeth transgresses the boundaries of life and death through the act of murder - as well as the disruption to natural gender expectations through his characterisation of Lady Macbeth. Shakespeare’s presentation of the consequences of this violation of natural order, shown through moments of mental insanity, sleep deprivation and the cycle of cause and effect, all expose a strong warning to the reader to refrain from acting against the power of nature to achieve personal ambition - a vital lesson Shakespeare’s two Aristotelian protagonists failed to employ.

A2 Macbeth: Gothic Protagonist

Here is an essay focusing on Macbeth as a Gothic Protagonist in Act 3, Scenes 1-4. Whenever I approach this topic I find it extremely hard to get my brain around, but this essay surprisingly received an A grade, which was fab! I have a feeling I need to revise this topic again, a task for tomorrow maybe. Enjoy! 

Explore the presentation of Macbeth in Act Three Scenes 1 - 4.

To what extent could he be considered a ‘Gothic Protagonist’?

Developing from the 18th century onwards, Gothic literature became a perceived as a form of literary fiction depicting the decaying, fallen world - featuring conventions of sadomasochism, melodrama, exoticism, transgression and even both physical and mental alienation. With the introduction of such a radical form of literature came the defiant establishment of the archetypal ‘gothic protagonist’, who frequently possessed attributes such as: inner conflict or turmoil of the mind, a strong connection with the powerful forces of the supernatural, a sense of duality and ability to deceive and an uncontrollably guilt conscience. However, despite William Shakespeare’s ‘Macbeth’ being a pre-gothic text constructed before the introduction of such a radical form of literature, it cannot be denied that Shakespeare’s focal male character almost certainly suits the mould of a gothic protagonist as he too shares these attributes of insanity, burdened guilt and isolation in his transgressive act of murder.

Within Act Three, Scene Two, Shakespeare strongly affirms Macbeth as a gothic protagonist, as he exposes Macbeth’s capability of duality as he begins to mirror precisely the brutal traits and manipulative techniques of his female counterpart; Lady Macbeth. Notably, as Macbeth begins to construct his execution of Banquo with Murderer 1 he strongly questions his masculinity, stating that although he is a man, he is merely part of the species of males alongside that of “ hounds and greyhounds, mongrels, spaniels, curs,/ Shoughs, water-rugs, and demi-wolves are clept / All by the name of dogs.” On the surface, it appears that Macbeth is implying that although the Murderer is a male, and thus is traditionally capable to commit strong acts of violence, he implies that in order to commit this deed with success and efficiency he must have a distinguished “gift” that allows him to stand out from the “worst rank of manhood.” Arguably, Shakespeare could be suggesting that Macbeth is attempting to learn from his own failures; as he previously felt an inescapable inner conflict when it came to committing murder, thus could be appearing to give advice through experience to the Murderer on how to commit the act with no form of emotion involved. However, it could be much more strongly argued that Shakespeare is exposing Macbeth’s sense of duality as he dominantly appears to echo Lady Macbeth’s manipulative statement “you would/Be so much more the man” if he were to successfully commit the deed of murder. The fact that Macbeth appears to become the doppelganger of his wife certainly exposes his capability to adopt a dual nature, he is able to now manipulate in the same manner conducted by his wife; questioning the masculinity of the Murderer as a way of catalysing anger and ambition for the murder. Throughout the play so far, Shakespeare has dramatically reversed the gender roles within the marriage of the Macbeth’s, presenting Lady Macbeth as the manipulative, active and powerful role as she asserts dominance and control over her weak and passive husband - whom she describes as “too full o’the milk of human kindness.” However, within this extract from Act Three, Scene Two, Shakespeare appears to adopt more of a traditional patriarchal perspective of gender roles, as Macbeth distinctly regains the active power of the male; even mimicking her language in the final stages of the scene as he beckons “come, seeling night.” Additionally, Shakespeare’s structural decisions of Act Three, Scene Two can be seen as an echo of Act One, Scene 5, however it is no longer the plot of Duncan’s murder being constructed, but rather the murder of Banquo; and Macbeth is the tyrannic orchestrator as oppose to Lady Macbeth. Therefore, once again affirming Macbeth as the dominant gothic protagonist as he fulfills the attributes of duality, as he manipulatively injects ambition into the Murderer by mirroring Lady Macbeth’s bloodthirsty craving for success in the act of murder and deception.

Notably, despite Macbeth’s gothic duality in Act Three, Scene Two in his mirroring of Lady Macbeth’s dehumanised state, Shakespeare simultaneously proves this to just be a charade to attempt to repress Macbeth’s inner moral conflict as he transgressively shifts between emotions of remorse and determined ambition; thus, asserting another attribute of an archetypal gothic protagonist. In the early stages of Act Three, Scene 2, Shakespeare firmly establishes Macbeth’s descent into insanity as he expresses to Lady Macbeth “we have scorched the snake; not killed it” as he grows ever closer to the murder of Banquo. One interpretation could be that Shakespeare is confirming Banquo as the symbol of the “snake” in order to construct allusions to Genesis and forbidden knowledge within the Garden of Eden; by associating Banquo with the role of the “snake” suggests that he possesses forbidden knowledge regarding the murder which he could use to tempt others into rebellion against the “King, Cawdor and Glamis” - thus catalysing the downfall of Macbeth. However, alternatively the intentions of Shakespeare may be to accentuate Macbeth’s inner turmoil and guilty conscience, as it could be argued that Macbeth is “scorched” by his own sin; the “snake” - symbolising his guilt - is “not yet killed” meaning that it remains dangerous and will continue to strike at his insanity, corrupting his mind until the murder is confirmed. Additionally, Shakespeare continues to affirms this macabre imagery of infestation of the mind, as Macbeth expresses “O, full of scorpions is my mind!” which serves to further expose Macbeth as a gothic protagonist; revealing the consistent infestation of guilt and sin within Macbeth’s mental sanity. Notably, it could be argued that Shakespeare’s exposure of this constant insanity within Macbeth’s mind is reflected within the structural shift between Act Three, Scene Two and Act Three, Scene Three. The abrupt resolution to Scene Two which becomes interrupted by the unravelling of Banquo’s murder, could be reflective of the abrupt transgression between good and evil within Macbeth’s mind, as the nature of play suddenly jumps to reveal the act of murder being committed - which before the audience were refrained from. The effect of this on the audience is startling and disturbing, as finally we see Macbeth’s murderous state of mind become a shocking reality - proving him truly to be a tyrannic murderer. Thus, solidifying Macbeth as a gothic protagonist, as Shakespeare exposes the engulfing insanity corrupting his mind, shifting him between the boundaries of good and evil in his turmoil.

Arguably, within Act Three, Scene Four, Shakespeare distinctly asserts Macbeth as a typical gothic protagonist as he exposes his corruptive relationship with the supernatural elements through the use of rhyming couplets to accentuate Macbeth’s echoes of their earlier spell-like tone. In the final stages of Act Three, Scene Four, Shakespeare creates strong connections with the tone of Macbeth’s utterance with that of the witches earlier chant-like spells in Act One, Scene One, as Macbeth states:

“Strange things that I have in head that will to hand,/

Which must be acted ere they may be scanned.”

The addition of the rhyming couplets within Macbeth’s speech constructs an effect on the audience which is startling and disturbing, as this appears the first time in which Macbeth has utilised this tone of speech before within his frantic state of mind; thus, implying that his insanity has forced him to become entirely reliant on the supernatural for a solution to his sins. Throughout this final stage of Act Three, Scene Four, Shakespeare exposes that Macbeth has become entirely evil in his nature, as he expresses the “tedious” nature of “returning” or seeking redemption for his sins; he believes that he has transgressed the boundaries too significantly already to gather the energy to turn back. Notably, there appears to be no conflict within this line anymore, Macbeth no longer appears to be questioning his morals in the battle between good and evil, but rather distinctly sides with evil as it is suggestively the easier option for him to pursue his ambition. Shakespeare’s presentation of Macbeth being entirely in tune with the supernatural in this scene becomes further solidified by the fact that the following scene shows the witches conversing with Heccat; implying that Macbeth’s use of rhyming couplets has successfully summoned the witches to “speak more” on the prophecy and it’s consequences. Previously, Shakespeare created the sense that the witches possessed complete control over the events of the plot, ominously lurking as the deeds of the prophecy become fulfilled; however, now Shakespeare suggests that Macbeth has gained the power to summon the witches at his own command - proving him to certainly be a gothic protagonist in his capability to call on the supernatural to provide him with a solution.

However, despite a spectrum of arguments affirming Macbeth as a gothic protagonist throughout the beginning of Act Three, it could be alternatively argued that Shakespeare constructs Macbeth more distinctly as a tragic hero, as his character flaws of progressive insanity and burdened guilt ultimately catalyse his downfall in the final stages of the play. The Aristotelian tragic hero essentially forms a figure who is entirely responsible for their own downfall within the events of the play; however, more notably, they realise their own mistakes and acknowledge the role they have played within their own demise. To a certain extent, this can be applied to the role of Macbeth, as throughout the play Shakespeare exposes moments when the enormity of the murders committed completely engulf Macbeth’s state of mind - causing him to hold his own actions entirely to blame. For example, within Act Two, Macbeth states “I am afraid to think what I have done” before frantically exclaiming in Act Three, Scene Four that “it will have blood, they say; blood, will have blood”, suggesting vital moments when Macbeth becomes entirely consumed with his realisation of the acts he has committed. Shakespeare’s repetition of the motif of “blood” could be suggestive of Macbeth’s insanity, thus asserting him as a gothic protagonist; however, it could alternatively be implied that this repetition is Macbeth’s realisation of the enormity of the murders he has committed or organised, as he becomes obsessed with the theory of cause and effect - forcing him to understand that it was his actions that catalysed the endless repetition of “blood” within the scheme of the novel. Therefore, asserting him more strongly in the role of the Aristotelian tragic hero, as he acknowledges the consequences he has caused through his own greed for ambition and glory.  

To conclude, to a crucial extent, Shakespeare affirms Macbeth as a stereotypical gothic protagonist throughout Act Three, Scenes 1 to 4; exposing many of the typical attributes of an archetypal gothic protagonist within his focal masculine role such as: duality, deception, inner conflict, a guilt-infested conscience and a defiant relationship with the supernatural throughout. Although it can be argued that Macbeth is in fact a tragic hero, as he catalyses his own downfall through his transgressive acts of murder to achieve ambition, it cannot be denied that Macbeth entirely suits the mould of a gothic protagonist - through the evidence of his mental insanity, relationship with the supernatural and use of duality and deception. Notably, Shakespeare achieves this presentation of Macbeth in many ways, mainly through his use of structure to present the abrupt shifts in Macbeth’s state of mind, as well as the use of macabre metaphors to compose the idea of an infestation of guilt corrupting Macbeth internally - eventually leading to the fatal downfall of Shakespeare’s gothic protagonist in the final stages of the play.

Written by Millie Thurley.

A2 Macbeth: Lady Macbeth 'Fiend-like Queen' Essay

This particular essay is focusing on the role of Lady Macbeth, and to what extent she suits the title of a 'fiend-like queen'. This has been a past question before, but it focused on the play as whole, rather than just Act One; which is what my teacher wanted us to focus on in depth. This essay received a Band 6 grade, and the points to improve on included: focusing more on structure, and acknowledging context, such as 'audience reception' and the contemporary understanding of her character. 

Lady Macbeth is presented as a ‘fiend-like’ villain in Act One. To what extent do you agree with this statement?

Within ‘Macbeth’, Shakespeare constructs one of the most powerful females in literature; Lady Macbeth. Throughout Act One, Macbeth’s wife exposes the gothic notions of transgression, the unnatural female and the supernatural, as the audience are shown her evil desires to be stripped of her maternal, feminine qualities by demons or evil spirits. Alternatively, Lady Macbeth could be viewed as a guilt-ridden victim, who under the surface possesses weak qualities of ‘human kindness’ as she admits that her adoration of her father prevented her from committing the deed herself. However, Lady Macbeth’s deceptive, persuasive and potentially witch-like manner must not be overlooked, as Shakespeare reminds the audience that her bloodthirsty hunger for power and prestige are more significant to her than her maternal, feminine duties - thus affirming that to a crucial extent, Lady Macbeth is distinctly presented as a ‘fiend-like’ villain in Act one of ‘Macbeth.’

To a crucial extent, Shakespeare strongly presents Lady Macbeth as a ‘fiend-like’ villain in Act One, Scene 5, as he exposes her unnatural feminine desires to transgress into a liminal, dehumanise state by the evil  supernatural powers of the spirit world. In Lady Macbeth’s later soliloquy of Act One, Scene 5, she expresses her ruthless craving to be filled “from the crown to the toe, top-full of direst cruelty”, making “thick [her] blood” as she calls for the “spirits” to “unsex” her and fulfill these unnatural transgressive desires. Shakespeare presents to the audience that Lady Macbeth is completely aware of her dual, evil nature, she appears to show no attempt at suppressing this villainous psyche, but acknowledges her vicious and corrupt desires to be rid of all purity and conscience in her body. Notably, throughout the scene, Shakespeare appears to associate Lady Macbeth more dominantly with the three witches and the supernatural - with critics classing her as the ‘fourth witch’. For example, earlier in the scene, she exclaims her disgust and fear of Macbeth’s weak nature, expressing that “it is too full o’th’ milk of human kindness.” Shakespeare exposes to the audience here that the determination and strength to commit the assassination must come from her, presenting her as a ruthless villain corrupted by the potential for glory and royalty. However, it could alternatively be argued that Shakespeare is in fact strongly linking Lady Macbeth to the supernatural, as she appears to detach herself from humanity, as she snarls her disgust at the weak nature of humanity - as if she herself is not burden with these qualities. Furthermore, Lady Macbeth’s unnatural female desires for the spirits to “come to [her] woman’s breasts, and take [her] milk for gall” asserts this evil, villainous nature, as well as her links to the supernatural. This desire to be defeminised and dehumanized, not only presents Lady Macbeth’s villainous qualities of intelligence and manipulation; as she exposes her understanding of the limited power of the female in patriarchy, but also her transgressive desires to become like the supernatural - existing in the liminal state between humanity and the corruption of death. Thus, affirming that to a large extent, Lady Macbeth is distinctly presented as the ‘fiend-like’ villain in Act One, Scene 5 of ‘Macbeth’, as Shakespeare exposes her villainous, evil cravings to become of a dehumanised state in order to successfully steal the life of King Duncan to fulfill her personal ambitions of royalty and prestige.

To a crucial extent, it can be further argued that Lady Macbeth is portrayed as a ‘fiend-like’ villain in Act One, as Shakespeare asserts her dual nature in Act One, Scene 6 when she addresses Duncan with a false unwavering loyalty and kindness. Upon Lady Macbeth’s arrival in Act One, Scene 6, Duncan instantaneously describes her as an “honoured hostess” whom he shall “thank as love” for her “pains” and “troubles”. On the surface, the reader understands Duncan’s perceptions to be entirely misplaced, Lady Macbeth is unconditionally the contradictory to a kind, attentive hostess - with her true hidden intentions being murderous, unnatural and villainous. Furthermore, Lady Macbeth loyally responds that “all [their] service” shall “in every point [be] twice done, and then done double” throughout his stay, with her concluding that both her and her husband “rest [his] hermits”. Shakespeare’s establishment of peace, trust and loyalty within Lady Macbeth’s characterisation during this extract distances the reader entirely from her as a character, exposing her to be false, conniving and manipulative in her portrayal as an “honoured hostess” - thus causing them to view her as nothing but a ‘fiend-like’ villain. However, it can be alternatively argued that Lady Macbeth’s loyal and kind utterances to Duncan intentionally juxtaposes entirely with the earlier soliloquy of Act One, Scene 5, in order to affirm the gothic notion of disguise and the transgression between good and evil which Lady Macbeth so effortlessly transacts. Shakespeare asserts the dual nature to Lady Macbeth, exposing her earlier advice to Macbeth to “look like th’ innocent flower, but be the serpent under’t” to be unequivocally true to her own nature; as she adopts the temporary role of the “innocent flower” in public scenes, but later resorts back to being the “serpent” lurking underneath her false exterior. Therefore, highlighting that Shakespeare distinctly presents Lady Macbeth as a ‘fiend-like’ villain in Act One, Scene 6 of ‘Macbeth’, as he exposes that the female protagonist forms the true villain of Act One, as she possesses the ability to manipulate exterior perceptions of her using the gothic notions of disguise and the evil double.

Additionally, to a large extent, it can be further argued that Lady Macbeth is certainly portrayed as a ‘fiend-like’ villain in Act One, as Shakespeare unmasks her violent, persuasive capabilities to manipulate her weaker counterpart - Macbeth - to fulfill his promise to murder the King. Lady Macbeth is portrayed by Shakespeare at her most corrupted, and evil in Act One, Scene 7 during her blisteringly violent outbursts to testify her strength of will, which completely eclipses that of her husband. She is well aware of the discrepancy between their respective resolves and understands that she will have to manipulate her husband into acting on the witches prophecy. For example, Lady Macbeth exclaims to her weaker natured husband that she “know[s] how tender ‘tis to love the babe that milks me” and even whilst “it was smiling in [her] face” she would “have plucked [her] nipple from his boneless gums, and dashed the brains out” to fulfill her promise to Macbeth. Lady Macbeth’s violent declaration that she would murder her own newborn infant to fulfill the prophecy of the witches, and her promise to Macbeth, exposes her manipulative traits to force Macbeth to act against his weak and human nature to remain faithful to his wife. Shakespeare’s use of lexis further affirms the inclusion of the gothic notions of transgression and the repressed evil psyche, as Lady Macbeth’s utterance begins with maternal, pure and innocent words such as ‘love, babe, smiling and tender’, but slowly distorts to become negative, violent and evil as she utilizes words such as ‘plucked, boneless, dashed and brains’. Thus, highlighting her ability to swiftly transgress between good and evil within her dual nature in a small matter of words, in order to manipulate Macbeth to agree to transact the deed of murder. Therefore, affirming that Lady Macbeth is certainly the ‘fiend-like’ villain in Act One, Scene 7 as Shakespeare asserts her dual nature and manipulative abilities to corrupt the “human kindness” her husband desperately clings to in her presence.

However, to a moderate extent, it must be noted that Shakespeare does not portray Lady Macbeth as the ‘fiend-like’ villain consistently throughout the earlier stages of the play, as he subtly reveals to the audience her more victimised, weak qualities underneath the obvious evil, villainous traits she possesses. Later in ‘Macbeth’, Shakespeare reveals to the audience a sudden moment of weakness in Lady Macbeth’s characterisation, exclaiming her justification for why she herself - the more powerful and capable of the two protagonists - could not commit the deed of murder on her own account. Throughout, Shakespeare constructs Lady Macbeth as a dominant, corrupted and evil natured character, who consistently fights to persuade her husband that murder will fulfill all of their personal ambitions for prestige and glory. Thus, causing the reader to question why the female-villain does not commit the murder herself, she evidently possesses the unwavering evil and emotional control to commit the deed, but always appears to rely on Macbeth in the conclusion of her utterances and soliloquies. However, Shakespeare promptly addresses the queries of the reader, as he exposes Lady Macbeth’s truly weaker nature at heart, as she states; “had [Duncan] not resembled my father as he slept, I had done’t.” Thus, allowing the reader to understand that Lady Macbeth is not wholly a ‘fiend-like’ villain; although she appears to have been possessed by the supernatural and granted her desires to be dehumanised, she in fact still holds elements of the ‘milk of human kindness’ at heart. Lady Macbeth’s utterance stating that she refrained from murdering the King simply because she resembled the appearance of her father, exposes to the reader that she evidently felt a sense of guilt and betrayal towards her family bonds and relationships - the guilt she so strictly prevents Macbeth from acknowledging strongly affected her evil nature. Thus, asserting that Lady Macbeth falls victim to the human condition, despite evil and supernatural qualities providing her strength and “direst cruelty”, in the face of murder she cannot commit the deed - her feminine traits of kindness and compassion overpower the evil and villainous she so eagerly craves. Therefore, conflicting the debate to a small extent that Shakespeare presents Lady Macbeth as the ‘fiend-like’ villain throughout Act One of ‘Macbeth’, as he accentuates to the audience that the maternal, feminine qualities of his protagonist still remain intact, despite her pleas with the spirit world to be “unsex[ed]” and filled with “direst cruelty”.

To conclude, to a crucial extent, Shakespeare does portray Lady Macbeth as a ‘fiend-like’ villain in Act One of ‘Macbeth’, as he accentuates her strong associations to the gothic notions of transgression between good and evil, the dual nature of the human psyche and the unnatural female craving the dehumanisation through supernatural power. Shakespeare exposes through the female-villain of Lady Macbeth that women can be as ambitious and cruel as the males of the play, yet social constraints deny them the means to pursue these ambitions of their own - thus explaining Lady Macbeth’s desires to be removed of her female gender role. From the moment of her arrival in the play, she is consumed with murderous intention, plotting the death of Duncan with intricacy even before the audience witness her and Macbeth’s first encounter. Lady Macbeth villainously manipulates her husband with remarkable effectiveness, overriding all his objections; when he hesitates to murder, she repeatedly questions his manhood until he feels that he must commit murder to prove himself.

A2 Macbeth: Consider the significance of darkness and concealment in 'Macbeth'.

Right, so this was an essay I completed a few weeks ago without using the book. This was not written in timed conditions, hence why it is so long, as I got completely carried away - oops! This received an A* from my teacher, which I was super shocked & surprised at. Hope this helps! 

Consider the significance of darkness and concealment in ‘Macbeth’.

Despite Shakespeare’s ‘Macbeth’ forming a pre-gothic text, with his writings occurring approximately two centuries before the publication of the first gothic text ‘The Castle of Otranto’; arguably, throughout the text a vast spectrum of gothic notions remain present, including those of darkness and concealment. The role of darkness within ‘Macbeth’ forms a vital aspect of the entire nature of the plot, with characters such as Macbeth, Lady Macbeth and even the witches displaying the use of dark acts, such as murder, in order to achieve personal ambition “that wilt raven up life’s own means.” Additionally, darkness could even be interpreted in the literal sense, in regards to the all-consuming darkness which “entombs” all light after the murder of Duncan - proving how serious Macbeth’s disruption of the Divine Right Of Kings is on the order of nature and time itself. Although, concealment also plays an equally as vital role, with the ‘femme fatale’ of Lady Macbeth strongly displaying signs of duality as she represses her evil nature behind the charade of passive femininity. However, it cannot be denied that both components of darkness and concealment strongly obtain a significant relationship throughout the plot as a whole - with many of the characters utilising darkness as a means of concealment of their “black and deep desires.”

Within ‘Macbeth, one of the most significant roles of the gothic notion of darkness is to accentuate to the audience the chaos and distress caused by Macbeth’s grotesque disruption of the Divine Right of Kings; which Shakespeare highlights through the relentless conflict between dark and light throughout the plot. Although darkness plays a vital role in accentuating the beast within both Macbeth and Lady Macbeth, it can be seen as equally significant in the literal sense, with the eclipse which occurs during and after the murder of Duncan - hiding the cruel, dark nature to Macbeth’s acts. Within Act Two, Scene One, Fleance expresses the fact that “the moon is down: I have not heard the clock” which instantly creates a striking sense of terror for both modern and Jacobean audiences, through the imagery of “thick night” entirely consuming all light - which strongly evokes the sense that the natural order appears to be off balance. However, although on the surface it could be interpreted that this imagery of darkness constructs a sense of the unfamiliar, it could be more strongly interpreted that in fact Shakespeare’s use of darkness within this moment is to accentuate how Macbeth and his wife’s cravings for darkness have been fulfilled - with them both earlier craving “stars, hide your fires” so “that my keen knife see not the wound it makes.” Thus, aligning them entirely with the supernatural and evil as a whole, with their callings to the “evil spirits” appearing to have been fulfilled. Notably, this interpretation can be further consolidated by the fact that Shakespeare’s use of imagery when describing darkness becomes much more violent and evil in lexis, as he later creates the personification of “dark night strangl[ing] the travelling lamp” or even “entomb[ing]” the earth’s light. Shakespeare’s use of lexis within these extracts, such as “strangles…[and] entombs” creates associations with murder, violence and death, which could create the sense that purity, innocence and light has become a suffering victim to the transgressive acts of Macbeth; which later foreshadows the effects Macbeth’s tyrannical reign inflicts on Scotland as a whole, with Scotland becoming personified as a victim of Macbeth’s violence: “each a new day a gash is added to her wounds.” However, it could be more strongly argued that the way in which the conflict between light and dark becomes more excessive and violent in language highlights Shakespeare’s intentions to externalise how the battle between good and evil within Macbeth becomes much more excessive and violent as he steps further into “blood” so far that “returning” would be as “tedious” as continuing. Therefore, accentuating the role of darkness within ‘Macbeth’ to be significant in the way in which it highlights not only the disruption of the natural order, through the imagery of the conflict between dark and light; but additionally, both Macbeth and Lady Macbeth’s alignment with the “evil spirits” as their desires for literal darkness appear to have been fulfilled by the supernatural forces working as “dark agents” against the powers of God.

Additionally, the role of witches can be aligned strongly with the gothic notion of darkness within ‘Macbeth’, as they appear to represent all that is chaotic, decaying, evil and dark about the nature of the plot; not only through Shakespeare’s use of setting and pathetic fallacy, but also the way in which they tempt Macbeth to commit the sinful act of murder. Instantly, in Act One, Scene One, Shakespeare affirms the witches with evil and darkness through his use of pathetic fallacy, as their introductory settings include a “barren heath” with “thunder and lighting.” Shakespeare’s use of this pathetic fallacy of “thunder” creates a domineering sense of chaos, violence and power in association with the witches, which instantly foreshadows their overall control of the plot throughout - as well as their control of Macbeth’s psychology. However, the addition of “lighting” to the witches opening setting simultaneously creates a sinister sense of the unexpected, or unpredictable, in alignment with the witches, which could form a subtle hint to the audience at their frequently abrupt entrances and exits displayed throughout the plot. Typically within the gothic, the use of “thunder and lighting” forms a prominent warning to the reader, foreshadowing a sense of danger and darkness to most likely follow shortly after this powerful burst of weather - for example, like Shelley’s repetition of the moon rising and the wind picking up in order to foreshadow the arrival of the “wretched” Creature in ‘Frankenstein.’ Therefore, Shakespeare’s use of this to open the play, in association with the witches composes the sense that these supernatural beings will strongly be aligned closely with darkness and power throughout the play - making them an equal threat to the power of nature displayed in this opening scene. However, Shakespeare’s alignment of the witches just not merely halt at the use of pathetic fallacy in the opening scene; but rather Shakespeare continues to associate the witches with darkness throughout the plot - as they ultimately lead Macbeth to commit his sinful deed of murder against King Duncan. Notably, in Act Two, Scene One, Macbeth witnesses the supernatural form of the “dagger of the mind, a false creation” suspended in front of him, with “the handle toward [his] hand.” Although on the surface it could be argued that this “dagger of the mind” is nothing more than this, and merely a “false creation” of Macbeth’s conflicted psychology; it could be alternatively argued that this imagery is planted by the witches as a tool to corrupt Macbeth and lead him to darkness. For example, the fact that the witches firstly compose the image with the “handle” facing Macbeth instantly creates a sinister twist to this supernatural happening, as the witches intentions instantly appear dark and distorted, as they attempt to allow Macbeth to witness the power in which he could possess whilst holding this murderous weapon - providing him with the opportunity to mock the role of God, and the ability to take a life. Additionally, the fact that the witches then manipulate the dagger to be dripped with “gouts of blood” further enhances this sense of darkness to this event, as once again they appear to try and tempt Macbeth with the imagery of the final result; allowing him to see that with this weapon he will inevitably be successful in his murder. Thus, affirming the witches alignment with the significant role of darkness throughout the plot, as these supernatural beings become morphed into dark and twisted characters by Shakespeare in order to unequivocally strike fear within a Jacobean audience - who would have viewed the supernatural at face value.  

Shakespeare’s composition of the one of the most powerful females in literature; Lady Macbeth, illustrates throughout ‘Macbeth’ the vital gothic notions of concealment and duality, as the female protagonist conceals her truly evil desires with a mask of passive femininity. Arguably, Shakespeare’s use of duality in association with Lady Macbeth can clearly be defined by the distinction between public and private appearance; with her appearing to be dominantly evil and malicious in the confines of solitude, yet weak and passive in the presence of others - such as Duncan, Malcolm and Macduff. Within Act One, Scene Four, Lady Macbeth expresses her desires to transgress the boundaries of gender identity, as she calls on the “evil spirits” to “unsex” her and “fill [her] from the crown to the toe, top-full of direst cruelty”. On the surface, Shakespeare’s use of violent lexis within this extract, such as “cruelty, blood, murthering, evil, spirits” may have been utilised as a tool in order to strike emotions of gothic horror and terror within his Jacobean audiences; who notably took all supernatural happenings at face value, and thus would have been cautious and fearful of Lady Macbeth and her desires to seek help from them. Therefore, instantly affirming her as the villainous role of the plot. However, it could be more strongly interpreted that Shakespeare’s structural decision to introduce Lady Macbeth to the audience in the confines of isolation; thus, revealing her private persona, may have been to construct an early sense of dramatic irony. Shakespeare’s instant association of Lady Macbeth with darkness, evil and violence, allows the audience to understand this as her true nature, or her instinctive base desires; therefore, as the play progresses, the audience can clearly see her use of concealment to hide this true nature which creates a domineering sense of irony as none of the characters appear to be able to perceive this. Upon further evaluation, this interpretation can further be reaffirmed by Shakespeare’s structural decisions once again, as notably directly after this scene we see characters such as Duncan use the terms: “See, see our honoured hostess” and “fair and noble hostess” when referring to Lady Macbeth - which both modern and Jacobean audiences understand is entirely the opposite. However, although Shakespeare demonstrates through Lady Macbeth the way in which she masters concealment, as she commands Macbeth to “look like th’innocent flower, / But be the serpent under’t”, it could be argued that ‘Macbeth’ is more about the way in which this concealment breaks down, and is only short term, which ultimately leads to the downfall of each of the focal protagonists. Notably, the fact that Lady Macbeth later appears to be unable to repress her sense of guilt and moral conscience as she expresses “the thane of fife had a wife, where is she now?” as well as questioning “will these hands ne’er be clean?” accentuates the fact that concealment is merely a short-term tool in order to achieve ambition; however, it cannot remain throughout. Therefore, creating the sense that throughout ‘Macbeth’ both Lady Macbeth and her husband adopt masks to conceal their inner desires, which gradually begin to crack, fade and deteriorate throughout the progression of the plot - proving the play to be a warning of the dangers of concealment to attempt to hide all of our “black and deep desires.”

However, despite the gothic notions of darkness and concealment (which Shakespeare arguably created) appearing to remain separate themes throughout ‘Macbeth’, it could be argued that in fact these notions co-exist thoroughly throughout the play - with both Macbeth and Lady Macbeth utilising darkness as a means of concealment. Notably, within Act One, Scene Five, Lady Macbeth states towards the end of her monologue: “Come, thick night,/ And pall thee in the dunnest smoke of Hell / That my keen knife see not the wound it makes.” On the surface, it could be argued that Shakespeare’s repetition of the imperative “come” throughout this speech is a tool to align Lady Macbeth with the supernatural, or the witches; thus, making her entirely fearful to a Jacobean audience who would have regarded her as the ‘fourth witch’ and therefore untrustworthy or even villainous. However, it could be more strongly argued that in fact Shakespeare’s use of these imperatives is to accentuate the way in which Lady Macbeth is utilising darkness as a tool to conceal her evil intentions, as her commanding tone appears to accentuate her desperation, or even reliance, on the “thick night” to allow her to commit the acts. Notably, the fact that Lady Macbeth states that her knife is “keen” further could link to the dark nature of her intended acts; meaning that in order to conceal this dark, evil taboo she must rely on something equally as enraptured with darkness - causing her to crave the consummation of light/day in the “dunnest smoke of hell.” Similarly, it is interesting that even before the villainous introduction of Lady Macbeth, Macbeth additionally appears to call on darkness, in one of Shakespeare’s most famous lines: “Stars hide your fires; / Let not light see my black and deep desires.” The fact that Macbeth states these desires even before his apparently more villainous wife, creates the sense that Macbeth is much more corrupt with dark intentions than we first believe; therefore, proving to the audience that in fact Macbeth may be significantly more in tune with the alignment of concealment and darkness than we first thought - as at this point, he is still viewed as “brave…[and] noble Macbeth.” Therefore, highlighting that in fact throughout ‘Macbeth’ the notions of darkness and concealment appear to withhold a strong bond throughout, as they co-exist within both Lady Macbeth and Macbeth’s speeches, with darkness forming a tool of concealment - which arguably creates a sense of pity for both these characters, with their naive beliefs that a simple burst of “darkness” will allow them to conceal their such grotesque violation of the Divine Right of Kings.

To conclude, the gothic notions of darkness and concealment are extremely vital throughout the plot of ‘Macbeth’, as they appear to both not only work on separate levels, but obtain the potential to co-exist throughout the text - which ultimately leads the focal protagonists to their tragic downfall in Act Five. Notably, the theme of darkness within the play is utilised by Shakespeare on many levels, not only in the literal sense in order to create the striking imagery of the day being “strangle[d]” by “thick night” to accentuate Macbeth’s disruption of the natural order; but additionally, to externalise the repressed desires of the protagonists’ and their desires to reach royalty and prestige through murderous acts. However, although concealment too appears significant in isolation with the character of Lady Macbeth, it could be more strongly interpreted that darkness and concealment form a strong relationship within Shakespeare’s use of language, imagery and personification throughout the text - with not only both the Macbeth’s attempting to conceal their dark intentions, but also their cravings to use darkness as a means of concealment. Ultimately, in the conclusion, both darkness and concealment catalyse the downfall of both Macbeth and Lady Macbeth, with even the ‘femme fatale’ craving the constant presence of light at the ending of her life; proving entirely how darkness will conquer all in the conclusion, which even concealment cannot attempt to mask.

Written by Millie Thurley.