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Macbeth
In a nutshell

Harry Turnbull

Introduction
I call this a ‘textbook’, but this document is essentially a collection of
notes on Macbeth, explaining what Shakespeare means and what we
can gather from this, right from the very beginning to the very end of
the play
...
However, there are four kinds of bullet points
that I use to make things a bit clearer:
o These bullet points are used to introduce each and explain the general
narrative of each scene

•

After a quote has been introduced, these bullet points analyse
Shakespeare’s words, offering alternative interpretations and context, as
well as language analysis

 These arrows appear little and often throughout, explaining the
significance of each individual scene in the development of the play, and
its characters

 Although rare, this dash provides key definitions for terms that aren’t so
frequently used in analysis, and may even make the difference to your
essay!

N
...
This entire book is longer than the play itself! You do
NOT need to know everything, as a lot is surprisingly
obvious, and after a little practise, language analysis
begins to become natural
2
...
English is all about plagiarising, so feel free to copy
ideas, and even points out of this book, as I’m sure many
people have the same interpretation as I do, and will do
again!
4
...
co
...
The struggle is as real for me as it is for you, and
I hope that you will find it as helpful and clear as I have
...
”
•
•
•

•
•

The use of the foreboding chiasmus “Fair is foul, and foul is fair”, emphasises how
these two ideas are interconnected, perhaps showing that there is no such thing
as good and evil
Alternatively, the statement could refer to how good and bad are one and the
same thing, or that everyone has a hidden dark side behind their fairness – this is
clearly seen as the play develops in the character of Macbeth
The disgusting description of “filthy air” further describes the scene surrounding
the witches, suggesting that darker events are about to commence – the “fog”
could help portray the witches as hidden throughout the play, perhaps not even
there at all, emphasising their ambiguous nature
The rhyming couplet is also a paradox, as good surely cannot be bad(?)
Shakespeare fills this scene with confusing contradictions, such as “When the
battle’s lost, and won
...
” The fact
that the witches open the play could demonstrate their significance to the plot

SCENE 2
o
o
o

King Duncan is told of the outcome of the battle – although the forces were equal
in strength, Macbeth killed Macdonwald
The Captain emphasises this by stating that with Macbeth and Banquo, the battle
could not have been won
Duncan orders for the execution of the Thane of Cawdor (a traitor), giving the title
to Macbeth

“For brave Macbeth – well he deserves that name –
Disdaining Fortune, with his brandish’d steel, …”
•
•
•
•

The character of Macbeth is introduced in the third person by the Captain, as he
himself is not present
The contrast between the spite of the first few lines of his speech and valiant
words such as “brave” and “Disdaining” could emphasise the greatness of
Macbeth as a war hero
The use of the scorning statement “Disdaining Fortune” demonstrate that Macbeth
is a truly incorrupt, as he looks down at the temptation that Macdonald fell for (i
...

“… Fortune … Show’d like a rebel’s whore”)
The use of a capital letter in “Fortune” could be a reference to ‘Lady Luck’, who
often tempted good men into darkness; the image of Macbeth ignoring this
temptation therefore puts him above most men

 Shakespeare portrays Macbeth in such a valiant way probably because he wants
to emphasise his decline and peripeteia as the play progresses
 For example, his incorrupt nature at the start of the play becomes entirely warped
as he trusts malevolent witches to ensure he knows the future
 His positive description could be augmented as Macbeth has not been introduced
yet, so the Captain can paint him in a positive light to influence our first
impression of the character in Sc
...
e
...
”
•
•

The use of the ominous words “lost” and “won” emphasise the differing
perspectives of both sides of the battle
This could be what the witches meant in the fateful declaration “When the battle’s
lost, and won”, emphasising their ability to tell the future, to an extent, for the first
time in the play, just before they are re-introduced in the next scene

SCENE 3
o
o
o
o

The witches meet again, as planned in Sc
...
They
tell Macbeth that he will become Thane of Cawdor before becoming King of
Scotland
Macbeth is stunned, but Banquo demands that they tell him his future as well,
predicting that his offspring will also be Kings of Scotland
The witches vanish before messengers arrive from King Duncan hailing Macbeth
as the Thane of Cawdor
...
”
•
•

Shakespeare portrays the witches in more detail than in Sc
...
1 (i
...
“In thunder,
lightning, or rain?”)
“Thrice to thine, and thrice to mine,
And thrice again, to make up nine
...

2nd: All hail Macbeth, hail to thee, Thane of Cawdor
...
”
•
•
•
•
•

Here, the witches are depicted making a prophecy for the first time –
Shakespeare’s repetition of the ominous phrase “All hail Macbeth” could show
that they are in a trance, overcome by spirits
The witches present this information in such a way that Macbeth will ultimately
trust them, as they begin with something that is true – he is the “Thane of Glamis”
...
This is
probably because he is the brave war hero, but if Banquo was told this instead,
would he have followed the path that Macbeth will ultimately follow to his death?

“Speak then to me, who neither beg nor fear …”
•
•

Shakespeare uses the negative description “neither beg nor fear” to augment the
validity of the witches’ prophecy, as they are not demanding anything in return,
and don’t cower before Macbeth, suggesting that they feel they are above him
Here, Banquo could be portrayed as jealous of Macbeth, almost as if he feels as
Macbeth has been chosen above him, which could create a rivalry between the
two characters
...
”
•
•

The shock of the witches’ news seems to have a huge effect on Macbeth as
Shakespeare uses the kind language “prosperous gentleman” to describe the
enemy Macbeth has just been fighting
This could show that Macbeth is now entirely focused on this newfound
knowledge, although he would deny it
“Would they have stay’d
...
Why do you dress me
In borrow’d robes?”
•
•

Here, Shakespeare’s use of the emotive imagery “borrow’d robes” to develop the
theme of concealment and disguise – when Macbeth becomes king later on in the
play, he hides behind his robes in order to keep his image intact
The use of a doubtful rhetorical question “Why do you dress me / in borrow’d
robes?” shows how Macbeth initially does not believe the witches, and so he
questions the validity of this herald

“Win us with honest trifles, to betray’s
In deepest consequence
...
”
•
•
•

The fact that Macbeth has become Thane of Cawdor so quickly and without much
effort from Macbeth himself could boost his confidence – he need only wait to
become king
This is shown in the dangerous metaphor “chance may crown me”
However, the next scene seems to have the opposite effect on Macbeth, as he
realises he must change the course of events if he is to be king

SCENE 4
o
o
o

Duncan is told of the previous Thane of Cawdor’s execution by his son, Malcolm,
before Macbeth and Banquo enter
The king praises them for their efforts, but proclaims Malcolm as his heir,
resulting in Macbeth sending a letter to his wife telling her that he is unhappy
about this
Duncan states that he will visit Macbeth at his castle, and, in his absence, praises
him

“There’s no art
To find the mind’s construction in the face
...
”
The use of a profound tone throughout this comment highlights how Duncan is a
wise king, which contrast with the reign of Macbeth after he commits regicide

“He was a gentleman on whom I built
An absolute trust
...
e
...
e
...
3; she too is convinced by the prophecy, as part of it came has already
become reality
However, she does not believe Macbeth is strong enough to kill Duncan in an
attempt to gain the throne, so she calls on evil spirits after she hears of Duncan’s
spirit
Macbeth arrives, and the compassion between the two characters is clearly
shown, but Lady Macbeth already tries to amplify his ambition

“… my dearest partner of greatness, …”
•
•
•

The use of the hyperbolic description “partner of greatness” emphasises how
Macbeth holds Lady Macbeth in very high regard, which would be unusual to a
contemporary audience, who lived in a strong patriarchal hegemony
The use of the warm endearment “dearest” suggests an equality that would not
have been present in the Jacobean era, but this affection is lost to an extent as the
play progresses
Shakespeare’s choice of the foreboding word “greatness” emphasises the dark
undertones of Macbeth’s letter, perhaps suggesting that Lady Macbeth will reach
greatness before the end of the play

“It is too full o’th’milk of human kindness …”

•
•

Lady Macbeth uses the contrasting imagery “of the milk of human kindness” to
suggest that although Macbeth is a brave warrior and almost a butcherer on the
battlefield, his moral compass is too strong to follow his desires
As the play progresses, this imagery becomes even more important, associated
with the inherent human capacity for kindness, deeply contrasting with the
imagery of blood encountered throughout the play

 Interestingly, the fact that Shakespeare creates a sense of Macbeth’s strong sense
of compassion and loyalty emphasises the tragic nature of his downfall by the end
of the play
“The raven himself is hoarse
That croaks the fatal entrance of Duncan
Under my battlements
...
e
...
However, her demand
could mean that she seeks to become more masculine, or it could mean that she
wishes to lose her sex entirely, becoming an “it”, like the witches
The nature of this request to the supernatural world is highly unusual, as
emphasised in the unsettling description “That tend on mortal thoughts”
...
e
...
”
•
•
•

Here the use of the soft imperative “look like…” could show how Lady Macbeth
has a position of influence over Macbeth’s actions, tapping into his own ambition
She could be doing this in order for her to gain power (i
...
becoming queen) or
selflessly wanting Macbeth to be successful – this would not be unusual to a
contemporary audience
The use of the religious imagery “serpent under’t” could be a reference to the
snake in the story of Adam and Eve, that tempts Eve into taking fruit from the tree
of knowledge (i
...
of good and evil) – here, Lady Macbeth acts upon her
temptation before Macbeth does by killing Duncan in the succeeding act

SCENE 6
o
o

King Duncan arrives at Macbeth’s castle along with Banquo, his sons, and other
thanes
Lady Macbeth greets him, exchanging compliments before she takes him into the
castle

“The love
That follows us sometime is our trouble,
Which still we thank of love”
•
•

•

Shakespeare uses the repetition of “love” at the start and end of Duncan’s
profound comment to emphasise his wise nature, and how well-spoken the king is
The whole expression could be considered as almost an insult, as it states that
receiving love so often is a nuisance, but he is still grateful for it, but it shows
Duncan’s incredibly honest personality, which will massively contrast with
Macbeth’s personality as king
Shakespeare’s depiction of Duncan’s gratefulness could create bitter dramatic
irony, as it was only in the previous scene that Lady Macbeth revealed that she
was plotting to kill him, showing that she is fully involved in the treachery

 In this scene, Shakespeare continues to explore the difference between the
appearance of characters, and the reality of the narrative: Duncan’s open and
generous nature is contrasted with that of Macbeth and Lady Macbeth
“In every point twice done and then done double”
•
•

Here, Shakespeare uses the hostile chiasmus “twice done … done double” to
quietly allude to Lady Macbeth’s two-faced nature
Furthermore, her language of duplication is similar to that of the witches (i
...

Thrice to thine, … to make up nine”) which could suggest that she has been
consumed by evil spirits already

“Against those honours deep and broad wherewith
Your majesty loads our house
...
e
...
e
...
”
•
•

Shakespeare uses numerical language yet again to show that Macbeth, like Lady
Macbeth and the witches, has more than one interest, and personality (“twice
done … done double”)
The use of the introductory word “First” suggests that the most important thing to
Macbeth is to keep Duncan’s trust, and be loyal to him, emphasising the strength
of his moral compass

“Vaulting ambition which o’erleaps itself
And falls on th’other –”
•

•
•

Shakespeare’s use of the emotive imagery of a horse “which o’erleaps itself” to
describe Macbeth’s ambition in a subtle fashion, stating that although he wishes to
commit this act and become king, he cannot physically bring himself to do it (i
...

the “vaulting”)
However, the fact that Macbeth himself states this suggests that he has realised
that he may have been too ambitious, and perhaps too hopeful that the witches’
prophecy has become true
Nonetheless, Shakespeare shows that the crown is an opportunity that is even
worth questioning one’s morality for, indicating the extent of Duncan’s power

 Shakespeare uses this soliloquy to show the audience how conflicted Macbeth is,
as he feels that the act of killing Duncan is easy, but he fears punishment, both in
this life and the next – he also massively develops the theme of ambition
“We will proceed no further in this business
...
”

•

Macbeth tries to defend his honour by stating that, in breaking the natural order
(i
...
“[daring to] do more”), one loses their masculinity (i
...
“is none”)

 Shakespeare’s depiction of Macbeth’s quick and defensive response highlights
how he is very vulnerable to accusations of cowardice, and lack of masculinity;
furthermore, Lady Macbeth’s violent and persuasive response indicates her
responsibility, to an extent, for her actions in the play
“When you durst do it, then you were a man
...
”
•
•

Macbeth blatantly lies to Banquo, in the slightly abrupt response “I think not of
them” in order to preserve Banquo’s image of him
However, the cautious clause “If you would grant the time” reflects his nervous
tone, as he is still curious about the matter but does not want to show it

“Is this a dagger which I see before me,
The handle toward my hand?”
•
•

Now Macbeth is alone, he disputes whether he should kill Duncan – the use of
rhetorical questions such as “Is this a dagger … hand?” emphasises his insecurity
and inability to decide what to do
The depiction of the sword’s handle “toward [his] hand” could show how this
apparition is tempting Macbeth to kill him, almost as if it was fate that this would
happen – this is augmented when the sword leads him to Duncan later on in the
scene

“I have thee not, and yet I see thee still
...
”
•
•

Macbeth doubts himself again as he can only perceive the dagger with his eyes,
but he realises that this is not enough to disprove its existence in the interesting
clause “Or else worth all the rest
...
”
•
•

Finally, at the end of the soliloquy, an external event forces him to make a
decision, which, although he has been disputing committing regicide, seems to
be made rashly – he is still insecure
The final few lines of his soliloquy are written in rhyming couplets, just as Hecate
and the witches do, demonstrating how much these evil forces have consumed
him

 Interestingly, Shakespeare does not depict Duncan’s death on stage, but it is
implied to occur between Scenes 1 and 2
 This is probably because he wanted to show the progression of Macbeth’s
peripeteia, as the death of Macduff’s family occurs on stage in Act IV, Sc
...
”
•
•

Lady Macbeth’s commanding tone shows how she acts as almost a puppeteer to
Macbeth’s actions, directly telling him what to do (i
...
she is in complete control
of her fear-stricken husband)
Her readiness is in contrast with Macbeth, who cannot think straight and brought
the daggers back with him

“Will all great Neptune’s ocean wash this blood
Clean from my hand?”
•
•
•

Macbeth appears not to be able to cleanse himself of the blood on his hands; this
could be because he cannot forget his actions, which he sees (i
...
literally) as
blood on his hand
This is the first of many uses of water to depict the washing away guilt – Lady
Macbeth tries to rid herself of the smell of blood in Act V, Sc
...
”
•
•

•

Shakespeare uses the colourful imagery and contrast between “green” and “red”
to show how Macbeth’s action has not only damaged his soul, but Scotland as a
whole, which is clearly evident throughout the rest of the play
He also uses sophisticated vocabulary such as “incarnadine”, perhaps to show
that Macbeth’s thoughts are clouded, but then quickly resolves to use the simple
colours of “green” and “red” as if he is explaining/summarising the
consequences of his crime
This contrast could also show how a small physical deed can have far reaching
consequences across both the mind and the body, and of all of Scotland

“To know my deed, ‘twere best not know my self”
•
•

Shakespeare uses the emotive repetition of “know” to show that Macbeth finds it
hard to recognise his dual identity, as he is so well respected
“’twere best not know my self” – Macbeth states that having a new identity (i
...
as
a murderer) would make it easier for him to accept his guilt

SCENE 3
o
o
o

The scene directly continues from the knocking at the end of the last scene, and
the porter goes to open the gate, having been woken from his drunken state
Macbeth pretends to be awoken by the knocking, and is told of Duncan’s death,
followed by Lady Macbeth and Banquo
Macbeth condemns this action, mourning Duncan, but Banquo questions the
murder, while Malcolm and Donalbain flee for their lives

“Knock, knock, knock
...
e
...
” suggests that
the Porter is quite comical, which contrasts with the information he is about to
receive
This augments dramatic irony and tension in the scene as the audience is already
aware of Duncan’s murder
However, the Porter also provides comic relief to an extent, almost as if
Shakespeare introduced him to make the contemporary audience, and lighten the
dark nature of the play
On the other hand, the continued knocking is a constant reminder of the real
world and the malevolent events that have come to pass

 Shakespeare may use the Porter to anticipate the future horrors of Macbeth’s
reign (i
...
hell) – in fact, the repeated imagery of hell throughout the play,
including the imagery of the serpent in Act
...
5 could suggest that Macbeth
himself is the embodiment of hell
“…here’s an equivocator… who committed treason
enough for God’s sake”

•
•
•
•

Here, the porter appears to be referring to the Jesuit Priest Father Garnet who was
hanged for lying about his knowledge of the impending Gunpowder Plot
Although a modern-day audience would perhaps miss this reference, it is most
likely that contemporary viewers would understand it, suggesting that the play
was written in around 1606, although it was not published until 1623
This could, therefore, have a serious effect on the audience, as the hell of Scotland
in Shakespeare’s play is also apparent for them in society
The example could also be considered as a loose analogy for Macbeth, who
attempts to justify his action of killing the king in order to preserve his soul,
although the Porter does not know this

“The night has been unruly: …”
•
•

Lennox describes the night using hellish undertones, which could show that he
heard the screams of Duncan, perhaps confusing them in a dream
These parallels between the real world and dreams could be similar to Macbeth
two-sided nature: he gives himself a façade when among others (even his
friends), yet his true nature is full of malice – “strange screams of death”

“O horror, horror, horror,
Tongue nor heart cannot conceive, nor name thee
...
”
•

Macduff uses the hyperbolic analogy of a “Gorgon” to describe the effect
Duncan’s death has had on him, demonstrating the extent of his shock


GORGON: A creature in Greek mythology, created by Athena, that was
said to turn anyone who looked at it to stone (e
...
Medusa)

“Awake, awake!
Ring the alarum bell! Murder and treason!”
•

•
•

As soon as Macbeth and Lennox have left, Macduff changes his tone to alert the
castle
...
–”
•
•
•
•

The objectifying use of “woman” here shows how Macduff believed that a woman
would be more overcome with grief than a man if he were to tell her of the
passing of the king
This was not sexist at the time, as the contemporary audience would not have had
this concept – society at the time was dominated by men (i
...
patriarchal
hegemony)
Perhaps he does not want to tell Lady Macbeth for fear of killing her; this fear of
blood on his hands continues right up until the last few scenes in the play
However, Macduff’s opinion of Lady Macbeth’s strength is completely contrary to
her true nature, as she called upon evil spirits to remove her womanly traits to
make her stronger – Lady Macbeth too has a façade

“Too cruel, anywhere
...
However, his subtle tone could demonstrate that he feels life is worth more,
as there is an opportunity for Macbeth to become king

“Who can be wise, amaz’d, temp’rate, and furious,
Loyal and neutral, in a moment? No man
...
”,
emphasising that nobody is perfect
“violent love” – Macbeth describes his actions as an act of love, which may seem
hyperbolic and unbelievable to the audience, but it could also show how much
Duncan was respected by his people

“There’s daggers in men’s smiles; the nea’er in blood,
The nearer bloody
...
e
...
”
•
•
•

Shakespeare’s use of the natural imagery of “A falcon tow’ring in her pride of
place” to demonstrate how Duncan’s death has changed the natural order of
things – a mousing owl would never normally attempt to kill a falcon
This imagery could also be seen as an analogy for Duncan, who also came to an
unnatural end, when Macbeth dared to change the natural flow of the monarchy
To a contemporary audience, this would be seen as sinful, as the monarchy was
the highest power in the country, said to be chosen by God, so to try and change
it would be to try and change God’s will
...
”
•

Macduff is already suspicious of Macbeth’s treachery, as he uses the savage word
“slain” to portray a sense of the emotionless killing of the guards, yet Macbeth
himself says that it was an act of passion

“Are stol’n away and fled, which puts upon them
Suspicion of the deed”
•
•

Shakespeare uses irony here to show that the very act of Malcolm and Donalbain
fleeing to avoid danger has secured Scotland’s fate – cowardly?
The use of the guilty verb “stol’n” could emphasise the bad decision that
Duncan’s made in fleeing, but the contraction could show that Macduff does not
want to admit it; perhaps not believing the accusation, he utters it under his
breath

“R:
Will you to Scone?
M: No, cousin, I’ll to Fife
...
”
•
•

Shakespeare contrasts the characters of Ross and Macduff, directly stating that
Ross will attend the coronation (he acts as an unbiased mediator), whereas
Macduff will avoid it (he is suspicious of Macbeth)
He uses contrasting sharp responses such as “No” and “will” to demonstrate this
contrast clearly at this point in the play

Act III
SCENE 1
o
o

Banquo becomes suspicious whilst reflecting on the witches’ prophecies
Macbeth begins to fear Banquo as a threat to his reign

“As the weird women promised, and I fear
Thou played’st most foully for’t; …”
•
•
•

He realises that the events that the witches foretold have come to pass, but he
does not trust them as much as Macbeth does
Instead, he believes that Macbeth killed Duncan to become king, and he
“played’st most foully for’t”
Unlike Macbeth, who is obsessed with the future and the witches’ prophecies,
Banquo fears foul play

“It should not stand in thy posterity”
•
•

However, Banquo cannot help but think that if Macbeth’s prophecies have come
true, then his sons must become kings
This would result in Macbeth’s reign being futile and meaningless, which is his
greatest fear

“We hear our bloody cousins are bestow’d
…filling their hearers
With strange invention”
•
•
•

Macbeth almost pretends to be asking for advice on how to deal with Duncan’s
sons, who are in England and Ireland
He tells Banquo that they are lying about the state of the kingdom, making them
criminals although they haven’t done anything wrong
He needs to get rid of them just as he needs to get rid of Banquo as he is
becoming more and more bloody, yet terrified

“To be thus is nothing,
But to be safely thus
...
”
•
•
•
•

Although Macbeth has effectively just killed Banquo, he still holds him to some
degree of honour as he believes that he will go to heaven (?)
There is an element of fate in Macbeth’s tone, almost as if he knows what will
come to pass in a moment of hubris
However, the reasons for Macbeth to be doing this are not affected by anything,
as they will come to pass probably as a result of Macbeth trying to stop them (i
...

Oedipus)
He cannot kill Banquo himself perhaps, because Banquo would then know that his
suspicions were true, or because it is simply too logically difficult as king

 Interestingly, Banquo says nothing about the qualities of Macbeth throughout the
scene, emphasising that he suspects Macbeth of treachery, yet Macbeth speaks
about the qualities of Banquo frequently

SCENE 2
o
o
o

Lady Macbeth speaks to her husband before the feast and scolds him both for
staying alone and continuing to dwell on his actions
They discuss the feast ahead and decide to praise Banquo at it before Macbeth
reveals his fear of Banquo and Fleance
He reveals that he intends to commit another dreadful crime and that he wants
Lady Macbeth to praise him for it although she does not know what it is

“Nought’s had, all’s spent
Where our desire is got without content”
•
•
•

Lady Macbeth states that in getting what they desired (i
...
the kingship), they
have gained nothing and lost everything
This remark reveals Lady Macbeth’s insecurities about the throne for the first
time, as she did not appear to fear anything in Act I
She speaks in a rhyming couplet, suggesting that her emotionless, indifferent
nature has broken to an extent

“’Tis safer to be that which we destroy
Than by destruction dwell in doubtful joy”
•
•

Lady Macbeth’s insecurity is emphasised as she states that she would prefer to be
the person killed than having to live in fear of the consequences (“doubtful joy”)
Written in perfect iambic pentameter showing that in the absence of Macbeth, she
speaks with some degree of emotion

“Things without all remedy
Should be without regard; what’s done, is done
...
e
...
1 – although at this
point she feels that she can forget about the past, she eventually realises that the
blood will never come off her hands

“O, full of scorpions is my mind, dear wife!”
•
•
•

This venomous exclamation could show that Macbeth realises that he has been
poisoned by his actions, and will be haunted by them forever
However, it could be just out of fear that he knows Banquo and Fleance still live
for now
Lady Macbeth’s reply, “But in them nature’s copy not eterne
...
”
•

Use of light and dark imagery to depict that there may be some hope left in the
world, although the setting of the sun could be analogous to Banquo’s oncoming
death

 All the imagery in this scene can be related to the death of Banquo, showing how
Shakespeare wanted the audience to be entirely focused on this pivotal point
“B: It will be rain tonight
...
”
… First murderer strikes out the light
•
•
•

Use of the imagery of water, which could be Banquo’s guilt being washed off him
before death (?)
Ironically, the act of the first murderer striking out the light meant that the
prophecy stays intact as Fleance escape, which could show that darkness is on the
side of the witches
However, the extinguishing of the light could also be analogous to the death of
Banquo

“O, treachery!
Fly, good Fleance, fly, fly, fly!
Thou mayst revenge – O slave!”
•
•

As soon as the murderers attack, he immediately realises that his suspicions were
true, highlighting that he is cynical to some extent
Repeated use of exclamations show desperation and shocks, but likely out of fear
for his son, through the anaphora of “fly!”

 This is the first depiction of murder in the play, as the death of Duncan was
insinuated between scenes, which prepares the audience for what is to become
routine assassination

SCENE 4

o
o

Macbeth welcomes guests to his banquet before the first murderer informs him of
the events of Sc
...
”
•

Describes that there are equal numbers of lords on either side of the table, with
Macbeth sitting in the centre

•
•

This could show that he is above the normal business of the lords, somewhat
detached from society, or it could show that he is two-sided (i
...
equal amounts of
good and evil?)
“i’th’midst” gives the impression that Macbeth sits in the centre to be fully
involved in every discussion, seeking security?

“[To First Murderer] There’s blood upon thy face
...
”
•
•
•

The use of the violent tricolon “cabin’d, …, confin’d” shows how Macbeth was
seriously concerned about the fate of Fleance, and his fears have been confirmed
Emphasises his belief in the witches because of the prophecy that Banquo’s sons
will become kings
Use of harsh ‘c’ sounds could show his withheld anger at the murderers, but the
use of cruel imagery could demonstrate that he is angry with himself for allowing
this to happen

“Which of you have done this?”
•
•
•

As soon as Macbeth recognises Macbeth’s ghost, he tries to find someone to
blame, showing the extent of his paranoia and guilt
Banquo’s ghost is seated at the head of the table, ironically foreshadowing the
future, that Banquo’s sons will become king
As Macbeth has just attempted to prevent this prophecy from coming to pass, it
emphasises the futility of his actions against supernatural forces

“What, my good lord?”
•
•
•

This confusing rhetorical question suggests that only Macbeth can see Banquo’s
ghost, emphasising his guilt further – is this a continuation of the imagery of
blood?
The appearance of Banquo’s ghost is another supernatural influence on the play,
but, as before, he and Banquo are the only ones to perceive the supernatural (i
...

the witches, etc
...
1

“I have a strange infirmity which is nothing
To those that know me
...
e
...
”
•
•

He suddenly changes his composure as the ghost leaves, emphasising his doublesided nature, almost as if he has a dual personality
Macbeth tries his best to calm the guests, but they are lost to him – “…broke the
meeting / With most admir’d disorder”

“Question enrages him … A kind good night to all”

•
•
•

Lady Macbeth tries to resolve the situation by dismissing the guests, perhaps
because she fears that Macbeth will reveal her guilt and crimes
She is in a position of control in her relationship with Macbeth once more,
contrasting with the events of Sc
...
”
•

Macbeth states that a change to the natural order will result in a change to the
perpetrator – spilling blood will result in your blood being spilt (karma?)

“How sayst thou that Macduff denies his person”
•
•

Macbeth tells Lady Macbeth that he thinks Macduff’s refusal to come is an act of
defiance, which could show the start of Macbeth’s suspicion of him
This suspicion escalates as the play progresses, and the witches catalyse this at
the start of Act IV

“We are yet but young in deed”
•

Macbeth tries to calm and ease Lady Macbeth’s doubt by dismissing the events of
the scene as just a blip in their life, and it will soon pass

SCENE 5
o

The three witches prepare a strong spell to delude Macbeth under the guidance
of Hecate, the goddess of witchcraft

“And I the mistress of your charms,
The close contriver of all harms, …”
•
•
•

Hecate has complete power over the witches, as she gave them their magical
abilities (?)
She holds herself accountable for all of the witches’ actions, although she is not
present in any other scene in the play
Hecate, as the embodiment of evil, speaks entirely in rhyming couplets,
associating them with mystery

“Hath been but for a wayward son,”
•
•

Shakespeare indicates that Macbeth is not a victim of the witches’ evil, but almost
one of the witches in nature
The optimistic word “wayward” could demonstrate how he does not have
complete trust in the witches, but, by the end of the play, he has fully embraced
evil and effectively destroyed himself

“Loves for his own ends, not for you
...

…Unto a dismal and fatal end
...
”
•
•

Hecate states that security is an enemy of human beings, as it prevents them from
being tempted into evil or swayed in opinion
Similar to the attitude of Satan, who tempted men and women by showing them
the future and playing on their fear of loss (i
...
loss of security)

 Hecate speaks in iambic tetrameter, which is different to most of the rest of the
play, emphasising the unusual nature of her appearance and her mysterious style
of speech
 Throughout the play, Shakespeare used genuine spells thought to be used at the
time – it has been said that this angered the witches, making them curse the play
in response, making the suspicious believe that it is bad luck for the play/word
“Macbeth” to be mentioned before putting on a show

SCENE 6
o
o

Lennox and an unnamed lord discuss the recent demise of Scotland, in ironic
terms, after Macbeth became king
He examines the recent accidents of both Duncan’s and Banquo’s death,
concluding that Macbeth instigated them in the subtext

“Whom you may say, if’t please you, Fleance kill’d, …”
•
•
•

Lennox has an ironic tone when discussing the reasons for the demise of Banquo
The use of the sceptical phrase “if’t please you” could show how the people of
Scotland convince themselves that Macbeth is good, almost lying to themselves
instead of facing the bitter truth that their king is a murderer
Lennox’s apparently sudden change of heart is a direct consequence of Macbeth’s
behaviour at the banquet – he has lost the respect of his lords

 Shakespeare uses scenes 5 & 6 to decrease the focus of the events of the play, and
look at the wider picture, contrasting with the violent and aggressive nature of
scene 4
 He uses this scene especially to directly show the consequences of Macbeth’s rule
throughout Scotland and how the people that he rules see him
“Macduff lives in disgrace
...
”

Act IV
SCENE 1
o

Three witches create a powerful spell and prepare to meet Macbeth

“Double, double, toil and trouble;
Fire burn, and cauldron bubble
...

All the ingredients are disgusting and parts of various animals, which could show
how Macbeth is no longer human, but a monster with a deep-seated ambition for
power
Polysyndeton emphasises the horrendous nature of the spell, as well as making it
seem like it was sung, which is also augmented by the repeated rhyming couplets
The meter of the scene is trochaic tetrameter, which is different to the rest of the
play – it is faster, more rhythmic, and foreboding
Hecate enters and commends the witches, signifying that the spell is finished and
Macbeth’s death is clearly imminent
Macbeth’s behaviour has entirely changed, preparing to risk anything, both
physically and metaphysically, to know the future, which ironically brings him
closer to death

“Speak
...
/ We’ll answer
...
The fact that
someone knows his fate yet he does not massively increase his concern and
therefore his paranoia
Three witches – power of three? A mockery of the holy trinity?

“Pour in sow’s blood, that hath eaten
Her nine farrow; grease that’s sweaten”
•
•
•
•

The sow could be analogous to Macbeth’s situation – he feels threatened by
something, so he will destroy everything he loves to remove that threat (selfish?)
Reference to ‘boneless gums’ – horrific imagery which is again similar to Lady
Macbeth’s character
The irony of the prophecies intensify throughout the play as more are given
because they become more double-edged
Macbeth has almost become one of the witches himself, as they do a “deed
without a name”; Macbeth no longer needs LM to convince him to do anything, as
his mindset is certain

“He [the first apparition] will not be commanded”
•
•
•
•
o
o

Although he does not truly know it, Macbeth is not in control, and never has been
– he begins to realise that he may have asked for more than he originally wanted
Written in passive (“be commanded”), to divorce the witches from the apparition
itself, so they are not to blame?
Alternatively, the prophecies describe unnatural events coming to pass (e
...
until
Birnan Wood comes to Dunsinane, etc
...
”
•
•

First use of the word ‘eyeballs’ in the English language
A physical representation of the pain felt by Macbeth seeing the crown on
someone else

“Stand aye accursed in the calendar”
•
•
•

He wants to curse this day, after the realisation of his downfall – this was not
uncommon in medieval times for people of power
The concept of a curse was part of Jacobean culture, so the contemporary
audience could very possibly consider this as a real concept
His opinion of the witches has changed to anger, and he wants to spread his anger
using this curse

SCENE 2
o
o
o

Lady Macduff is with her son and Ross (a thane of Scotland)
...
Afterwards, a messenger arrives, warns them
of danger, and leaves
Murderers enter, kill Macduff’s son, and pursue Lady Macduff to kill her

“Then you’ll buy ‘em to sell again”
•
•
•
•

The son is not just demonstrating his immense wit, but showing how wise he is –
this augments the feeling of loss felt by the audience
He understands that if getting a husband is easy, then losing one will be just as
easy – a relationship like that will not last long
His exchange with his mother is a representation of Shakespeare’s themes of
loyalty and treachery and loyalty
Lady Macbeth and her son are presented as pathetically vulnerable, both
because they are not aware of why Macduff had to flee to England and because
they are not aware of their fast approaching fate

 These events are entirely the fault of Macbeth and his tyranny – this is more
shocking than the previous acts because his motive is not as important or
ambitious as previously
 Furthermore, this is the first murder that is committed on stage, and the first
murder of a named child in the play, massively amplifying the horrific and
unspeakable nature of the son’s murder
“My dearest coz,
I pray you school, yourself
...

Macduff:
And all my children?
Ross:
Well, too
...
”
•

Ross still acts as a diplomat, attempting to please Macduff but still not anger him at
the news of the murder of his wife and children

•
•

The prolonged revelation of this information shows that Ross is almost scared to
reveal the news to Macduff, as he knows that it will cloud his mind and make him
hate Macbeth even more
This is exactly what the witches’ foretold, and Macbeth’s attempt to stop it only
made the situation worse, as he attempts to kill Macduff, instead making him more
full of rage

“Be this the whetstone of your sword, let grief
Convert to anger
...
”
•
•

Macduff now realises that Macbeth must pay the consequences, to such an extent
that he simply wants to kill Macbeth, and not say anything more
Signifies the quick peripeteia of Macbeth and his tyranny – TRAGEDY

Macbeth: Act V
SCENE 1
o
o
o

A doctor and a gentlewoman discuss Lady Macbeth’s behaviour as a patient
before she appears sleepwalking
She reveals her guilt within their earshot, and they watch as she tries to wash the
blood from her hands
The doctor realises that she needs spiritual rather than medical attention

“What we need we fear who knows it, when none can call our power into account?”
•
•
•
•

Whilst asleep, LM appears to have no interest in concealing her true dark
ambitions and thoughts, as she realises that no one has power over her, and no
one can question this
However, she poses this as a rhetorical question, which could show that she does
in fact need others’ approval of her power
This entire act could be seen as comforting for LM, as she tries to convince herself
that she will not be punished for her actions after death
Her tone here seems to be arrogant and overpowering, suggesting that she could
also be experiencing the hubris Macbeth feels, prompted by the witches

“Here’s the smell of the blood still; all the perfumes of
Arabia will not sweeten this little hand
...
”
•
•
•

She still regrets her actions, having put everything into where she is now, but her
present is overwhelmed by her past
Reference to the cleansing of blood again, and the exclamation ‘O, O, O
...
You mar all with this starting”
•
•

Her loyalty to her husband appears to be intact, but she does question his actions
although she was the active catalyst for them
Like Macbeth, she may have asked too much and unleashed Macbeth’s ambition

“Come,
come, come, come, give me your hand; what’s done
cannot be undone
...
”
•
•
•

Lady Macbeth’s guilt is finally revealed, showing that she does regret the murder
of Duncan, despite all her courage and ambition
Reference to “What’s done is done” – she realises that she cannot leave her
actions in the past, no matter the extent of her mental strength
The tricolon “To bed, to bed, to bed
...
”
•
•
•

Reference to Macduff’s loss of his family to Macbeth
This is one of the few scenes in the play that is written partly in rhyming couplets –
LM had always spoken in blank verse before this point in the play, which
portrayed her strength and unbreakable nature
However, now, Shakespeare uses rhyming to show the effect of Lady Macbeth
breaking down under the strain of guilt

SCENE 2
o
o

Introduces the rebel Scottish powers who are determined to join English at Birnan
to overthrow Macbeth
The thanes comment on how Macbeth must feel uneasy, being almost under
siege
...
”
•

The language here is more specific – it talks about where they are going, etc
...

Some say he’s mad; others that lesser hate him”
•
•
•
o

No one longer supports him or his kingdom, and his desperation finally begins to
show
Shakespeare’s mention of Dunsinane and Birnam Wood are a clear reference to
the prophecies and the hidden irony behind them
There is a clear intention to cleanse Scotland felt by both the English and the Scots
Shakespeare uses this scene almost to build tension in the build-up to Macbeth’s
death, keeping the audience on edge and interested in the important events of
the play

“does he feel his title
Hang loose around him like a giant’s robe”
•
•

Shakespeare uses the imagery of clothing to show that Macbeth is not big enough
to hold the crown and reign over Scotland
It is almost a simile comparing Macbeth and a thief (i
...
stealing from the giant),
emphasising the men’s disrespect for their leader

 The recovery of the crown by Malcolm at the end of the play is not solely due to
the strength of the English, as Shakespeare attempts to be politically correct –
King James I (VI) was patron to his theatre company

SCENE 3
o
o

Macbeth learns of the approach of Malcolm’s forces but does not fear them due to
his complete trust in the witches
He discusses his wife’s condition with the Doctor before going off to battle

“Bring me no more reports, let them fly all;
Till Birnan Wood remove to Dunsinane,
I cannot taint with fear
...
What soldiers, patch?”
•
•

Macbeth clearly has contempt for his servant and most of the court, showing how
his reign of terror extends to all those around
His behaviour is both erratic and violent

“What rhubarb, cynne, or what purgative drug
Would scour these English hence?”
•
•
•

Instead of focusing on the treatment of his wife as informed by the doctor, he is
more interested in the treatment and cure of Scotland (i
...
the destruction of
Malcolm’s army)
This is ironic, as Malcolm’s own intention is to cleanse Scotland of Macbeth – they
have the same mindset but opposite ideologies
This could show that all men think alike and yet differently at the same time –
“Fair is foul, and foul is fair”

“I will not be afraid of death and bane,
Till Birnan Forest come to Dunsinane
...
”
•
•

The doctor’s response to Macbeth’s exit shows his wit, typical of some doctors at
the time
Could be analogous to how many feel about Macbeth’s kingdom, as he scares
people ruling through terror

SCENE 4
o
o

Malcolm orders his men to each cut down a bough from Birnan Wood to conceal
the majority of the army
They learn that Macbeth intends to remain in the castle under siege, as he knows
his troops only fight out of necessity rather than commitment

“Let every soldier hew him down a bough,
And bear’t before him; thereby shall we shadow
The numbers of our host …”
•
•

A sense of dramatic irony is present as Macbeth does not know that one of the
prophecies has started to become a reality
Furthermore, Malcolm does not know of these prophecies, augmenting the
underlying theme of fate – Macbeth’s downfall is simply meant to happen

“…, but the confident tyrant
Keeps still in Dunsinane and will endure…”
•
•
•

Macbeth is still confident in the prophecies, but knowing them he is negligent to
address the army
The dependency he has on the prophecies is paralysing his decision making and
his capacity for action
Ironically, his knowledge of his own future is determining his future and fastapproaching death

“The time approaches”
•

Shakespeare’s use of the foreboding verb “approaches” suggests a sense of
completion of the prophecy, augmenting the dramatic irony here as Macbeth
does not yet know of this latest development

“But certain issue strokes must arbitrate
...
”

•
•

At the start of the scene, Macbeth plans to starve the enemy to victory, satisfied
with the knowledge that he is untouchable
It is quite possible that Dunsinane could survive a siege, but the chance of this is
greatly reduced by Macbeth’s negligence to plan, act, or fight

“She should have died hereafter;
There would have been a time for such a word
...
”
•
•

Macbeth turns to cynicism as a final response to the death of Lady Macbeth and
his actions; his emotional state is in contrast to his indifferent and emotionless
opinion
Shakespeare amplifies the pathos felt for Macbeth here, as he is depicted entirely
alone and suffering

“I look’d toward Birnan and anon methought
The wood began to move
...
Worthy Macduff …”
•

Strikingly similar to how Banquo and Duncan treated Macbeth at the beginning of
the play – “For brave Macbeth…”

“Do we but find the tyrant’s power tonight
Let us be beaten if we cannot fight”
•
•

Siward acts similar to Macbeth before he decided to kill Banquo (i
...
“Banquo, thy
soul’s flight, … tonight
...
”
•
•
•
•

•

Young Siward has the attitude of nearly everybody on the battlefield – Macbeth is
the equivalent of the devil, if not worse, and needs to be cleansed of from Earth
The use of the stunning imagery of “The devil himself” to describe Macbeth
suggests that no one is worse than him, which would be taken very seriously by a
contemporary audience as religion was a huge part of people’s lives
His response, “No, nor more fearful” could show that he still has an element of
hubris, and agrees that he is like the devil, welcoming Young Siward’s
exclamation as if it was a compliment
His nature is similar to that of Macduff’s son – full of bravery and intellect,
suggesting that Macbeth’s actions have had widespread consequences, and have
affected the lives of not only himself but children who could have achieved many
things
This further emphasises the waste and futility of Macbeth’s reign

“Thou wast born of woman
...
e
...
”
•
•
•

Shakespeare uses the confident exclamation “show thy face!” to describe how
Macduff will welcome a fight with Macbeth, wanting to avenge his family
The use of the unheimlich imagery of “wife and children’s ghosts” suggests that
his intentions are to ease his conscience – the audience know, all too well, that
ghosts are quite possibly a reality in the play (i
...
Banquo’s ghost III
...
”
•

Siward’s of the respectful address “my lord” shows how Malcolm, although he is
not king, commands respect, drawing a contrast with Macbeth who, even as king,
has to demand respect

 Shakespeare’s use of fateful language such as “render’d” suggests that he uses
this scene in order to prepare the audience for the necessity that is the death of
Macbeth’s death in the subsequent scene

SCENE 8
o
o

Macbeth is finally killed by Macduff, partly in revenge for the death of his family,
but also to cleanse Scotland and free it from his reign of terror
The witches have at last betrayed him to his death, as he betrayed his friend
Duncan at the start of the play

“Turn, hell-hound, turn”
•
•

Another use of hellish imagery to describe Macbeth – he truly has fallen into
darkness – hell may now be better than the world he is living in, from his
perspective
Repetition of “Turn” emphasises how Macduff treats Macbeth as if he is an animal
– no longer human due to his actions, emphasising his self-destruction

“Despair thy charm,
…Tell thee, Macduff was from his mother’s womb
Untimely ripped”

•

The final prophecy has at last been fulfilled, showing that the witches have tricked
Macbeth, and his inevitable death is imminent

“Accursed be that tongue that tells me so,
For it hath cow’d my better part of man;”
•
•
•
•

Macbeth finally understands that the witches betrayed him, losing his trust
completely from this moment
His reaction is not as violent as when he discovered that the first prophecy had
come to pass, showing that he himself is ready to die
He is not using rhyming couplets, no longer on the side of the witches, as they are
“juggling fiends”
Despite all the witches have done to save Macbeth, Shakespeare demonstrates
that his courage remains intact

“Yet I will try the last
...

 However, it is thought that Shakespeare swapped these two personalities in order
to please the king at the time (i
...
James I, who commissioned the play), who was
thought to be a descendant of Malcolm through the houses of Bruce and Stewart

SCENE 9
o
o

Malcolm comforts Siward over the death of his son at the hands of Macbeth
Macduff arrives with Macbeth’s head and hails Malcolm as the King of Scotland

 There is a sense of futility in Macbeth’s reign, as Malcolm has become king just as
Duncan proclaimed in Act I, which could also be seen as fateful, as the flow of time
continues as if Macbeth never interfered
“The time is free
...
5
Malcolm ends the play with an unsettling rhyming couplet, speaking in the way
that Macbeth spoke under the influence of the witches - FOREBODING



---